by John Farr

One of John Farr’s favorite actresses in three British films.

Grown Ups (1980)

WHAT IT’S ABOUT:

Working-class newlyweds Dick (Philip Davis) and Mandy (Lesley Manville) move into their threadbare new row house in Canterbury with humble plans to perk it up but little motivation to do anything but smoke fags and have a pint at the local pub. Next door live stern, callous schoolteacher Mr. Butcher (Sam Kelly) and his good-natured but unhappy wife, Christine (Lindsay Duncan). Both couples’ lives are turned inside out with the arrival of Mandy’s desperately needy sister, Gloria (Brenda Blethyn), a fussy frump who longs to make herself indispensable to everyone.

WHY I LOVE IT:

This superbly acted film by English director Mike Leigh (”Naked”) is a bleakly funny slice-of-life tale about two couples mired in somewhat depressing routines. Manville and Davis are delightfully dour as a bickering couple trying to decide whether or not to have a baby, while Kelly and Duncan’s moribund, dysfunctional relationship is alternately hilarious and gut-wrenching to observe. But the film’s greatest asset is Blethyn, whose showstopping meltdown on the Butchers’ staircase is the work of a champion actress - one fully in touch with the depths of despair. “Grown Ups” is a sweetly madcap gem for the feeble-minded fussbudget in all of us.

Secrets and Lies (1996)

WHAT IT’S ABOUT:

After the death of her adoptive parents, soft-spoken West Indian optometrist Hortense (Marianne Jean-Baptiste) sets out to find her birth motherwho shes surprised to learn is a white woman named Cynthia Purley (Brenda Blethyn), a sad-sack factory worker with an embittered, street-sweeper daughter (Claire Rishbrook). After meeting for tea, the two eventually develop a bond, with Hortense guiding Cynthia onto a path to reconciliation with her estranged family.

WHY I LOVE IT:

Leigh’s bittersweet family drama “Secrets and Lies” showcases the superb acting talents of British veteran Blethyn, who picked up a Best Actress nomination for her (mostly improvised) work alongside co-star Jean-Baptiste. Leigh’s long, static shots-especially of the first confused meeting between Cynthia and Hortense at a London teashop-are admirable feats that give you the sense you’ve known these characters for years. Kudos also to Timothy Spall, playing the bearish brother Cynthia longs to reconnect with. For an emotionally enriching film that deals intelligently with class, race, and family conflict, check out “Secrets and Lies.”

Little Voice (1998)

WHAT IT’S ABOUT:

Little Voice (Jane Horrocks) is a shy young woman with an extraordinary singing voice, though no one knows it except her mother, Mari (Brenda Blethyn). One night, Mari meets smarmy talent agent Ray (Caine) at a bar, and brings him home, where he hears LV warble a perfect rendition of “Over the Rainbow.” Smelling a sensation in the making, Ray sets out to arrange for her public debut, but the road to stardom is pockmarked with jealousy, anger, and more than a few complications.

WHY I LOVE IT:

Mark Herman’s utterly winning “Little Voice” was an indie sensation in Britain, where it charmed the socks off audiences. Blethyn’s hilariously histrionic turn as LV’s overbearing mum won her an Oscar nod for best supporting actress, and Caine’s own performance as a venal manager with a thing for Roy Orbison has a humorous bite. But the star is Horrocks herself, who gives a tour de force performance as the introvert with golden pipes (just wait for her showstopping debut). “Little Voice” might be a modest film, but it has a whole lot of heart.

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by John Farr

Three early 60s gems from director Tony Richardson.

The Entertainer (1960)

WHAT IT’S ABOUT:

Fading vaudeville comic Archie Rice (Laurence Olivier) plays to virtually empty music halls in Britain’s seaside provinces, limping through the same stale routines in garish make-up, but side-steps his failure through pathetic flings with younger women. Selfish, arrogant, and insensitive to those around him, especially alcoholic wife Phoebe (Brenda De Banzie), Archie ultimately damages the lives of everyone in his family, including doting daughter Jean (Joan Plowright).

WHY I LOVE IT:

Ironically the foremost symbol of traditional English theatre, Olivier showed off his astounding range with an anti-heroic, tour-de-force turn in Tony Richardson’s 1960 drama, adapted from John Osborne’s play. Reprising his celebrated stage role, Sir Larry has a field-day playing Rice, a somewhat ghoulish has-been who personifies his own nation’s decay, and the effort earned him an Oscar nomination. De Banzie and newcomer Plowright (who’d go on to marry Olivier) excel in supporting roles.

The Loneliness of the Long Distance Runner (1962)

WHAT IT’S ABOUT:

Sentenced to a boys reformatory for robbing a bakery, rebellious English punk Colin Smith (Tom Courtenay) soon attracts the interest of the schools Governor (Michael Redgrave) for his athletic prowess. Hoping to groom Colin for a cross-country race against a public school, the Governor endows him with special privileges. But is the embittered Colin willing to be house-trained?

WHY I LOVE IT:

One of the best of Britain’s Angry Young Man films, Richardson’s expressive drama hinges on the complex psychology of Colin, an uneducated but cunning youth still smarting from the recent death of his father. Richardson builds tension by cutting between the restrictions and tensions of reform-school life and Colin’s recollection of events leading up to his arrest and detention. Courtenay (”of “Billy Liar” fame) gives a haunting performance in the title role, and Redgrave is masterful playing a cold rehabilitator obsessed with winning a trophy. For a powerful expression of working-class disaffection, go the distance with “Runner.”

Tom Jones (1963)

WHAT IT’S ABOUT:

Based on Henry Fielding’s book, Tom (Albert Finney) is a fortunate orphan adopted by a wealthy squire in eighteenth century Britain. In young adulthood, Tom’s good looks and lusty nature fuel an irresistible attraction to the opposite sex . With various parties set against him due to his humble birth and shaky morality, our hero can’t win the approval of Squire Western (Hugh Griffith) to marry beautiful daughter Sophie (Susannah York). Soon Tom must leave home to seek his fortune, and a host of bawdy adventures ensue. Will Tom ever be found worthy of his beloved Sophie?

WHY I LOVE IT:

Winner of the Best Picture Oscar, Tony Richardson’s rousing film has all vital elements in proper alignment: a brilliant screenplay by playwright John Osborne, swift pacing fueled by John Addison’s zippy harpsichord score, and colorful performances from a powerhouse cast including Griffith, Joan Greenwood, Diane Cilento, Edith Evans, and a young David Warner as the priggish Mr. Blifil. York is the epitome of fair English beauty, and Finney carries off the central role with gusto. Sumptuous color photography is another bonus. Don’t miss the famous Finney/Cilento eating scene.

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by John Farr

Tony Leung Chu Wai often portrays broken-hearted loners… but not in these roles.

Hard-Boiled (1992)

WHAT IT’S ABOUT:

Renegade Hong Kong cop Tequila (Chow Yun-Fat) is relentless in his pursuit of a brutal gang of gun smugglers, but he has a softer side, too, especially for co-worker Teresa. When his partner is killed in a shoot-out at a restaurant, Tequila is forced to team up with Tony (Tony Leung Chiu Wai), a mysterious undercover cop embedded deep in the mobs killer-for-hire network.

WHY I LOVE IT:

Before he became a well-regarded Hollywood action director, John Woo (”Face/Off”) made this superb police thriller, the most energetic and hyped-up of his many Hong Kong ventures. Known as the Chinese De Niro, Chow Yun-Fat is by turns aggressive and cool in the role of Tequila, a cop who thinks nothing of unloading a hailstorm of bullets in a teashop but who nurses an odd fondness for his enigmatic counterpart, played with stone-faced rigor by Chiu Wai. With his trademark guns-blazing style and fluid, slow-motion theatrics, Woo stacks one ballet-of-blood on top of another, with a body count to rival any Scorsese film. But it’s the audacious finale-a shootout set in a maternity ward-that makes this “Hard-Boiled” cop story an absolute must-see.

Infernal Affairs (2002)

WHAT IT’S ABOUT:

Crime boss Sam (Eric Tsang) has planted young gangster Ming (Lau) in the Hong Kong police department to track the authorities anti-mob activities. At the same time, Superintendent Wong (Anthony Wong) has hand-picked police-academy recruit Yan (Wai) to work undercover in Sams gang. As the two moles work diligently at cross-purposes, they each begin to lose a sense of their real identity, while their respective bosses wage a war of nerves that will eventually place Ming and Yan on a collision course.

WHY I LOVE IT:

Remade by Martin Scorsese as “The Departed,” Lau and Mak’s superior “Affairs” is the kind of clever, suspenseful, genre-twisting epic Hong Kong cinema has been famous for in recent years. The directors examine the meaning of loyalty and honor while blurring the line between good and evil, and the result is a wrenching psychological cop thriller with a pace all its own. Asian star Lau is marvelous playing opposite the equally charismatic Wai, and the film gets an extra boost from its superb visuals. “Affairs” is thrilling, intelligent, and easy to love.

Lust, Caution (2007)

WHAT IT’S ABOUT:

With Japan occupying China during WWII, gorgeous young actress Wong Chia Chi (Tang Wei) is recruited by student dramatist Kuang Yu Min (Wang Leehom) to seduce a bigwig collaborator, Mr. Yee (Tony Leung Chu Wai), who’s been targeted for assassination. At first, things go according to script, but unexpected turns put Wong in grave danger.

WHY I LOVE IT:

Ang Lee is best known to American audiences for his Oscar-winning “Brokeback Mountain.” But he returned to Hong Kong to make this ravishing political thriller, and included lovemaking scenes so graphic (i.e. so hot) he got slapped with an NC-17. Regardless, Lee knows how to direct actors in any language, and here he draws on the great talents of Leung, Chen, and smoldering newcomer Wei, mashing up intrigue and romance with an enthralling story of national identity. Proceed with “Caution”!

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by John Farr

Five films featuring epic set pieces and choreography.

The Busby Berkeley Collection Volume 1

What It’s About

The plots of these five early “backstage” musicals are all variations on a theme: in tough times, the (musical) show must go on, even if the leading lady falls ill, or the funding isn’t there, or one of the stars turns out to be a high society type whose family doesn’t approve of show people. And thankfully, with all the intrigues and anxieties of putting on a revue, not to mention the inevitable romantic complications, the show always does go on, and it’s there we see the genius of choreographer Berkeley, whose grand, stunningly kaleidoscopic dance sequences still take our breath away.

Why I Love It

Warner’s hit musical “42nd Street” spawned a wildly successful franchise of glittering follow-ups, with the common ingredients Dick Powell and Ruby Keeler (except for the last picture), and the spectacular staging and choreography of Busby Berkeley. Guests include James Cagney, Joan Blondell, Hugh Herbert, and Adolphe Menjou, among others. And those songs: “We’re In The Money”, “Lullaby of Broadway”, “Shuffle Off To Buffalo”, and “I Only Have Eyes For You” are highlights. Need I say more?

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by John Farr

John Farr goes flick-or-treating for Halloween’s most haunting flicks.

Freaks (1932)

WHAT IT’S ABOUT:

In a traveling circus, beautiful but treacherous trapeze artist Cleopatra (Olga Baclanova) learns that fellow worker Hans (Harry Earles), a midget, has money, and plots to marry him, then bump him off to get it. She doesn’t count on the fact that Hans is part of a very tight circle of side-show performers, and that they always protect their own kind.

WHY I LOVE IT:

Reviled and in some places banned on release, Tod Browning’s horror classic is like nothing else you’ll ever see - bizarre, bold, and altogether brilliant. A standard soap opera premise is elevated by the conceit of “normal” people as villains, “freaks” as heroes. Browning gets the most out of his unusual cast, mostly non-actors, and creates an eerie, chill-inducing atmosphere throughout. Don’t miss that knockout climax.

The Haunting (1963)

WHAT IT’S ABOUT:

Dr. John Markway (Richard Johnson), a professor of the paranormal, sets out to discover whether the infamous Hill House is truly haunted or not, with the help of several human guinea pigs. What happens to the group “in the night, in the dark” leaves no doubt as to the answer.

WHY I LOVE IT:

Among a stellar cast, Julie Harris stands out as a spellbinding spinster whom the ghosts of Hill House single out for special attention. A sexually ambiguous Claire Bloom also registers as the clairvoyant Regina. Veteran director Robert Wise masterfully orchestrates tools of the trade to create perhaps the quintessential filmed ghost story, applying a degree of restraint and subtlety generally absent from more modern horror entries. Remade but never equalled.

The Descent (2006)

WHAT IT’S ABOUT:

Still reeling from a deadly car crash the year before, Sarah (Shauna MacDonald) travels to the U.S. with her friend Beth (Alex Reid) to participate in a spelunking expedition organized by her jocky pal Juno (Natalie Mendoza), with whom she has some post- traumatic personal issues. Along with three other female friends, the group descends into an uncharted cave system expecting a weekend of adventure. But tensions rise after a cave-in, when they discover that not only are they profoundly lost in the primordial darkness, but they are not alone.

WHY I LOVE IT:

Not the feeble-minded breasts-and-beasts horror flick that’s virtually defined the genre since the ’80s, Marshall’s “Descent” is smart, psychologically tense, and scary as hell. Yes, there’s a lot of gruesome goings-on in this claustrophobic hellhole, but part of the fun of watching it (if you’re into this kind of thing) is figuring out exactly what’s stalking the poor lasses. One or many? And is the cavern breathing or is that my imagination? Solid direction, imaginative editing, and eerie production design take “Descent” even further into nail-biting realms of pure terror.

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by John Farr

Fred Astaire made films you can watch over and over again.

Easter Parade (1948)

WHAT IT’S ABOUT:

Dumped on Easter by longstanding dance partner Nadine (Ann Miller), Don Hewes (Fred Astaire) rashly wagers he can still draw crowds even teamed with the greenest of chorus girls. Hannah Brown (Judy Garland) is his pick, and Don begins grooming her for stardom.

WHY I LOVE IT:

In this joyous musical romp, MGM producer Arthur Freed paired Garland with the recently “retired” Astaire after original lead Gene Kelly injured his ankle. Combining Astaire’s moves and Garland’s pipes with a phenomenal Irving Berlin score adapted by Johnny Green and Roger Edens, highlights include the vaudevillian duet “We’re a Couple of Swells” and Astaire’s excellent solo to “Steppin’ Out With My Baby”. The movie was a big success in 1948, and no wonder! By all means, step out with this title.

The Band Wagon (1955)

WHAT IT’S ABOUT:

Astaire does a semi-autobiographical turn as Tony Hunter, a fading movie star who looks to the New York stage to revive his stalled career, and meets exquisite ballerina, Gabrielle (Cyd Charisse) in the process, along with a host of other colorful Broadway characters. While Tony and Gabrielle don’t hit it off right away, they eventually dance together, which thaws relations.

WHY I LOVE IT:

This film has everything you would expect from an Astaire/ Minnelli collaboration - a first-rate score, color, inventive dance numbers, and overall lots of energy, style and class. Hunter’s film career may be on the wane, but nothing in his dancing indicate why. The smoldering Charisse sets off more sparks than Ginger Rogers ever did, as the athletic, sensual Gabriella. And veteran English song-and-dance man Jack Buchanan is a hoot.

Funny Face (1957)

WHAT IT’S ABOUT:

Fashion photographer Dick Avery (Fred Astaire) transforms Paris bookstore clerk Jo Stockton (Audrey Hepburn) into a modeling sensation. It’s all a souffle-light pretext for breathtaking sets, music and dancing.

WHY I LOVE IT:

Combine the moves of Fred Astaire, the grace of Audrey Hepburn and the talents of Director Stanley Donen with the city of Paris and a Gershwin soundtrack, and what have you got? Movie paradise. Prepare to be delighted: this 50th Anniversary edition is “Swonderful, Smarvelous!” Look for Eloise-creator Kay Thompson playing a fashion editor modeled on Diana Vreeland.

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by John Farr

Movies about the way we cope with dying.

The Seventh Seal (1957)

WHAT IT’S ABOUT:

Returning home from the Crusades to find his country wracked with plague and misery, 14th-century knight Antonius (Max Von Sydow) concludes that God does not exist. At the height of his despair, the wandering Antonius is visited by Death (Bengt Ekerot). Hoping to forestall the inevitable, Antonius invites the black-cloaked figure to play a game of chess, agreeing to accompany the Grim Reaper if he loses. Visited by a parade of believers and nonbelievers over the course of the game, Antonius and Death immerse themselves in philosophical debates about belief, existence, and the nature of good and evil.

WHY I LOVE IT:

One of the most influential films ever made, Bergman’s “Seal” is a mesmerizing, apocalyptic allegory whose universal themes and striking beauty-beautifully captured in Allen Ekelund’s magnificent black-and-white photography-continue to inspire reverence. Bergman regulars Gunnar Bjornstrand, Bibi Andersson, and Nils Poppe are sensational in supporting roles, while the long-faced Von Sydow makes a perfectly dour, disillusioned knight. With its witches and flagellants, madmen and plague victims, Bergman’s “Seal” is filled with all manner of fascinating images, capped by a dance-with-Death finale you’ll never forget.

Ordinary People (1980)

WHAT IT’S ABOUT:

Adolescent-aged son Conrad Jarrett (Timothy Hutton) must painfully rebuild his life and relationships, particularly that with his parents (Donald Sutherland and Mary Tyler Moore), after his beloved older brother dies in a boating accident.

WHY I LOVE IT:

“People” is one of the more harrowing films out there (without blood or violence) thanks to Redford’s inspired direction and flawless turns by Sutherland, Moore and especially Hutton. Penetrating and painful to watch, the film delivers ample emotional rewards. Redford’s first foray behind the camera, the film won the Oscars for Best Picture and Director, as did young Hutton for Supporting Actor. A must.

Y Tu Mamá También (2001)

WHAT IT’S ABOUT:

When their girlfriends head to Europe for the summer, Mexican teens Tenoch (Diego Luna) and Julio (Gabriel Garcia Bernal) gear up for some uninhibited fun. At a wedding, they meet sexy, spirited Luisa (Maribel Verdu), who’s 10 years their senior, and playfully invite her along on a road trip to a beach called Heavens Mouth, ostensibly in Oaxaca, expecting her to decline. Instead, she takes them up on the offer, and the threesome embark on a journey marked by erotic shenanigans and jealousy.

WHY I LOVE IT:

Cuaron’s exhilarating story of a Mexican menage a trois is steamy and titillating, surely one reason the film performed so well in American theaters. But it also engages closely and intelligently with the class divide in Mexico, epitomized by the jealous contretemps between upper-class Tenoch and the less-privileged Julio for Luisa’s affections, and by the crushing poverty they see on their decadent car trip. No mere tart, Cuaron’s “Mama” dazzles with superb acting and a stirring storyline that’s alternately lighthearted, soulful, and red-hot.

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by John Farr

John Farr explores the serious side of “Pink Panther” director Blake Edwards.

Breakfast at Tiffany’s

WHAT IT’S ABOUT:

Charming, bubbly Holly Golightly (Audrey Hepburn) leads a peripatetic life in Manhattan, attending swanky parties and living off the largesse of her gentleman acquaintances, who keep her attired in the very best designer outfits. Intrigued by Holly’s coming and goings, as well as her bouts of wistful loneliness, upstairs neighbor Paul (George Peppard) falls for the neurotic socialite. But is there something hidden behind Holly’s sophisticated facade?

WHY I LOVE IT:

Adapted from Truman Capote’s novella, Edwards’s fleet-footed romantic comedy would not be the cultural touchstone it is without the effervescent presence of Hepburn. As Holly Golightly, a small-town Texas girl with her feet planted firmly in the glitz of New York’s party scene, Hepburn is irrepressibly charming, a vision of elflike beauty in Givenchy and pearls. But she is also a frail creature harboring secrets, and Hepburn plays both sides exquisitely. Peppard is solid and likable as writer Paul, Holly’s admirer and confidante, while Patricia Neal chews on her steely role as Paul’s wealthy older mistress. A chic, iconic romance, memorably set to the Oscar-winning strains of Henry Mancini’s “Moon River.”

Experiment in Terror

WHAT IT’S ABOUT:

Kelly Sherwood is an attractive bank employee who lives with younger sister Toby (Stefanie Powers) in San Francisco. When Kelly is accosted by a wheezing psychopath (Ross Martin) who threatens to kill her and her sister unless she embezzles money from her bank, FBI agent John Ripley (Glenn Ford) is called in to handle the tricky case. Can Ripley nab his man before Kelly and Toby are harmed?

WHY I LOVE IT:

Blake Edwards, best known for comedies, shows he can pull off thrillers with equal skill. Make no mistake: this one is lean, gritty and frightening. Remick is solid as a victim ripe for the plucking, and Ford appropriately stolid as the dedicated Ripley. And villain Martin (who’d go on to play Artemus Gordon on TV’s “The Wild, Wild West”) will make your skin crawl with that wheezing whisper. Be warned: not for the faint of heart.

Days of Wine and Roses

WHAT IT’S ABOUT:

After an awkward meeting at a boat party seems to put them at odds, publicist Joe Clay (Jack Lemmon) and Kirsten Arnesen (Lee Remick) fall madly in love. The social and professional demands of the public-relations racket are nothing new to Joe, but gradually he turns tee-totaller Kirsten on to the pleasures of swilling cocktails at any hour. Over time, alcohol becomes integral to the young newlyweds’ relationship, and threatens to destroy their blissful existence.

WHY I LOVE IT:

A downbeat love story pickled in bile and booze, this melodrama of addiction by the great Blake Edwards skirts the same terrain as “Lost Weekend” without ever getting preachy. Instead, Edwards examines the sullied yet undying connection between his two self-destructive protagonists, played by Lemmon and Remick with unblinking honesty. (Two specific scenes-his in a madhouse and hers in a motel-are wrenching.) Charles Bickford lends terrific support as Kirsten’s widower father, as does Jack Klugman in a small role as Joe’s AA sponsor. “Days” is a hard-hitting drama about love in the ruins, buoyed by Henry Mancini’s melancholic jazz score.

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by John Farr

John Farr serves up some killer Nic Cage.

Moonstruck

WHAT IT’S ABOUT:

Loretta (Cher) is a young Italian-American widow set to marry Johnny Cammareri (Danny Aiello). Only problem: while Johnny’s away, Loretta falls for Johnny’s younger brother Ronny (Nicolas Cage). Meanwhile, mother Rose (Olympia Dukakis) has her own romantic troubles keeping the embers burning with pre-occupied husband Cosmo (Gardenia).

WHY I LOVE IT:

Nominated for the Best Picture Oscar and winning statuettes for co-stars Cher and Dukakis, this movie overflows with off-kilter charm and humor. Cher hits all the right notes as the bewildered Loretta, but Dukakis comes off best in the tricky role of Rose - a rare woman who’s as wise about herself as others and faces a challenging personal situation with grace and dignity. A flavorful, heartwarming delight from director Norman Jewison.

Leaving Las Vegas

WHAT IT’S ABOUT:

Depressed Hollywood screenwriter Ben (Nicolas Cage) arrives in Las Vegas with one goal: to drink himself to death. On the Strip one night, he picks up fresh-faced hooker Sera (Elisabeth Shue), who takes a liking to the self-destructive Ben. As their friendship turns into a damaged love affair, they accept each other unconditionally, with Sera agreeing never to ask Ben to stop drinking-no matter what.

WHY I LOVE IT:

Filmed on a shoestring by Figgis, who also contributed the haunting jazz score, “Vegas” is a fearlessly downbeat love story about desperation and despair that was rapturously received at the box office in 1995. Cage won an Oscar for his gritty, go-for-broke portrayal of the suicidal Ben, and Shue made the leap from TV’s “Melrose Place” to the big screen with her convincingly raw, Oscar-nominated performance-especially in one horrific motel scene. Adapted from John O’Brien’s novel, “Vegas” is one cinematic bender that leaves a strangely blissful hangover.

Face/Off

WHAT IT’S ABOUT:

Deranged criminal mastermind Castor Troy (Nicolas Cage), currently in a coma, has planted a biological weapon somewhere in LA and only his equally psychotic brother Pollux (Allesandro Nivola) knows where. Crack FBI agent Sean Archer (John Travolta) has a long, painful history battling the Troys, and undergoes a radical medical procedure transferring Castor’s face to his own, in hopes that once he’s reunited with Pollux in prison, the ever loyal little brother will talk. But the insensate Castor’s got life in him yet, and unfortunately, Archer has left his own face behind.

WHY I LOVE IT:

Despite the grotesque, almost preposterous premise, Hong Kong director John Woo’s second American-made actioner has all the savage bite, black humor, and balletic fight choreography of his best-known Asian films. Deliberately mythic in concept, “Face/Off” probes questions of honor, identity, and morality while giving Travolta and Cage plenty of leeway to stretch their archetypal good-and-evil personas. Ingenious, kinetic and reveling in its choreographed, over the top violence, “Face/Off” is a complex thriller that’s bloody good fun.

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