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  • Best Supernatural Love Story Ever

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    Under discussion:

    Kim Novak, Jimmy Stewart, and Jack Lemmon, need I say more?  This film is one of the few that came out of the beatnick era that I can't help but like.  Instead of glorifying the majesty of the movement, it makes them all out to be witches, a-la McCarthy Era/ Cold War vilification.  Still I love it.  Put the parameters of a political movement aside and what you've got is the best love spells cast between one hot witch (Novak) and one neurotic mortal man (Stewart).  This may sound a lot like some classic tv (Bewitched), but you must remember two things:  This came first, and Samantha never used witchcraft to find love.   

    There are also some darker elements to the story that are surprising for the time period, pushed to the fore by Lemmon's character and his friends.  Stewart's character meets many of them as his world collides with the winsome witch, adding some comic genius to the mix. 

    What I found most impressive about the movie was that it was not showy; no special effects here.  Novak's character never did much hocus-pocus during the film, but you definitely get a sense that she'd be more Wicked Witch of the West than Glenda the Good Witch if she did.  Its a solid watch, if a tad superficial, but I think that it at least surpasses the depth of most romantic comedies these days.   


  • Critically Panned/ Favorite of Mine

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    Under discussion:

    Marnie  (1964)

    Marnie is insane.  She is hard to know, and harder to accept.  She's a repressed cleptomaniac and a totally ammoral smart-ass, and that's why I love her. 

    The movie long considered to be one of Hitchcock's lesser works is by far one of his most watchable for repeat viewing.  It is a guilty pleasure to watch over and over as Sean Connery traps this con-artist and unabashedly stalks her on a trip through the rabbit hole.  As he gets closer to the woman he thinks he loves, he finds that he maybe the one who is trapped. 

    There are a couple great Hitchcock suspense moments in the movie as well. - Pay close attention to the shoe in the bank heist scene.  Even after repeat viewing, it is riveting to watch.  I imagine that Alfred put a lot of himself into this movie, and that he had fun making the film.  He does a fine job twisting perceptions here. I find that even though Marnie is manic and vicious, I root for her every time.       


  • A Very Decent Descent

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    I recently watch the Descent at a local theater with a friend.  It is both gory and vicious, yet there is something surprisingly subtle about it when compared to the usual shock glare of House of 1,000 Corpses or The Hills Have Eyes (2006).  The premise is simple, but the execution is superb for once.  I thought it was freaky before any monster came onto the screen, luring you into a sense of all around insecurity before taking off the kid gloves. 

    The only problem about this movie is the part that I should not probably talk about -the ending.  I heard they re-shot for American audiences, as the other ending was too depressing.  As soon as I heard that bit of information I was prepared for the worst, and I may have wrong about that.  The movie makes a couple of hard choices at the end, but I saw the original ending on You Tube and was pleased with the version I saw.  Although the "final scare" cheepens the movie, and consequently is confusing at best. I enjoy the idea that someone got out of the hole; I did not enjoy what may be haunting them.  I'd have been happy with just a fade out on a peaceful ride through the country.  Ending aside, it is definitely worth seeing, if you're into that sort of thing, because it is still smarter, better and more effective than so many others.


 

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