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JakeStevens Blog

  • Baby, Don't Loose Your Lip On Me

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    I liked this film much more than "Easy Rider", which this film is often in league with, or at least partly inspired by. The four main characters in this film are some of the most interesting peripatetic individuals you'll ever see in cinema. Whereas "Easy Rider" seemed more like and editor salvaging together whatever footage he could of that hazy, drug-induced mess, this film obviously has more craft to its narrative structure and cinematography. There are scenes that feel like you're actually sitting in the back seat of a suped up Chevy, and the sound track is one of the most effective and realistic I've seen in a long time. The score is pleasurable also, as I felt it really induced the musical mindset of the era. Some claim the acting is subpar, but I disagree whole-heartedly; it's naturalistic and pre-dates "American Graffiti" by a couple of years. Why this film hasn't taken Easy Rider's place on AFI's 100 Best List is beyond me, as I think this is the superior film.

  • Inimitable And Irreplaceable

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    My Fair Lady  (1964)

    You know the story, and you know the songs. If you somehow managed to avoid watching this film all your life, you've managed to avoid seeing one of the most enjoyable musicals ever produced. Audrey Hepburn is, as always, stunning to behold and Rex Harrison as Henry Higgins is a puffed up, reptilian, annoying codger who begins to melt for Audrey's Eliza Doolittle - and who wouldn't, really? My biggest grudge against this film is Rex Harrison robbing Anthony Quinn of the Best Actor Oscar for his performance in Zorba the Greek (I think Quinn should have picked up that award, personally), and a smaller grudge is being denied the pleasure of hearing Audrey's singing voice (the producers decided to have her singing parts overdubbed by actress Marni Nixon at the last minute, much to Audrey's dismay). Other than that, this is a film that I'm sure will endure many more decades thanks to the wonderful songs of Lerner & Loewe and the pastel cinematography of Harry Stradling. And, of course, Audrey Hepburn.

 

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