FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Joseph L. Mankiewicz |||
Joseph L. Mankiewicz

Mankiewicz directed 20 films in a 26-year period, and was very successful at every kind of film, from Shakespeare to western, drama to musical, epics to two-character pictures, and regardless of the genre, he was known as a witty dialogist, a master in the use of flashback and a talented actors' director.

The 1950 Oscar for Best Picture and Screenplay brought Mankiewicz wide recognition as a writer and a director, with his sardonic look at show business glamour and the empty lives behind it. This well orchestrated cast of brilliant and catty character actors is built around veteran actress Bette Davis and Anne Baxter as her understudy desperate for stardom.

One of Mankiewicz’ more intimate films, this highly regarded and major artistic achievement is a spirited romantic comedy set in England of the 1880’s about a widow who moves into a haunted seashore house and resists the attempts of a sea captain specter to scare her away. This is a pleasing and poignant romance that is equally satisfying as a good old ghost story.

Mankiewicz wrote and directed this witty dissection of matrimony that has three women review the ups and downs of their marriages (with all its romance, fears and foibles) after receiving a letter telling them that one of their husbands has been unfaithful. Once again Mankiewicz deftly utilizes the skills of a well-chosen ensemble, which includes a young Kirk Douglas at his dreamiest.

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The Final Season

By BrianOrndorf

October 11th, 2007

Based on a true story, "The Final Season" is much better with baseball than it is with humans.

The Final Season

In the small farming community of Norway, Iowa, the local high school baseball team has been on an unprecedented run of championships, led by monolithic coach Jim Van Scoyoc (Powers Boothe). When the school board (including a Rachael Leigh Cook) seeks to merge Norway’s school with a larger district, the locals revolt, leaving the final season of baseball a potential mess. To help sink morale and ease the school transition, an unproven coach, Kent Stock (Sean Astin), is brought in to lead the team and, along with a troubled teen outsider named Mitch (Michael Angarano). They end up turning the fortunes of Norway around with their winning ways, bringing renewed hope to the town for a 20th consecutive championship title.

Director David M. Evans has already demonstrated some aptitude for baseball cinema, having helmed the 1993 cult family hit “The Sandlot” and its 2005 DTV sequel. The game seems second nature to Evans, so it’s no surprise to find “Final Season” works much more fluidly as a scrappy underdog baseball story than it does as a motion picture of clumsy emotional manipulation.

Let’s be frank here: Evans is a lousy filmmaker who’s never met a cliché he didn’t cling to like a hungry infant to a bottle of warm milk. Over the length of his career, Evans has established his fear of distinct artistic growth, preferring the safe passage of formula to comfort himself and his audience. “Final Season” is the perfect vehicle for him, since it’s nothing but a slow unfurling of familiarity.

The mushy sameness only hurts “Final Season” when the film strolls away from the baseball diamond. Watching the screenplay pass around Midwestern small town caricatures (The “I Ain’t Did No Book Learnin’” Farmer, The Priest, The Wise “Take No BS” Grandfather) is demoralizing, not only because we’ve seen these people a million times before, but it’s also disheartening to watch the film view even the slightest morsel of sophistication as poison that will block the picture from reaching the softest minds. Formula can work when brewed correctly, but “Final Season” merely kicks the bucket over and assumes it’s drilling straight to the core of the audiences’ heart.

How obvious can the movie get? Evans introduces the character of Mitch, the redemptive bad boy of the story, in a black leather jacket smoking cigarettes. Might as well write “No Good” on his forehead and have him kick a puppy to make sure everyone gets it.

Thankfully, Evans is stronger with his baseball sequences, which ring true to the community spirit of small town ball and the thrill of the game. Bolstered by a winningly confident authoritarian turn by Sean Astin, “Final Season” delivers large on the game sequences. Evans shows a real love for the details, with the rich green of the grass, the constant passage of trains in the outfield, and the comfort of the home field dirt, which the boys end up carrying with them to the final championship game in a divine tribute sequence.

It’s easy to see “Final Season” has a huge heart, and the story of Norway is ripe for dramatic adaptation. Yet, by making the film so obvious, in an attempt to violently extract the elementary points of joy out of the story, “Final Season” stumbles aimlessly instead of storming the emotional receptors like its great baseball cinema brethren.

My rating: C+