FilmJerk Favorites

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

||| Francis Ford Coppola |||
Francis Ford Coppola

Coppola is an amazing talent whose inspiration and influence spans many generations. Virtually the link between the studio system of yesteryear and the independent minded filmmaker of the modern age, Coppola became the first major film director to emerge from a university degree program in filmmaking, thus legitimizing a now common route for many future filmmakers.

This Academy Award winner continues to enjoy an enormous critical and popular success due in large part to Coppola’s ability to break down an epic saga of crime and the struggle for power into the basic story of a father and his sons, punctuating the prevalent theme throughout Coppola’s oeuvre: the importance of family in today’s world. His personal portrait mixed tender moments with harsh brutality and redefined the genre of gangster films.

This intense, yet unassuming thriller has an impact that touches the viewer on a personal level and raises the question of privacy and security in a world of technology – thirty years ago! Coppola’s then virtually unknown cast is a roster of inevitable superstars, including Gene Hackman, Harrison Ford, and Robert Duvall. This Academy Award nominee for Best Picture, Best Original Screenplay, and Best Sound lost out to Coppola’s other great effort of the year, The Godfather: Part II.

Coppola's masterful Vietnam War-updating of Joseph Conrad's "Heart of Darkness" was the first major motion picture about the infamous “conflict”. This colossal epic was shot on location in the Philippines over the course of more than a year and contains some of the most extraordinary combat footage ever filmed. Unforgettable battle sequences and sterling performances from every cast member (including Marlon Brando, Robert Duvall, Dennis Hopper, Laurence Fishburne, Harrison Ford, Scott Glenn, and Martin Sheen) mark this Academy Award-winning drama as a must-see for any true film fanatic.

Recommended by CarrieSpecht

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Monsieur Verdoux

By CassyHavens

December 13th, 2008

Story idea by Orson Welles. Written and directed by Charles Chaplin. Set in Paris. With that pedigree I expected far more from "Monsieur Verdoux." Intending to be a dark comedy, "Monsieur Verdoux" also tries its hand at many other genres, and in doing so it is lost.

Monsieur Verdoux

Monsieur Verdoux, played with desperate charm by Chaplin himself, marries and murders wealthy women in order to take care of his real family, including a child and invalid wife. Having lost his position of 30 years, with the turmoil of the world surrounding him in the Great Depression, he takes to his new venture as if it were no more than a new job.

He travels all across France, visiting his various wives and murdering them once they have withdrawn all their money due to his convincing stories of another impending bank run. This leads to his downfall, when the family of one of his dead wives appears at the wedding to his new wife. Should have spread them out more, Verdoux. One in Italy, one in Belgium, another in Spain.

Here's part of the reason the film fails: he doesn’t seem to care about anything. He doesn’t care the least for any of his wives. Even the one he is murdering for. When he does go home, he sits across from his pretty family, aware that he does not belong with them.

The other part I chalk up to poor writing. The dialogue is rather flat and uninspired. The few comic moments are purely physical and sight-based, with none of the wit and whimsy of “Kind Hearts and Coronets” or even “Harold and Maude.” There are a few gems, including his repeated failed attempts to kill his lottery-winning loudmouth wife, but even these feel tired.

The only truly great part of the film occurs toward the middle of the film, where Verdoux picks up a lonely girl on the streets, intending to kill her to see if his new poison can be detected. After speaking to her, Verdoux discovers that this girl is a kindred spirit, and decides not to kill her after all. Their touching exchanges are the only heart in the film.

As a comedy, it’s not funny. As a dark study of a morally bankrupt man, it’s too light. When it tries to be some kind of social commentary, comparing Verdoux’s actions with those of Hitler, it falls flat.

Not a terrible film by any means, but no where near as good as it should have been. If you’re in the Los Angeles area, you can check it out for yourself on the big screen this week at Landmark's Nuart Theatre.

My rating: C+