FilmJerk Favorites

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

||| David Lean |||
David Lean

Honored with the American Film Institute Life Achievement Award in 1990, Lean’s body of work (ranging from the intimate film to the grandiose epic) demonstrates an obsessive cultivation of craft and a fastidious concern with detail that has become the very definition of quality British cinema.

Adapted from Noel Coward’s one-act play, Lean takes a potentially boring story of middle-age flirtation and tenderly creates one of the most enduring and poignant romance films ever made. Brilliantly underplayed, two happily married strangers meet by chance in a railway station and fall desperately in love, but never physically express the undercurrent of passion that exists between them, even during their final gut wrenching separation – if your heart doesn’t ache, you’re just not human!

Demonstrating moments of intimacy through gigantic display, Lean sets up the greatness of Pip’s expectations with the magnitude of his frightful encounters; one with an escaped convict, whose emerge into the frame reminds us what it’s like to be a child in a world of oversized, menacing adults, and another with the meeting of mad Miss Havisham, in all her gothic splendor.

Peter O'Toole made an enigmatic and lasting impression in his debut role as British officer T.E. Lawrence, who helped Arab rebels fight the Turks in WWI, and Omar Sharif has perhaps the greatest cinematic intro of all time as he magically appears through the ghostly waves of the desert heat, achieving Lean’s compulsive drive to create the perfectly composed shot. Alec Guinness, Anthony Quinn, Jose Ferrer, and Claude Rains round out this incredibly talented and magnetically charged cast.

Recommended by CarrieSpecht

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Bandslam

By BrianOrndorf

August 13th, 2009

As charming and energetic as "Bandslam" is capable of becoming, the feature is restrained by director Todd Graff, or perhaps the better description is smothered.

Bandslam

Graff, who covered teen ambition in the semi-musical, mostly awful “Camp,” takes on the subject again with “Bandslam,” and while the results are more pleasurable and his directorial hand improved, there’s still oodles of melodramatic itches within Graf that he should exorcise. There’s a great movie somewhere in “Bandslam,” but Graff won’t allow its natural vitality to take flight.

Relocating to New Jersey with his mother (Lisa Kudrow), teenager Will (Gaelan Connell) is reluctant to make friends, especially with his polarizing knowledge of music. Will finds a kindred spirit in Sam (Vanessa Hudgens), a no-nonsense outsider who finds Will’s awkwardness endearing. Also taking Will’s fancy is former cheerleader Charlotte (Alyson Michalka), who employs Will’s musical scope to help her group out on the eve of a crucial battle of the bands contest. Will, finding purpose for the first time, shapes the collection of wannabe music stars into a powerful rock unit, forging a friendship with Charlotte that confuses Sam.

For the first hour, “Bandslam” is an endearingly nerdy, spirited creation that places a great deal of trust in its actors and the overall sense of musical superiority. While the soundtrack is filled out by numerous heavily banged, tuneless bands-of-the-moment, Graff demands Will’s musical knowledge lend the sound of the film a personality, including cuts by the Velvet Underground and a fixation on David Bowie to hip up the script. It’s a welcome touch of respect that infuses “Bandslam” with the right rock revolution antidote to the typical teen commotion of broken hearts, busted dreams, and adolescent bewilderment. Graff (who wrote the script with Josh A. Cagan) shakes “Bandslam” broadly to communicate a world of idolmaking for Will, along with a developing sense of romance with Sam, and while certainly clunky, the film has an ingratiating passion that hums agreeably.

Again, the highlights only last for an hour, with most of the joy keeping to Will’s direction of Charlotte’s band and his initiation to the game of love. Once Graff has exhausted the emotional upswing, “Bandslam” transforms into an insufferable spray of melodramatics. The screenplay bends over backward to create conflict from Will, but does so by aping a thousand teen films, including the introduction of a bully character who competes for Charlotte’s heart while seeking to destroy Will by exposing his hypersensitive past. A few other turns of the script are as nauseatingly artificial, shoving “Bandslam” out of the realm of the real, welcoming confusing behavior and plot twists, erasing whatever goodwill the first act was able to construct. Graff pulled this Crayola nonsense with “Camp” as well, and his addiction to contrived complication is excruciating.

“Bandslam” enters the screen proudly and exits bloodied, battered, and crawling on all fours. Graff hopes to salvage the energy with a Thin White Duke cameo and a blue sky ending, but it feels like three years to get to a point of resolution. “Bandslam” should take the lead of the rock gods: keep it moving, keep it simple, and know when to get off the stage.

My rating: C-