FilmJerk Favorites

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

||| Alfred Hitchcock |||
Alfred Hitchcock

This is perhaps an obvious choice, however, most people tend to overlook the Master of Suspense’s early work as well as the relevancy of his last film as a key element in the continuing transition and development of the genre he defined.

One of Hitchcock's early triumphs, this predecessor to the mistaken identity man on the run scenario Hitchcock turned to time and again, stars Robert Donat as the innocent wrongly accused of murder and pursued by both the police and enemy spies. This is the first example of Hitchcock’s mastery over the suspense tale, giving us a glimpse of the greatness to come.

Considered to be one of Alfred Hitchcock's greatest works, this story of two men who meet by chance on a train and frivolously discuss swapping murders is a prime example of a common Hitchcock theme of the man who suddenly finds himself within a nightmare world over which he has no control. You can easily see how this film lays the ground work for the more popular “North by Northwest”.

Alfred Hitchcock's final film is a light-hearted thriller involving phony psychics, kidnappers and organized religion, all of which cross paths in the search for a missing heir and a fortune in jewels. Here, Hitchcock has brilliantly developed his signature form to include the now common, and often overused, device of plot twist, after plot twist, after plot twist. Widescreen!

Recommended by CarrieSpecht

Advertisement

Lassie

By BrianOrndorf

September 1st, 2006

With no CG talking animals to fall back on, “Lassie” somehow finds its way to becoming one of the best family films of the year. This is a slow-churn adventure, but audiences willing to put in the time will be rewarded with a lovely tale of a dog far from home, struggling to find her way back.

Lassie

Struggling in an economically depressed pre-WWII English neighborhood, young Joe (Jonathan Mason) has one distraction: his beloved collie, Lassie. When the local coal mine is shut down, Joe’s parents (John Lynch and Samantha Morton) are forced to sell the dog to the stern Duke (Peter O’Toole), who wants Lassie as a pet for his granddaughter (Hester Odgers). Problem is, Lassie won’t go quietly, and repeatedly escapes back into the arms of Joe. When relocation to Scotland threatens to take Lassie away forever, the dog breaks free and begins a grueling journey back to her rightful home.

Lassie has been a mainstay of media for nearly 70 years; starting on the pages, moving to film, and lasting forever on television. She’s an evergreen institution that’s found a splendid fresh incarnation to please a whole new generation of children unaware of this canine’s appeal.

What pleases me the most about “Lassie” is that it relies on, watch yourself now…patience to tell its story of devotion. Director Charles Sturridge doesn’t drench the film in artifice or lowball comedy to please the crowds; he’s the atypical filmmaker that has faith that the purity of the characters and the natural magnetism of the dog’s adventures will steer the picture. “Lassie” is low-tech, humane storytelling, and it does justice to the legacy of the character, while reinventing something delightful for future installments.

Sturridge’s script allows heavy time for the humans to get involved in the journey, and that has a penchant to take the focus away from Lassie. Don’t get me wrong, the film is cast beautifully: appearances by Peter O’Toole (stridently playing a British snob) and Scottish gem Kelly Macdonald are terrific, and the lead work from kids Jonathan Mason (blessed with a mug that could single-handedly kick off a new “Our Gang” franchise) and Hester Odgers lends the narrative that all-important sensation of emotional investment.

However, as Lassie works her way through Scotland and England, she meets several people along the way that want to either help or hinder her progress. Most are passable diversions, leading to exciting canine stunt set-pieces. Others, such as a segment where Lassie meets a kindly traveling puppeteer played by Peter Dinklage, slow the film down, and put Lassie in the back seat. Perhaps this was the director’s way to help beef up the film’s content, but it’s made clear throughout the film that once Lassie is off-screen, the magic of the film goes with it.

It’s a credit to Sturridge’s direction that he’s able to get such an expressive performance out of Lassie. The dog is a wonder, and really sells the emotion of the script, even if, in reality, all she wanted was the dog treat awaiting her off-camera. A highlight of the film is watching Lassie struggle her way across the expansive and mountainous English countryside, bordering on an outtake from one of those “Lord of the Rings” walking montages; except no Aragorn this time around, just a beautiful collie.

“Lassie” is old-fashioned family entertainment, and I hope audiences aren’t afraid to take a chance on a movie that might not be paced like a race car, but offers gentle adventure and alternative heroism instead.

My rating: B+