movies Archives | Chad Comello

The Big Country

William Wyler’s 1958 film The Big Country is many things you’d expect from an epic western of its era. Nearly three hours long. A plot about families feuding over land and pride in the Wild West. Two vastly different men with vastly different styles vying for the same woman.

But what took me by surprise was just how resolutely the film subverts many of the expected tropes of its genre.

This is epitomized in one scene between the two leads. Gregory Peck, handsome as ever, plays the genteel New Englander McKay who arrives in the “big country” of the western plains to marry the local honcho’s daughter Patricia. Charlton Heston, laconic and smoldering as ever, plays the tough-guy ranch foreman Leech, whose own ambitions for Patricia put him at immediate odds with McKay.

But McKay isn’t interested in fighting, for her honor or his. He repeatedly refuses to be goaded into a fight, whether by a posse of ruffians from the rival family or by Leech, who brands McKay a liar in front of Patricia to try to shame him into fisticuffs.

It doesn’t work. Says McKay:

You aren’t going to prove anything with me, Leech. Get this through your head. I’m not playing this game on your terms, not with horses or guns or fists.

He’s only half-right. After Leech successfully spooks Patricia away from McKay due to his seeming unmanliness—”I’ve never been so humiliated” Patricia tells him—McKay decides to settle things with fists, but not as we’ve come to expect from westerns.

He wakes up Leech in the middle of the night, saying he’ll be leaving in the morning but had in mind a farewell. He says this so evenly and without anger that it’s a wonder Leech even got the meaning. The two of them amble out into the twilight and duke it out.

We get our “epic” fight, but it’s in the dark, without horses or guns, without spectators, without any music whatsoever, let alone anything heroic. Just two men silently slugging each other because they feel they have to, and they don’t even look cool while they do it. They’re like drunks brawling in an alley. Wyler pulls the camera way back, the high and wide framing exposing them as insignificant specks against the infinite plains.

They finally wear each other out. McKay:

Now tell me, Leech, what did we prove?

This is merely a subplot in a larger story of rival clans in a lawless land and the consequences of revenge. But it’s a powerful illustration of a new path being forged within the lives of these characters and, metatextually, within the genre of American westerns at large.

There are many more Wyler films I’ve yet to see, but The Big Country—along with The Best Years of Our Lives, Mrs. Miniver, and Roman Holiday—make him an all-timer in my book.

October 10, 2019

Booksmart

Booksmart, the directorial debut of the actress Olivia Wilde, was charming as hell.

Beanie Feldstein and Kaitlyn Dever star as Molly and Amy, two friends and straight-A students on the eve of high school graduation who realize their academic drive kept them from enjoying the more party-heavy pursuits of their peers. They seek to remedy this in one night, pursuing their crushes along the way.

Hijinks, as they say, ensue.

If you’ve heard of this movie, you’ve probably heard it compared to 2007’s Superbad, starring Michael Cera and Jonah Hill (Feldstein’s real-life older brother). The two movies do share a setting, concept, and R-rated comedic sensibility. But there’s more to Booksmart than hijinks.

Wilde’s script, in conjunction with the natural chemistry between Feldstein and Dever, brings the film to depths of character, understanding, and humor that’s rare in debut features and in movies about teens. When we meet them, Molly and Amy share a goofy and loving rapport. But as their one wild night progresses with mounting setbacks, detours, and stresses, cracks appear in their relationship. This culminates in a fierce and painfully public confrontation, which is stunningly captured by Wilde’s enveloping camerawork and adept use of the soundtrack.

Still, it is a comedy, and an often absurd one as a fish-out-of-water story with razor-sharp leads. Similarities to Superbad aside, I find it more akin to 2017’s Lady Bird in its depiction of the experience of young women striving against strictures—imposed by themselves or others—and arriving at a hard-won honesty. Not always with grace, but definitely with admirable wherewithal and wit.

I couldn’t help but reflect on my own high school experience while watching this film. Though I wasn’t bound for the Ivy League like the girls of Booksmart, I never attended or got invited to the kinds of parties I so often see on screen. (Thus I don’t know if they’re even accurate. Are unsupervised, red Solo cup ragers at nice houses actually a thing?) As an introverted and mostly well-behaved Christian boy, I considered sex, drugs, and drinking taboo, which is how I usually found myself hanging out with my church youth group friends on Friday nights.

It was a lot more fun than it sounds. We goofed off, played games, pranked each other. Though my horizons broadened in college and beyond, I’m grateful for that experience throughout high school. It kept me out of trouble and showed me you don’t need mind-altering substances to have a good time.

Booksmart shows this too. Though focused on their maniacal pursuit of what they imagine will be a fulfilling rite of passage, the film takes care to show Molly and Amy before the plot ensues loving their cloistered friendship. The subsequent developments they experience together only strengthen their existing bond, which will be helpful as they transition into adulthood.

High school friendships don’t often make that transition, but the film is hopeful about this one. And I’m hopeful whatever comes next for Wilde as a filmmaker and Feldstein and Dever as performers will match what they’ve done with Booksmart.

October 5, 2019

Benediction for the Groundhog

I’ve mentioned the podcast This Movie Changed Me before. In its new season, Naomi Alderman talks about how the transformation of Phil Connors in Groundhog Day inspired her to look at the world differently. Once in a while she’ll experience what she calls a “benediction”:

I will suddenly become aware of the incredible beauty and richness of everything around me. So I would look at a brick wall and suddenly be completely struck by the difference and the there-ness, the this-ness, of every single brick in that wall and how much has gone into just even creating that single wall, and then, look — someone’s put windows in there. And look at the plants — there’s a little bee that just buzzed past me. And when you look at the world that way, when you look at the world with Phil Connors’s eyes, when you go right through the sense of ennui, through the despair, right through to the other side, and all you can see is how amazing it is to just be allowed to be alive right now.

The whole episode is worth a listen.

September 7, 2019 Add Comment

A list of movies

A friend tagged me in one of those Facebook chain-letter things, which I usually ignore but this one was about movies so why not. (Posting here to avoid giving Facebook free content to exploit.)

Movie I hate: Slumdog Millionaire

Movie I love: October Sky

Movie I think is overrated: The Shape of Water

Movie I think is underrated: Return to Me

Movie I could watch on repeat: Hell or High Water

Movie that made me fall in love with movies: Back to the Future

Movie that changed my life: High Fidelity

Guilty pleasure*: National Treasure

Movie I should have seen by now but haven’t: The Shining (but really, most acclaimed horror films)

* I don’t believe in this term, but whatever.

April 24, 2019 2 Comments

Going to the movies is a gift

As the due date of my first child approaches, I’ve tried to account for and appreciate things I can do now, pre-parenthood, that won’t be quite so easy soon. Quiet nights reading, hassle-free dining, uninterrupted sleep, and keeping a tidy home come to mind. But chief among these activities is moviegoing, one of my most cherished traditions.

Here’s my typical moviegoing routine:

I pick a morning showtime, usually the very first, to avoid crowds and get the cheapest price. (Having a job with occasional weekdays off helps.)
I drive our Nissan Leaf since the public parking garage near the theater has free charging stations for electric cars.
I use a theater gift card, which I always request for birthdays and holidays and which those cheap early showtimes help stretch into more movies. (Gift cards: like MoviePass minus the chaos.)
I take advantage of the theater’s free parking validation on my way out.

(Who says there’s no such thing as a free movie?)

My wife and I saw The Lego Movie 2: The Second Part on Friday. As I expected, it wasn’t quite as good as the first one (one of my favorites of 2014), but still had the same manic, joyful verve and heavy meta references. It’s also probably the last movie I’ll see in theaters before the baby arrives. My moviegoing days aren’t over, of course. But it does feel like the end of an era.

I can certainly sympathize with the people driving away from the theater due to high prices or bad behavior. I remember the guy who took a phone call during Children of Men. I remember the old woman’s smartphone playing opera in her purse (unbeknownst to her) throughout the previews and the beginning of 12 Years A Slave. And I remember the lady behind me expressing her every dumb thought and question during Gravity.

For me those incidents are few and far between. I just love going to the movies, and I hope my child will too. Because far more often, I emerge from the theater refreshed or challenged or bewildered or overjoyed, or sometimes dismayed or disappointed. Regardless, my aforementioned moviegoing routine isn’t special to me only because of its combination of thriftiness and good fortune. It’s special because it tells my mind and heart to prepare for something extraordinary.

The late, lamented Sam Shepard called the movie theater “a dark room where a bunch of strangers sit down and watch huge images of other strangers who somehow seem more familiar than the people they know in real life.”

A funny thing happens in the dark with those strangers on and off the screen: life feels a little less strange.

February 12, 2019 Add Comment

5 tips from 10 years of filmlogging

In July 2008, while on a 24-hour break from the summer camp I was working at, I saw The Dark Knight with some fellow camp counselors. The next day I cracked open the new 3-subject composition notebook I’d brought to camp, flipped to the back third, and wrote a few lines on what I thought of the movie:

I hope this gets some Oscar nods. It’s smashing B.O. records for good reason. Heath Ledger owns this movie. Very smart, very dark, and very good.

Thus began a routine that is now 10 years old. Except for a gap between January and July 2010, since then I’ve been writing my initial thoughts on all first viewings of movies I see, new and old.

It took a month or two before I settled on the now standard structure of 4 lines per movie. I didn’t bother with star ratings or other metadata as I wanted to make it as easy as possible for myself to keep up with the exercise. And they all have a similar tone to that first one, like succinct bulletins to myself.

That first notebook lasted until December 2014. Then I decided to give the film log its own notebook.

Though my Lo gbook captures all my viewing and reading, I still keep up the paper film log. Not only for tradition and continuity’s sake, but because I find it valuable to capture my first fresh thoughts on what I watch in a tangible record. To see the pages gradually fill gives me visual evidence of all the amazing (and not so amazing) movies I’ve been able to see.

With that in mind, here are some tips for starting and keeping a logbook:

Tips for logging

1. Keep it simple.

I knew if I added too much beyond the basics to the logging process—a star rating, specifically where and when I saw it, etc.—it would become too unwieldy and easy to give up. Each entry takes me less than a minute.

2. Log sooner rather than later.

Right after you watch the movie, if possible. The point of this is to capture your immediate, visceral, and concise thoughts, not write a New Yorker story. I often fail at this and have to catch up on a few movies at once, which is why I make sure to at least add them to the Logbook so I can refer to it later.

3. Structure it just enough.

My format of four lines per movie didn’t happen right away. It developed naturally based on how much I found myself writing about each one. It also meant each 24-line page would neatly hold six movies. Love me some consistency!

4. Don’t stop at the log.

Many times what I log about a film ends up being the basis of further writing about it, whether on Letterboxd or on this blog. On the flip side, I often just log it and forget it. I often surprise myself with a film I didn’t realize I’d already seen and logged but had no memory of.

5. Whatever you log, stick with it.

It’s really cool to have a handwritten record of something I love, a kind of cultural diary that I can match up to other life events and see what connects. Yours doesn’t have to be movies: log your reading, beer drinking, museum hopping, whatever. Heck, start an Austin Kleon-style logbook and log it all! Whatever it is, keep it up and enjoy seeing the pages multiply.

July 16, 2018 1 Comment

The Warmth Of The Snow

Living in a warm climate during the Christmas season is good and bad. On one hand, you can walk around in shorts and a t-shirt while your northern friends brave harsh winds and icy roads just to get to their mailbox. But on the other hand, it’s just not Christmas without the cold.

As a lifelong Midwesterner, I love the traditions of Christmas. My family has many of the well-known Hallmark moments of the holidays. My house and halls were always decked with green and ruby red Christmas lights and decorations. I always cut down the balsam fir evergreen with my family at a local tree farm and dragged it through the snow to the car, strapping it to the hood and bringing it home to bedazzle with ornaments new and old. We always – always – watch It’s a Wonderful Life on Christmas Eve with the fireplace roaring and the popcorn popping. And, yes, I even love the Midwestern cold that suffuses all of these things.

But like the winter cold, these things happen every year, no matter what. When we vacationed in Florida over Christmas one year, we knew we wouldn’t have the cold or the tree, but we still brought our copy of It’s a Wonderful Life to keep tradition alive. And that’s what Christmas is often about: keeping tradition alive in spite of the circumstances.

In The Pursuit of God, A.W. Tozer uses the Exodus story to illustrate the idea of holiness and tradition, which are two concepts at the very center of Christmas. Tozer explains how the Israelites, having lived for four hundred years in Egypt surrounded by all kinds of idolatry, had forgotten the very idea of God’s holiness. To correct this, Tozer writes, “God began at the bottom. He localized Himself in the cloud and fire and later when the tabernacle had been built He dwelt between holy and unholy. There were holy days, holy vessels, holy garments. By these means Israel learned that God is holy.”

‘God is holy.’ That is the simple thought that permeates the Advent season. And so when I decorate my evergreen tree and listen to ancient hymns in church and watch a movie with my family and walk through the falling snow, I know that it is not these things in and of themselves that remind me of the reason for the season; it’s the warmth of God’s holiness.

“Let us believe,” Tozer concludes, “that God is in all our simple deeds and learn to find Him there.” Our traditions, like the Israelites’ cloud and fire, are best when they reveal God at His simplest and at His holiest.

March 13, 2011 Add Comment

Twilight Bites: How Dazzling Vampires Distort Masculinity

Published in the North Central Chronicle on April 24, 2009.

Let’s pretend I’m a teenage girl and that you’re my best friend. I’ve just told you about this guy I started dating. He’s perfect in every way, I say. He stares at me while I sleep, he alienates me from my friends and, among other things, he drives a wedge between me and my single dad.

Wait…what?

Oh, you mean that those aren’t actually good things? Edward Cullen, the lead vampire from Twilight, does all of those things to Bella, the main character in the film, and yet women swoon over him. Why?

Let’s start with the superficial. The novel describes Edward as “impossibly beautiful,” his body as hard and cold as marble. He’s impossibly smart too: he plays and composes classical music and has two degrees from Harvard. And, like any good bad boy, he drives really, really nice cars really, really fast.

Bella goes on and on about how mysterious and seducing and perfect he is. But once they actually get together, she wholeheartedly submits herself to his every whim. The fact that Edward can read people’s minds (though not Bella’s for some reason-presumably because she doesn’t really have that much going on up there) shows that he is all about control. This becomes evident as the two grow closer;they become inseparable (though not in the cute way), and when a rival vampire clan jeopardizes Bella’s life, Edward tells her to abandon her sweet, thoughtful and lonely dad to skip town. Bella was indeed in danger, but Edward didn’t have to force her to blow off her dad.

What makes me cringe more than the film’s lessons is the viewer response to them. We talk so much about how pornography and advertising and television are giving young girls unrealistic expectations about body image and relationships, but what about crazes for a novel that promotes the suppression of self-confidence and identity and creates a steamy hero out of a cold and brooding vampire?

My sisters are obsessed with the series; one so much so that she read one of the books in church, hiding it in the hymnal she was supposed to be using. And she’s not alone. Fan groups and forums have sprung up all over the place with readers confessing their undying love and unhealthy addiction for Edward and the vampire saga. On one such site called “Twilight Moms,” a poster admitted: “I have no desires to be part of the real world right now. Nothing I was doing before holds any interest to me.”

Granted, it’s not just vampire romance novels that can pull people in so seductively. But the fact that some women may expect, if only secretly, that their boyfriend or husband will start acting like Edward is alarming and wholly unfair. It’s like when a man expects his girlfriend or wife to perform like a porn star in bed. Pornography is not real sex, and Edward is not a real man.

I don’t want to completely destroy what many women see as an ideal man. It’s good for men to look out for what is best for their significant other. But I still struggle with the thought of trying to become someone like Edward Cullen, because he’s really not someone any man should want to be, or any woman should want to love.

A blogger at Salon.com summed up well the lesson being told to young men through the movie:

“Don’t be fun, thoughtful, quirky or smart if you want to get the girl. Be a d—. But be a d— who can stop cars with your bare hands. And look depressed. But be good looking while you’re depressed. And express your desire to be with the girl of your dreams but be vague about why you can’t be with her. Confuse her, make her crazy, change your moods by the hour and make sure your hair looks like Johnny Depp in the mid-90s.”

I don’t have two Harvard degrees or chiseled, marble-like features. I don’t drive sports cars or live in a mansion. I don’t have immortal life or superhuman strength. What does that mean for me? If I want to be in a relationship with a girl but I know that when she thinks of the “perfect man” she thinks of Edward Cullen, I lose. Because I am impossibly imperfect.

But who isn’t? That’s why unrealistic expectations, even if they are gleaned from fiction, are so destructive: they don’t allow us to be real, to be human.

But then, Edward Cullen isn’t human. He’s a vampire. So, ladies, dream away, I guess. But when you wake up, don’t tell me what you dreamt about. I have a feeling I will be sorely disappointed.

April 24, 2009 3 Comments

Phoebe In Wonderland

Being a kid today has got to be tough. Being a kid with an insatiable creative appetite and a slight case of obsessive compulsive disorder has got to be even tougher. That’s what Phoebe (played by 11-year-old Elle Fanning, Dakota’s younger sister) has to go through in Phoebe in Wonderland, the newest film from director Daniel Barnz.

The film establishes early Phoebe’s unassailable creativity. She’s the Tortured Artist-albeit a kid version-who is alienated from her classmates for being “different” and feels confined by her school’s suppressive methods. She is even put into therapy after her OCD goes a little too far, but again becomes restless within its confines. Her home life isn’t any easier; both parents are writers who, trying to get published, struggle to find time to connect with Phoebe and their other daughter, who becomes jealous of the attention Phoebe gets because of her tendency to lash out.

But then, a mysterious new drama teacher (Patricia Clarkson) is hired at her school and stages a production of “Alice in Wonderland.” Phoebe, her curiosity peaked by the teacher and the chance of living in the magical world of Wonderland for real, tries out and lands the lead over the other girls whose self entitlement contrasts clearly with Phoebe’s unassuming self confidence.

The drama teacher, rather than simply telling the young thespians what to do, lets them do it for themselves, thereby giving them the power they lack in the classroom. Phoebe thrives in this environment, letting her imagination run wild. She daydreams about dancing with characters from “Alice in Wonderland,” which eventually gets her into some trouble-the consequences of which lay the groundwork for the rest of the film.

This is Fanning’s first true role (she has played the younger version of her sister in a few movies and had a small part in The Curious Case of Benjamin Button) and she shines brightly in it. Her ability to look adorable while also transmitting a healthy dose of angst usually reserved for teenaged emo kids makes this film work. It doesn’t hurt that there is a strong supporting cast of adults around her: Bill Pullman and Felicity Huffman as the conflicted writer-parents create the environment in which Phoebe stews, and Patricia Clarkson offers the tender maternal love that Phoebe needs.

Phoebe in Wonderland could be a close sibling of Danny Boyle’s whimsical child-driven fable Millions. There are lessons to be learned by both the adults and the children, but it is ultimately the children-especially Phoebe-in this film who know how to live a life worth living; one led by imagination rather than inhibition.

April 10, 2009 2 Comments

And The Oscar Goes To…

…the most predictable Oscars ever. Every year it seems like the suspense is sucked out of the actual awards ceremony with the months of speculation and campaigning and Oscar ballots. This year, sadly, was even more predicable than previous ones because of the incessant and overrated Slumdog Millionaire cleaned house just as every one predicted it would.

I’ve been bitter since the nominations were announced in January because of the stunning omission of Wall-E from the Best Picture race. Logically, the best reviewed film of the year would at least be in the running for the category that supposedly recognizes the best film of the year. But instead, we’re forced to suffer through preening “issue” movies like Frost/Nixon and The Reader.

No one was talking about those movies this year. Even The Curious Case of Benjamin Button, leading the pack with 13 nominations, was pretty much not a contender for the major awards.

I’ve written about the Academy’s bald-faced bias against animated movies here before, so I won’t wax on about that again. But this year’s Oscar ceremony, despite a great performance by Hugh Jackman, was not fun to watch because I knew that the best film wasn’t there.

Also, they must never do the “5 past nominees talk about this year’s nominees for 15 minutes” thing ever again. I liked having the narrative flow between the awards and such, but trim that dross out next year and the ceremony may actually be done in three hours.

Anyway, I’m so glad Slumdog Millionaire will finally go away. Maybe I’ll watch Wall-E again to cheer me up. Lord knows that robot has more going for him than anything else this year.

February 22, 2009 1 Comment