THE FRIENDS OF EDDIE COYLE (Peter Yates, Paramount, 1973)

Sometimes a movie is just a good damn time. You watch it and it has a great story, some cool characters and in the case of someone like myself great technical work or otherwise noticeable merit that makes the film stand out. I have heard many good things about THE FRIENDS OF EDDIE COYLE (Peter Yates, Paramount, 1973) the last several years particularly in comparison to a film like THE TOWN (Ben Affleck, Warner Bros., 2010). After watching the former I now know Ben Affleck has to be a serious fan of the film. The similarities are eerie. The film also embodies characteristics of films from that period, it has some really great acting by some amazing character actors and then there is Robert Mitchum. Like I said, just a good damn time. I have not seen much of Mitchum's work. I know he is considered a great star but I haven't seen much of his work. Watching him as Eddie Coyle is a revelation and I intend to watch more Mitchum stuff in the near future. Playing the older washed up criminal, Mitchum is still the coolest guy in the room. He reminds me of an older Steve McQueen, just the coolest guy. He is one of those actors that gives you the vibe that you could definitely hang out with this guy and have a great time, if not get into lots of trouble. And his voice could melt butter it's so smooth. Not as smooth around the edges as Mitchum but still holding their own is an assortment of character actors all doing good work. The three I recognized most readily were playing Dillon (Peter Boyle), Foley (Richard Jordan) and Scalise (Alex Rocco). All three were just perfect casting. All three are the types that you know you've seen time and again you just can't remember where. With Boyle and Rocco it was easy. You had Frankenstein and Moe Green. But I had to look up Jordan to realize he had been in THE HUNT FOR RED OCTOBER (John McTiernan, Paramount, 1990). Drove me crazy until I did. What I liked most about the film is something that happens occasionally. I tend to watch more older films than most and every now and them I will see a film in which a contemporary film is a complete homage to the previous film. I saw THE TOWN throughout this film. Elements of the bank robbery (masks and one guy aggressively attacking a bank worker), making the bank manager walk blindfolded to the water, the scene at the hockey game (changed to a Red Sox game) and the Boston criminal underworld with its hierarchy and relationships to the FBI (uncle in this film, like uncle Sam?). Ben Affleck has to be a devoted admirer of EDDIE COYLE, there are too many fingerprints all over his film. But that's great to know though as it proves there are still directors working in Hollywood today who have seen old films and know just how to make their films the right part homage and the right part their own. I really enjoyed this film and highly recommend it to anyone.

ARGO (Ben Affleck, Warner Bros., 2012)

I finally saw ARGO (Ben Affleck, Warner Bros., 2012) and I can't remember ever being so torn about a film. On one hand we are presented with a very good film, not great but good. The narrative is captivating and tense. The overall direction provided by Affleck is remarkable. He gets good performances from his cast as well as providing one himself. His production design is outstanding, award worthy. I even liked his musical choices for the films soundtrack. But the film does a huge disservice to one of the most traumatic events in American history. It provides a disgusting representation of Iranian people marking them as bloodthirsty savages and terrorists. Finally it sells the American public short knowing our complete disregard for historical accuracy and our easy willingness to accept the film as a course reader in Middle East 101. As a film it is a really good piece of work. The narrative is strong. It captivated me and I felt a rising tension throughout even though I knew the outcome. It is very stylized and has a serious lack of depth. In fact, where is the character development? I wanted to know more about Tony Mendez (Ben Affleck). Why did he do what he did? What were the issues for him and his family? As they are setting the fake film production up Mendez has a quick conversation with Lester Siegel (Alan Arkin) about their children but that's it. Nothing else. I wanted more and had they provided more the film would have had more depth and this depth would have propelled the film from good to great. Ranging from good to great is the directing of Mr. Affleck. The guy simply knows how to direct films. He gets good performances from his entire cast while at the same time giving a good performance himself. Of particular note is the relationship between Mendez, Siegel and John Chambers (John Goodman). This relationship is great chemistry and helps move the film along. Affleck's choices in music were good though I did wonder at times if certain songs had been released at the time of the events in the film. What was amazing and deserving of awards was the production design. Every aspect harkened back to the period. The costumes; god awful 70's styles and fabrics. The props; vintage Star Wars memorabilia, American muscle cars, Polaroid cameras. The hideous makeup and hair. Every bit of P.D. was done exceedingly well. Finally, the smoking. Everyone in the film smoked. So shocking to see that today. To me though the most shocking aspect of the film is its complete disregard for accurate representation. The Iranian hostage crisis was one of the most traumatic events in our history. It came at the end of a near two decade stretch of one of the worst periods of American history. It ended one Presidency, launched another and altered much of our future. To give short shift to a matter of such importance is criminal to me. Also criminal is the representation of Iranian people. At the films beginning it states that the Persian people have a long and proud history yet the film portrays these people as bloodthirsty savages hell bent on the death and destruction of every American. This is simply not true and for a film to do this is reprehensible, Fox News like in it's portrayal. To truly get an accurate representation of Iranian people watch A SEPARATION (Asghar Farhadi, Sony Pictures Classic, 2011). But the film also sells the American public short as well. The glossy beginning and end titles to the film lend the film historical weight but if it isn't entirely factual and doesn't provide an accurate gauge of events how is it helpful to the American public? The problem is very few care. They won't take the time and effort to learn about these events, they would rather accept the presentation given to them and go about their day. As I said, I can't remember being so torn by a film. I think Ben Affleck is an amazing director and can't wait to see his next project. At the same time I wish Hollywood could get out of its own way when it came to making films of this variety.