Déjà vu Dalliance

Depicting the slow decline of a wealthy family, Orson Welles’ follow up picture to Citizen Kane, 1942's The Magnificent Ambersons, provides us with a melancholic reflection on how the more simple life of the nineteenth century transitioned into a more hurried, less enjoyable one as the new century was ushered in. We are transported into the socialite world of the Ambersons, a well-to-do American family living in the then small city of Indianapolis. Residing in a gargantuan mansion, the family sit at the top of the food chain when it comes to the pecking order in the area. Welles provides the voice-over narration as he introduces us to the family, including Isabel (Dolores Costello), daughter of patriarch Major Amberson (Richard Bennett), a young lady who is being courted by the thoughtful Eugene Morgan (Joseph Cotten). After a disastrous attempt at performing a serenade for her, the romantic man is shunned by the young debutante – she sees his failure as an ominous sign.

Containing two of the big time film noir players, 1949's The Set-Up follows down and out boxer Stoker Thompson (Robert Ryan) as he prepares for his next bout. Ryan, who starred in 15 film noirs throughout his career, perfectly encapsulates the aging veteran, with his domineering height, craggy athletic look, and pained eyes that show the seemingly endless struggles he has had in the ring. His long suffering wife, Julie, is played by Audrey Totter. The dame, who passed away back in 2013 at the age of 95, took on 14 very different roles in the bleak genre. The attractive blonde is less femme fatale in this one, this time showing her range as the pained woman who can no longer watch her husband take beatings night after night.

There are certain actors that have the ‘cool’ factor. Not the easiest thing to define, there is just something about their larger than life personas that attract us to them. One such actor is Steve McQueen. It seems that each role he chose further expanded his reign as a cool cat, with films like The Great Escape and Bullitt helping fuse together his characters with the real person – creating an image of a man’s man whose tall lean frame drove muscle cars through San Francisco during the week while escaping from Nazi concentration camps on the weekend. Another motion picture that epitomizes his persona is the 1973 prison drama Papillon. Based on the autobiography by French convict Henri Charrière, director Franklin J. Schaffner (Patton/Planet of the Apes) takes us on an epic ride as Charrière, whose moniker is Papillon (McQueen), as he has a vivid tattoo of a butterfly that can be found on the middle of his chest, is placed on a ship departing from France.

Much has been made of Fifty Shades of Grey. The phenomenon (be it the books or the film) has taken the world by storm, creating an ever-growing buzz around the subject of kinky sexual escapades. But, after watching the movie, I must say that it is a cold, clinical production that lacks nuance, emotion, heart, depth or eroticism. For a more engaging portrayal of the themes found in Fifty Shades, I would recommend turning to the 2002 motion picture Secretary. Following in the vein of other erotic flicks like 1972's Last Tango in Paris and 1986's 9½ Weeks (to name just two), director Steven Shainberg (who adapted Mary Gaitskill’s short story along with Erin Cressida Wilson) introduces us to our lead character: the shy, sensitive and socially uncomfortable Lee Holloway (Maggie Gyllenhaal). Dealing with many psychological issues, she is first seen leaving an institution after being caught causing herself harm.

Dealing with the unnerving and dangerously disturbing topic of the Stockholm Syndrome, Pedro Almodóvar uses deft humour, rich engaging (as well as flawed) characters and a solid story to concoct one of the more unusual romances in film history. The title of said motion picture is Tie Me Up! Tie Me Down!, released in 1989 to much fanfare and equally as much controversy. The winner of several festival awards (as well as being lauded as a superb film in Spain), it received an X rating in the United States (equal to that of a hardcore pornography film) – with the MPAA disliking two scenes as well as the crime aspect of the story (which they thought could influence young males to commit kidnapping much like the main character). To paraphrase Almodóvar, he humourously exclaimed that he does not make movies expecting that the entire audience will be psychopaths. In the end, it was this movie that led the MPAA to create the new rating of NC-17, which still exists today, and if given, usually kills a movie’s box office chances much like the X rating.