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Inside Daisy Clover (1965) [PG] ***

A film review by Randy Miller III for blu-ray.com on July 4, 2020.

Movies about Hollywood's dark underbelly were nothing new by 1965, but Inside Daisy Clover explores the subject through a young woman who's quite literally pulled off the streets to be the next big thing. Former child star Natalie Wood portrays Daisy Clover, who lives with her mom near the Santa Monica Pier and may just be the least convincing 15-year-old ever portrayed on film. She ekes out a living selling fake autographs but loves singing, and is surprised to learn that the head of a major studio, Raymond Swan (Christopher Plummer), is interested in a demo record she sent. After a limo ride to Swan Studios, the young tomboy is caught off guard by his cold and uncaring demeanor: Raymond tears her down while promising to deliver Hollywood's new rising star to the unsuspecting masses. She's charmed by fellow studio actor Wade Lewis (Robert Redford) and they develop a whirlwind romance, which ends up doubling as a microcosm of her brief time in the spotlight: it's very exciting, a little scary, and doesn't end well.

It sounds compelling enough on paper, but Inside Daisy Clover is a clear case of a film whose execution doesn't quite measure up to its ambition. Very little seems wrong at first glance: Wood acquits herself nicely (except for that age discrepancy -- though still youthful, she was close to thirty during production), there are a number of genuine twists and turns, and the supporting performances by Plummer and Redford are great. Other small parts, such as Raymond's wife Melora (Katharine Bard) and Daisy's soon-to-be-estranged mother Lucile (Ruth Gordon) are filled out nicely too. The biggest problems lie with Inside Daisy Clover's structure and a lack of ability to sell its own material: Wood's character is never all that convincing as the next big thing, nor is her rise to fame ever shown from a public perspective. The extremely insular nature of her journey ends up working against it, keeping outsiders at arm's length while never making a believable sales pitch. Even Daisy's trademark song, which is repeated ad nauseum, is forgettable... and to make matters worse, all of Wood's original vocals were re-recorded by singer Jackie Robin Ward.

Of course, that's not to say that Inside Daisy Clover is without merit... even aside from a few highlights mentioned above, most of which are related to the lead and supporting performances. Any and all scenes between Wood and Redford are easily among the film's best, as they seem to best capture that perfect balance of excitement mixed with a little bit of uneasiness. André Previn's original score and Charles Lang's cinematography are both excellent, often working double duty to capture the atmosphere of 1930s Santa Monica and the surrounding area. For these reasons, the film also serves as an invaluable time capsule: even though many parts are made up to reflect that earlier decade in which Inside Daisy Clover takes place, there's an undeniable charm to the signage, store fronts, and much quieter atmosphere that seem to evoke the 1960s as well. Those with Californian roots may enjoy the film for that reason alone. But aside from die-hard fans of the cast and setting, this one's tough to recommend sight unseen.

Labels: drama, music, Robert Redford, romance
IMDb 61/100
RottenTomatoes Averages (critics=31, viewers=68)
Blu-ray

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A Man and a Woman ( Un homme et une femme) (1966) [NR] ****/*****

On the 2003 DVD release of A Man and a Woman, there is an interview with writer / director Claude Lelouch 37 Years Later with Claude Lelouch, in which he looks back and talks about how the film came to be.

He had just finished making Les Grands Moments and could not show the film because he did not have a distributor. He was broke and his film company was close to bankruptcy. So he did what he often did, which was to get in his car and drive to the beach - from Paris to Deauville on the Normandy coast. He arrived around 2 am, slept in his car and awoke around 6:30 am to see a woman walking on the beach with a child and a dog.

In that moment he had the inspiration for the film A Man and a Woman. Over the next four weeks he wrote the screenplay, having in mind Jean-Louis Trintignant to play Jean-Louis Duroc. When he showed the screenplay to Jean-Louis, he said yes immediately. Then Lelouch said that he had both Romy Schneider and Anouk Aimee (Anouk Aimée) in mind to play Anne Gauthier, and he asked Jean-Louis who his dream woman would be. Jean-Louis said he knew Anouk very well and Claude should just call her up. At first there was a little difficulty because Anouk did not like boats, so she did not want to do the boat scenes, but she finally gave in.

Lelouch shot the film over a period of four weeks, using a rented hand-held camera, and edited it in three weeks. He had intended to shoot it all in black and white because he could not afford color, but an American distributor bought the rights in the U.S. so Lelouch was able to shoot the exteriors in color and the interiors in black and white.

There are some interesting aspects to Lelouch's filmmaking style, particularly A Man and a Woman. He had a screenplay but did not let the actors read the dialogue. He described the scene beforehand, and if there was a particular sentence he wanted said, he would mention that, but, other than that, he let the actors improvise. Also, what he told Jean-Louis was not the same thing he told Anouk. He never rehearsed because he believed that after the first or second take, the spontaneity would be gone. Also, Lelouch did all the filming himself because it eliminated the natural time delay in telling the cinematographer what he wanted.

Sometimes he would play Francis Lai's score for the actors before the scene, especially if he couldn't find the right words to say to direct them. Also, after the scene was finished he would play the dialogue back for the actors so they could all get a feeling for how it was going.

Lelouch said that he was fascinated by people, that the human interraction was the important thing, and that was why he tried to shoot the film in real time, without rehearsals and very few takes. At some point the actors were living the story, which made the film as close to the truth as possible.

Interestingly, the rented camera was not soundproofed, so they would wrap it in a blanket for close-ups, but relied a lot on distance shots using a telephoto lens. This is why the film has the look that it does.

So, what about the story? Anne was a film script girl who met and married her husband Pierre (Pierre Barouh) on a project in which he was working as a stunt man. They had a child, a little girl named Françoise, and then Pierre was killed while filming a battlefield scene in a WWII film. To be able to continue working, Anne enrolled her little girl in a boarding school in Deauville.

Jean-Louis was a race car test driver for Ford, testing the new GT40 LeMans car and the Ford Formula 1 car. In a flashback we see him racing at LeMans, being involved in a horrific accident, undergoing a three-hour operation and then having his grief-stricken wife Valerie (Valerie Lagrange) take her own life at the hospital. And so, after that, Jean-Louis put his young son Antoine in the same Deauville boarding school. And Anne and Jean-Louis eventually meet at the boarding school when she misses her train back to Paris and the school headmistress (Simone Paris) introduces them.

It really is a very simple love story, the main complication being that Anne was very much in love with her husband Pierre, and, even though he had died, he was still alive for her. So she could not be present while she and Jean-Louis were making love in their Deauville hotel room, and even at the end of the film, we are not sure if she will be able to move forward.

In an interesting footnote, the film was shot between November, 1965 and January, 1966. Anouk Aimee and Pierre Barouh fell in love during filming, married three months later, on April 20, 1966, and divorced three years later, on March 17, 1969. 

For myself, this is almost a coming-of-age film. I was born in 1942, spent time in Paris in the summer of 1965, just before this was filmed, and appreciate the honesty and integrity with which the film was made.  

Labels: drama, romance, Paris, Sixties
IMDb 75/100
RottenTomatoes Averages (critics=75, viewers=84)
DVD

Christmas in Vienna (2020) [PG] ****

A film review by Esme Mazzeo for telltaletv.co on Nov. 14, 2020.

 

Christmas In Vienna: A Sweet Enough Heart Song

As perhaps is expected, Hallmark’s Christmas In Vienna borrows its basic premise from 1965’s classic film The Sound Of Music, which was also set (and partially filmed) in Austria.

Jess is supposed to be a violinist struggling to find her love for music, and preparing to say goodbye to it, with a visiting performance on Christmas Eve at the Vienna Philharmonic Orchestra. But within the first two minutes of the film, she has a line that tells us that she doesn’t have much of a journey to go on at all. When asked if music is her life she says: It's hard for me to describe what music means to me. It allows me to live in this magical world of my creation that exists beyond my own. Of course, she’s not going to tell anyone at the orchestra that she’s thinking of retiring, but she’s not being facetious when speaking about her passion for the violin.

We know that every holiday movie ever made has a happy ending with minimal angst. However, to capture our hearts the lead character has to go through a significant change. Jess saying she loves music is a signal to us, even unconsciously, that Jess’s journey is not as prominent as Mark (Brennan Elliott) and his kids. It’s a shame because part of the magic of Hallmark Christmas movies is watching a female-focused journey.

That’s not to say that Christmas In Vienna isn’t a female-led film. Sarah Drew is a necessary component in turning mundane moments magical where possible. Jess’s individual connections with each of the three kids she plays nanny to for a week are special in their own way. It’s particularly touching to watch her help Julian find a sense of home.

There is something sad about watching a young man study a language so intently in a desperate attempt to belong somewhere. It’s sweet to watch Jess try to understand Julian and make sure he always has a place to hang his hat. His dad, Mark, definitely doesn’t for most of the movie. Mark may be a good father, but he’s also incredibly self-centered and annoying. It’s fun to watch Jess put him in his place, especially during the passive-aggressive scene at the breakfast table the morning after he explicitly solicits her opinion, and dares get angry when she gives it.

Also, it’s 2020, can we do away with the plot where the white male must consider leaving a very impressive job for an extremely impressive one, and a woman has to remind him that his kids are humans with feelings he should consider?

As a matter of fact, Christmas In Vienna might benefit if the lead roles were gender-swapped. As it stands, Jess would be a good best friend to have. I particularly relate to her line about just living her life and hoping a man will magically appear. Plus, we share an insatiable sweet tooth. Plus, her talent for finding the perfect meaningful gift for everyone is also impressive and endearing.

Opposites might attract, but Jess deserves someone more exciting than Mark. Sarah Drew and Brennan Elliott have just enough chemistry to carry the film, but it’s nothing we can feel through the screen. The scene where Jess and Mark dance to Silent Night in plain clothes at night because Mark gets over his aversion to dancing for her is as close to perfect as Christmas In Vienna gets. I also like that they subtly break the fourth wall a couple of times by telling us, and each other, that they should kiss after a couple of their romantic moments. But gender-swapping would be interesting where their emotional intimacy is concerned, too. Jess would have a richer journey if she were the one who had walls that needed breaking down. Instead, Mark has a more intense promotion drama and emotional journey. (It barely exists but it’s there).

Jess even shares the only big concert moment we see on-screen with the Olson family. It’s very sweet. But even though Jess’s love magically appears in her life and she also magically gets a dream job at the Vienna Philharmonic Orchestra; the best thing Vienna offers her is the chocolate cake and the Olson kids.

Christmas In Vienna airs throughout the holiday season on Hallmark Channel.

Labels: Christmas, drama, family, Hallmark, romance
IMDb 64/100 
RottenTomatoes Averages (tbd=critics, 64=viewers)
Amazon DVD
Esme Mazzeo full review

Now, Voyager (1942) [G] ****

A film review by David Cornelius for DVDTalk.com on Mar. 26, 2010.

Bette Davis earned yet another Oscar nod for her role in Now, Voyager, and it's easy to see why: here is yet another of those movies where the dowdy loner transforms into a radiant beauty, but Davis makes certain that we believe her completely as the ugly duckling. There's some makeup trickery there, to be sure, but it's mostly in her rich performance, a matter of attitude that slowly reveals the looker underneath - and even then, Davis maintains an uncertainty that suggests the new look is merely cosmetic, not deep enough to reach her true personality.

Around this stunning role is built a rather ridiculous story: Davis plays a spinster raised under the heavy thumb of an oppressive mother (Gladys Cooper). With the help of psychiatrist Claude Rains, she manages to escape her mother's grasp and reinvents herself, meeting the charming Paul Henreid on a cruise.

But he is married, and for an ordinary film, this would be enough. In fact, it's already plenty. But the script keeps going and going, and soon Davis becomes something of a nurse to Henreid's dowdy daughter (Janis Wilson), perhaps hoping to rescue the girl before the girl's life turns out like her own - although Henreid doesn't know it.

It's all far more complicated than it needs to be, and at two hours, the story could stand a trim or two. Then again, what would you cut? The soap opera of the opening scenes sets the stage for all that follows, and what follows is lovely enough that we can't stand to lose it. The film is most famous for the scene where Henreid lights two cigarettes at once, but more engaging are the moments between Bette Davis and Janis Wilson, two broken girls coming out of their shells together.

Labels: drama, period, romance
IMDb 78/100 
MetaScore (critics=70, viewers=67) 
RottenTomatoes Averages (critics=91, viewers=86)
Blu-ray