The Ox-Bow Incident (1943)
Dir: William Wyler Stars: Henry Fonda, Harry Morgan, Dana Andrews and Anthony Quinn
The International (2009)
Dir: Tom Tykwer Stars: Clive Owen, Naomi Watts and Bryan F. O’Byrne
Thunderbolt & Lightfoot (1974)
Dir: Michael Cimino Stars: Clint Eastwood, Jeff Bridges and George Kennedy
QUICK NOTE:
As you may have guessed by this point, I tend to watch a lot of movies. Although I have been on vacation for the first half of this month, I can’t blame my lack of regular updates solely on vacation, can I? What I discovered is that I’m spending too much damned time on each and every film, to the point I’m really not posting new material all that often! As I thought more about the regularity with which I’d like to update this blog, I discovered that one of the goals I have for “ronhamprod’s posterous” is for you, the reader, to discover films you’ve never heard of. My hope is that some of my comments here might convince you to try watching one of the films I cover. Perhaps you’ll find that some of the movies I discuss here might be a nice changeup from the usual blockbuster you rent at the Redbox kiosk or on Netflix. I think eight of nine films that I comment here will be available on Netflix for sure, just FYI…
THE OX-BOW INCIDENT
In the spirit of trying to update you on more films more often, let’s start with The Ox-Bow Incident. I “tivo’ed” this on Turner Classic Movies (See Note 1) last month, and watched it with the parents while they visited earlier in July. The film stars Henry Fonda as a ranch hand, travelling with his pal played by Harry Morgan (who you might recognize as the big boss on TV’s M*A*S*H). This William Wyler directed western drama concerns the elements of “mob justice”. Early in Act One, a citizen rides to town minutes after Fonda & Morgan show up. The rider tells everyone that one of their fellow citizens has been murdered on his own ranch, shot through the head – and perhaps worse, his herd of cattle is missing! Well, immediately the townsfolk decide they have a rustler problem and assemble themselves as an armed-to-the-teeth posse. The key to this small army is that they’re acting without the blessing of the county sheriff, who is unavailable for counsel at the time. When and why the sheriff shows up is one of many perfectly played notes that Wyler, the conductor, controls throughout the picture.
What results is a timeless classic, told in a mere 80 minutes or less. There are so many cameos and side stories involved in this picture, it’s like you’re eating a piece of layer cake. For example, Dana Andrews plays one of the suspected “rustlers” in a key supporting role. Should you have a chance to see the film, you might recognize the photo I’ve attached up top, which for me, was one of the highlights of Ox-Bow. Let’s just say Fonda reads a letter towards the end of the film to a bar full of the guys that rode in the posse: instead of a tracking shot with all the reactions of the posse, Wyler decided to conceal Fonda’s eyes and part of Morgan’s face while Fonda reads the entire letter. I thought the execution of this scene was pretty profound. If you’re in the mood for a western or a “morality tale”, you’d be hard pressed to find a better film than Ox-Bow.
THE INTERNATIONAL
I don’t know if you’ll agree with me, but I find some films are worth the price of admission simply for one scene. In The International, Clive Owen stars as an INTERPOL agent working with a Manhattan Assistant D.A. played by Naomi Watts. They’re trying to prove that an international bank, IBBC, is responsible for dealing with arms dealers and organized crime to supply the armies of third world countries. The odd thing that Owen & Watts have found is that IBBC seems to be providing the weapons for free! Why on earth would they do such a thing? Because the resulting debt from such conflicts, regardless of the loser, will make this bank stronger than any other competitor. At least that’s what I think the story was about!!!
The International boasted a different storyline than most movie “formulas” in that there was very little background given on our heroes and very little back story. Within the first five minutes, we’re kind of thrust into this world of intrigue and very serious peril. While the movie undoubtedly had its weaknesses, I honestly feel it’s worth a viewing for an action scene shot at the Guggenheim Museum in New York. at the end of Act Two. This scene, involving Owen and the gentleman I credited at the top, Brian F. O’Byrne as a top notch assassin, was truly unique in its action – and most importantly, justified by the intricate storyline. Check it out!
THUNDERBOLT AND LIGHTFOOT
Please see my review of Inception for a lengthy (I mean lengthy) discussion of how many different elements go into a film: I mention this only because one of the elements – like ingredients in a recipe – is indeed the very title of a film. Doesn’t Thunderbolt and Lightfoot just generate thought and curiosity when you first hear or read it? Is this about a Native American hero and his sidekick? Greek Gods? Who are these guys for Pete’s sake?
Michael Cimino, the director, would sell this script – and the idea of his directing it – to Eastwood and Warner Bros. Based on the success of this film, he got the go-ahead to direct The Deer Hunter, which I promise you, dear reader, will be a lengthy entry indeed. Anyhow, with Thuderbolt and Lightfoot, we begin the story with Clint Eastwood dressed up as a preacher and delivering a Sunday sermon. You read that sentence correctly: Eastwood = preacher. This can’t be right, can it? Well, that’s one of the film’s strengths: this film keeps you on your toes from beginning to end. Characters that we meet along the “journey” of the film’s story are not always what they seem… So, what’s the film about? In a word, friendship: Eastwood’s Thunderbolt thought he had it with a bunch of “pals” with whom he used to rob banks. Instead, through a bizarre set of circumstances, he finds genuine friendship in this drifter named Lightfoot. In the first scene, one of Eastwood’s old “pals” tries to kill him just as Eastwood the preacher is delivering the Sunday message. Lightfoot, young and unpredictably played by Jeff Bridges, rescues him. That Lightfoot saves Thunderbolt by nearly running him over in the Pontiac Grand Am he just stole should tell you something about his character.
This film is a real treat for those who love capers and heist films. There are some truly unique elements that mix crime films, road movies and basic action-adventures. You even get to see George Kennedy play a real son of a bitch villain – no kidding. But the scenery of the film, which is necessarily shown due to all the driving these characters do, was also pleasant to watch. Check this one out for sure…
Note 1: Turner Classic Movies is, in my opinion, the best way to watch movies on Cable short of Pay-Per-View or Video on Demand’s free services. There is no commercial interuption, they show a wide, wide array of films – and that Robert Osbourne knows what he’s talking about!