Givin’ Out Wings 2: “I’m glad I know you, George Bailey.”
It’s no surprise that nearing the end of the year, people tend to celebrate (or curse) what’s happened since they were last here, along with wistfully looking back on their lives. So, too, with the Christmas holiday approaching, seasonal movies impact upon those same lives, usually but not always, joyfully. It is the rare film that succeeds in bringing forth the dark as well as the light in the same screening. Frank Capra’s It’s a Wonderful Life does exactly that, and for this it remains one of my all-time favorite films. I’m in great company on this, too, as my colleague from Northern Ireland Ronan Wright wrote last year in his fine review:
“Bloom where you are planted. That is the message of It’s A Wonderful Life, and it comes across loud and clear in this enduring family film. The success and life-affirming power of the film comes from the story on which it is built. Like every individual, George’s story is significant because of the community of which it is a part, personal because of the details which make it unique, and memorable for the people that make it worthwhile.”
Beyond those who love and write about this classic since the film’s début, as cited in many tributes and documentaries (online or otherwise), it is director Capra’s and actor James Stewart’s favorite, as well. IaWL can be summed up by its essence: an uplifting message of friendship and the extramundane, but ultimately it is the hopeful worth of the individual upon a community. No other work in the long line of films I’ve seen can touch and rekindle the warmth I feel by this motion picture’s conclusion. Read more 
Givin’ Out Wings 1: It’s a Wonderful Harvest, or The Ice Life
“As Wichita Falls… So Falls Wichita Falls.”
As I come up on the Yuletide, my common practice of watching seasonal fare is in its usual swing. However, in the last few years, I seem to be seeking a balance of light and dark wares whenever I am hip deep in Scotch tape and gift wrap, or the paper cuts that come in-between opening Christmas cards. For every viewing of The Santa Clause, I want to throw in Bad Santa. Have a jones for White Christmas? Then, I want Die Hard or a fave of Joel and I, The Long Kiss Goodnight, on the docket, too. And when I think of one of my all-time favorite films, one done by the great Frank Capra, my mind wonders over to its antithesis, the Harold Ramis directed The Ice Harvest from 2005. Ah, I see the doubt on your face. Fair warning, some of the plot points for both films are revealed in this two-parter post. If you haven’t seen either, and don’t wish to have your fun spoiled, it’d be best to take in the films first. For the rest of you, I’ll just assume you’ve seen both, or are at least aware of the quintessential Capra film, and I’ll try to convince you I’m not schizophrenic 
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“Christmas Eve. Ho, ho, f*ckin’, ho.”
There is a fair bit of discord among book readers and noir aficionados concerning the film adaptation of Scott Phillips’ début novel. The hard-boiled classic, The Ice Harvest. To say the fans of the novel hate the film would be an understatement. Fair enough. However, the bitterly and darkly funny tale adapted to the screen, I contend, purposely hijacked the story’s premise and its Christmas season setting and aimed it directly at a particularly American cinema classic and holiday staple. In my opinion, the neo-noir The Ice Harvest is really It’s a Wonderful Life for our time (at least for those of who’ve lived through the sub-prime mortgage crisis). In this case, the film is in wolf’s clothing. Keep in mind, too, IaWL is not just the “uplifting, heart-warming, holiday tale” as movie critic A.O. Scott initially recalled in his setup for his Critic’s Pick video from three years back. He followed that sentence up with another, very different, observation:
“… it’s a dark, disturbing fable about greed, exploitation, misery, and disappointment.”
Get Carter Film Review
“You’re a big man, but you’re in bad shape. With me it’s a full time job.”
It’s Spring! As has been the case for the last few years here in sunny L.A., that means it’s cool and rainy as we crossed into the season. Perhaps, the blustery overcast sky is fitting for this post since it highlights a particularly iconic film from the 70s — a decidedly British one. And, as it’s time once again for the Scientist Gone Wordy and I to add another of our duo posts to the series we started last year, we took advantage of the film’s 40th anniversary this month. As usual, the wordy one will examine the text of a famed novel later adapted to film, which I will review. In this case, she’ll be looking at the source crime novel from the U.K. for the 1971 Get Carter film, Jack’s Return Home. Rachel’s book review can be found here:
Jack’s Return Home by Ted Lewis
[Blogger's note: Rachel was kind enough to allow me to pick this month's book/film. Since I wrote the recent celebratory piece of the film for Ed Copeland on Film's blog, I repurposed it for this parallel post entry.]
A brief synopsis of the film: Jack Carter is a man no one in their right mind wants visiting them (in London, or anywhere else). Jack works for mob bosses in The Smoke, and by all appearances is particularly adept at getting his (or their way) when called upon. The fact that he possesses an almost angelic face with a contradictory, and especially unpredictable, harsh nature is a plus for a racketeer’s curriculum vitae in this line of work. So when his older brother dies in a car accident back home in Newcastle, even his bosses are nervous about his trip up north for the funeral. The protagonist’s estrangement from his sibling and family will only add to the mix. The lies and cover-up Jack discovers upon his return home and the underworld toes he’ll step on to get at the truth of his brother’s murder will go to the revenge story’s unmistakably dark heart.
[spoiler warning: some key elements of the film are revealed in this review] Read more
Like this:
Devil in a Blue Dress Film Review
“Now when someone’s telling me there ain’t nothing to worry about, I usually look down to see if my fly is open.”
As expected, winter (as we know it, anyways) returned to the southland as of late. Cool temps, rain, wind, and a splattering of snow on the foothills and mountains made that abundantly clear. But as Detroit-based blogger Patti Abbott noted in her SoCal vacation summary (which coincided with our recent warm spell), “You know you’ve been in California too long when you see Chris Matthews on TV and wonder why the hell he is wearing a wool jacket.” That would about cover it.
So, before the shortest month on the calendar leaves entirely, I’ll inaugurate the new blog with its first joint post that is a continuation of the series begun last year with the Scientist Gone Wordy. As usual, the wordy one will examine the text of a famed novel later adapted to film, which I will review. In this case, she will scrutinize Walter Mosley‘s debut crime fiction novel, Devil in a Blue Dress. Rachel’s book review can be found here:
Devil in a Blue Dress by Walter Mosley
A brief synopsis of the film: In 1948 Los Angeles, a recently unemployed African-American World War II vet is searching for work. Ezekial Rawlins, ‘Easy’ to his friends, needs the job since he’s a home owner and there are bills to pay. Wanting to keep his tenuous perch in the middle class, he’s open to whatever comes his way. Even if it means accepting something from a furtive white stranger by the name of DeWitt Albright. The undertaking involves locating the fiancée to a certain well-to-do man… in other words, one of the city’s elite. Since she’s known to frequent the Central Avenue Black jazz clubs of the era, DeWitt surmises Easy is the right man for the job because he can move in circles and ask questions he cannot. And by innocently accepting the offer, Easy Rawlins will become involved with crooked cops and politicians, murder, and the nasty side of human corruption.
[spoiler warning: some key elements of the film are revealed in this review]
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