Vertigo

(USA 1958)

We’ve seen Alfred Hitchcock’s masterpiece Vertigo before:

https://moviebloke.com/2016/02/19/vertigo/

This time, we saw it with the Chicago Symphony Orchestra playing along live — with Joshua Gersen conducting. In an outdoor pavilion. Even a group of overweight and overbearing suburban middle aged ladies whispering and giggling throughout it didn’t spoil my enjoyment. Vertigo is everything that makes cinema exciting.

Sadly, we didn’t stay all the way through the end. Ravinia is a schlep on a school night, and we had to catch the train back to the city. Oh, Scottie, don’t let me go!

Side note: I didn’t realize Vertigo is based on a 1954 French crime novel, D’entre les morts by Pierre Boileau and Pierre Ayraud (a.k.a. Thomas Narcejac), writing as Boileau and Narcejac.

Screening preceded by a live discussion with Kim Novak

128 minutes
Rated PG

(Ravinia Festival) A-

Ready Player One

(USA 2018)

Schmaltzking Steven Spielberg is in regular form with Ready Player One, his film adaptation of Ernest Cline’s 2011 gamer fantasy novel.

Reality bites in 2045, especially in Columbus, Ohio, where Wade (Tye Sheridan) lives with his aunt (Susan Lynch) and her no good boyfriend (Ralph Ineson) in “the Stacks,” a favela-like slum of discarded mobile homes piled on top of each other. Things have stopped working and people have stopped fixing them, and the world has taken on a dystopian futuristic Dickensian hue curiously stuck in the 1980s.

Wade, like everyone, escapes to the OASIS, a virtual reality alternate universe where one can be…well, anything. Wade is Parzival, a sort of Speed Racer adventurer. He’s on a mission to win a contest: find the “Easter Egg” left behind by James Halliday (Mark Rylance), the dearly departed creator of the OASIS, and gain total control over the OASIS. Parzival just might get by with a little help from his friends — but he’s got to stay a step ahead of one particularly troublesome competitor, corporate bad guy Sorrento (Ben Mendelsohn), who wants to rule the OASIS for all the bad reasons.

Ready Player One is a typical Steven Spielberg kid’s movie: pop culture, magic, and a total “feel good” ending. I’m not spoiling anything by saying that. It isn’t necessarily better than recent films like The Post (https://moviebloke.com/2018/01/26/the-post/) or Bridge of Spies (https://moviebloke.com/2016/02/25/bridge-of-spies/), but Ready Player One is a lot more interesting. Spielberg goes overboard with references to ‘80s films, some of which are his own projects — and I’m told he’s more aggressive than Cline is in the book. Still, the result is a lot of fun, and the details are wicked. A sequence dedicated to The Shining actually made me giddy. Mendelsohn looks so much like the principal from The Breakfast Club (https://moviebloke.com/2016/05/05/the-breakfast-club-2/) that I want to ask him if Barry Manilow knows he raids his wardrobe. Rylance plays Halliday with a strange mix of Christopher Lloyd, Steve Jobs, and, err, Spielberg.

I’m no fan of late or even middle period Spielberg, but I didn’t mind this one. Make no mistake, Ready Player One is a big, loud, overdone Hollywood movie, but it’s a decent one. Those who grew up watching Spielberg movies (like I did) no doubt will enjoy it even though they probably don’t need to see it a second time.

With Olivia Cooke, Lena Waithe, T.J. Miller, Simon Pegg, Philip Zhao, Win Morisaki, Hannah John-Kamen, Clare Higgins, Laurence Spellman, Perdita Weeks, Joel MacCormack, Kit Connor, Leo Heller, Antonio Mattera, Ronke Adekoluejo, William Gross, Sandra Dickinson, Lynne Wilmot, Jayden Fowora-Knight, Gavin Marshall, Jane Leaney, Elliot Barnes-Worrell, Asan N’Jie, Robert Gilbert

Production: Amblin Entertainment, De Line Pictures, Dune Entertainment, Farah Films & Management, Reliance Entertainment, Village Roadshow Pictures, Warner Brothers

Distribution: Warner Brothers, NOS Audiovisuais (Portugal), SF Studios (Norway), Tanweer Alliances (Greece), Karo Premiere (Russia), Kinomania (Ukraine), Roadshow Entertainment (New Zealand), Roadshow Films (Australia)

140 minutes
Rated PG-13

(Music Box) C+

http://readyplayeronemovie.com

The Leisure Seeker

(Italy / France 2018)

Paolo Virzì’s last film, Like Crazy (https://moviebloke.com/2016/10/17/like-crazy-la-pazza-gioia/), won me over with its quirky lead characters, their wacky antics, and the surprisingly moving turn the story takes. His follow up, The Leisure Seeker, which also happens to be his first English language feature film, employs a similar template — Massachusetts golden girl Ella Spencer (Helen Mirren) has arranged a trip with her husband, John (Donald Sutherland), a retired literature professor, to Key West. The purpose of the trip is to see the Ernest Hemingway House, something John always wanted to do but never got around to it. They board their trusty old Winnebago from the Seventies — they named it “The Leisure Seeker” — and slip away without telling anyone.

While reigniting passions and having revelations over the course of their excursion, what really prompted the trip becomes apparent: John is suffering a bad case of Alzheimer’s that gets worse by the day. Ella is dealing with the effects of her own condition as well. Naturally, their middle aged kids (Christian McKay and Janel Moloney) freak when they find out what they’re up to.

Based on Michael Zadoorian’s novel of the same name, the topic here is a worthy one: deciding when to call it a wrap. Mirren and Sutherland give fine performances with strong chemistry and realistic intimacy, and the best moments are just as tender as the ones in Like Crazy. Still, The Leisure Seeker somehow comes off as diluted, perhaps aiming too hard for a wide audience. It shows in the screenplay, which has a lot of weak spots and relies on sentimentality too heavily for its own good.

The situations Ella and John get into might be sweet, but they don’t move beyond silly hijinks. They’re pretty easy, actually. Hilarity ensues, for example, when a cop (Robert Walker Branchaud) pulls John over for swerving, when a roadside punk (Sean Michael Weber) tries to rob the couple while they wait stranded for a tow, and later when John wanders into a Donald Trump rally. The Leisure Seeker isn’t quite the compelling film it had the potential to be.

With Dana Ivey, Dick Gregory, Leander Suleiman, Ahmed Lucan, Gabriella Cila, David Marshall Silverman, Lucy Catherine Haskill, Joshua Hoover, Kirsty Mitchell, Mylie Stone, Joshua Mikel, Rayan Clay Gwaltney, Matt Mercurio, Marc Fajardo, Wayne Hall, Denitra Isler, Carl Bradfield, Roger Lee Bright, Chelle Ramos, Joe Hardy Jr., Jerald Jay Savage, Nicholas Barrera, Danielle Deadwyler, Robert Pralgo, Lilia Pino Blouin, Rusty Hodgdon, Ariel Kaplan, Geoffrey D. Williams, Carlos Guerrero, Karen Valero

Production: Indiana Production Company, BAC Films, Rai Cinema, Ministero dei Beni e delle Attività Culturali e del Turismo (MiBACT), Regione Lazio

Distribution: 01 Distribution (Italy), BAC Films (France), Sony Pictures Classics (USA), Concorde Filmverleih (Germany), Filmcoopi Zürich (Switzerland), Filmladen (Austria), Imagine Filmdistributie Nederland (Netherlands), Imagine (Belgium), Norsk Filmdistribusjon (Norway), StraDa Films – Seven Films (Greece), United International Pictures (UIP) (Poland), GAGA (Japan), Shaw Organisation (Singapore)

112 minutes
Rated R

(AMC River East) C-

Chicago International Film Festival

http://sonyclassics.com/theleisureseeker/

 

Mudbound

(USA 2017)

Netflix surprised me last year with a pair of impressive original films, Okja (https://moviebloke.com/2017/06/22/okja/) and The Death and Life of Marsha P. Johnson (https://moviebloke.com/2017/07/09/the-death-and-life-of-marsha-p-johnson/). The streak of merit continues with Mudbound, director Dee Reese’s film adaptaion of Hillary Jordan’s 2008 novel.

A Southern Gothic soap opera with a bit of social commentary, Mudbound is an interesting story. Written by Reese and Virgil Williams, the screenplay, told in flashback, follows two families, the white McAllans and the black Jacksons, from the Depression until just after World War II.

Fate and circumstance bring them together on a farm in the Mississippi Delta. The McAllans have the upper hand — they own the land — but they rely on the Jacksons, who work as sharecroppers, for more than farming. Mother Florence Jackson (Mary J. Blige) bears the brunt of it through sickness, injury, death, and disrespect.

The plot elements are familiar — poverty, church, white only areas, the KKK — but the whole thing is fresh. Maybe its Reese’s objective approach. Her pace is deliberate and slow; frankly, it almost lost me. I’m glad I stuck it out, though, because the momentum picks up after one boy from each family — Jamie McAllan (Garrett Hedlund) and Ronsel Jackson (Jason Mitchell) — goes off to war. A romance that develops between Ronsel and a German woman enlightens him; it serves as a marked contrast to life at home.

Jamie and Ronsel both face challenges assimilating back into Southern civilian life when they return. They become friends, much to the dismay of Pap McAllan (Jonathan Banks) and, like, the whole town. When Jamie refuses to stop associating with Ronsel, things get brutal. While not on the epic scale of something like Roots, Mudbound got to me nonetheless.

With Carey Mulligan, Rob Morgan, Jason Clarke, Kerry Cahill, Dylan Arnold, Kelvin Harrison Jr., Lucy Faust, Geraldine Singer, Floyd Anthony Johns Jr., Samantha Hoefer, Henry Frost, Kennedy Derosin, Frankie Smith, Jason Kirkpatrick, Elizabeth Windley, Piper Blair, Joshua J. Williams, Claudio Laniado, Charley Vance

Production: Armory Films, ArtImage Entertainment, Black Bear Pictures, Elevated Films, MACRO, MMC Joule Films, Zeal Media

Distribution: Netflix (USA), Diamond Films (Mexico / Argentina), TOBIS Film (Germany), Feelgood Entertainment (Greece)

134 minutes
Rated R

(Netflix) B

https://www.facebook.com/MudBound/

Beauty and the Beast [La belle et la bête]

(France 1946)

“I ask of you a little of this childlike simplicity, and, to bring us luck, let me speak four truly magic words, childhood’s open sesame: Once upon a time…”

— Jean Cocteau

I’m familiar with Jean Cocteau. Somehow, I never saw one of his films until this sold out Sunday matinee screening of La belle et la bête, a story I know well and probably would have passed on but for the fact that he directed it.

Belle (Josette Day) loves her father (Marcel André), a merchant who twice loses a fortune, so much that she steps in to save him when he angers the Beast (Jean Marais) by picking a rose from his garden to bring home to her. The Beast abandons his plan to kill her to avenge the sin of her father as soon as he sees her — he’s smitten. He’s so ugly, though, that Belle faints when she sees him.

Belle wakes up inside a room in his castle, where the Beast executes an alternate plan: every night at dinner he will ask her to marry him. As it turns out, he’s filthy rich and wants Belle to be his queen. She develops a soft spot for him as time goes on, but Belle’s answer is always the same: no. Apparently, she doesn’t love him.

When she learns that her father is dying, the Beast allows Belle to visit her family. He gives her a magic glove that transports her wherever she wants to go and the key to his fortune. Realizing how rich the Beast really is, Belle’s conniving siblings, sisters Adélaïde (Nane Germon) and Felicie (Mila Parély) and brother Ludovic (Michel Auclair), take Belle on a treacherous turn.

Wow! Entrancing and mesmerizing, Cocteau’s La belle et la bête is an impressively cool film, far from the family-oriented Disney musical version that seems to be the default. At times grotesque, surreal, and very imaginative, it’s a darker telling of Jeanne-Marie Leprince de Beaumont’s 18th century classic adaptation of Gabrielle-Suzanne Barbot de Villeneuve’s original fable (I never thought about where the story came from until I wrote this entry).

The lovely Day is perfect as Belle: kind yet knowing, she plays her character as something of a girl next door fatale. Marais evokes compassion for his character, even with a mask covering his face. Lucien Carré and René Moulaert’s otherworldly sets and Pierre Cardin’s Victorian wardrobe are both tailor made for Henri Alekan’s grizzled, shadowy, and hard black and white cinematography. Something about the time when this came out — immediately after WWII — enhances the overall eerie feel of this film. I can’t come up with enough superlatives to describe it.

Cocteau is buried beneath the floor of the Chapelle Saint-Blaise des Simples in Milly-la-Forêt (http://www.chapelle-saint-blaise.org/html/en/home/home.php). A plaque marking his gravesite states, “Je reste avec vous” (“I stay with you”). It’s a fitting epitaph for the director of this particular version of La Belle et la Bete, which will stay with me. It’s a haunting beauty to behold.

With Raoul Marco

Production: DisCina

Distribution: DisCina (France), Actueel Film (Netherlands), Nederland NV (Netherlands), Wivefilm (Sweden), Internationale Filmallianz (IFA) (Germany), Artfree (Greece), Lopert Films (USA)

93 minutes
Not rated

(Music Box) A

Call Me by Your Name

(Italy / USA / France / Brazil 2017)

“Call me by your name and I’ll call you by mine.”

— Oliver

Very seldom does a film leaves me speechless, but that’s just what Call Me by Your Name did. For me, it’s one of this year’s most unexpected cinematic pleasures.

Set during the summer of 1983, precocious and solitary 17-year-old Elio Perlman (Timothée Chalamet) is spending another summer with his parents at their Italian villa. It looks like business as usual — reading, writing, and playing piano — until ruggedly handsome and tan American graduate student Oliver (Armie Hammer) shows up. Oliver, with his penchant for being overly casual (particularly with his use of “later” to bid farewell) and his love of the Psychedelic Furs, will be staying in Elio’s room for the summer while working as an intern for Elio’s father (Michael Stuhlbarg), a professor who’s finishing up a book.

Wow. Director Luca Guadagnino hits the nail right on the head on so many things he gets at here: the perversity of male adolescence, the confusion of sexual awakening and lost innocence, the single-mindedness of desire, the thrill and frustration of seduction, and the agony of loss, all of it before a gorgeous and sunny Italian backdrop. He’s sensitive to the subject matter, which centers on sexuality, but he doesn’t cheapen the story or its characters. It’s a tricky feat.

The pace may be frustrating at times. However, being an act of seduction itself, Call Me by Your Name is nonetheless erotic, intimate, honest, and ultimately heartbreaking. That’s an awful lot to fit into one film, but Guadagnino does it, and he does it exceptionally well. It helps that he recruits excellent actors, particularly Chalamet, who brings a credible vulnerability to his character. The final scene is beautifully simple, effective, and hard to watch even while the credits roll.

I had a remarkably similar experience as Elio when I was barely 18 years old. Call Me by Your Name is more romantic, but seeing it play out reminded me of someone from my own past. I never go back and read a book after seeing its film adaptation, but I’m compelled to read André Aciman’s novel now.

With Amira Casar, Esther Garrel, Victoire Du Bois, Vanda Capriolo, Antonio Rimoldi, Elena Bucci, Marco Sgrosso, André Aciman, Peter Spears

Production: Frenesy Film Company, La Cinéfacture, RT Features, Water’s End Productions

Distribution: Sony Pictures Classics

132 minutes
Rated R

(Landmark Century) A-

http://sonyclassics.com/callmebyyourname/mobile/

Who Framed Roger Rabbit

(USA 1988)

Let’s get this out up front: the appeal of Who Framed Roger Rabbit is not its outstanding narrative. Based on Gary K. Wolf’s novel Who Censored Roger Rabbit?, Jeffrey Price and Peter S. Seaman’s screenplay is competently written but it’s conventional if not downright pedestrian, a standard whodunnit complete with hiding, seeking, and a clock ticking. The situations are goofy, the characters are even goofier, and the jokes…well, they’re silly. The whole thing relies too heavily on farce and slapstick for my taste.

Los Angeles, 1947: alcoholic private investigator Eddie Valiant (Bob Hoskins) is summoned to the studios of movie mogul R.K. Maroon (Alan Tilvern). Studio star Roger Rabbit (Charles Fleischer) is unraveling over romantic rumors involving his amply curvaceous toon wife Jessica (Kathleen Turner) and human Marvin Acme (Stubby Kaye), the inventor and maker of the sundry gadgets used in cartoons. It’s affecting the studio’s bottom line, so Maroon hires Valiant to check it out.

After catching Jessica’s act at an underground club, Valiant spies on her and Acme in her dressing room. He takes pictures of them playing “patty-cake.” He turns them over to Maroon, who shows them to Roger. Assuming the worst, he promptly freaks.

The next morning, Acme is found dead — a cartoon safe crushing his head. Naturally, all signs point to Roger. Dastardly Judge Doom (Christopher Lloyd), cloaked in a black cape and an evil hidden agenda, is following Roger’s tail. Valiant is unwillingly yanked into a crazy adventure to exonerate Roger, find a will, and stop Doom from selling Toontown, the appropriately named neighborhood where toons live, to a freeway developer.

Despite its shortcomings, Who Framed Roger Rabbit is a technical marvel unlike much before it. Directed by Robert Zemeckis, it took awhile to make. It was a box office blockbuster, and it’s easy to see why. From the outset, it’s a dazzling mix of animated characters, or “toons,” interacting with real people. The look and technique are impeccable, with natural movement and even toons and humans touching that melds seamlessly without any jumps or visual hiccups. An ongoing gag with Roger handcuffed to Valiant, for example, is flawless. Clearly, this film was assembled with painstaking attention to timing. It is, in a word, neat.

Plus, the incorporation of classic cartoons — from Betty Boop to Woody Woodpecker to Droopy, to a scene with Bugs Bunny and Mickey Mouse to a piano duel between Daffy Duck and Donald Duck — is really, really fun. I’m sure this is the only place you’ll ever see Warner Brothers and Disney characters together, and it’s a hoot.

In 2016, the United States Library of Congress deemed Who Framed Roger Rabbit “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry (https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/).

With Joanna Cassidy, Lou Hirsch, Mike Edmonds, Eugene Guirterrez, Mae Questel, Mel Blanc, Tony Anselmo, Mary T. Radford, Joe Alaskey, David Lander, Richard Williams, Wayne Allwine, Tony Pope, Peter Westy, Cherry Davis, Nancy Cartwright

Production: Touchstone Pictures, Amblin Entertainment

Distribution: Buena Vista Pictures Distribution

104 minutes
Rated PG

(Gene Siskel Film Center) B-

Madonna: Innocence Lost

(USA / Canada 1994)

“I take what I need and I move on. And if people can’t move with me, well then I’m sorry.”

— Madonna

Wow, I completely forgot about this tawdry exposé made for TV — American TV, which is even worse — chronicling Madonna’s early years in New York City. It aired on Fox in the mid-nineties, and it’s actually amazing only for how awful it is. All the stops are pulled out, and it’s a trainwreck: the overriding theme is that Madonna is an ambitious whore. OK, National Enquirer.

Based on Christopher Andersen’s 1991 biography — totally unauthorized, I add — Michael J. Murray’s script is just plain sad. Some of it is remarkably accurate, but some of it…not so much. I recognize every single interview where he culled material to tell the Material Girl’s story — in Time, Rolling Stone, Vanity Fair, Interview, and a few other magazines. He doesn’t just lift background, he lifts dialogue. Verbatim. That opening monologue is straight from a letter to Stephen Jon Lewicki in which she begs to appear in his softcore film A Certain Sacrifice. The characters are all real people even if their names are changed: her donut shop manager (Kenner Ames), Dan Gilroy (Jeff Yagher), Camille Barbone (Wendie Malick), Mark Kamins (Mitch Roth), Seymour Stein (Don Francks), frequent collaborator Steve Bray (Ephraim Hylton), and last but not least her father, Silvio Ciccone (Dean Stockwell).

I’m mildly impressed that her mother (Jenny Parsons), shown entirely in black and white flashbacks, even comes up. And the many guys she slept with, some of them with a purpose. And that gumcracking? Brilliant!

Terumi Matthews plays a young Madonna, and to her credit she nails the megastar’s ideosynchrocies perfectly! I’ll give her that. However, the vignettes and Catholic imagery stolen straight from the video for “Oh Father” are so lame that I feel like I should say a rosary after seeing this. So should you. Don’t even get me started on where this story starts — the first MTV Video Music Awards? Really? She was already on her second album by then.

Anyway…Madonna: Innocence Lost is not flattering, but it’s still a hoot. It plays on Madonna’s bad side, like “Blond Ambition” is a bad thing. The problem is, this approach fails when you’re dealing with someone who used that very name for one of her biggest tours. Shocking? Fuck no.

With Diana Leblanc, Nigel Bennett, Dominique Briand, Tom Melissis , Christian Vidosa, Dino Bellisario, Kelly Fiddick, Gil Filar, Maia Filar, Diego Fuentes, Matthew Godfrey, Evon Murphy, Stephane Scalia, Chandra West

Production: Fox Television Studios, Jaffe/Braunstein Films

Distribution: Fox Network, RTL Entertainment (Netherlands), True Entertainment (UK)

90 minutes
Rated TV-14

(YouTube) D+

It [It: Chapter One]

(USA 2017)

I’ve started a few Stephen King novels during my life, but I’ve never finished reading any of them. I have, however, seen enough movies based on his books to know what I’m getting into.

It is director Andy Muschietti’s take on King’s 1986 novel, which incidentally came out on my 16th birthday. Scary. It tells the story of a group of bullied junior high outcasts who go after a deranged clown named Pennywise (Bill Skarsgård) one summer, the Summer of 1989, after he kills stuttering Bill Denbrough’s (Jaeden Lieberher) little brother, Georgie (Jackson Robert Scott), the fall before.

Pennywise lives in the sewer of their small town (Derry, Maine) and resurfaces every 27 years to prey on children through their worst fears.

The screenplay, written by Chase Palmer, Cary Fukunaga, and Gary Dauberman, is only part of the book — presumably to allow for a sequel. It starts out well enough in the same sweet nostalgic way as, oh, Stand by Me. Muschietti gets deatils of the time period mostly right: the Cure and New Kids on the Block were big in ’89 (even though the former’s “Six Different Ways” was two albums and a compilation earlier), and the reference to Molly Ringwald fits. He goes full on Steven Spielberg, however, about halfway through, turning It into The Goonies with the kids’ “losers club” and all the action switching to a dark cavernous underground sewer. This is to say, It gets cheesy after awhile.

The kids are all decent actors, and they keep It moving along. Sadly, though, there aren’t any real surprises here. More creepy and icky than outright frightening, Muschietti relies greatly on special effects; they’re good and a lot of work went into them, but they get tiresome after awhile. Plus, some editing would’ve been a good idea; It is too long.

As It is, it’s not a stinker. However, I wasn’t moved by It, either. It is a big budget Hollywood movie aiming to be a blockbuster, and that’s It.

With Jeremy Ray Taylor, Sophia Lillis, Beverly Marsh, Finn Wolfhard, Chosen Jacobs, Jack Dylan Grazer, Wyatt Oleff, Nicholas Hamilton, Jake Sim, Logan Thompson, Owen Teague, Stephen Bogaert, Stuart Hughes, Geoffrey Pounsett, Pip Dwyer, Elizabeth Saunders, Ari Cohen, Anthony Ulc, Javier Botet, Katie Lunman, Carter Musselman, Tatum Lee

Production: New Line Cinema, Ratpac-Dune Entertainment, Vertigo Entertainment, Lin Pictures, KatzSmith Productions

Distribution: Warner Brothers

135 minutes
Rated R

(ArcLight) C

http://itthemovie.com

The Asphalt Jungle

(USA 1950)

I expected crime noir classic The Asphalt Jungle to be something of a cheesefest: stiffly acted, overly melodramatic, and maybe a bit hamfisted in its morality, like The Hardy Boys for adults of the Greatest Generation. Thankfully, John Huston’s film adaptation of W.R. Burnett’s 1949 novel is none of that.

No sooner is Doc Riedenschneider (Sam Jaffe) out of the big house when he hatches a plan to do what he does best: steal. Like, a million bucks or more in jewels from a jewelry store (not Jared’s). Yes, a jewel heist. He pitches his plan to Cobby (Marc Lawrence), a two-bit gambling bookie, who puts him in touch with Alonzo Emmerich (Louis Calhern), a rich but shady attorney. Emmerich buys in, not just providing financial backing but also agreeing to handle disposing the booty for cash.

Doc assembles a crew of petty thieves consisting of a “box man,” or a safecracker (Anthony Caruso), a driver (James Whitmore), and an all-important “hooligan” (Sterling Hayden) to execute the plan. The heist goes off without a hitch, mission accomplished. It’s smooth; uneventful, even. That is, until a stray bullet accidentally hits one of the crew members.

This is where the plot gets really interesting, as human nature and a slew of bad decisions rear their ugly heads. It doesn’t help that at the same time, sundry troubles that have been brewing alongside all the planning are coming to a boil. Soon, it’s every man for himself in a sticky web of deception, doublecrossing, and death.

The Asphalt Jungle is an exquisitely layered and calibrated drama that’s tough to turn away from — and tough not to appreciate. Written by Huston with Ben Maddow, the screenplay is tight. The characters — a collection of urban lowlife thieves, thugs, private detectives, crooked cops, and good looking dames — all have dimension. Interestingly, what would probably be the most intense scene in most movies — the break-in — isn’t; the intensity and the drama come from what happens after that. A manhunt that ends in Cleveland and an attempted swindle serve as the ticking clock here. This is the perfect thriller for a hot summer night in the city. Bonus: The Asphalt Jungle features a young but unmistakable Marilyn Monroe in one of her earliest roles.

In 2008, the United States Library of Congress deemed The Asphalt Jungle “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry (https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/).

With Jean Hagen, John McIntire, Barry Kelley, Teresa Celli, William “Wee Willie” Davis, Dorothy Tree, Brad Dexter, Helene Stanley, John Maxwell, Strother Martin, Jack Warden, Tim Ryan

Production: Metro-Goldwyn-Mayer

Distribution: Metro-Goldwyn-Mayer

112 minutes
Not rated

(Music Box) A-

Noir City

https://www.warnerbros.com/asphalt-jungle