Classics: 3 Halloween Features for the Faint of Heart By Lauren Ennis

The thrills and chills have begun and things are going bump in the night. That bewitching hour is upon us once again. Halloween is the perfect time to celebrate all things spine-tingling, but for some of us the horrors of Halloween are all fright and no fun. This week I’ll be turning the spotlight on three screen favorites that will help even the most faint of heart to get into the spirit of the season.

And you thought you had a weird family...

The Addams Family: They may be creepy, cooky, and altogether ooky, but the only screams you’ll hear with this family are screams of laughter. Adapted from an offbeat comic strip both the 1960’s television series and the 1990’s film franchise chronicle the comic exploits of the monstrously misunderstood Addams’. While the film franchise features the deadpan wit and darker sensibility of the original comic and the television series focuses upon family friendly humor, all adaptations capture the daily absurdity of life for the fiendishly fish out of water family. Through their gothic tendencies and passion for all things macabre the wonderfully warped clan make for a delightfully distorted satire of the modern American family. Even in the midst of family fun, however, the Addams’ deliver plenty of gothic goodies and wicked whimsy to go around. For a frighteningly good time for the whole family spend some time with The Addams Family.

That slight come hither stare, it's witchcraft...

Bell, Book, and Candle: The common complaint that ‘I married to/am dating a real witch’ is taken to a whole new level in this hit romantic comedy. Like its television counterpart Bewitched, Bell, Book, and Candle follows the mismatched romance between a modern-day witch and a hapless mortal. The film begins with sultry witch Gillian lamenting her boredom and desire for a new romance. When Gillian crosses paths with a school days rival out with her fiancé, Shepherd Henderson, Gillian sees her opportunity to enjoy some wicked fun. She then casts a spell to seduce Shepherd out of spite more than genuine attraction. Complications ensue, however, when she breaks the code of witchcraft and begins falling for her spellbound target. Combining Halloween hijinks with all the classic elements of romantic comedy the film is a delightful alternative for couples looking to get into the spirt of the season without the shrieks. The film reunites Vertigo costars James Stewart and Kim Novak, who manage to convey even more chemistry in this second outing. Together the pair create cinema magic with Stewart’s folksy everyman acting as an ideal foil to Novak’s supernatural sophisticate. With scene-stealing supporting performances from Jack Lemmon and Elsa Lanchester the film is guaranteed to have you screaming with laughter. For a bewitching viewing experience spend a spell with Stewart and Novak in Bell, Book, and Candle.

Now that's how you put on the Ritz!

Young Frankenstein: Madcap adventure plus mad science proves the formula for comedy gold in this Mel Brooks classic. The film follows strait-laced scientist Victor Frankenstein (that’s pronounced ‘Fronk-en-steen’) as he reluctantly takes up the family business. The story maintains the framework of the familiar Frankenstein tale with Victor traveling to the ancestral estate and following down his grandfather’s famous path of madness, mayhem, and monsters, but with the crucial addition of Brooks’ signature humor. As a result, the film aptly pays homage to the monster movies of the 1930’s while spoofing the classic horror genre. Led by Brooks’ regular Gene Wilder the film features an expert comedic cast that includes Terri Garr, Peter Boyle, Cloris Leachman, Madeleine Kahn, and Gene Hackman. Easily one of Brooks’ most outstanding efforts, the film has attained iconic status and continues to be referenced across popular culture. Combining classic horror and contemporary comedy this monster mash is a Halloween must.

Classics: A Review of The Talented Mr. Ripley By Lauren Ennis

Is it better to be a real nobody or a false somebody? It is this seemingly simple question that drives the 1999 thriller The Talented Mr. Ripley. Adapted from the 1955 novel of the same name, the film follows a working class young man as he uses his unusual talents to enter 1950's cafe society and the fatal lengths at which he will go to remain there. At once a subtle character study and a Hitchcockian thriller this twisted tale of the American Dream gone wrong is simply to die for.

A portrait of the sociopath as a young social-climber

The story begins with struggling pianist Tom Ripley (Matt Damon) filling in for another musician at a society gala. After the performance tycoon shipping tycoon Herbert Greenleaf (James Rebhorn) mistakes Tom for an acquaintance of his son, Princeton alum turned playboy Dickie. When Tom fails to correct the error Mr. Greenleaf offers to pay Tom to travel to the glamorous Italian Riviera and retrieve the errant Dickie (Jude Law). Tom eagerly seizes the opportunity, but upon arriving is immediately swept up into Dickie's world of fast living and easy money. As the summer draws to a close, however, both Tom's funds and Dickie's friendship are stretched to their limits. Determined not to give up his new lifestyle Tom concocts a scheme that puts his talents to the ultimate test.

Although the film's plot maintains the usual twists and turns of a thriller the film sets itself apart by relating its sordid story of money and manipulation from the villain's perspective. From the outset, Tom is portrayed as cunning, manipulative, and opportunistic; hardly qualities of a likeable protagonist. As the story unfolds, however, viewers experience the world through Tom's eyes and his desire for self-improvement and manipulation become understandable even as his actions escalate to the reprehensible. As a result, audiences are placed in the uncomfortable position of empathizing with a character that they would ordinarily condemn. This perspective lends the proceedings an additional layer of suspense as audiences become emotionally invested in Tom's fate as well as the grim fates of those around him. Less a tale of who done it than why was it done, film raises fundamental questions about identity, success, and society all while weaving a web of deception that will leave viewers guessing until its final frame.

The moment when three becomes a crowd

The world of Tom Ripley in all its gruesomeness and glamour is vividly brought to life by the talented cast. Jude Law charmingly portrays the equal parts carefree and careless Dickie. Gwenyth Paltrow turns in a dynamic performance as Dickie's fiance as she captures Marge's party gilr persona while hinting at the depth that Tom underestimates. Jack Davenport earns sympathy as Tom's deceived love interest, Peter. Philip Seymour Hoffman and Cate Blanchett steal each scene in which they appear as Dickie's charismatic best friend, Freddie, and witty socialite Meredith. Matt Damon proves himself every bit as talented as Tom Ripley as he conveys the easy charm, inner torment, and desperate drive that define the elusive Tom.

The adventures of Tom Ripley make for a thought provoking thriller that will leave viewers questioning even themselves. Through its intricate plot, intelligent script and superior performances the film relates a masterful tale of classic suspense. For a guaranteed thrill ride join the scheming, social climbing, and sociopathic but ever talented Mr. Ripley.

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Classics: Three Modern Movies to Cure Your Classic Film Craving By Lauren Ennis

Over the course of the last century cinema has become one of the surest signs of the times through its ability to act as a visual chronicle of changes in fashion, technology, and social norms. Films have related stories that explore a myriad of social and political issues as well as all of the conflicts and emotions of the human experience. In spite of the ways in which cinema brings people together, film fans remain divided as many movie buffs maintain a firm focus upon modern releases while others cling to the classics. Fortunately for film fans everywhere, a number of recent releases have combined the magic of movies past and present to create a uniquely universal viewing experiences that truly have something for everyone.

Move over Fred and Ginger

La La Land: After experiencing a decline in popularity during the 1960's, movie musicals were back on the cinematic map starting in the early 2000's. While the majority of these modern musical films subverted and added twists to the genre, 2016's La La Land used classic musical conventions to tell a thoroughly modern tale. the story follows an aspiring actress and struggling jazz musician (Emma Stone and Ryan Gosling) as they follow the road to both romance and stardom in modern L.A. Even as the couple navigate the pitfalls of life and love in contemporary Tinseltown, they still sing and dance their way into audiences' hearts in a style befitting Ginger Rogers and Fred Astaire. Whether they are sharing a fantasy dance sequence worthy of Gene Kelly or singing jazzy tunes that would be at home in The Umbrellas of Cherbourg, the film's leading couple exude classic cool. The film even includes references to a diverse array of classic films ranging from Funny Face to Jules and Jim. Wile the film pays apt tribute to cinema history, La La Land remains firmly planted in the fast paced and fickle world of modern showbiz. In this way, the film tells a universal tale of the struggle to find love and success that will resonate with audiences of any generation. For a timeless story tat is guaranteed to get your toes tapping pay a visit to La La Land.

Sometimes words just get in the way

The Artist: Cinema's silent era reached its end with the rise of talking pictures in the late 1920's...or did it? In 2012 moviegoers partied like it was 1929 with the release of the surprise critical and commercial hit The Artist. Filmed in glorious black and white with just one line of dialogue, The Artist that a picture is worth a thousand words even in the new millennium. The film chronicles the parallel careers of a fading silent star (Jean Dujardin) and the budding 'talkie' starlet who loves him (Berenice Bejo). The film poignantly explores the struggles of silent stars at the dawn of the sound era with an eye towards the fleeting nature of fame in an industry that is always on the lookout for the next big thing. The vintage cinematography combined with eye-catching costumes and sets transports viewers to the razzle dazzle of the roaring twenties. Simultaneously the intelligent script and nuanced performance ensure that the film has just enough of a modern feel to engage today's viewers. At once a contemporary commentary on aging and celebrity and a celebration of classic cinema The Artist is a silent film with a lot to say.

Round up the usual suspects!

The Good German: Film noir is a genre that while difficult to define is easy to recognize and tempting to imitate. Decades after the genre's heyday in the 1940's and 1950's, studios around the glob have continued to release films that showcase a dark sensibility and grim charm that is directly reminiscent of classic noir. The 2006 film The Good German takes its homage to noir a step further and relates its gritty post-war tale of greed, corruption, and betrayal using authentic post-war production values. The film follows a Humphrey Bogart-esque American war correspondent (George Clooney) as he searches for a former flame (Cate Blanchett) amidst the wreckage of post-war Berlin. The closer that he comes to reuniting with his lost love, however, the further that he is drawn into a convoluted web of state secrets, war crimes, and murder. The film accurately portrays the desperation of a haunted post-war Europe with an added grit that would have been strictly verboten under the restrictions of noir era censors. As a result, the film is able to explore such issues as sexual exploitation, post-war poverty, and the horrors of Nazi Germany with a frankness that films like Casablanca and The Third Man could only hint at. In this way, the film captures both the dark spirit of noir and the bleak reality that fueled it. For a Valentine to vintage noir guaranteed to thrill modern audiences, make a date with The Good German.

Classics: A Review of Camille By Lauren Ennis

What is love worth? Is its value so great that it can compensate for the loss of one's social standing, family, friends, and even one's physical well-being? Or is it just one more thing to be measured in dollars and cents? These are the questions that lie at the heart of the 1937 romantic drama Camille. Adapted from the play of the same name, which was in turn adapted from the novel La Dame Aux Camelias, the film chronicles the doomed romance between a consumptive courtesan and her naive young suitor. After numerous retellings this film remains the best remembered and one of the best renditions of the timeless tale of love, loss, and redemption.

Positively swoon worthy

The story begins in 1800's Paris as the always generous and ever in debt courtesan Marguerite Gautier (Greta Garbo)searches for a new patron. While at the opera a fellow courtesan arranges for Marguerite to meet Baron de Varville (Henry Daniell), whose fortune could easily finance her mounting debts and medical bills. Fate intervenes, however, when she mistakes handsome young Armand Duvall for the Baron. Although the two are immediately drawn to one another, she refuses Armand's attentions and begins an affair with the more financially stable Baron. The pair are eventually reunited, however, and Marguerite realizes that the Baron's wealth cannot fill the void in her life. She then retreats the the country with Armand for an idyllic summer during which happiness finally appears within her reach. The couple are not able to hold reality at bay forever, however, and soon find themselves haunted by the same social pressures and threat of illness that they had fled in Paris. Events are then set in motion that determine the fates of both Marguerite and Armand.

The film sets itself apart from many other romantic dramas through its realistic portrayal of romance. while many romances present flawless couples overcoming overwhelming odds, Camille idealizes neither its protagonists nor the circumstances surrounding their relationship. From the outset, Marguerite and Armand are faced with such hazards as jealousy, financial difficulties, to insecurity, and physical illness; all of which are problems which couples continue to face today. both are also shown to be grappling with their own flaws as Marguerite struggles to overcome her bitter cynicism while Armand tries to conquer his jealousy. As a result, the pair, while likeable, are also all too relateable. The film also makes no attempt to glamorize Marguerite's profession, instead focusing upon the emotional, social, and physical toll that life as a courtesan has taken upon her. The story even extends its realism a step further by showing the ways in which her past threaten not only her own hopes for the future but Armand's as well.  As a result, the film presents a balanced view of its romance which, while idealistic and passionate, remains firmly grounded in a less than ideal reality. It is this same realism that elevates Camille beyond the confines of a standard period romance to the universal tale of self-sacrifice, and redemption that continues to resonate today.

The by turns glittering and gritty world of nineteenth century Paris is vividly brought to life by the exemplary work of the cast. Lenore Ulric perfectly captures the spitefulness of Marguerite's chief rival, viperish courtesan Olympe. Laura Hope Crews, in a stark departure from her more famous role as prudish Aunt Pittypatt in Gone With the Wind, is hilariously vulgar in her performance as aging courtesan Prudence. Jessie Ralph and Rex O'Malley are endearing in their roles as Marguerite's dedicated maid, Nanine, and Armand's playboy best friend, Gaston. Lionel Barrymore and Henry Daniell turn in complex performances as the calculating Baron and Armand's disapproving father. Contemporary reviews called Greta Garbo the greatest Camille since Sarah Bernhardt and it is easy to see why. Garbo brings the Marguerite of the original novel to the screen with all of her contradictions fully intact. Throughout her layered performance she shifts from Marguerite's carefree and mercenary persona to her damaged but still idealistic true self without striking a false note. Similarly, Robert Taylor turns in a performance that equals his leading lady's as he conveys Armand's naivete and devotion without allowing himself to be reduced to a secondary love interest or plot device. Together, the two light up the screen with a dazzling chemistry and raw emotion that places them among the most memorable pairings in cinematic history.

Greta Garbo's first talking picture, Anna Christie, was released with the tagline "Garbo Talks!"; Camille could have been billed with the tagline "Garbo Transcends". Through the performances of Garbo, Taylor, and the rest of the stellar cast and an intelligent script Camille puts the classic in classic Hollywood. Join Greta Garbo and Robert Taylor for an affair to remember in Camille.

Classics: A Review of Vice Principals By Lauren Ennis

The backpacks are out and the buses are in gear; it must be that back to school time of year. To commemorate this bane to teachers and students everywhere I'll be turning the spotlight not on teachers or students but school administrations. To honor those unsung hallway heroes I'll be reviewing the hit HBO comedy series Vice Principals. Easily one of the most outrageously funny things on television the series sends up all things high school with enough shenanigans of its own to ensure that it more than makes the grade.

Setting an example

The story begins with vice principals and polar opposites Neal Gamby (Danny McBride) and Lee Russell (Walton Goggins) vying for the position of principal following the retirement of their boss. Misanthropic Gamby assumes that his years of experience will guarantee him the position while charismatic Russell relies upon his con-man's charm to lead him to victory. Both are shocked, however, when they learn that neither of them will become principal, and the school board instead hired district outsider Doctor Belinda Brown (Kimberly Hebert Gregory). Confronted with an adversary that neither can conquer alone Gamby and Russell form an unholy alliance that marks the beginning of a hilarious if not exactly beautiful friendship.

After decades of draining high school dramas, Vice Principals' darkly comedic approach earns the series an 'A' for originality. Through the over the top hijinks of Gamby, Russell, and company the series aptly captures the modern public school system at its most absurd. From the inefficiencies of PBIS, to easily outmaneuvered standardized tests, to school spirit run amok, nothing in the school system is safe from the script's scathing wit. even in the midst of its wonderfully warped plot the series greatest strength lies within its characters which allow the script to subvert such tired stock types as the overzealous dean, the charismatic 'cool' teacher, and out of touch Vice Principal and transform them into the stuff of comedy gold. With an anarchic spirit that gleefully tramples over every rule of political correctness the series breathes new life into dusty classroom cliches and sets a new standard for school comedy.

Through two seasons the series delivers countless laughs thanks to the expert work of its cast. Susan Park earns sympathy in her role as Russell's put upon wife, Christine, while Busy Philipps is appropriately snarky as Gamby's ex-wife. Maya G Love and Shea Wigham are endearing in their portrayals of Gamby's awkward teen daughter and his ex-wife's too good to be true new husband. Georgia King personifies the girl next door as idealistic English teacher Amanda Snodgrass. June Kyoto Lu is a force of nature as Russell's viscous mother-in-law, Mi-Cha. Edi Patterson is pure dynamite as unstable math teacher, Miss Abbott. Kimberly Hebert Gregory portrays Doctor Brown with a charisma and comedic timing that ensure she is every bit Gamby and Russell's match. Even in the midst of stellar supporting performances, the series belongs to Danny McBride and Walton Goggins as Gamby and Russell. McBride is riotous in his turn as socially inept curmudgeon Gamby and the perfect foil to Goggins' hilarious performance as charming sociopath Russell. Together, the two form a pairing to rival the greatest of comedy duos.

Part buddy comedy and part school satire, Vice Principals is one hundred percent wickedly witty. Through its uproarious script and expertly comedic performances the series is guaranteed to have students and teachers laughing their way into a new school year. For a lesson in comedy join Gamby and Russell in Vice Principals.

Classics: A Review of the Guernsey Literary and Potato Peel Pie Society By Lauren Ennis

Throughout the ages stories have brought people together, even as everything around them threatens to tear them apart. In the recently released The Guernsey Literary and Potato Peel Pie Society, it is the shared passion for books that binds a local club together and provides them with strength and solace as they endure enemy occupation. Over the course of the film, the characters find friendship, love, courage, and redemption all between the covers of the books that they share with one another. The Guernsey Literary and Potato Peel Pie Society, is an uplifting tale of the importance of stories and the power that they hold when we share them with one another.

I don't think we're at Downton anymore, Toto

The story begins with writer Juliet Ashton (Lily James) enjoying literary success in post-World War II London. Despite her new found wealth and commercial popularity, however, she yearns to write something serious that will address the war-time traumas that she and those around her continue to cope with. she soon finds a kindred spirit with the arrival of a chance letter from Dawsey Adams (Michiel Huisman), a pig farmer living on the island of Guernsey and fellow book lover. Inspired by the tales of her new pen pal's struggles during the German occupation of Guernsey she travels to the island with the hope of meeting Dawsey and the colorful members of his local book club, the Guernsey Literary and Potato Peel Pie Society. Upon arriving she is dismayed by the guarded reception she receives from the society and the ways in which the island remains haunted by the impact of war. In an effort t shed light upon the trials and resilience of the people of Guernsey she resolves to write about the occupation. During her research she stumbles upon the disappearance of the society's founding member, Elizabeth McKenna (Jessica Findlay Brown). As she becomes embroiled in the mystery surrounding Elizabeth's disappearance Juliet becomes drawn into the lives of Elizabeth's fellow society members, in whom she finds a community of both fellow book lovers and fellow survivors. By the end of her visit Juliet learns invaluable lessons in life, love, and literature that allow her to move forward with a life in which she neither forgets the toll of war nor allows herself to be defined by it.

Through its portrayal of the fictional Guernsey Literary and Potato Peel Pie Society, the film showcases the all too real tragedy of the occupation of Guernsey while reminding us all of the universal power of books to shed light even in the darkest of times. Through the experiences of its eclectic cast of characters the film explores both the immediate and lasting effects of World War II in England ranging from poverty and wreckage to broken families and shattered lives. While the film conveys the horrors of both the London blitz and the occupation of Guernsey the script remains firmly focused upon not upon the atrocities committed by the Nazis but instead upon the resilience and courage of the British people. As a result, the film acts not as a bleak chronicle of the traumas of war, but instead as an inspiring testament to the ability of the human spirit to rise above that trauma.

Now that's my idea of a book club!

The film also compellingly relates the power of books. For both Londoner Juliet and the residents of Guernsey books provide a refuge and a community. During the war both Juliet and the society look to literature for an escape from the outside world that is crumbling all around them. It is within the pages of books that they each find the hope, strength, and courage to carry on. For the society, books also provide a crucial sense of camaraderie and community amidst the isolation of occupation, which continues to bring them together after the war. It is this same community spirit that draws Juliet out of her solitude in London. Through the simple act of enjoying and sharing stories each of the characters is able to sustain their own inner light while inspiring one another to stand in solidarity against the darkness surrounding them. At once a tribute to the resilience of one group of people in the face of war and a universal tale of the power of literature, The Guernsey Literary and Potato Peel Pie Society is an inspiring story to share with your own community.

The film brings the best-selling novel it is based upon to vibrant life through the uniformly excellent performances of its ensemble cast. Lily James personifies loveliness as she aptly captures Juliet's warmth and intelligence. Michiel Huisman makes for an admirable hero as morally upright and self-sacrificing Dawsey. Jessica Findlay Brown is nothing short of inspiring as the passionate and courageous Elizabeth. Penelope Wilton movingly conveys the toll of war as the steely but damaged Amelia. Tom Courtenay and Katherine Parkinson are delightful in their comic turns as irreverent Eben and eccentric Isola.

The Guernsey Literary and Potato Peel Pie Society is compelling testament to the power of sharing both written and personal stories to bring and keep people together even in the most adverse of circumstances. A historical film with lessons that hold resonance today, the film takes viewers onto an enlightening journey into the hearts of its characters. Through an intelligent and emotionally resonant script and superb performances, the film weaves a masterful tale tat will remain with viewers long after the final credits fade. For an uplifting journey with inspiration to spare, enroll in The Guernsey Literary and Potato Peel Pie Society.

Classics: A Review of Lust for Life By Lauren Ennis

One of popular culture’s most enduring images is that of the tormented artist. As a result, it comes as little surprise that one of Hollywood’s best biographies chronicles the life of one of the most iconic tortured artists; nineteenth century painter Vincent van Gogh. Famous for his art and infamous for his struggles with mental illness, van Gogh’s tragic life is brilliantly brought to the screen in the 1956 Oscar winning film Lust for Life. A true feast for the eyes, Lust for Life is at once a testament to the artistic spirit and an apt portrait of one of the men who personified it.

Now where have I seen that face before?

The film begins not with van Gogh’s art, but instead with his early efforts to resist becoming an artist. After suffering a humiliating failure when he attempts to follow in his clergyman father’s footsteps as a minster he finally becomes determined to serve humanity through his art. The film then chronicles his efforts to establish himself as a painter and his introduction to the dazzling world of the belle époque art scene. As his skill on the canvass increases, however, his personal life deteriorates into a downward spiral of mental illness. Throughout the tumultuous phases of his life, however, one constant remains; his fundamental belief in the beauty of the world around him and his inherent need to capture that beauty on canvass.

Although the film follows the standard biography format it stands apart from other biopics in its complex approach to its subject. While many biopics will glorify a subject and minimize their flaws Lust for Life maintains a firm focus upon van Gogh the man rather than van Gogh the artistic icon. As a result, the script’s van Gogh is a man audiences can immediately relate to and sympathize with as he struggles against everyday obstacles ranging from unrequited love, to mounting debt, to his inability to launch a successful career. The portrayal of the artist’s often fraught personal relationships particularly resonate in their refusal to present him as either a victim or a villain. Similarly, his struggles with mental illness are rendered with a surprisingly modern sensitivity and nuance. Perhaps the script’s greatest strength is its emphasis upon van Gogh’s work and the dazzling visuals which highlight the sources of inspiration surrounding him. In this way, the film brings the world of the artist to vivid life while reminding viewers why his work has continued to endure into the twenty-first century.

No one paints the town red quite like an artist

The uniformly excellent work of the film’s cast brings the world of van Gogh to vibrant life. Kirk Douglas is a revelation in his layered portrayal of the complex, contradictory, and all too human artist. Anthony Quinn is a force of nature as van Gogh’s brash colleague and rival Paul Gaugin. Pamela Brown perfectly captures the world weariness that has hardened van Gogh’s prostitute love interest, Christine. James Donald and Toni Gerry keep the often larger than life van Gogh grounded as his understanding brother and sister-in-law.

Through its subtle portrayal of the complex personal and professional tapestry of van Gogh’s tumultuous existence Lust for Life breathes vital life into its historical subject. As an apt portrait of both van Gogh the artist and van Gogh the man the film is a true work of art. Through its compelling script and engaging performances the film brings the life and times of van Gogh to the screen with all the vibrancy and emotion of one of his paintings. For a true cinematic masterpiece look no further than Lust for Life.

Studios are for slackers