Windbags
THE WINDS OF WAR
It's difficult to imagine anyone but a DVD reviewer sitting down to watch all 21 hours of THE WINDS OF WAR willingly. Ideally, I guess a willing victim would have to be a person would have very fond memories of the mini-series from when it was originally broadcast for three hours a night across one full week on ABC in 1983. But at such a length it is the equivalent of one full season of, say, ALIAS (to conjure up something actually entertaining), or two seasons worth of FRAZIER. What it is most like in the actual experience, however, is four weeks and one day's worth of an afternoon soap opera.
Not that THE WINDS OF WAR isn't hard to breeze through with judicious use of the fast forward button. Resting that digit against the FF allows the viewer to elide all the padding. If a German officer's car is shown wending its way up the verdant hills, you can fast forward as it drives on, pulls up to a mansion, a handful of soldiers get out, walk up some steps, enter a hall, hand over their coats, are led up some marble steps and ushered into a Great Room where Der Fuhrer sits seething. At this point you can hit "Play" again, having spared your life some two minutes. Any time you see someone arriving at a building, fast forward, because you know that director Dan Curtis is going to accompany that person on every step of their route from point A — the front porch — to point B — the room on the second or third floor where their host awaits them.
The source novel by Herman Wouk (pronounced "woke" as in, "He awoke from his nap to find the television still on") may be just as padded, but I will never know, as books are long and life is short. At 885 pages THE WINDS OF WAR looks like a snooze of Michnerian or Clavellian proportions, with tedious historical information pasted carefully between endless dialogue and transcripts of the characters' thoughts. But I assume that the mini-series is an accurate rendition of the source, as the author, in one of the supplements, allows as how he disdained previous adaptations of his work in movies such as THE CAINE MUTINY and YOUNGBLOOD HAWKE. But a mini series is the perfect vehicle for adapting such a long novel, especially given that the author seems to be in love with every syllable that has ever emanated from his mind. That about 10 or more of its hours could be easily excised but wasn't is testimony to the producers' loyalty to the irascible Wouk.
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Because make no mistake. Despite the prestige that bestsellerdom bestowed on THE WINDS OF WAR, it is a junk novel. You can tell by the clunky names. Victor "Pug" Henry (Robert Mitchum) is the naval officer attached to the embassy in Germany in the late 1930s, where he is positioned to observe the rise of the war machine for the benefit of the reader/viewer. Rhoda (Polly Bergen, with a twisty, Liza Minelli mouth) is his loud and vulgar wife. Palmer Kirby (Peter Graves) is the stolid diplomat with whom she has an affair. Pamela Tudsbury (Victoria Tennant) is the unlikely name of the plucky British girl with whom Pug has a chaste affair. Pug has been given a secret charge by FDR (Ralph Bellamy) himself to spy on Europe and send back secret reports, which takes him into the secret chambers of power; and one of his sons, Byron (!), played by Jan-Michael Vincent, is down in Italy chasing a difficult Jewish girl (Ali McGraw) whose visitation to a relative's wedding in Poland conveniently places them in harm's way on the day that Germany invades Poland based on a flimsy dispute over the proprietorship of Danzig (Gdansk). THE WINDS OF WAR is actually four movies rolled into one, and overlapping slightly. WOW will tell the story of Byron and his love-sickness over potential girlfriend for a couple of hours, and then switch over to Pug, focusing on either his political life or his private life, and then flip over to Hovering over all this is Hitler, played with lisping clownishness by one Günter Meisner.
But it is somehow if paradoxically appropriate that WOW the book should become WOW the movie, given that as Gore Vidal points out in his famous essay "The Top Ten Bestsellers According to the Sunday New York Times as of January 7, 1973," WINDS OF WAR, and indeed most popular books, are really influenced by the films the author saw in his formative years.
Vidal, who is not entirely unsympathetic to the book, points up (inadvertently) some of the differences between book and film. For one thing, Wouk presents Pug as being both deeply religious and almost rabbinically puritanical about sex both inside and outside marriage. Vidal explains that Wouk's interest in good old solid bedrock Americans is that they symbolize a "shield" between Wouk and the marauding Cossacks. But Vidal was born and raised among the very people Wouk is writing about and during the very time Wouk is writing about them and Vidal points out certain inaccuracies, such as that Annapolis grads were most unlikely to be Midwestern religious types (they were more cosmopolitan and likely to marry into wealthy families). But in terms of history, Vidal praised the book, for at the least, being "useful to simple readers curious about the Second War." But his overall thesis is that bestseller writers base their books on movies, not life, and thus rely on movie style actions that real people don't do.
As with the book, then, the movie is better when it is dealing with scenes of office politics back in the private ateliers of power. Though overdone as a character, Hitler is shown as a representative of the muddling middle classes who finally comes to power on par with the aristocrats who would normally pay him no mind. How he must have relished lording it over the Generals, the very men who must have once thoughtlessly sent him and his social class into suicidal battle. Now they stand before him and sweat profusely as he goes from cunning military strategist to hubristic land grabber. Overall, this is excellent stuff, except as entertainment.
I vaguely recall that when the mini-series was airing Tennant was the main attraction, at least among certain males of my acquaintance. She later went on to live with, and star in the movies of, Steve Martin. She is as annoying in them as she is here, the very parody of a British girl, derived from probably hundreds of movies about England during wartime. McGraw, on the other hand, is terrible, still playing a petulant princess out of a Philip Roth novel, film. Her line readings are agonizing. Interestingly, when you catch candid glimpses of her in the making of stuff on disc five, she seems attractive, girlish, and authentic, and you realize why guys from Robert Evans to Steve McQueen went gaga over her.
In any case, I have a theory as to why shows such as WOW prove popular. It has nothing to do with which every blonde or brunette the series highlights. It has to do with the fact that they are so bloated and padded that they are easy to watch. You can leave the room for a few minutes, come back, and not have missed anything. They deal in broad strokes and boring minutia at the same time, but only the broad strokes count, and in reality you only have to be attentive to about two of the 21 hours to know what's going on or be entertained. This is probably also true of the book, where the mind can wander for pages on end and not miss anything. WOW can play on and on in the background and not tax the mind, like a videotape of a fish tank or a fireplace.
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Paramount DVD has released a boxed set of the seven-part THE WINDS OF WAR with each of the six discs coming in individual transparent snap cases. The transfers have the inevitably muddy and dim brown look you get with network mini-series of the time, and the sound is a workmanlike DD mono. Disc five contains the supplements, which consists of four making ofs, "Making THE WINDS OF WAR," an introductory account of how the mini-series was shot, "A Novel for Television," about the difficulties of adapting Wouk's novel, "Cast and Characters," about casting the thing, and "On Location," about the logistics of making an international production. The most interesting person to turn up in the extras is the still exotic looking Barbara Steele, the one time horror queen of Mario Bava films, now a producer. Like the supplements on SHOGUN, it's all very self-congratulatory, although Peter Graves and a few others are frank about Dan Curtis's volatile temper. THE WINDS OF WAR hit the street on May 25, and retails for $89.95.
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If for some inexplicable reason you rent or buy this thing and become a WOW enthusiast, you can enjoy the wrap up in WAR AND REMEMBRANCE, which was originally broadcast in 1988 and based on Wouk's insta-sequel. It brings back most of the cast, except that McGraw's role is taken by Jane Seymour and Hart Bochner replaces Vincent (possibly because he went on to have a well-publicized drinking problem). Sharon Stone is also added to the mix. WAR AND REMEMBRANCE is available from MPI for $129.98.
Field of Dreams
THE TIN DRUM
In the extras for THE WINDS OF WAR, Dan Curtis takes time out to praise his First Assistant Director, a man named Branko Lustig, an Eastern European man who had been detained in a concentration camp as a child. Lustig (any relation to William Lustig?) also worked on SCHLINDLER'S LIST, as well as THE TIN DRUM, and DRUM's director Volker Schlondurff pauses in his audio commentary track also to praise Lustig for his fine multi-lingual AD capabilities.
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Based on a Gunter Grass novel, THE TIN DRUM is a family chronicle that stretches through the first half of the century. But instead of a grand old family, as in a Visconti film, it's a lower middle class German-speaking family in Danzig (now Gdansk). The focus is on young Oskar Matzerath (apparently an autobiographical variation on Grass himself, and played by the amazing looking David Bennent). At one point, little Oskar decides that he doesn't want to grow up, and so throws himself down the cellar stairs. This stunts not only his physical growth but also his emotional growth, so that he stays at the age of three through out the rise of Hitler and the Second World War (the novel continues beyond that point). Almost never without his tin drum (which symbolizes, apparently, his attachment to the heart beat of his mother, played by the alluring Angela Winkler), Oskar has an unusual talent: his scream can shatter glass. He puts this ability into play usually at times of crisis, such as when he observes his mother meeting her cousin for a bout of love in the afternoon.
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THE TIN DRUM is an altogether different approach to Europe in the pre-war years from Wouk's novel and mini-series. It's an earthy, lusty, comic story and to that end, it's fine. It is also heavily symbolic. Without having read the novel I assume that Oskar's growth stasis represents Germany's infantilism, although Oskar is not at all presented as a negative figure, indeed he is sympathetic, if viewed a little objectively. It's a film set in cold potato patches in rainy fields and in small I-shaped shops and rubble-strewn streets, in chaotic family rooms with everyone talking at once and weird tensions in the air. The film also veers into the odd or fantastical, with Oskar's mother committing suicide by over-eating fish, after a revulsion from seafood after seeing some eels retrieved from a sunken cow or horse's head (Grass did go on to write a novel based on the flounder folk tale). Later, Oskar has a form of affair with his new stepmother in some steamy scenes in a beach changing hut, scenes that contributed to the film's banishment from Blockbuster video shops. Oskar also ends up briefly with some circus people, where his glass breaking skills become a novelty act.
Though amusing and robust, the one thing that Schlondurff's film is not is an "apology" for German behavior during the middle of the century, though some reviewers and enthusiastic viewers seem to think it is. Perhaps that's because the film is set in the InterZone between Poland and Germany. Danzig was a major bone of contention among combating superpowers for a few centuries there, and in fact it was Poland's refusal to hand the city over to Germany that served as Hitler's excuse for the invasion of Poland on September 1, 1939, a day that figures significantly in THE WINDS OF WAR. In any case, as an art film it does contain settings and material that you feel like you've seen before. It's effective, but somewhat insiderish, for those intimate with the historical incidents the narrative is embedded within.
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I'm a little confused by the DVD history of this film. As far as I can tell, there was a Kino release of the film some time ago. It seems to contain the same audio commentary track as this new Criterion. This disc itself says only that it was originally recorded in 1998. There appears to be no laser disc of THE TIN DRUM, at least not one by TCC.
In any case, The Criterion Collection offers THE TIN DRUM in a new digital anamorphic transfer (1.66:1, enhanced) which looks quite nice and new. The soundtrack is a remixed DD 5.1 with an additional DD 1.0 audio, in German with what the box announces as newly translated English subtitles. Maurice Jarre's eclectic score is available as an optional isolated track.
The main supplement on disc one is Schlondorff's commentary track, which is highly entreating and educational. As I was listening to it, it suddenly dawn on me that this was a director track on a Criterion disc; usually they traffic in dead directors, so this seem fresh and alluring, despite being seven years old. Schlondorff gives up some gossip (two of the cast members had a chaste crush on each other which they could only express through their love scenes), and describes his early years, working for Malle, Melville, and others. His account of how Malle conducted himself on the set, and his own attitude toward pitches, should be hallmarks in every budding director's repertoire of helpful adages.
The second disc in this two-disc set has a wealth of offerings for fans of the film. First, there is about six minutes worth of deleted scenes, with no sound, but commentary by Schlondorff. Many of the images have to with the circus dwarves who figure in two major sections of the film.
There is also a 20 minute "making of" montage called "Volker Schlondorff Remembers THE TIN DRUM," with scenes, stills, and storyboards, which is followed by "Banned in Oklahoma" (32 minutes), Gary D. Rhodes's account of the film's banning by Blockbuster in that state, with sound-bites by a variety of people, most of them subtly ridiculed by the film.
In addition is "News From the Front," consisting of French TV clips about the events behind the film, "The Platform," a recording of Grass reading from the book with musical accompaniment, the film's original ending in text, a stills gallery, and the theatrical trailer. An eight-page insert includes chapter titles, transfer information, and essays by Grass and Eric Rentschler, a Harvard prof. The musical, animated menu offers 23-chapter scene selection. This dual-DVD keep-case went on the market May 18, according to DVDPlanet.com, for $39.95.
Confined to Quarters
DAS BOOT
Equally resistant to an "apology" for German warmongering — though again some viewers and reviewers seem to take it as such — is Wolfgang Petersen's DAS BOOT, his 1981 TV mini-series based on Lothar G. Buchheim's book, and a huge success in Germany. It's true that occasionally the crew of the submarine whose adventures the film recounts occasionally grouse about their masters back home and the Party, but they are still fighting on and remain loyal to their country's military mission. This is only hateful if you happen not to be German.
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Still, neutrally speaking, it's exciting stuff, superbly well shot by Leander Loosen, who practiced for weeks so that he could run through the set without tearing skin off his calves or ram the lens into overhanging pipes. As is well known, from the truncated theatrical release of the film version in the United States later that same year, the film concerns the last mission of the submarine whose captain (Jürgen Prochnow) leads his men on a cat and mouse episode that follows traditional submarine movie narratives (like women in prison films, submarine movies only have one basic plot). What's special about this disc is that it is the full five-hour version, adding on the extra two hours from the mini-series.
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With such a big movie on this two-disc set, Columbia Tri-Star didn't have much room for anything else. The extras consist solely of a six-minute promotional film made at the time, plus trailers for the film along with trailers for IN THE LINE OF FIRE and AIR FORCE ONE. The dual DVD keep case hit the street on June 1, retailing for $39.95.
A Real Trial
MR. KLEIN
Joseph Losey's MR. KLEIN is as non-existent as its main character, a Parisian art dealer who is benefiting from Jewish sellers who take a cut-rate price under the force of anti-Semitic laws. Klein (Alan Delon) seemingly gets mixed up with another, Jewish Klein and spends the rest of the film trying to elude the grasp of unimaginative officials while searching for the "real" Klein, in a kind of dry version of the usual Hitchcock "mistaken man" premise.
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From about the first 10 minutes you know where this film is going and how it is going to get there, rendering it almost as "invisible" cinematically as Klein's foe, who is stealing his identity and in essence trading places with him. This is an achingly slow-paced film, also, and though Delon is said to have thought it to be his best performance, he is so interior — and so banally evil — that nothing seems to be particularly at stake. Also, I would argue that the blandly Kafkaesque bureaucratic rituals are more suited to their original cloistered Eastern European setting than to the vivacious cosmopolitanism of Paris.
Be that as it may, Losey remains an increasingly important director, and the script, by Losey and co-writer Franco Solinas, is at least politically ambitious and complex. Home Vision Entertainment's disc of MR. KLEIN comes in a grainy widescreen transfer (1.66:1, enhanced) with what the box says is mono audio, with optional English subtitles. Extras consist of the U. S. theatrical trailer, dubbed into English and with a terrible, unreadable typeface, and a list of films for both Delon and Losey. The musical, static menu offers 24-chapter scene selection. Inserted in the keep case is a four-page brochure with chapter titles and an essay by Edwin Jahiel. MR. KLEIN hit the street on May 18th and retails for $19.95.
Camp Coördinator
THE ILSA COLLECTION
I've been waiting a long time to see ILSA SHE WOLF OF THE SS. It's the kind of film you hear about but no one you know has ever seen. It's been on tape for a long time, though, and though I guess I could easily have gone over to the shop and rented it, this DVD package from Anchor Bay is a much better introduction than by sweatily passing two dollars to an attractive, smirking vidstore clerkette, and then watching it in hunched, expectant, and disappointed solitude.
In any case, Anchor Bay has done a fantastic job with the Ilsa series, linked as a trilogy only by the presence of Dyanne Thorne. The company's release of these three films is a stupendous act of historical preservation for future generations curious to know what bizarre fantasies drove adults of the stranger hue back in the '70s.
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It's difficult to add anything to Joe Bob Briggs's exhaustive exhumation of ILSA as found in his essential book, PROFOUNDLY DISTURBING. So stop reading this and go get Joe Bob's book and absorb pages 166 to 185. All I can do here is offer a personal account of experiencing the film. As a fan of strong women in cinema, I was especially interested to see how the commercial mind of 1974 would handle an outright sadist. Ilsa is based loosely on Ilsa Koch, and the creators of the film throw in a little Joseph Mengele-style harebrained medical experiments to give the torture scenes some form of narrative justification. Thorne tries her best to be a cruel sadistic torturer, but her posturing doesn't get much beyond throwing her head back and glaring. Also, she doesn't enjoy the torture in a sexual way. She is motivated more by revenge and keeping her charges in line. Her sexual instincts are still "normal." Residents of the fable Other World Kingdom won't find a true icon here.
The torture devices are imaginative in their way. But a lot of stuff actually happens off camera (such as when Ilsa is begged of her commander to pee on him, in what may be an allusion to a common belief about Hitler's kinks: all we see is her disgusted face, while the sound of tinkle appears on the soundtrack). The tortured flesh we do see consists of naked go-go dancers drenched liberally in red syrup.
It's surprisingly tame, even turgid stuff for all the excitement that the films have generated. Somewhere, in someone's mind, there is a Platonically perfect Ilsa movie, but SHE WOLF, and its two sequels, sadly, are not it.
Each of the three films enjoys widescreen and enhanced transfers (1.66:1) that look about as good as they are going to, given the original shooting conditions, and the mono sound is at least adequate. Each disc comes with good extras. Dyanne Thorne is present on all three tracks, and she is an amusing presence, very funny and frank about the filmmaking process. On disc one she is joined by famed producer David Friedman and director Don Edmonds. For HAREM KEEPER OF THE OIL SHEIKS, she is joined again by Edmonds and by co-star Howard Maurer, whom she married. For the third disc, she is with Maurer again. All three discs are "moderated" by a British person billed as "humorist" Martin Lewis, which I take to be some kind of jokey allusion to Dean Martin and Jerry Lewis. Mr. Lewis seems to think that he is required to make MST3K jokes at the films' expense, but that doesn't really work, as all the participants are in fact quite eager to discuss the films seriously.
Each of the titles can be purchased individually, but true gore hounds will want the full set, if only for completion's sake. It goes for a mere $39.95, and hit the street on April 6th.
Arrest Development
COP LAND
If someone were to ask me to write one of those BFI monographs on modern classics I'd pick COP LAND. I love this movie. Interesting story. Great cast. Rich dialogue. Beautiful photography. An unusual and moving score (by Howard Shore). I am so obsessed with the movie that I even own the novelization (partly that's because I think it should have been a novel, or at least is novelistic in its density). It's a near perfect movie. Why no one went to see it still baffles me.
Peter Biskind writes about COP LAND a little bit in his recent book DOWN AND DIRTY PICTURES, his history more or less of Miramax, but what he says is inconclusive. I gather from the book that Miramax started to tinker with the film because it was too long and that maybe the company withdrew from it a little bit didn't support it as much as it could have. The writer and director, James Mangold, gives a very lucid account of where he came from and what the film is about in the interview that forms the introduction of the published screenplay, put out by Faber and Faber (ISBN 0 571 19425 7). Mangold is one of the smartest guys I've read when it comes to movies. More insight into filmmaking and the film business is packed into that short intro than in most full-length film books. I look forward to an F&F MANGOLD ON MANGOLD book someday when he's got two or three more films under his belt and made maybe an iconic monster hit.
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Mangold points out that he was in his mind making a western, even though the film is set in the mythical New Jersey town of Garrison, where a bunch of New York City cops have created, under the guidance of Ray Donlan (Harvey Keitel), a bucolic haven from the filthy streets of the city. Having conceived of such a town based on the city in which he was raised, Mangold asked himself who would be the most interesting character in such a city, and came up with the character of Freddy Heflin (Sylvester Stallone). Heflin is named after the star of 3:10 TO YUMA and SHANE, and Mangold is interested, he says in the interview, in making movies about people who change a little bit rather than to the drastic degree that most Hollywood movies demand. In any case, Heflin gets caught up in a case that challenges his dedication to the idea of being a cop.
Look at the cast in this damn thing. Stallone. De Niro. Ray Liotta. Robert Patrick. Peter Berg. John Spencer. Michael Rapaport. Annabella Sciorra. Janeane Garofalo. Cathy Moriarty. Eddie Falco even pops up in two scenes, and if you have seen THE GODFATHER, most Scorsese films, and THE SOPRANOS, other familiar faces will pop up. After all, it's a Jersey film. I'm just saying.
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Currently my favorite actor of the bunch is Liotta. He has some of the best speeches, and I love his "purge" speech in which he basically makes Freddy Heflin feel bad about himself so he can voice his philosophy of cleansing (which he himself is trying to do to a rather drastic extreme). But they are all great. De Niro gives a fantastic speech in Heflin's sheriff's office (a set, to my mind, patterned after the one in THE TIN START). Keitel also gives a fantastic speech (the man boy speech) near the end, and anybody who doesn't think that Keitel is one of our greatest living actors need only watch this short scene carefully.
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COP LAND came out on disc once before, but this one offers an anamorphic transfer of the 1.85:1 image, and a DD 5.1 audio track. It's also a reedited version of the film, restored to what Mangold wanted before the truncated theatrical release version, 116 minutes to the original's 105. There isn't much on the disc to actually tell you where the new or expanded scenes appear; you just have to be super familiar with the first version.
Mangold does help you out a bit by pointing out some of the differences on the superb audio commentary track that comes with the film. The film's producer, Cathy Konrad, Robert Patrick, and Stallone join him (this may be Stallone's first yak track, unless he appears on the CLIFFHANGER disc). If Mangold is a great guide through the making of the movie, so is Stallone, who has a wicked verbal facility and a real insight into what it is like to be an actor (the participants allude to the fact that Stallone and Garofalo didn't get along to well on the set, coming from different ends of the political spectrum). Mangold also provides some insight in the brief retrospective making of on the disc, and there is a storyboard to screen supplement (just under two minutes) that provides different storyboard panels from the ones included in the back of the published screenplay.
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Even though the film is "restored," there are still two left over deleted scenes, one between Stallone and Garofalo, and one elaborate sequence in which the cops of Garrison drop their softball game and go chasing a car full of black people. Both of these could easily be put back in the film, except that their image quality is somewhat less vivid than the other restorations, at least how they are presented here. Mangold mentions that the elements that went into the restoration were difficult to round up; even as recently as 1997 (the year that DVDs went on the market) film materials were not stored or archived.
COP LAND is an excellent package and instantly becomes one of the best DVDs of 2004. Miramax has done an excellent job with this DVD, and I hope now that the film might get the attention that it deserves. COP LAND hit the street on June 1 and retails for $19.99.
Family Ties
FLIRTING WITH DISASTER
Another director whom some film observers might have deemed the wave of the future was David O. Russell, who had made a minor splash with SPANKING THE MONKEY. His second film, FLIRTING WITH DISASTER, was something of an indie hit, but he didn't experience true prestige until THREE KINGS. Since then he has had an almost invisible career, appearing as a dinner guest at Susan Orlean's apartment in ADAPTATION, and producing this or that film.
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Seeing FLIRTING WITH DISASTER again after almost 10 years finds the film not as funny as it seemed at the time, and a comedy that descends into shrillness in its final fourth quarter. It still has historical interest (it established Ben Stiller as a slacker version of '50s Jack Lemmon), it gave the sadly underused Patricia Arquette a part, and introduced Tea Leoni to a wider audience (I'd been familiar with her from a TV sitcom called FLYING BLIND). Miramax has released it again along with other films, such as COP LAND above, to celebrate its anniversary.
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Whereas COP LAND used a testosterone spraying core of great male actors, FLIRTING uses a quartet of TV and sitcom stars (Alan Alda, Mary Tyler Moore, Lily Tomlin) to flesh out its cast, and they perform as is to be expected, with a blend of broadness and subtlety. It's an odd story — about an adopted guy searching for his biological parents so he can figure out what to name his newborn child — and I imagine that it must have been a tough sell. At the time, no one had attempted such a realistic-style farcical comedy in a while, and really the success of such a film is in the casting. This is something of a difficult point to make clearly but I think that by using so many familiar TV people in the movie it takes on a tarnished, ambitionless quality. But I could be wrong.
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There was an extras free DVD release of the film in 1999; this one comes with a fine widescreen transfer (1.85:1, enhanced, and with DD 5.1 and a French language track. There is no audio track, but there is a short promotional film made at the time, and a bunch of deleted scenes and two sets of what the box calls "humorous mistakes," one from the actual movie and one from the deleted scenes. As sometimes happens, the deleteds don't add much. FLIRTING WITH DISASTER comes in a keep case, hit the streets June 1, and retails for $19.99.
NEXT TIME: CITY OF GOLD, a couple of SPIDER-MANs, and more!
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