DOUBLE INDEMNITY (1944)

* * * *

D: Billy Wilder (Barbara Stanwyck, Fred McMurray, Edward G. Robinson)

PG, b/w-107m, USA

Tagline: From the Moment They met it was Murder!

How could he know that murder could sometimes smell like honeysuckle?

Based on James M. Cain's 1943 classic novel, this sordid tale of an ice-cold housewife who conspires with an insurance salesman to kill her husband scores on every level. Barbara Stanwyck sets the bar high with her portrayal of a heartless femme fatale. She wasn't conventionally beautiful, but she's so compelling in personality and perverse sensuality ("That's one honey of an ankle bracelet."), that it doesn't matter. No one equals Phyllis Dietrichson, in presence and genuine evil, with a few exceptions (Mattie Walker (Body Heat, 1981), Bridget Gregory (The Last Seduction, 1994).

Perfect film. Even with the silly blonde wig, Stanwyck is the ultimate femme fatale. The dialogue is brilliant: sharp, cutting, and hilarious. McMurray wasn't known for his villain roles (except in The Apartment), but he's completely believable as a smart schemer who underestimates the ones who can really do him damage.

The latter even gives a sly nod to Indemnity's characters' names. E.G. Robinson steals the show as their unwitting nemesis. The script just crackles.

CHARIOTS OF FIRE (1981)

* * 1/2

PG-13, C-124m, UK.

D: Hugh Hudson. Ian Charleson, Ben Cross, Ian Holm, John Gielgud, Dennis Christopher.

Tagline: With Wings on their Heels and Hope in their Hearts

This is a "nice", inoffensive film about two British track athletes competing in the Paris 1924 Olympics. Some people LOVE it for its message of good sportsmanship and standing up for your beliefs. If you're like me, you'll... enjoy some parts (esp. the iconic running on the beach scene), but be bored the rest of the time. There's no real conflict. It's just... nice.

I found the main conflicts of the story to be ordinary and easily resolved. One is that Scotsman Eric Liddell, a devout Catholic minister and

And worst of all, THIS beat Raiders of the Lost Ark for Best Picture?! *sobs* I know, action pictures don't generally win Best Picture, and it's a shame. Raiders is more an action movie - it's a classic. If Raiders couldn't win, then the other contenders would have been a better choice, IMO. Reds was well-made and probably deserved to win. On Golden Pond (maybe - haven't seen it). Atlantic City was good, but not "Best Picture" IMO. Perhaps I would have liked Chariots of Fire better if it hadn't won Best Picture - my expectations were too high, and I was looking for something that wasn't there.

That being said, Chariots of Fire is a polarizing film. Love it or hate it. Make the call.

THE AMERICAN (2010)

* * * *
R for violence, sexual content and nudity, 105m, USA

D: Anton Corbijn (George Clooney, Irina Björklund, Johan Leysen, Paolo Bonacelli, Thekla Reuten)

This is a fantastic thriller in the spirit of Hitchcock and suspense films of the 1970's. George Clooney is Jack (notably without a surname), a lonely hitman hiding in Italy, waiting to carry out one last assignment before retirement. And everyone knows what a great retirement package the Mafia offers. This isn't the Mafia, but might as well be. In the beginning, Jack makes a casual, yet shocking decision that demonstrates his coldly pragmatic nature. And he's prepared to do it again, if with some regret. But there are no tears or railing against fate - he accepts the risks and deals with them. At one time, he had been at the top of his game, but time and weariness are taking their toll. He knows it's time to quit. After a disastrous incident in Sweden, Jack seeks out his boss/mentor, who advises him to stay low in a small Italian village and not to make any "new friends".

But this particular loner can't help himself. Despite his brusque manner, people sometimes seek him out, like the almost aggressively friendly Father Benedetto, who offers a companionship that's both comforting and unnerving. He appoints himself as Jack's conscience, even without knowing the details of his past. He also has a secret of his own, so he is not completely unsympathetic to a fellow human in conflict.

"You have done much sinning," he observes at one point.

"All men are sinners," Jack tells him, "Everything I've done I've had good cause to do."

"A man can be reached if he has God in his heart."

"I don't think God's very interested in me, Father," Jack replies.

"You cannot deny the existence of hell. You live in it. It is a place without love."

The two men respectfully disagree with one another, but there is a fragile bond between them as they share a meal and take walks together. Jack needs this connection, as well as the one he finds with Clara (Irina Björklund), a local woman he meets in a brothel, the only place he feels safe in meeting women. No demands, no questions.

This is not an action film so much as a character study with a sense of dread. But the tension is almost unbearable, with any sudden sound a "BOO!" moment. The stealthy, menacing way the camera follows our protagonist, it's like the viewer is an assassin as well, giving them a most uncomfortable point of view. What if he turns his head? Notice that I don't call Jack a hero - he's definitely too amoral to be heroic, but isn't evil in the sense that you'd expect. He doesn't seek out trouble or kill for pleasure. It's simply a job to him. One might suspect that he wouldn't be good at anything else, except tinkering in a garage. Not that he would spend all that time building cars. Maybe he'd build cool gadgets, like Q in the James Bond films.

For me, it was a very interesting look at a questionable profession. It's largely due to Clooney's no-frills performance that we see Jack for what he is. We do not need to see the path of bodies in his wake, or constant gore to know that he's very dangerous. We get a private tour of a hitman's existence and what it's like to constantly be on edge, trusting no one, let alone love. A gun in a woman's handbag - is it for protection or something more sinister?

Imagine even the most banal conversation -- it could be in code - or not. I thoroughly enjoyed the shorthand rat-a-tat rhythm of the dialogue between Jack and a beautiful female assassin (Thekla Reuten) as they negotiate terms for a customized weapon that is needed for a special job. They don't waste words. James Bond would have been all over this woman like blanket. How predictable. Jack treats her as a colleague -- polite, professional, and someone to respect as a potential enemy.

We get the feeling of Jack as an outsider - a not-completely detached observer - watching the human parade pass him by and know with some regret that he can never join them, or even visit for a while. Is redemption possible for him? Yes, but not quite in the way he expects.