For much of the last month, a nation of millions has been glued to the television, awestruck as it witnesses the destructive power of nature and, in its aftermath, the shameful exposure of our society's inadequacies. It is times like these -- when we begin to doubt our institutions and leaders -- that we need to be reassured that all is well with the world and that, although the country we live in is going through a difficult time, it is a majestic nation that deserves to be celebrated.
Fittingly enough, the theme of this term's Dartmouth Film Society series is "From Scene to Shining Scene: America in the Movies," a group of films that analyze, romanticize and eulogize the American experience. It is by no means a consistently beautiful or saccharine portrait, but is an informative and accurate one. Heavy on the classics, this one should be a treat for students of cinema.
The series is the brainchild of Brendon Bouzard '06, Director of the Dartmouth Film Society and member of the Dartmouth staff. Asked about his inspiration for the series, Bouzard said, "I really love looking at the way different films and different filmmakers have imposed their own values and ideas as to what America means as a country; it's remarkable how fun and interesting a lot of the movies that have really explored that idea are." He has high expectations for this series; America is, in Bouzard's words, "the predominant force in world cinema, and also one of cinema's most popular topics." When pressed for personal favorites, Bouzard listed "Nashville" and "Imitation of Life" as two films he greatly admires, calling the latter "perhaps my favorite film of all-time."
Any cinematic examination of America would be incomplete without an entry from those eccentric experts on Americana, the Coen brothers. Sure enough, "Fargo," their acclaimed satire-cum-suspense thriller set in the Midwest, opened the series last Wednesday. It was followed on Friday by Spielberg's take on H.G. Wells' classic novel "War of the Worlds," with Tom Cruise playing the lead.
While Spielberg is arguably America's most popular filmmaker today, the title was once held by Frank Capra, a filmmaker whose impact on American cinema is so extensive that the word "Capra-esque" has been created to describe films similar to his. Frequent Capra collaborator Jimmy Stewart stars in many of the director's most famous works, turning in memorable performances almost every time. My personal favorite -- and the role that Stewart is most recognized for -- is his portrayal of Jefferson Smith, the plucky and idealistic young Scoutmaster-turned-Senator who, appalled by the rampant greed and corruption in Washington, seeks to turn the system on its head in "Mr. Smith Goes to Washington." A celebration of American democracy and clarion call to electoral accountability, "Mr. Smith" remains as relevant today as it was 65 years ago (and perhaps moreso, considering the timidity with which our current President's many blunders are challenged). If you aren't roused by Stewart's closing speech in front of the Senate, you have no pulse. Join Mr. Smith at 7 p.m. on Sept. 28.
Jimmy Stewart was also a lifelong friend of actor Henry Fonda, whom he met in a summer stock company and later roomed with in New York City. If you're a fan of Fonda -- the quintessential, all-American protagonist -- you're in luck this term. The DFS is playing "Young Mr. Lincoln," John Ford's biopic on the early life of the sixteenth President with Fonda playing "Honest Abe," and the legendary jury-room drama "12 Angry Men," with Fonda as the honest juror who refuses to delegate his civic responsibility to apathy and prejudice. The film is dialogue-heavy and the camera remains focused singularly on the 12 jurors, exposing their fears and character flaws in a span of 95 minutes. There are no explosions, car chases or awe-inducing twists near the end, but I guarantee that it will keep you on the edge of your seat the entire time.
"12 Angry Men" was director Sidney Lumet's first feature film, who directed many notable features after its success, among them "Network," a disturbingly prescient satire on reality television. "Network" details the fate of TV-news anchor Howard Beales (Peter Finch) who -- after being demoted due to falling ratings for his channel -- reinvents himself as a "mad prophet of the airwaves," telling people how to live their lives. Finch won an Academy Award for his portrayal but died before the ceremony; his Oscar was the first awarded to an actor posthumously. So if you're mad as hell and can't take it anymore, then chill out and go watch "12 Angry Men" at 7 p.m. and "Network" at 8:50 p.m. on Nov. 6.
Hollywood revisited the American dream this year and, in a rare occurrence, churned out two quality films dealing with the topic in vastly different ways. The first of these is Depression-era boxing film "Cinderella Man." Russell Crowe is Jim Braddock, a down-on-his-luck pugilist who returns to the ring to save his family and ends up embarking on a winning streak, eventually challenging the heavyweight champion of the world. The moviegoing public undeservingly maligned Ron Howard's boxing epic early in the summer film season, so here's your chance to give a superior film its due. "Cinderella Man" plays at 7 p.m. on Oct. 19.
A more contemporary parable of the American dream is found in "Hustle & Flow," starring Terrence Dashon Howard as a middle-aged pimp who dreams of becoming a rapper. A new take on a familiar story, "Hustle & Flow" feels fresh because of Howard's remarkable performance. It's hard to make the audience root for a violent, drug-dealing pimp, but Howard accomplishes the task with aplomb. This has been a fantastic year for Howard, who has enjoyed twin critical successes with "Crash" and "Hustle & Flow." Catch this up-and-coming star at 7 and 9:30 p.m. on Nov. 2.
David Cronenberg has built a reputation as a filmmaker with an eye for the dark underbelly of American society. While some may call him a more accessible David Lynch, this hit-or-miss Canadian director has a style all his own. His latest film, "A History of Violence," has Viggo Mortensen -- the tall guy with the big sword from those obscure films about jewelry and short folk -- as a small-town family man with a troubled history who becomes a local hero after committing a self-defense murder in his diner. The film was a success at Cannes earlier this year and is playing at 7 and 9 p.m. on Nov. 13.
From Martin Scorsese to Steven Spielberg, generations of influential filmmakers have cited John Ford's "The Searchers" as an inspiration for their own works. Scorsese claims to watch it once or twice a year. Spielberg said that it's one of the four films he makes a point to watch before making one of his own. For students of cinema, John Ford's vision of the American West in "The Searchers" is a source of unparalleled beauty; the breathtaking vistas of Monument Valley have never again been captured quite like this.
John Wayne -- in perhaps his best performance -- stars as Civil War veteran Ethan Edwards, who sets out in the aftermath of an Indian massacre to find the Indian chief who killed his family and captured his niece. He's joined in his quest by his half-Indian nephew Martin Pawley, whose naivet and idealism -- in addition to his breeding -- perturbs Edwards. A serious viewing of "The Searchers" is a sine qua non for any cinema devotee. Will Hollywood ever make a Western better than "The Searchers"? That'll be the day! Watch "The Searchers" at 7 p.m. on Nov. 20.
Other notable films playing this term include: "Maria Full of Grace" (Oct. 2), about a Colombian girl who becomes a drug mule to enter the United States; "Nashville" (Nov. 22), Robert Altman's viciously funny ensemble piece about politics, music and culture in small-town America; "Imitation of Life" (Oct. 30), a mother-daughter tale that touches on sensitive issues in American life; "Bonnie & Clyde" (Oct. 16), the landmark film about '30s gangsters Bonnie Parker and Clyde Barrow which Roger Ebert has called "a milestone in the history of American movies;" beloved musical "West Side Story" (Oct. 12), which swept the Oscars upon its release in 1961; and "Me and You and Everyone We Know" (Oct. 9), centering on the fantasy-tinged romance between a shoe salesman and a performance artist.
