DID YOU READ

On DVD: “Joy House,” “The Witman Boys”

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08052008_joyhouse.jpgBy Michael Atkinson

We’ve been trained nowadays to believe that if a mainstream movie is not a monstrous, definitive, top-heavy, eye-blasting, eardrum-bruising mega-event, it’s not worth seeing. Gone are the cultural aesthetics of the double bill (in which no one film was so commanding that it couldn’t stand to be immediately followed by another), the moviegoing habit (when diversion, charm and story were all moviegoers wanted, every weekend) and the notion of a film’s nature, like a person’s, being valued for modesty, lightweight pulpiness, empathic thrills in the moment and the pleasant company of beautiful and confident movie stars. Stuck in the summertime hell of superhero crapola and CGI migraines, it’s not hard from where I stand (which is, frankly, still a state of bedevilment about how the typically abbreviated and overwrought non-storyness of “The Dark Knight” has so many educated viewers bamboozled) to find relief in the forgotten matinee fodder of a less bombastic time. This week, it’s René Clément’s rather delightful 1964 suspenser “Les Félins” (The Felines), titled here (after the American pulp paperback it was based on, by prolific noiriste Day Keene) “Joy House.” There’s not much that’s earth-shaking about “Joy House” (except perhaps Lalo Schifrin’s pre-Jerry Goldsmith score). But it’s a movie in a way movies haven’t been in a long time: graceful, relaxed, fun-loving, unpretentious.

What you get is Alain Delon in his best persona — a ne’er-do-well playboy flitting around the Mediterranean looking for cash and ass, not unlike his Tom Ripley in Clément’s “Purple Noon” four years earlier. He’s targeted by a jealous American gangster — bring me the head of Alain Delon, literally — and escapes into the opulent Riviera clutches of icy widow Lola Albright (a stunning blonde from Akron whose résumé is otherwise comprised of cheap westerns and episodic TV) and her dewy, bubbly cousin-cum-maid, played by a pristine 26-year-old Jane Fonda at the onset of her French phase. Delon’s hired as a chauffeur — the kind whose driving is seriously impeded by his penchant for hiding under the steering wheel whenever gangsters walk by — but both the chateau-owning widow and the adorable but possibly unhinged kewpie doll have other cat-and-mouse plans for the wandering hunk, and it’s got to do with murder, swapped identities, set-ups, and so on.

It’s the kind of American pulp French filmmakers have always loved: the kind in which not one character has an iota of honesty or morality to them. This is my idea of escapism, hanging in an absurd vacation-France inhabited by nuns and sex kittens, digging the redoubtable chemistry between Fonda and Delon (honestly, Fonda’s so game and sexy here she’d muster chemistry with Fernandel), enjoying the stars’ indulgent wallow in the Riviera as I’m also casually and effortlessly following the not-too-fast narrative without the benefit of a single optical effect or a single moment where the film insists on “making” me “feel” the action. (When an on-the-run Delon hazardously flags down a passing truck, Clément hangs back and just watches the actor literally leaps on the grill.) “Joy House” is not a great film (it’s not as rich as the Patricia Highsmith-derived “Purple Noon”), but it is pure movieness, un-self-important and respectful and sweet, and I’d prefer watching it again to sitting through another $120 million comic book holocaust.

08052008_witmanboys.jpgOn another planet, and not one immune to a degree of pretension, the overlooked Hungarian film “The Witman Boys” (1997) grimly lays out the growth, like mold, of family psychopathy, and of its kind (think “The Sailor Who Fell from Grace with the Sea,” any number of Claude Chabrol films, and the numerous movies based upon the Papin sisters) it’s an expert, reserved, thoughtful piece of work. There’s a predictability to it, of course, as we observe the titular brothers (Alpár Fogarasi and Szabalcs Gergely, both of whom could pass for John Lennon progeny) react to their tyrannical father’s death by not reacting at all, and then begin torturing and killing animals (mostly off screen), and then fall under the spell of a whore who encourages them to thieve from their mother (the always mesmerizing Maia Morgenstern) and eventually edge over into homicide. Still, the stars of the show are director János Szász and cinematographer Tibor Máthé (Ildikó Enyedi’s D.P. and maybe the best unemigrated shooter in Eastern Europe); “The Witman Boys” is set in a small turn-of-the-century Hungarian city, a chilly mess of snow, oil light, stray dogs and smoky air, and it’s breathtakingly shot, in glowing earth colors and magic-hour luminescence, like Wyeth meets Vermeer meets Sargent. The cold story may be familiar, but the place and time is evoked so clearly it becomes a sense memory.

[Photos: “Joy House,” MGM, 1964; “The Witman Boys,” Bunyik Entertainment, 1997]

>”Joy House” (Koch Lorber) is now available on DVD; “The Witman Boys” (Facets) will be available on DVD on August 26th.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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