Such sentiment, spoken early in the film, sums up The Candidate's position on politics, not to mention my own. Robert Redford plays the title role, a fresh-faced kid and son of a former governer goaded by a group of campaign strategists (namely Peter Boyle) into running against an "unbeatable" Republican nominee for the U.S. Senate. With nothing to lose, he starts off by running the campaign by his conscience and the seat of his pants, but eventually it all gets away from him as the machine takes over. Much like Network, this satire on an American institution continues to gain relevance instead of lose it. The scene of Redford finally losing his mind stands as one of cinema's most classic moments. Plenty of one-liner gems only add to the majesty of the film.
In the film, Polanski plays a quiet man who moves into a small apartment recently vacated by a woman who committed suicide by jumping out of the window -- for unknown reasons. Polanski's Trelkovsky quickly becomes embroiled in mysterious goings-on, including a dalliance with a stranger (Isabelle Adjani) he encounters at the hospital while visiting the former tenant's death bed, endless creepy apartment-mates, and a slow descent into insanity as he becomes obsessed with the life of the former tenant.
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Hud's a scoundrel, troublemaker, corner-cutter, and latter-day outlaw, and Paul Newman pours his soul into the memorable anti-hero. Hud works on a small ranch with his ailing father (Melvyn Douglas), upstanding teenage brother (Brandon De Wilde), and mildly tawdry housekeeper (Patricia Neal). He's rousted out of bed one morning (well, not his bed) due to an emergency at the ranch... which turns out to be a sickness among the cattle. Ultimately that is revealed to be "the worst kind" of problem... hoof and mouth disease. The entire herd will have to be shot and buried. The mass slaughter is a truly horrifying sight without being extreme in its graphicness.
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In his final big role before his death, Sellers brings to life a man called Chance, a feeble-minded and quiet middle-aged gardener in a Washington, D.C. mansion he's never left. Chance's life - which consists of tending to the small garden, taking meals prepared by another servant, and watching and mimicking television - is shattered when the patron of the manse passes away and the house is sold, forcing Chance out into the harsh world he's never experienced.
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Garbo plays Ninotchka, a Soviet envoy sent to Paris to sell jewels that belonged to a former Russian duchess now turned Parisian socialite (Ina Claire). Melvyn Douglas is a count who becomes infatuated with Ninotchka and tries to divert her away from her duty to the Party. It's not Casablanca -- but it's not just another frothy romantic comedy either, thanks to Garbo's performance and the clever screenplay by Billy Wilder and Charles Brackett (who also co-wrote the legendary Sunset Boulevard and The Lost Weekend).
Continue reading: Ninotchka Review