Discland
edited by Jonathan Doyle
Mafioso (The Criterion Collection, 3.18.2008) Nino Badalamenti is a supervisor in a car manufacturing plant who hasn't taken a vacation in over two years. On his way out the door to visit his beloved childhood hometown of Sicily -- with his blonde wife and daughters -- Nino is handed a package by his boss and asked to deliver it to a powerful and influential Sicilian gangster named Don Vincenzo. Once in Sicily, Nino has a hoot seeing friends and family, but his wife has trouble fitting in and is unfairly dismissed as a snob by Nino's family. Even more worrisome, Nino finds himself entangled in an intricate web of secret mafioso dealings and is eventually sent on an unexpectedly... elaborate errand. (continued)

Upcoming


July 2

Hancock

July 3

The Whackness

July 4

Diminished Capacity

Gonzo: The Life and Work of Hunter S. Thompson

Holding Trevor

Kabluey

We are Together

July 9

Full Battle Rattle

July 11

A Man Named Pearl

August

Eight Miles High

Garden Party

Harold

Hellboy II: The Golden Army

Journey to the Center of the Earth

Meet Dave

Roman Polanski: Wanted and Desired

The Stone Angel

July 18

A Very British Gangster

Before I Forget

The Dark Knight

The Doorman

Felon

Lou Reed's Berlin

Mad Detective

Mamma Mia!

Space Chimps

Take

Transsiberian

July 22

Two Tickets to Paradise

July 23

Boy A




 

For the last two or

For the last two or three days there's been a ripple effect coming off that press-junket screening of War of the Worlds (Paramount, 6.29),and specifically one cutting remark in particular about the conclusion being underwhelming or otherwise not cutting it because it doesn't deliver a big crescendo-ish blowout but ends rather quietly and internally...in a bacterial realm. I won't be seeing the film until Monday night but this is the ending that H.G. Wells used in his original novel and more or less the same one used in the 1953 George Pal movie with Gene Barry. Wells intended WOTW was a metaphor about British militarism and colonial takeovers, and how the invader will always be defeated by natural organic elements. You can interpret the Spielberg film as a metaphor about U.S. occupation of Iraq, or, as screenwriter David Koepp has explained, as primarily being about Tom Cruise's character evolving from a state of distracted selfishness to one of unqualified readiness to do anything to save his children...but there is certainly nothing wrong with an alien-invasion film looking to avoid the cliche of a big wham-bam finale and deciding to end it on a quiet note, for God's sake. Whether this ending works or not is another matter, but the concept behind it is completely valid and sounds, if you ask me, refreshing for its avoidance of the usual-usual.

Posted by Jeffrey Wells on June 24, 2005 at 04:31 AM

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