A Movie Log

A blog formerly known as Bookishness

By Charles Matthews

Monday, April 18, 2016

Ant-Man (Peyton Reed, 2015)

The main reason to see Ant-Man is Paul Rudd, once again proving that casting is the chief thing Marvel has going for it in its efforts to capture the comic-book movie world. Like Robert Downey Jr. in the various Iron Man and Avengers movies, or Chris Pratt in his leap to superstardom in Guardians of the Galaxy (James Gunn, 2014), Rudd has precisely the right tongue-in-cheekiness to bring off a preposterous role, one that the end credits assure us he will be playing again. Rudd, whose quick wit is known from his talk show appearances, also had a hand in the screenplay, which was begun by Edgar Wright and Joe Cornish and revised and finished by Rudd and Adam McKay. For once, a comic book film is better before the CGI flash-and-dazzle take over -- the concluding portion of the film is a bit of a muddle, considering that most of the performers in the action sequences are ants. Indeed, the most impressive special effects in the movie are not the action sequences but the "youthening" of Michael Douglas, who is first seen as the much younger Hank Pym in 1989, looking much as he did in The War of the Roses (Danny DeVito, 1989), one of the films used by the special effects artists as reference. On the other hand, it has to be said here that Rudd doesn't look much older than he did 21 years ago in Clueless (Amy Heckerling, 1995).

Rififi (Jules Dassin, 1955)

The success of Rififi had a lasting effect on the "caper" or "heist" genre, which is still with us in one form or another, including the Mission: Impossible movies. Dassin's 30-minute sequence depicting the break-in and safe-cracking was hailed as a tour de force. I can't help wondering if Robert Bresson saw Rififi before he made his great 1956 film A Man Escaped, which takes a similar wordless and music-free approach to showing the preparations for Fontaine's prison break. Other than that, of course, nothing could be further from Fontaine's noble efforts to find freedom than the larcenous thuggery of Dassin's jewel thieves. Dassin knows, of course, that audiences respond positively to cleverness and skill, which is virtually all that his quartet of thieves have going for them. Tony (Jean Servais) is a brutal ex-con who beats his former mistress (Marie Sabouret) with a belt; Jo (Carl Möhner) is a swaggering, handsome guy for whom Tony took the rap for an earlier heist because Jo has a wife and child; Mario (Robert Manuel) is an easy-going ne'er-do-well; and César (Dassin under the pseudonym Perlo Vita) is a professional safe-cracker. Dassin manipulates us into thinking of these guys as heroes, if only because the gang led by Pierre Grutter (Marcel Lupovici), who wants to muscle in on their ill-gotten gains, is even worse. In the end, both sides are wiped out, but not before Jo's little boy (Dominique Maurin) is kidnapped and held for ransom. The final sequence of the film is particularly harrowing, especially to contemporary viewers used to mandated seatbelts and conscientious childproofing: A dying Tony drives the 5-year-old boy across Paris in an open convertible as the delighted kid stands on and even clambers over the seats of the speeding car. For all its unpleasantness, Rififi is as memorable as it was influential. It led to countless imitations, usually more light-hearted, including Dassin's own Topkapi (1964). It also revived Dassin's career, which had been at a standstill after he was blacklisted in Hollywood; Rififi's international success was a defiant nose-thumbing directed at HUAC's witch hunts.