M-FOR-MOVIES!!

Richard Donner’s big screen offshoot of the old TV Western series, from a Butch Cassidy-meets-The Sting script by William Goldman, is slick, cute, formula, and full of lazy gags. Gibson lobs in a narcissistic performance as card-sharp Brett Maverick, up to his neck in oater shenanigans with the likes of con-woman Annabelle (Foster, not a natural comic),’Marshal ‘ Zane Cooper(Garner, the original TV Maverick),bandido Angel (Molina), and Indian chief Joseph (Greene, in a turn that comes on as PC but seems somehow offensive).A financially successful exercise in target-marketing ,but not much of a movie. GA

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The video diary is possibly the easiest form of DIY film-making, but it’s a demanding format to fake-or watch. Asking actors to pretend to be ‘unnatural’ in front of the camera smacks of bad faith.Ascaride, familiar from her films with Robert Guediguian, is sent into paroxysms of giggles as Caroline, whenever teenage son Etienne (Tavares) turns on his new camera ,and it rings very false. In one sense, this is a very naked style: Ma Vraie Vie may be a fake, but edited in camera, in effect, it can’t hide its fakery behind the artifice of conventional cinema, behind mise-en-scene, music or montage. The story sneaks in while you’re drifting. Etienne is 16, an ice skater and a virgin. This will be ‘the year of love’, he tells his best friend. Meanwhile, his voyeuristic hobby is becoming an obsession, much to the irritation of those around him. It’s a film about gazing: about why we film what we film; what we yearn to express but cannot put into words. The longer you give the movie, the better it works-but you do have to meet it more than halfway. At the very least, it’s another adventurous departure for Ducastel and Martineau, whose first film was a musical about AIDS, and whose second was the road movie Drole de Felix.

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An enchanting comedy which starts with Colbert, as an American chorine on the make, stranded in Paris in a gold lame evening grown (what else?). She is befriended on the one hand by a poor taxi-driver who is really a Russian count (Ameche), and on the other by a wealthy socialite (Barrymore) who introduces her to society so that she can oblige by lurking a gigolo away from his wife. Uncanny coincidental parallels with La Regle du Jeu abound, and although the film echoes Renoir’s bark more than his bite, it has a superbly malicious script by Brackett and Wilder, gorgeous sets and camerawork, and matchless cast. All in all, probably Leisen’s best film.

Baker’s the big lumpy cop who wont take no and another assignment for an answer when he’s told to lay off the gun-happy lawyer (Saxon) he suspects of cold-blooded murder, and to concentrate on the businessman with the coke connection ( Balsam). He realizes that in such a sparsely-populated cheapie they just have to be in collusion, as he punches and shoots his way to the final credits accompanied by vocal encouragement from one of those country singers with terminal cancer. Balsam and Saxon contribute no more than their required quota of urbane sneers before being bulldozed into oblivion by the golden hero of this irredeemably routine potboiler.

Producer Alexander Korda roped in Walter Reisah, an old pal from his Viennese days, to direct; hired top US cameraman Charles Rosher (who’d worked on Murnau’s Sunrise); lured over Hollywood luminary Hopkins, and bolstered the cast with British stage stalwards, but to no avail - this yarn about a stenographer who falls for a married actor (he contemplates strangling his wife during a performance of Othello) remains throwaway, novelettes nonsense.

The four Marx Brothers as stowaways trying to bull their way through immigration by pretending to be Maurice Chevalier (each hopefully doing an impersonation to prove it), then crashing a Long Island society party to saw havoc. With Monkey Business, their first screen original, the team cast caution to the winds, helped by a perky script (”tell me, has your grandfather’s beard got any money?’ - Monkey? Why it fell hair to a fortune and some lunatic sight gags. Thelma Todd provides Groucho with his most delectable and intelligent foil.