'Frenzy': Hitchcock's 1972 masterpiece still freaky after all these years

Barry Foster fights with dead body in Frenzy

The great Alfred Hitchcock movies have a power that transcends time. Even with the censorship constraints of the studio eras he worked in, he managed to craft stories that still resonate.

Frenzy (1972), his second to last film, is one of his greatest thrillers and yet, for some reason, it is rarely mentioned in the same breath as his more widely recognized masterpieces like Psycho (1960) and Vertigo (1958).

Thankfully, a bit of a critical re-evaluation has begun on what used to be derisively dismissed as Hitchcock's late period.

The Birds (1963) and Marnie (1964) are finally beginning to be viewed as the psychologically complex and ahead-of-their time character studies that they were.
Hopefully, Frenzy, with its simple but deeply scary premise and its gallows humor will be similarly resurrected and redeemed.

As it stands, Frenzy is unique in that it is in many ways Hitchcock's most sexually graphic film. Probably the film's most famous scene is a prolonged and truly shocking rape scene. But even this undeniably creepy moment is filmed with Hitchcock's signature restraint. Still, it's jarring to see nudity in a Hitchcock film.

He also eschews his traditional likable leading man, usually played by a star (Jimmy Stewart or Cary Grant being among his favorites) for a testy and far-from-charismatic hero (played very well by British actor Jon Finch). The more genial character (SPOILER ALERT) is the killer, played by Barry Foster.


The role Foster plays was apparently intended for Michael Caine, and you can see why. He needs to be slightly charming even when he's doing the most reprehensible things.

This film was something of a return to glory for Hitchcock. After several of his Hollywood films failed commercially he returned to his native London and made this dark little thriller with no major stars or frills.

The premise has always been particularly disturbing to me, because I think, like a lot of people, I've always had a somewhat irrational fear of being accused of a crime I didn't commit.

Finch plays a man who is down on his luck and because of an unfortunate coincidence is linked to a series of murders he didn't commit. The crimes are actually being perpetrated by his "friend" played by Foster.

However, because of a series of unintentionally incriminating actions, Finch's character has set himself up to be the fall guy without even knowing it.  Meanwhile, as harrowing as all this is, Hitchcock still has his customary black humor.

The inspector investigating the case must endure his wife's increasingly grotesque homemade meals while the killer has to literally wrestle with the body of one of his victim's just to retrieve an item that could give away his identity. The fact that this is all handled deftly and hilariously is a tribute to Hitchcock's considerable skills, which were not diminished even though he was in his 70s by the time this film was made.

For me, the best moment/shot in the film is a quiet one. Finch's character's girlfriend (played by Anna Massey) runs into Foster's character in a public place.  By now we know he is the killer and, in typical Hitchockian fashion, she doesn't have a clue. He talks her into coming back to an apartment with him and as they enter he says a line we heard him say to a previous victim "You're my kind of woman."

Then they enter and the camera slowly pans backwards, out of the apartment building and onto the noisy London street below. We never see what happens to Massey's character and we don't need to and suddenly the moment takes on deeper meaning. These tragedies are taking place behind closed doors all the time and we are totally ignorant to what is taking place.

I find that the best Hitchcock films work on several levels. The plots make me think about real life dilemmas (albeit hypothetical ones), the visuals make me appreciate the power of cinema and the subtext makes me think about the deep psychological and philosophical meanings that can be interpreted under the surface of the melodrama. Frenzy works on all three levels. And it has a great punchline of an ending.

I suppose this is why they call him "The Master".

'Ghostbusters II' at 25: 10 reasons why it's a great film

The original Ghostbusters is one of my favorite films of all time, but it's unjustly maligned 1989 sequel has always held a special place in my heart.

Let me explain...

I was only 2 years old when the first film came out so I was too young to see it in theaters. I, of course, later discovered the movie on home video and television but I first really fell in love with the Ghosbusters while watching the animated series The Real Ghostbusters, which I assume for rights purposes, had a blonde Egon and a Peter Venkman with a pompadour.

By the time the sequel rolled around it had seemed like an eternity since the first film and my excitement for a new Ghostbusters adventure was off the charts. I was only 7 and didn't have a critical eye, I just loved those guys and earnestly wanted to be one.

At Disney World a caricature artist asked me what I wanted to be when I grew up and I enthusiastically said a Ghostbuster, assuming it would be a plausible profession, if not then, someday. I remember my Dad cutting an item out of the newspaper (remember those?) about the sequel filming in New York City with a set photo of Bill Murray and the rest, and I pinned it on my wall. So in June of 1989 -- which was one of the best summer movie seasons ever (Indiana Jones and the Last Crusade, Do the Right Thing and Batman would come within weeks of each other) -- I was on the edge of my seat.

Seeing Ghostbusters II in theaters is one of the first truly vivid movie-going experiences I ever had. I remember my little sister was freaked out by it (and so was I in a few parts) and I also remember loving the hell out of it. Now, 25 years later, I still love it. It is isn't as fresh or classic as the original but as far as comedy sequels go it's still one of the best.

Today it's usually labeled a disappointment if not an all-out failure by fans. I find this curious since for years there has been exhausting chatter about a third Ghostbusters film, considering the fact that so many people dog the second one. You can put me firmly in the 'I hope that Ghostbusters III never gets made' camp, but not because part II was bad. I just think there's no point to making another one other than to make money. And without the involvement of Bill Murray (who has repeatedly passed on the project) and Harold Ramis (who died earlier this year) it will not even be a faithful addition to the series.

I will disregard any new Ghostbusters film the way I refuse to acknowledge any John McClane film after Die Hard with a Vengeance. But I digress. Ghostbusters II is a lot of fun, and yes, while it definitely pales in comparison to the original it has so much going for it. Here are ten examples:

Comedy gold

1) Bill Murray photographing Vigo: I would argue that this moment is just as funny as any moment in the first film. Venkman starts photographing the villain (who is currently encased within a particularly terrifying portrait) and he starts doing it in the style of a flamboyant fashion photographer. In the end of this shtick, in a very affected voice he says "I've had better, but not many." This scene has always had me in stitches.

2) Janosz: Some people may think of Peter MacNichol as the guy from Ally McBeal, while others may remember his dramatic performance opposite Meryl Streep in Sophie's Choice, but he will always be Janosz (pronounced yah-noh-shh) to me. He is sort of filling the role Rick Moranis did in the 1984 but he's even more delightfully weird and over-the-top. The exaggerated accent, the fecklessness, some people may have found it annoying, I think it's hilarious.

3) It's scarier: No one is going to a Ghostbusters movie expected a lot of actual big scares, but I would argue that Ghostbusters II has far creepier sequences than the original. This may be my childhood memories informing my present state-of-mind, but Vigo was a horrifying villain and the constant threats to Dana (Sigourney Weaver)'s infant son are truly terrifying if you think about them long enough.

4) The Venkman-Dana relationship: One of the great pleasures of the Ghostbusters movies (for me, at least) has been the underrated romantic chemistry between Bill Murray and Sigourney Weaver. He's had sparks with other actresses (Andie MacDowell in Groundhog Day comes to mind) but I don't think he ever had a more perfect match than Weaver. Her character always calls him out on his sardonic asides and forces him to grow up without being a wet blanket. You don't appreciate these things as much when you're a kid. But I think their romance makes these movies work and it only deepens in the sequel.

Bustin' makes him feel good

5) "On Our Own": This is minor thing but I would argue that Bobby Brown's theme "On Our Own" is just as good as Ray Parker Jr.'s iconic Ghostbusters song. It's one of the greatest New Jack Swing songs of all time and represents Brown at his pre-multiple meltdowns best. Also, kudos to the cameo. Remember when they used to be short and sweet?

6) Louis Tully gets to play hero: Poor Rick Moranis, always playing second fiddle to the cooler lead comedian (whether it be Steve Martin or Bill Murray). Although I prefer frosty Janine from the first film to the slightly slutty Janine of the second, I like that in this film he gets to save the day (sort of) and get the girl. Not bad for a guy who was turned into a monstrous dog in the 1984 original.

7) It's kind of realistic: I don't mean the whole absurd slime-drenched plotline where good vibes save New York City, I am talking about the opening of the film where the Ghostbusters have been deemed lame. I love this twist -- because it is so true to life and how New Yorkers would really have reacted. The amount of property damage and overexposure the Ghostbusters were responsible for following their first adventure would make them minor celebrities at best and pariahs at worst. Love that they're subjected to performing at birthday parties.

8) Bureaucrats are still the bad guys: Even though the third act pretty much repeats everything from the first film, I appreciated the fact that we get essentially a new (albeit not quite as good) version of Walter Peck, in mayor's aide Jack Hardemeyer (played by Kurt Fuller). These guys are always the perfect, straight-laced foils for the Ghostbusters.

9) Bill Murray in general: He deserves acknowledgement on his own. The other guys are lovable nerds --Dan Aykroyd, Ramis and Ernie Hudson are like big kids -- but Murray's Venkman is still the coolest guy on the planet. Whether hosting a bizarre talk show about the supernatural or being confronted by a dancing toaster, he is always one step, or at least one quip, ahead of everyone.

10) The painting finale: I always loved this image (pictured above) which ends the film. It's silly, goofy and kind of doesn't make any sense -- which is why it's the ideal fit for a Ghostbusters film. Even though Murray didn't want to make it and has since distanced himself from the project -- you can sense the genuine affection he feels for his fellow actors (particularly Ramis and Aykroyd, who he went way back with) in the movie's closing moments.

So I rest my case. Ghostbusters II can't hold a candle to the first movie but it's great fun. Comedy sequels are almost impossible to get right. National Lampoon's Vacation managed two solid spin-offs and I think there are a lot of great jokes in Wayne's World 2. And while Anchorman 2 has its detractors, I'm convinced that it will grow in esteem with time and distance. But generally they fall flat because humor is tricky that way and you can't catch comedic lightening in a bottle twice.

'Don Jon': A disappointing movie in the worst way

Joseph Gordon-Levitt in Don Jon

Some bad movies are excusable because the filmmakers never really had much ambition for their films in the first place (most Michael Bay films, I'd argue). Others are bad because they tried to aim high and crashed and burned (Showgirls). But the worst kind of bad movie is one that has some really smart, interesting ideas in it -- that could have made a great film -- but fatal errors keep it from fulfilling its potential.

For me, Don Jon is one of those films. It has likable stars in Joseph Gordon-Levitt (who also wrote and directed it) and Scarlett Johansson, and it wants to have something to say about the porn-addicted modern male, but in a way it's too much like the soapy romantic comedies its looking to subvert.

Personally, I never got past the casting. Gordon-Levitt casts himself and Johansson as extreme NYC stereotypes. He's a macho, misogynistic gym rat and she's a club hopping hottie who wants a "real man" like the ones she sees in the movies. They both nail their requisite "bridge and tunnel" accents, but it's like watching two kids play dress up.

Perhaps this movie wouldn't have been financed if it didn't have stars -- but I think it would have been far less distracting with unknowns. Gordon-Levitt is just too nice a guy to be believable as meat-head and Johansson also seems to be playing beneath her talents here.

Gordon-Levitt in more believable role

The porn angle is promising, this is largely unexplored territory in Hollywood movies, and it has become such a ubiquitous part of our culture over the last decade or so. And yet Don Jon's handling of the topic is largely pretty trite and then it just becomes repetitive. The first time Gordon-Levitt cuts to a graphic PornHub clip it's shocking -- when he doesn't it for the 30th time, it's numbing.

Eventually, the luminous Julianne Moore shows up and tries to inject some genuine life into the proceedings. She is the one character who doesn't play a type, and it's refreshing. But Gordon-Levitt telegraphs her story arc a little too much. And because, once again, because she's a star you know she is going to factor in the final act.

Tony Danza actually comes off more believably than anyone as Gordon-Levitt's immature father, I found myself wishing his character had more screen time.

Instead we get the same shot over and over again of Gordon-Levitt at his computer screen frowning while he pleasures himself to scene after scene of hardcore sex. It's not funny, it's not especially entertaining and I didn't really care about him or feel anything for his character.

That's because the character never rises above caricature. From his Catholic faith to his white tank tops and fastidiousness, everything about the part he plays (and wrote for himself) feel like a tired riff on The Jersey Shore. 

I do, however, think he's an interesting actor who is poised to become a major star. He has a great look and an appealing presence. I have never been a Brick fanatic, but I enjoyed his work in Inception and The Dark Knight Rises and Looper was a real breakthrough part for him.

There's been some speculation about his sexual orientation but frankly, I don't care about that. I just remember his adorably funny performance in a lip-syching contest on Jimmy Fallon's Tonight Show, and I think that's the kind of guy he should be playing.

A few years ago, there was a lot of talk that Shia LaBeouf was the "next Tom Hanks" -- a sentiment that would be laughable to most moviegoers now. But I think with the right film and the perfect role, Joseph Gordon-Levitt could be ideal the everyman star for our time.

But Don Jon is a step in the wrong direction. 

Happy birthday to me! Top 10 from year I was born (1982)

Joanna Cassidy in Blade Runner

In case you didn't already know because of the good people at Facebook, it's my birthday today and in order to commemorate the occasion I thought I would write up a quick post on my favorite films from the year I was born -- 1982 -- yeah, that's right, I'm old.

It's actually pretty difficult for me to pick just 10 favorites from 32 years ago, because it was a pretty strong year for Hollywood.

Some terrific movies just missed the cut, including Michael Keaton's hilarious debut in Night Shift, a strong Rocky sequel and one of the most haunting Meryl Streep performances of all time in Sophie's Choice.

But hey, they call it top 10 for a reason. 1982 was an interesting year -- the economy was in the pits (as was Ronald Reagan's approval ratings contrary to conservative revisionism) and people were seeking upbeat entertainment, hence the blockbuster success of E.T. The Extra-Terrestrial.

Later that year, Michael Jackson's Thriller would be released, cementing his pop cultural dominance over the decade and ushering in a golden age for blockbusters. But I digress. Some of my favorites were huge smashes, others cult classics. But, most importantly, like all great films, they stand the test of time.

10) An Officer and Gentleman - A movie far too often remembered for its cheesy ending instead of its gritty whole. A very emotionally-effective, character-driven drama features Richard Gere, in one of his best roles, as a troubled wannabe air force pilot who seeks basic training because he has "no place else to go."

9) Gandhi - It's now become something of a gimmick to say an actor "becomes" someone famous when starring in a biopic, but the description really applies when it comes to this best picture-winning epic starring Ben Kingsley. The acting legend won best actor for his incredibly powerful performance as the non-violent activist.

8) The Verdict - As I've written before, this is probably my favorite film about lawyers and it has one of the all-time best Paul Newman performances (in a career full of them). In this movie he plays Frank Galvin, a hard-drinking, down-on-his-luck lawyer who finds redemption in a medical malpractice case. A master class in movie acting is on display here.

7) 48 Hrs. - Eddie Murphy makes his glorious debut and kicks off a decade of screen dominance. The film's racial politics were problematic then and now, but few can dispute the chemistry and cool of Murphy's partnership with Nick Nolte in this edgy action comedy. The premise -- a cop springs a convict to help catch a killer -- is very B-movie, but the execution is first class.

6) E.T. The Extra Terrestrial - An intensely personal film from director Steven Spielberg that just connected with audiences, becoming one of the most beloved hit movies of all time. It holds up beautifully because it isn't burdened with too many special effects and instead focuses on, an albeit unlikely, timeless story about a lonely young boy (a fantastic Henry Thomas) who befriends a kindly child alien.

Ricardo Montalban in Wrath of Khan

5) Fast Times at Ridgemont High - One of the best and most honest high school comedies I've ever seen. High school wasn't particularly cool or memorable for me, so normally I don't find these kinds of movies engaging but director Amy Heckerling did such a great job of creating a rich tapestry of fully realized people, including Sean Penn's glorious stoner-surfer Spicoli, I was charmed. And that pool scene...

4) The Thing - John Carpenter's bleak and gruesome horror masterpiece was the anti-E.T., which is probably why it bombed when it was first released, but it has only grown in stature over the years. A grizzled Kurt Russell headlines a great cast of character actors stranded in a freezing terrain where a truly terrifying entity starts taking over their bodies. Unforgettable special effects.

3) Star Trek II: The Wrath of Khan - The hit or miss nature of the original Star Trek cast movies is well-documented, but this something on which all of us can agree -- The Wrath of Khan was (and probably still is) the best Star Trek film ever made. Why? One word. KHHHHAAAANN! With all do respect to Benedict Cumberbatch, this role will always be owned by the fearsome Ricardo Montalban, who truly deserved an Oscar for his scenery chewing role as Captain Kirk's adversary. A genuine space opera.

2) Tootsie - Dustin Hoffman gives one of his greatest performances in this raucous and very smart comedy about a struggling actor who becomes a huge soap opera star after dressing up and posing as a woman. The writing is razor sharp, as is the supporting cast (Jessica Lange, Bill Murray, Teri Garr and the director Sydney Pollack, to name a few). But the genuine feeling and thoughtfulness behind the laughs, beautifully articulated here by Mr. Hoffman himself, elevate this movie to its status as a great film.

1) Blade Runner - Every time I see this movie I walk away with something new. From it's striking, gorgeous opening shot to its legendary twist ending, this movie grabs you and plunges you into a strange, complex vision of the future. This is one of the landmark science fiction films and one of my favorite movies of all time. Harrison Ford plays a stoic 'blade runner' tasked with retiring 'replicants' or cyborgs which have outlived their usefulness. That set-up is just an entry point to philosophical questions about what is real or fake and what makes one human? Is it our memories? Our physicality?

A brilliant film that was not appreciated in its time but thankfully has won a deserving place in the pantheon of classics. The highlight of the film is Rutger Hauer's eerie but ultimately touching performance as Roy Batty. See this film!

And happy birthday to me.

Tom Cruise top 10: In defense of a 'crazy' actor

Tom Cruise

Almost 10 years ago if became sort of acceptable to call Tom Cruise crazy. He was lecturing Matt Lauer about postpartum depression, he was leaping off couches and he was becoming more and more comfortably spouting off his controversial Scientologist beliefs.

I like him as an actor, but I too joined the chorus of people who couldn't stand Tom Cruise 2.0. Prior to the Katie Holmes era, part of his appeal was his fierce protection of his private life. We all heard the gay rumors but we didn't care -- we just enjoyed his work as a slightly unlikely mainstream movie star.

Here was a diminutive, seemingly ageless ball of energy who, while exuding almost no sexual chemistry with anyone, was totally compelling in any number of genres and distinguished himself by playing every role to the hilt.

Say what you will about Tom Cruise, I don't recall ever seeing him give a "lazy" performance. And yet, his personal life "eccentricities" have compromised his appeal, I don't think there's any doubt about that. The stories about him allegedly interviewing potential girlfriends/wives are certainly distracting and cast his career in a different light.

Much has been made about his predilection for picking roles where he is somehow deformed or masked, and his increasing identification with the sci-fi genre (starting with Minority Report and leading to next month's Edge of Tomorrow) has also raised eyebrows.

I frequently grapple with artist vs. individual debates -- whether it be Roman Polanski or Mel Gibson -- and for the most part I always agree with the argument that a person's creative work should be put ahead of their individual flaws. Still, when those outside forces become so overwhelming that you can no longer accept that performer as anything but themselves (which for me is the case with Gibson), then you have a problem.

Cruise for me is a curious case. Every time I think he's finished he surprises me with a return to form. I'm not sure Edge of Tomorrow is that comeback vehicle. It's getting good reviews, but it also looks so derivative of so many recent sci-fi films that I expect it will flop. But I wouldn't count Tom Cruise out just yet. He's actually still pretty dependable at the box office and has remained remarkably fit and appealing into his 50s.

He's not one of my favorite actors, and I wouldn't go so far as to say I am a fan. But I do appreciate him and I have really enjoyed, even loved some of the movies he's made. Here are my top 10:

10) The Firm (1993) - As I've written before, this is not a very plausible movie, but it's a fun one. This was Tom Cruise at the peak of his heartthrob movie star prowess and he's a sympathetic hero in this mainstream thriller about a sinister law firm. A tailor-made vehicle for his cocksure charms.

9) Mission: Impossible III (2006) - The most underrated of the Ethan Hunt spy films had some really inventive set pieces thanks to the distinct visual style of J.J. Abrams. Cruise gets strong support from one of the series' best villains -- played by the late Phillip Seymour Hoffman -- and he has more emotional scenes to play for the first time thanks to a subplot involving his tentative attempts to forge a personal life.

8) Tropic Thunder (2008) - Sure, Cruise's role as a the bald, fat and foul-mouthed movie exec Les Grossman was obvious stunt casting -- but it worked! Cruise was as hilarious as he has ever been (and probably ever will be) and he clearly relished playing someone so unapologetically nasty. I thought this was one of the great comedies of the decade and his performance was a big part of that.

Tom Cruise in Risky Business

7) Risky Business (1983) - Before he started giving more histrionic and mannered performances in movies like Jerry Maguire, Cruise was a very relatable and believable young actor. He was probably never more likable than he was in this breakout hit, playing a lonely, horny teen who gets unintentionally sucked into the prostitution business. A smart and sophisticated comedy that holds up better than some of its '80s peers.

6) Mission: Impossible - Ghost Protocol (2011) - What a breath of fresh air this movie was. It was something of a throwback (real stunts, instead of CGI!) and it somehow made Cruise and his signature franchise seem fresh and new despite being its fourth installment. His incredible performance scaling the Buri Khalifa tower in Dubai (the world's tallest building), should be one of the most iconic moments of his career.

5) Rain Man (1988) - Dustin Hoffman's committed method performance as an autistic savant won most of the praise and attention, but his role doesn't work without Tom Cruise's harried and increasingly more humane part of his younger brother. This blockbuster road movie would be hard to make today, it has no pyrotechnics or superheroes. It's just a beautiful tribute to the bond that brothers share.

4) The Color of Money (1986) - Martin Scorsese cast Cruise perfectly as an obnoxious jerk who grows into a clever hustler under the tutelage of a pool-playing legend played by Paul Newman (in an Oscar-winning role). This underrated sequel to The Hustler is visually dynamic but its the characters that drive the story and Cruise's stubborn, strutting Vince is an unforgettable creation.

3) Mission: Impossible (1996) - Cruise's breakthrough as an action star is still a classic. I am partial to the first Ethan Hunt film because I am a huge Brain De Palma fan and the break-in at the CIA headquarters is one of his greatest sequences. But I also really like Cruise's resourceful and sometimes playful performance in the lead role. He's an enormously gifted physical actor and those skills were put to best use in this film.

2) Magnolia (1999) - He scored an Oscar nomination (and probably should have won) for his lively and uncharacteristically personal performance as a deeply wounded self-help guru who promotes a kind of misogynistic philosophy in front of adoring male crowds. Cruise is just one part of a sprawling opus from P.T. Anderson, but his energy shines through and haunts you long after the credits have rolled. He's never been this exposed in a movie before or since.

1) Eyes Wide Shut (1999) - Although it was somewhat reviled when it was first released, this stunning exploration of marriage and fidelity has, like all Stanley Kubrick films, only grown in stature over the years. Finally recognized for the masterpiece that it is, this existential drama brilliantly utilized Cruise's strengths as an actor and plumbed his complex public persona for deeper meaning. Probably the one film in his oeuvre that will be fussed over for generations to come.

'Street Smart': Fabulous Freeman performance in flawed film

Christopher Reeve and Morgan Freeman in Street Smart

You've never seen Morgan Freeman like this.

His breakout role in the 1987 film Street Smart, where he plays one of his only villain roles is a real marvel to behold.

Unfortunately his performance as the temperamental pimp "Fast Black" is wasted in a mediocre movie.

It didn't have to be this way. The premise of the film is fantastic: an ambitious journalist (played by the late Christopher Reeve) manufactures a story about a New York City pimp to impress his editor and it's a huge success.

Meanwhile a real pimp (Freeman) is facing criminal charges for murder. His lawyer realizes that he can pose as the reporter's subject and use the print story for an alibi. The journalist, who's career is riding high following the article's breakthrough success, initially agrees to go along with the ruse, until the pimp's violent lifestyle starts to rub him the wrong way.

That all sounds riveting and it should be but the film makes so many clumsy mistakes that it squanders almost everything it has going for it.

For one thing, the filmmakers pad out the film with a totally absurd and unrealistic subplot of Reeve's character using the article to spark a TV reporting career.

Instead of focusing on the most interesting relationship in the film (that of the writer and the pimp), the movie wastes a lot of time trying to either satirize or earnestly portray the life of a journalist (it's never quite clear).

Reeve was a capable actor, the Superman movies proved that, but in this film he is wooden and implausible. This is more the writing's fault than his, but only he can be blamed for the listless way he plays a scene where he admits to his live-in girlfriend that he's slept with a prostitute.

Freeman, on the other hand, is the reason to see this movie. Age and blockbusters have softened his image and made him something akin to America's favorite cuddly older black man. But in Street Smart he is fierce and frightening. His character has a real authenticity about him. He has both swagger and a short fuse. Instead of using his legendary smooth voice to soothe, Freeman uses it to intimidate.

I will never forget the scene where he terrorizes one of his harem with a pair of scissors, asking her to pick which eye he should gouge out. This is a brilliant performance, one which scored him an Oscar nomination, but the movie lets him down with its conventional film-making and sophomoric "happy" ending.

If there was ever a film that was ripe for a remake it would be this one. It could be done with far more subtlety, wit and intelligence. But considering that the movie did little business, despite raves for Freeman's role, it probably never will be.

Still, it's worth watching to see a totally different side of Freeman's range than we're accustomed to.

'Medium Cool': 1969 masterpiece is stunning portrait of an era

Medium Cool

I first saw Haskel Wexler's seminal 1969 masterpiece Medium Cool in a high school film class taught by an aging hippie with a grey pony tail.

Most of my peers and I knew the film's star, Robert Forster, from his Oscar-nominated role in Quentin Tarantino's Jackie Brown and the police riot during the 1968 Democratic convention in Chicago (which provides the backdrop for the film) was definitely not on our radar.

The movie definitely made an impression on me then, although I didn't fully appreciate how daring and conceptually brilliant it was when I was a teenager.

Now that I am better informed -- on film and history -- I can see Medium Cool for what it is, one of the great films of the 1960s, which along with better known landmarks like Bonnie & Clyde helped usher in the great film-making boom of the 1970s.

It's a film about media and television when both entities were modernizing in new and frightening ways. You would think this dates the film, but the points being made by the characters on-screen actually resonate perfectly with today's climate.

It uses a thin, but touching plot about a TV cameraman who engages in a tentative romance with a poor single mother, raising a young boy in Chicago's slums to tell a larger story about the tensions between black and white, the impoverished and the more affluent, and the hip and the square.

Wexler was somehow able to get real footage of Chicago police doing drills with costumed fake protesters in preparation for a clash later in the week. In another stirring sequence, he captures the best summation of black paranoia about white people (and vice versa) that I may have ever seen in a movie.

Robert Forster in Medium Cool

I have no idea how this movie performed commercially -- I can't even believe it was ever made or got released by a major studio (Paramount Pictures). But of course the late '60s and early '70s was a very radical time in Hollywood.

Medium Cool is an overtly progressive movie, but also a cynical one. Whenever it seems to meander into maudlin territory something dark and unexpected happens that is genuinely surprising.

For instance, in one of my favorite scenes, Forster and the luminous Verna Bloom watch footage of Martin Luther King Jr.'s legendary "Mountaintop" speech (the last one he ever gave).

We never see it, we only hear it but MLK's soaring voice still retains all its power. For a while the two characters/actors listen intently and we assume reverently. Suddenly, Forster says "I love shooting film." Such a great line and a really telling moment in a movie that's full of them: the cameraman is a dispassionate observer, a mere extension of the machine he operates.

Yet Forster's character is both a critic and participant in the burgeoning multimedia apparatus. He longs to report on intriguing real-life stories (such as a black cabbie who is chastised after returning $10,000 he finds in his car) but in the first scene in the movie he can be seen callously filming a car wreck before calling for help.

This movie really affected me because I had just come from a visit to the MLK center in Atlanta, had just finished reading the book Subversives (which explores FBI and conservative suppression of dissent on the Berkeley campus in the'60s) and recently watched the legendary film Z, which also uses real-life events to infuse its narrative about an assassination plot in Greece.

These all are works that are really attempting to say something and stir an activist spirit within their viewers, something you almost never seen in mainstream movies anymore. The closet I feel like we've come was 2004's polemic Fahrenheit 9/11, directed by Michael Moore. That was a movie that really aggressively tried to serve as a call to action.

Medium Cool isn't quite as earnest and its uncompromisingly twisted ending suggests a less-than-optimistic outlook on the American condition, yet its boundless creativity and unpredictable rhythms kept me entranced and inspired.