Movie review - "Wrong is Right" (1982) **1/2

 Charles McGarry was a spy novelist in the 1970s - this is one of his books which got a satirical treatment from Richard Brooks, not known as king of comedy but full of outrage and spirit.

Connery is a swashbuckling journalist who  gets involved in some terrorists who steal nukes. The guts of the story is a procedural - who killed Katherine Ross - but the movie is mostly done in a Strangelove style that doesn't quite work. Brooks displayed little flair for comedy in his career. 

Connery commits - it's the sort of movie you can imagine he enjoyed making because it's so random. George Grizzard is the president, Leslie Nielsen a nutbag politician, Robert Conrad a nutbag general, John Saxon a nutbag CIA op, Hardy Kruger an arms seller, Rosalind Cash the vice president, Jennifer Jason Leigh as a girl in a reality TV show who wants to kill her parents.

The movie takes a big swing though. Not dumb. Would've been better played straight I think though.

Movie review - "Rising Sun" (1993) **

 Stylishly directed by Phil Kaufman, who likes a bit of female nudity in a good cause and that's on display here. Michael Crichton didn't like the changes Kaufman made to his book - I haven't read it for a while. It's a whatever mystery with some nudity and 90s silliness (Wesley Snipes shakes Japanese by escaping to the hood).

Snipes and Sean Connery bring a lot of star power. Ray Wise is entertainingly sleazy and Tia Carrere is sweet. Kevin Anderon's bouffy hair is entertaining. Cary Tagawa is always reliable.

The mystery isn't very involving. The stuff on the Japanese take over of the economy has been stripped so there's not much point. The film got dumber as it went on. It was as though Kaufman was a little too cool for school adapting this. 

I didn't really like it. Connery and Snipes are both genuine stars though. That helps. 

Movie review - "The Great Train Robbery" (1978) ***

 Unsurprisingly faithful to the book although there are a few changes - things that were worked out on the page have to be brought into dialogue, there's a bigger part for the mistress of the hero, less reference to sex with twelve year olds and Victorian slang, the final capture is accelerated, there's less analysis of the society.

Because Crichton's characters were so weak his films depended on casting more than others - he was lucky to have Sean Connery here as the arch thief. Lesley Anne Downe is sexy as his girlfriend though her role is pretty much just "sexy". Donald Sutherland does his best as the second lead. 

There is pleasing period detail, decent production value and that's really Connery at the end on the train, ducking his head under. The cleverness of the story worked better on the page - this has some of the life drained (could not Crichton have done more with Connery's minion, Barlow? I wish George Lazenby had played this part)

Still, totally fine. 

Movie review - "Shalako" (1968) **1/2

 The press got hysterical about this movie - Sean Connery in a Western. Connery appearing opposite Brigitte Bardot. 

It's a strong story, and looks great (vistas etc). But it's an ensemble piece - sort of like Stagecoach, about Europeans on a hunting trip encountering Apaches. There's various subplots like Jack Hawkins' wife Honor Blackman having it off with Stephen Boyd. Connery is a former cavalry officer who advises them to get out and they odn't.

There's too many characters to service so the strong cast don't have anything to do. Connery and Bardot don't have anything to play. They should have written him as taciturn and explosive but unused to women - or something. He's just a guy. She's just Bardot, and not attractively costumer. Honor Blackman is better because she's got something to play. Connery isn't even that tough - he doesn't do much through the film.

There's also Peter Van Eyck, Eric Sykes, Alexander Knox, Woody Strode. 

Also never makes sense why posh types are hunting in New Mexico which is really rocky and desert-y. The plains would have made more sense. 

Movie review - "The Presidio" (1988) ***

 Quite fun. Great star power from Sean Connery and Meg Ryan (doing wonders as The Girl - though she has an arc, being a hot mess). Mark Harmon very likeable. Some okay action sequences. Nothing that memorable but just old school 80s action with fun people. 

Movie review - "Time Bandits" (1981) *****

 I didn't like this much as a child because I wanted it to be a Monty Python film when it's an adventure movie. Watching it years later it's just a wonderful piece of work, Terry Gilliam at his peak, beautifully complemented by Michael Palin. The lead kid is fine, the little people are terrific, the cameos splendid - Shelley Duvall is as good as Palin and Cleese - Sean Connery gives it heart. The second half felt more Gilliam than Palin - he's in his element. The imagination is lovely - the boat on the top of the giant's head, the swinging rope in the dark. Dave Warner a lot of fun, so too Ralph Richardson.

It's a terrific film. Has aged incredibly well.

Movie review - "Mona Lisa" (1986) ***

 Very simple effective story. Bob Hoskins is wonderfully cast. Sean Connery, the original choice, would have totally changed it.  Ambles a bit in the middle. It was fine, not magical Maybe the queer twist carried more weight in 1986. It's good, mind. 

Book review - "John McTiernan" by Larry Taylor

 I enjoyed this I just wish it was better, had more research done. Felt like an extended magazine article. Needed less skim analysis of the films, more of a deep dive.

Movie review - "You Only Live Twice" (1967) **** (re-viewing)

 Connery seems bored at times but he's still Connery. Great settings and lines and moments. Tanaka is tremendous. Blofeld fun. Piranha lakes and Ninja armies and secret trains and Ken Adams being a genius. They kill off Aki too late and Bond gets over her too soon - that's the main flaw.

Proposed Australian films of the 1930s to the 1960s

*Big Timber - from novel by William Hatfield  - announced 1935 - instead Cinesound filmed Tall Timber

*Call me when the Cross Turns Over - from novel by D'arcy Niland to be filmed in 60s with Diane Cilento and Sean Connery but not filmed

*Careful He Might Here You - optioned in 1963 by Josh Logan who wanted to make it with Elizabeth Taylor (who would've been great)

*Collits Inn - Frank Thring was going to film this musical but died

*Come Away Pearler - Colin Simpson novel optioned in 1954 by Joe Kaufman see here

*Come In Spinner - novel optioned in 1954 by Joe Kaufman

*Conn of the South Seas - Cinesound said in 1932 might remake The Adorable Outcast see here

*Desert Legion - Raymond Longford WW1 story

*The Delinquents - from novel adapted by Alan Seymour for producer Joseph Janni  and director Jack Lee - announced 1963

*Dig - story of Burke and Wills from Ralph Peterson script for Anthony Quayle  - announced 1957

*Don Bradman biopic - proposed by Ron Randell in 1952 see here

*Eureka Stockade - Ken Hall version 

*The Fatal Wedding - Cinesound said might remake this in 1933 see here - this may have just been a random announcement though Cinesound did make Silence of Dean Maitland

*Fisher's Ghost - sound remake by Raymond Longford of his 1925 hit - Tony Buckley says towards the end of

*For the Term of His Natural Life - Cinesound said in 1932 might remake it see here

*The Fortunes of Richard Mahoney - adaptaion of novel to be done by MGM in the late 40s with Greer Garson and Gregory Peck

*Ginger Murdoch - optioned by Frank Thring

*Gold Dust and Ashes - from novel by Ion Idriess announced 1935 by Cinesound see here

*The Green Opal - Chips Rafferty film about immigration

*The Haunted House - announced by Cinesound in 1938 see here 

*James Don't Be a Fool - EV Timms novel

*The Kelly Gang - Cinesound said in 1933 might remake it see here

*Les Darcy film - announced by Chauvel in 1947 to star Tommy Burns see here

*Life of Nellie Melba - proposed 1940 Cinesound film with Marjorie Lawrence

*The Long Shadow - 1947 Jon Cleary novel optioned in late 60s but not made 

*Mr Burke and Mr Wills - Burke and Wills story written by Terence Rattigan

*My Love Must Wait - novel about Matthew Flinders optioned by Charles Chauvel

*Naked Under Capricorn - published 1958 owned by Chips Rafferty

*Ned Kelly - directed by Karel Reisz starring Albert Finney announced 1963

*The One Day of the Year - Alan Seymour's play, filmed a few times for TV, optioned in 1970

*Overland Telegraph - 1939 announcement Frank Clune sold to Cinesound, he'd write it up in 1955

* Pearl of Great Price - late 30s Cinesound announced 1936 see here

*Pepper Trees  - Ealing film late 40s with Chips Rafferty and Tommy Trinder - scheduled for 1948 see here

*The Pioneers - Cinesound said in 1932 might remake it see here

*Redheap - novel by Norman Lindsay to be filmed by Thring 

*Return Journey - film about Burke and Wills which collapsed in the 1960s but resulted in a short

* Robbery Under Arms - Ken G Hall version, mentioned from the 1930s until the 1940s but killed off by Rank's interest and dud 1957 film

*Rudd's New Selection - announced in 1933 see here - became Grandad Rudd

*Sara Dane - from the novel, starring Sylvia Syms, proposed late 1950s

*Saturday to Monday - original of The Siege of Pinchgut - announced in 1950

*Sheepmates - started filming but abandoned

*Storm Hill - Eric Porter film announced in 1946

*Wake in Fright - directed by Joe Losey starring Dirk Bogarde - announced 1963 - there was also a proposed Morris West version

*Wards of the Outer March - novel adapted by Charles Chauvel  - announced in 1944

*When Cobb and Co Was King - novel optioned by Charles Chauvel

*Yellow Sands - Cinesound in late 30s - announced 1936 see here

Sean Connery Top Ten

 1) Dr No (1962) - I'm allowed one Bond. I'll go the first, the trickiest.

2) Darby O'Gill and the Little People (1959) - charming

3) The Hill (1965) - no toupee - gritty stuff

4) The Untouchables (1987) - great Irish

5) Robin and Marian (1976) - perfect old Robin Hood

6) The Wind and the Lion (1975)

7) Cuba (1979) - underrated film and performance

8) The Molly Maguires (1970)

9) Marnie (1964) - so darn weird

10) Tarzan's Greatest Adventure (1960)

Movie review - "The Untouchables" (1987) ***** (warning: spoilers)

 The perfect director, the perfect writer, the perfect piece of IP, the perfect composer, the perfect new star (Costner), the perfect old star (Sean Connery) the perfect showy star (Robert de Niro).

It all works brilliantly. It helps the structure is solid - like The Fugitive it's a TV series that can be told in a film, and it was, The Scarface Mob.

Actually I will admit the scenes with the wife are treacly - but how else to do it? The scene at the border on horseback... that's a little unmemorable (Mamet didn't write it).

But the good stuff is so terrific - the Mamet arias, the murder of Charles Martin Smith (so shocking and intense), the death of Sean Connery, the finale in court.

Peter Hyams Top Ten

1. Capricorn One (1978). His best film. Everything works. 

2. Outland (1981). Not everything works. But lots of fun.

3. 2010 (1984). Thankless task. But it's fun and it's remained vivd for me.

4. Running Scared (1986). Fun buddy cop film.

5. Narrow Margin (1990). No one saw this when it came out but it's fun.

6. Our Time (1974). Sweet. Female writer. Not perfect but interesting.

7. Goodnight My Love (1972). Overrated but still entertaining.

8. End of Days (1999). Silly. But it has the courage of its silliness.

9. Enemies Closer (2013). Terrific Jean Claude Van Damme performance.

10. The Presidio (1988). Cheerful slick 80s Hollywood stuff with Meg Ryan as Sean Connery's trashy daughter.

Movie review - "Cuba" (1979) ***1/2

 Richard Lester's riff on Casablanca is great fun, for the most part, because he's got a basic solid situation and can flesh it out with observations and colour.

Sean Connery is a British mercenary who rocks into Havana around 1958 to help take out Castro and runs into old flame Brooke Adams (back in the day he was 30 she was 15... jeez) who is married not to a nice dude but to a dodgy factory owner (Chris Sarandon). There's a strand of jailbait attraction in some Lester films -in Robin and Marian Ian Holm's king had a 12 year old bride.

Hector Elizondo with hair is a local officer assigned to Connery by General Martin Balsam. Brooke Adams is gorgeous - she had a moment in the sun, Adams, this came out around the time of Days of Heaven and Invasion of the Body Snatchers. Apparenty Ann Margret wanted to play the female lead but they went with Adams who was more believably Cuban - not a bad idea.

At heart this is a ensemble movie where the pleasure is in the subplots: Jack Weston as a salesman, Denholm Elliot as a shifty British ops, the two CIA men trying to balance budgets, the young revolutionary, his sister who works in a factory, the dancer at a club, Walter Gotell's factory owner, Hector Elizondo's young officer, Martin Balsam's corrupt detective, the sports games, the TV blaring.

The star driven center sometimes sits uneasily, in part because Sean Connery really is just another character - he's drifted along by events (he arrives to take out Castro, gets ambushed, but doesn't do much heroic; he roots Adams but she's not that into him).  When the film focuses more on them it goes out of whack and the action stuff at the end (with Connery and Weston driving a tank) doesn't quite work.

But it's a film full of rich atmosphere and is stimulating to watch. All the actors are fabulous.

Movie review - "Robin and Marian" (1976) ***1/2 (warning: spoilers)

 After revitalising Dumas with The Musketeers films, Richard Lester turned his eye to Robin Hood. At one stage Lester was going to film The Princess Bride by William Goldman and the script for this was written by Goldman's brother James.

It's got a wonderful cast - Sean Connery is a perfect old Robin Hood, all foolish muscularity, ditto Audrey Hepburn as Marian, a little fed up. Both sexy oldies. I wish they didn't have the moment where he knocks her out. And TBH she doesn't seem that into him or he into her. Like, she's really keen to poison him instead of seeing if he'll recover.

Nicol Williamson is wonderful as Little John ditto Richard Harris as King Richard I and Robert Shaw as the Sheriff. They all sparkle in their roles. Williamson, Harris and Shaw are great at doing "turns". So are Ronnie Barker (Friar Tuck) and Denholm Elliot (Will Scarlet).

It's cynical and realistic, I guess. Richard I is killed by a stray arrow, as he was IRL. Robin talks about Richard's massacres at Acre, which happened. 

Robin doesn't really do anything that noble. He just helps some nuns escape. He leads a revolt just cause, basically. John doesn't get his comeuppance. I wish he'd had a more noble cause. It's a downer ending, not just because Robin and Marian die, but because Friar Tuck and Will Scarlet get captured. The Sheriff fights Robin more for old times sake rather than a cause.

And yet the film has integrity. It feels real. Fantastic cast. Great moments. The final duel between Robin and the Sheriff feels like a real, exhaustive duel.

The character with the most integrity is Little John. He's loyal to Robin, wants to kill the Sheriff even if the Sheriff wins the duel, he loves Marian and says he never would've gone on a crusade if she'd been his girl, he kills the big villain (apart from King Richard I guess) played by Ken Haigh, he tries to stop the murder suicide at the end.

The film has the power to shock. The talk of Richard's massacre at Acre, as I've mentioned, but also showing King John horny for his wife... who is shown to be 12. A 12 year old sex pot played by a young Victoria Abril.

I'm a bit all over the shop when it comes to my feelings for this film. It's got some fantastic stuff. I wish... the sense of romance between Robin and Marian was stronger and Robin fought for a more noble cause. I know that's not what the filmmakers wanted to do though and respect that.

Movie review - "The Wind and the Lion" (1975) ***1/2 (re-watching)

 Fun. Big. Loud, Romantic. Silly. Great idea for a film. Sean Connery perfect as the Shiekh, for all his Scottish accent - he had more life than original choice Omar Sharif and more youth than Anthony Quinn. Candice Bergen is fine, though once I heard Katherine Hepburn was who Milius originally wanted I kept wishing it was her. They could've had Hepburn, someone to play her daughter to have a romance, and kept the kids.

The film feels as though it is missing bits. Like a meeting between Bergen and Brian Keith (fabulous as Roosevelt). A developed subplot involving the kid (like have him be corrupted, or have him betray his mother.) A support character for Sean Connery - a sidekick or one of his wives.

I love how the supporting characters were gung ho Americans, like the marine captain and the diplomat. This is a film full of life with tongue in cheek... a sense of humour that Milius lost.

Easily one of Milius' best movies as director.

Movie review - "Tarzan's Greatest Adventure" (1959) **** (re-viewing) (warning: spoilers)

 I'm really enjoying re-watching John Guillermin's movies. This was great. When I watched it again I wasn't impressed as I was when I first saw it - because that was off the back of seeing the Tarzan movies in chronological order, and I noted how the quality kept falling and this was such a leap back to form. So I didn't have that context. But as the film went along it just kept being great.

The photography helps - that wonderful Ted Scaife grainy colour. Location filming in Kenya is a plug (though there's a fair bit of studio work). Simple story but full of novelty - Tarzan speaks English, helps out the local district officer, he is injured with blood. 

The villains are outstanding - Anthony Quayle, Sean Connery, Nial MacGuinness, Al Mulcock, sexy Scilla Gabel. I liked Sara Shane as Tarzan's busty, feisty love interest  - they have sex. Scott isn't an awesome Tarzan - he seems like a bodybuilder rather than someone living in the jungle - but he's fine.

Tough action. Love the ending where Tarzan kills Quayle and does his yell.

Audrey Hepburn age gaps with her co star (it's approximate)

Roman Holiday - 24 to Greg Peck's 37
Sabrina - 25 to Bogart's 55 and Holden's 36
War and Peace - 26 to Fonda's 50 and Mel Ferrer's 38
Love in the Afternoon - 28 to Gary Cooper's 56
Funny Face - 28 to Fred Astaire's 56
Green Mansions - 30 to Tony Perkins' 27
Unforgiven - 31 to Lancaster's 47
Breakfast at Tiffany's - 32 to Peppard's 33
The Children's Hour - 32 to James Garner's 33
Charade - 33 to Cary Grant's 59
Paris When it Sizzles - 35 to Holden's 46
My Fair Lady - 35 to Rex Harrison's 56
How to Steal a Million - 37 to Peter O'Toole's 34
Two for the Road - 38 to Albert Finney's 31
Wait Until Dark - 38 to Effrem Zimbalist's 49
Robin and Marian - 47 to Sean Connery's 46
Bloodline - 50 to Ben Gazzara's 49
They All Laughed - 52 to Gazzara's 51

(Again I stress these are approximate ages - I don't know exact shooting dates - but it will give you some idea of the gap.)
 

Script review - "The Rock"

A very good script - every scene pushes the action forward, there's three showy star parts, all different (the tormented general villain, the British agent, the expert Goodspeed), some funny lines, clever action bits. The basic story is solid with its ticking clock.

Maybe some of the supporting characters could be developed - like Womack the FBI guy or the daughter/girlfriend parts. And I felt the offsider for the Ed Harris character would have been better off just being the one person.

But very readable and entertaining. I actually like this better than the film.

Movie review - "Outland" (1981) ***

Something of a commercial disappointment on release - I think the Ladd Company, who made it, were hoping for another Alien, for it feels like that movie (working class types in space, an unscrupulous company, people smoke in rooms).

It's not as good but it  holds up well, in part because it stars Sean Connery but also because the effects have aged nicely. Maybe not the computer type but the sets and ships on Io, off the planet Jupiter, the atmosphere, the quality of acting. Frances Sternhagen is great fun, as are James Sikking and Steven Berkoff and Peter Boyle.

The set up is nice and simple - a marshal discovers the mining company are killing its workers with drugs that make them produce faster. It doesn't develop entirely logically though. Surely some people would be on Connery's side? Some miners? (I think Boyle should have framed Connery for the deaths somehow to turn people against them.) The ending felt underwhelming with Boyle just punched out - no expose like in say Capricorn One. How did Connery get access to Boyle's transmissions? Why didn't he use this more?

Other things: The subplot involving the wife and kid feels pointless - better to have cut it. I don't mind a bit of mystery but some explanation as to why Connery took a stand would be appreciated. The expert assassins are really dump to fire in a compressed chamber.

It's like the script needed another draft or two just to iron out logic flaws. But it's easy to look at and Connery in sci fi is fun. Hyams directs stylishly, too.