6/26 HD Cinema Premiere Movies

[Sean Mota]

HD World Cinema (102):
The New Land ***+ (1972, Drama)​

Summary:
If any of your ancestors came from any part of Europe by sea, you have to see this. Movie is not new, but is a classic. Was recommended to me by my Norwegian cousins even tho it's about Swedes. You DO NOT notice the dubbed English, believe me. And you want to watch if again and again because movie really captures what the emmigrants went through, both in the old country and here. Definitely a "to own" movie for anyone that likes history and genealogy.

Divine HD (110):
Born Yesterday ***+ (1950, Comedy)​

Summary:
Judy Holliday's Oscar-winning performance is just one of the reasons to watch this terrific 1950 comedy, which is equally acclaimed for its deliciously witty screenplay (based on Garson Kanin's long-running Broadway hit) and George Cukor's silky-smooth direction. Holliday plays Billie Dawn, the floozie fiancée of a junk-dealer millionaire (Broderick Crawford), who is trying to make a good impression among the Washington, D.C., politicos he's hoping to influence. To ensure that Billie gets properly "culturefied," the corrupt Crawford hires a D.C. journalist (William Holden) to give the seemingly dim-witted blonde a crash course in politics, history, literature, and--you guessed it--true love. Billie's not nearly as dumb as she seems, of course, and before long she's graduated from pawn to sassy queen on her husband's political chessboard.
Watching Born Yesterday is a crash course in itself--an object lesson in how low American screen comedy has fallen from these delirious heights. The movie's funny even when there's a pause in the golden dialogue, such as when Holliday tests Crawford's patience in a sublimely comedic round of gin rummy. There's not a single scene in which Holliday (reprising her Broadway role) isn't simply perfect, the cogs turning smoothly behind her dim expressions and coarsely high-pitched squeal. Suave as ever, Holden is her match made in heaven, and Crawford is a brute who's too stupid to be genuinely malevolent. Put 'em all together and you've got a timeless classic, so flawless that a 1993 remake was instantly doomed to pale comparisons. --Jeff Shannon

HD Cinema Epics (108):
Absolute Beginners **+ (1986, Musical) ​

Summary:
A commercial disaster upon its release in 1986, Absolute Beginners is an uneven but often stunning attempt at revitalizing the movie musical with postmodern sensibilities. Director Julien Temple was making his first foray into dramatic features after an impressive string of music videos and documentaries (including the first of two Temple-directed profiles of the Sex Pistols), and he upped the stakes by harnessing his visual ingenuity to a period piece exploring London's social transformation at the edge of the '60s--a fleeting moment in the pop zeitgeist that may as well have been the Cambrian Age to Temple's MTV-generation audience. This is post-World War II London turning the corner from economic austerity, giddy with jazz and early rock, yet to witness the Beatles and the Stones.
Adapted from Colin MacInnes's novel, the story follows Colin (Eddie O'Connell), a young Londoner looking to find his place in the world. A budding romance with the intoxicating Suzette (Patsy Kensit) as well as crises of conscience over social responsibility and financial gain are the plot threads in a story that arguably tackles too many Big Ideas, including adolescent identity, British racism (directed at West Indian immigrants) and class prejudice, and capitalism itself, embodied by David Bowie as unctious, superstar executive Vendice Partners.

In wrestling with such valiant ambitions, Temple and his young cast establish the film's musical soul in a canny synthesis of '80s English pop with postwar bop and the seeds of Mod culture. Onscreen performances by Fine Young Cannibals, Sade, and Kensit, a Bowie production number ("Motivation") that cribs from Busby Berkeley, and a wonderful sequence with the Kinks' Ray Davies as Arthur (a likely nod to his own band's 1969 rock opera) are all well realized. Less obviously, Temple salutes the period's forgotten jazz legacy through a score from the late Gil Evans, and in the jaw-dropping, bravura opening sequence, an extended single-camera journey through Soho set to Charles Mingus's joyous "Boogie Stop Shuffle" that is itself reason enough to see this brave musical. --Sam Sutherland