Yankee Doodle Dandy (1942)

There is one problem with watching “Yankee Doodle Dandy” despite the fact that James Cagney is superb in his underdog sort of role, the title songs and subsequent Americana ditties are toe-tapping from the start, as well as the cinematography and set design are Oscar-worthy – “Yankee Doodle Dandy” is just too long. Being a newbie to both the world of Cagney as well as American propaganda, “Yankee Doodle Dandy” seemed the best place to start, and from the opening scene of the birth of George M. Cohan (felt like Fincher borrowed this scene for his “Benjamin Button” film) on the 4th of July, there was this immediate attachment. This film was loud, flashy, and when Cohan began telling his life story to the President of the United States, I eagerly anticipated the results. Then, we leisurely waked through his life. When using the word “leisurely”, it is straightforwardly inescapable. Be prepared for everything from his family’s rise and fall to the eventual birth of every song, no stone is left unturned, and while that can be entertaining – it can also dwindle a great movie into mediocrity. That is what happened to “Yankee Doodle Dandy”, this viewer went from singing the songs during the day to broodingly waiting for it to finally end. It was like a rollercoaster, it was at the utmost high, but then went shooting straight down once it was unable to find its ending.

“Yankee Doodle Dandy” is not just this never ending story that repetitively builds too much. It boasts an Oscar-winning performance for Cagney (who later gets type-cast as this “Public Enemy”), and it delivers. It boasts these huge, glorious musical numbers, and it arrives with bells on. It boasts pure, uncut, raw Americana and it nearly makes you want to stand up and sing. Thus, “Yankee Doodle Dandy” delivers exactly what one may want from a film like this. There should be no complains, right? Again, the length of this film began, as the third act blended into the fourth and so on, felt tedious, boring, melodramatic, and lacking focus. When Cohan finishes his speech with the President, the ending should have been in plain view. The long walk down the flight of iconic Presidents, it felt winded. The final shots were just focus-less. There should have been a fade to black long before that. On another note, from the beginning, I knew that Cohan was pure America, it was necessary to consistently repeat that idea. For example, the scene in which he attempts to join the army was ridiculous. The merit was there, but the essence of the scene was missing. Sure, Cohan can tap, but does that mean he should brandish a gun? Another great example of why “Yankee Doodle Dandy” began so well, but then felt as if we were stuffing the turkey too full – it was beginning to feel … dare I say, more American…

To complete this discussion, I would like to reiterate again that “Yankee Doodle Dandy” (for the most part) had me tapping my toes and singing right along with the now infamous George M. Cohan. James Cagney was superb. His blend of humor, great dance, and exciting dialogue proved that he was more than just his later films. While this was a semi-ensemble film, each scene that Cagney was in (which was nearly all of them) he stole the scene. As audience, our eyes were fixated on what this “average joe” looking man was about to do next. Even his dancing seemed original. Yet, I regretfully admit it was just too long. The final act just felt flat, and when his conversation with the President ended, it should have faded then – instead the rest of the “filler” just felt stale. I loved this movie, I can suggest it to friends and family, but alas, be prepared for that final moment. “Yankee Doodle Dandy” felt like riding a roller coaster too many times, by the end, you just want to get off and savor the fun parts. By extending it too long, the sloppy ending ruined my savor for this film.

Loved it. Liked it. Don’t need to watch it again.

Found in my "Time Out Film Guide - 10th Edition - 2002", I am coming in close to finishing the Ys. I have one more, and this run has been a mixed bag. While I did like this movie at start, I am ending it with a pink mark. The length was just horrible, causing it to slip some notches in my book.

Rented Via Netflix

Yaaba (1989)

“Yaaba” is one of those simplistic powerful films. It creates a strong juxtaposition between the youth of Africa and the less-wise elders, which should leave the average viewer hours of contemplation and possible discussion. It is a film that should be pondered and probably re-watched (if found) over time, yet the strength to watch this mere 90 minute feature seemed to escape me. To repeat, “Yaaba” is a powerful film and the overall message of friendship and fear, coupled with adult incompetence is tremendous – yet I cannot stand behind this film. I believe in this film, but, alas, it is not one I could recommend to friends or even begin to watch again. “Yaaba” was a singular experience, served cold.

“Yaaba” failed to compete with others of this nature for several reasons. The first being the lacking plot, and missed exposure to outside elements. As an amateur viewer to African cinema, perhaps this wasn’t the best film to begin, but knowing the simplicity of the story – there was an eagerness to dive in. Yet, it provided no background or reasons. When one watches “Yaaba”, the exiled woman is already in place, the married drunk is already in place, and the rival children are … well … already in place. As viewers, we are not handed anything to begin our journey nor to discover – it handed right to us without reason or recourse. This was bothersome because it didn’t allow each character to become something different – the elder was always scorned, the men were always right, and the children created their own world outside of all of this. A brief introduction to these characters, not necessarily about the region itself, would have helped secure the power behind each character. Bila was a likeable character, but why did he befriend. What was in his persona that allowed him to do that? Then the knife-cut on his cousin Nopoko was never suspected, forcing us to befriend Bila’s decisions instead of discovering a sense of community. The village was doing everything possible, yet we feel frustration towards them – is that right?

Director Ouedraogo does a decent job of working within the lines, but it feels that we are forced into one direction, without allowing the audience to “fall emotionally” with anyone in the film. When the dramatic moment near the end is finally revealed, it felt needed, not surprising or tear-jerking. This is an emotional film. The characters are in place to provide involvement from the viewer, but it feels like it isn’t allowed. This is point A to point B to point C storytelling, which works, but for this film it just felt static. Again, I cannot stress the idea that “Yaaba” was a great visual story, the images of the land, the use of uniform colors kept with the social standing, but the emotion just felt drained from the canvas. The music was bold, the images were contextual, but nothing about what the characters did mattered. “Yaaba” was a structured film, and thus the Earthy nature could not fully be conceived.

To close, I did like “Yaaba” for the ability to see stories from other countries of the world, but in retrospect I just couldn’t feel the actions of our characters. I wanted to fall for Bila’s decision, I wanted to cheer for his defiance, I wanted to tear up with Nopoko was ill – but it never happened. That is the biggest disappointment for this film. I understand the symbolism, the idea that children are smarter than adults, and so forth – but it never reached that next level. It never became identifiable. I wasn’t able to connect to this film. A personal sentiment, but for future viewers, be forewarned. New Yorker Video (now debunked) did a great job of a VHS release, but it cannot come close to creating the much needed emotion lacking from Ouedraogo’s feature.

"Yaaba" was found in my "Time Out Film Guide - 10th Edition - 2002" and it pains me to do this, but I am giving it a yellow highlight with a black mark. I could not watch this film again, the cardboard emotion just bores me too much.

Found on Ebay and watched on VHS. I will miss you New Yorker Video.

The Yakuza (1974)

"The Yakuza" is one of those slow introductory films that seems like it will be pure melodrama, but then dramatically turns into full-fledged action served with a side of revenge. Director Sydney Pollack has no fears of educating the nondescript viewer into the world of Japanese culture, specifically that of the renowned Yakuza. Robert Mitchum is our lead, as we travel into Japan to help a friend, reunite with family, and eventually bring down a whole slew of gangsters. This film begins like a simple trip, all the normal stops are made and emotional heartstrings are pulled - it is dull at first. Pollack's introduction into not only the world of the Yakuza, but also into Mitchum's past with our majority characters initially felt heavy. While it was easy to follow these characters, more was needed to make our interaction with them more enticing, or more relevant. The first act of this film pulls out of the gate, with no hope of finishing the race. Mitchum is entertaining as a man knowledgeable of Japanese culture, and because we didn't quite know all of his past, he is captivatingly mischievous. His friends, his possible daughter, his connections with the gangsters, kept my eyes glued to the screen - even if the beginning of the journey jaded me. Then, "The Yakuza" changed.

What was at the outset was this uninteresting voyage from point A to point B in Mitchum's past, suddenly (and surprisingly) transformed into this action film, equipped with double-cross, mayhem, and deliciously choreographed fight sequences. It felt as if Mitchum wanted to get his feet we prior to just firing a gun throughout the film, and I don't blame him - but the pace drastically needed to be quicker. Then Pollack introduced us to, whom many consider the "star" of this film, Ken Takakura. My first introduction to this man, I was left desiring more. His stone stare, the pensive ego, the unknown past (both in this film and an actor) brought a fresh page to this story. His quiet demeanor allowed us to understand the Japanese Yakuza culture and comprehend the pride that follows. As Takakura enters this film, it changes. He brings life into an otherwise recycled drama - and I think Pollack knows that. Whenever possible he uses Takakura, and weaves a story that at times feels more about Takakura than about Mitchum. Perhaps the work of Takakura's acting ability, or more the ability that a young Paul Schrader had prior to "Taxi Driver" - this film becomes an important film once Takakura becomes involved.





I must admit, this film took several times to get into, especially with the sluggish introduction. I wasn't sold on Mitchum, trying to understand his relationship with everyone else surrounding him - and wondering why at nearly forty minutes we hadn't been properly introduced to the Yakuza yet. Then, like a phoenix in the night - Takakura arrives, and we are handed a powerful film full of betrayal and consequences. Pollack's direction, much like Mitchum's character, takes a moment to warm up, but in full swing, Pollack understands what he is doing and executes without forgiveness. "The Yakuza" is a brilliant film, one of those classic 70s films that I could imagine watching as a child and finding respect for the Yakuza. Like what "Goodfellas" was in the 90s, "The Yakuza" creates that same atmosphere - yet probably less watched. My suggestion - trudge through the first thirty minutes, and be prepared for a film that requires another viewing, an attention to detail, and a combination of both intriguing acting and powerful direction. "The Yakuza" was impressive.





Despite much arguing with myself, I am adding this film to the collection. The overall tones and final scenes secured it for me. Found in my "Time Out Film Guide 10th Edition - 2002", I am surprised to find myself saying that I cannot wait to watch this again. Takakura is phenomenal.

Yana's Friends (1999)

“Yana’s Friends” is an innocent story of being lost, finding love, and surviving several SCUD missile attacks. It is a multi-lingual with universal messages, which pulls from relevant moments in Tel Aviv history. “Yana” makes successful leaps and bounds, unlike most American films, by keeping our conflicts and comedy centralized while remaining focused. An old apartment building is our destination as Yana and her husband arrive with a hefty bank note in hand and a surprising “bun-in-the-oven”, while macho man Eli seduces women and parties the nights away as a wedding photographer. Add to this mix a couple with a WWII veteran, a street musician, and a rusty old landlord who is about to recapture her youth, and “Yana’s Friends” finally takes shape. This is a soaring skyscraper, character driven film that is part comedy, mostly drama, creatively building tension around the violence of the 1991 Gulf War. The film is simple at first, becoming complicated over time, but never forgetting its roots. It is emotional, far from the cannon of pure comedy; the lacked translation transforms it into an absurdist drama that could bring tears. “Yana’s Friends” is a completely solid entry into the world of foreign films and groundling strengths, alas, it isn’t perfect.

The way that “Yana’s Friends” works is such, the first thirty minutes are exciting, building new characters, introducing them to their quirks and settling down, it is the second act, and the choppy third where we loose momentum and finally some steam. The dismal center of this film is important, it is needed to get character A to character B, but ultimately does it have to be so depressing? As Yana struggles with her newfound freedom, she lashes out – in an unfunny scene (though it was meant to carry some humor) she attempts to plow through the airport and board a plane she is not allowed to. It is embarrassing for our characters and for us as we see this event take shape – and it feels awkward. As she returns, she lashes out towards her friends and ultimately falls in love. Again, these scenes become ridged in nature, never quite bringing that solidarity needed for audiences to completely fall for Yana and her crew. It is the apartment owner’s sudden realization that again, is cute at first, but fails to become poignant by the film’s end. “Yana’s Friends” boasted a solid opening, where director Arik Kaplun could spread his creativity, his originality widely, but then he rushed the end. Perhaps it is the time-frame of the film, or the inability to answer “why”, but Yana just twittered from one man to the next, looking for the same thing we, as audiences, were looking for – that solid piece of art that we could hold onto.

Yet, there is a place for “Yana’s Friends” within the history of cinema. This opens the door to Israeli films, a genre that I haven’t explored enough, and it conquers the theme of beginning with nothing and ending with emotions stronger than any inanimate object you could own. The concept of immigration in this foreign film was intriguing to watch, to explore really, as it felt like events that could relate throughout the world. As we enter a new era of war and love, one could envision this happening anywhere – which makes “Yana’s Friends” stand out. The comedy was missing, but perhaps that was just the lacking subtitles. This was a good film, just not a powerful one as the box touts. I could suggest this film to friends, perhaps I could watch it again, but it not a film to have in the collection. “Yana’s Friends” delighted me to watch, but the lacking ending and trivialized characters forced it out of perfection.

Found in my "Time Out Film Guide 10th Edition - 2002" -- I wanted to give "Yana's Friends" a higher score, but that ending just loomed over me that night. It hurt to watch, but it wasn't painful. It is going to get a pink mark in the book - enjoyable, but never to be watched again.

Watched via ROKU from Netflix

V: The Final Battle (1984)

In “V: The Miniseries” we see a band of unlikely brothers forge together to stop an indestructible group of aliens determined to rid the world of water and subsequently transform the human race into a combo meal at McDonald’s. The aliens eat fuzzy creatures, they like to copulate with humans, and their voices cannot be trusted, yet this group of rebels continues forward. Half homage to past science fiction films, and half an allegory of the events surrounding WWII, “V: The Miniseries” wasn’t perfect, but it provided hours of nostalgic entertainment. Now, with “V: The Final Battle”, the gloves are thrown off, the symbolic references are destroyed, and the game is transformed into merely a battle between human and alien. It is about resistance, standing up for beliefs, and plenty of fictitious science all rolled into three hours. Our band of outsiders is down, but not finished. They deliver several swift blows to the alien objective and finally one “final battle” that leaves doors unopened and plot holes uncovered. “V: The Final Battle” was a swift ending, but where it built onto action, it lacked that panache that the original episodes did. “The Final Battle” assumed that characters were already developed, and instead of taking a humanistic direction, director Richard Heffron placed his bets on the special effects. This was a completely different ending to a decently sharp beginning.

Heffron isn’t Kenneth Johnson, and it is obvious that this is a second part to an idea, not a continuation. Not only have the overall themes changed, but the influx of special effects has lead us down the path of horrid dialogue, randomly placed action scenes (i.e. the fistfight over the powder), and the lack of developed storylines. Johnson may have taken longer to get to the point, but at least there was a point. Heffron went in a completely, some may say bold, direction – but it didn’t work. Investing over five hours, one could easily demand a conclusion, but none could be found here. The introduction of Elizabeth (the child of an alien and human) was exciting, but nothing happened. The idea of quick growth was introduced, but then easily forgotten – same as Mike’s son being changed as a spy. Again, another strong and vexing idea that was mentioned, and then forgotten. It was these smaller nuances that seemed to be clearer in “The Final Battle” than in the original.

In addition to the lackluster plot, the acting seemed to be progressively getting worse. Our original characters were not the same as in this final set – the excitement seemed to have dissipated and with too many small story arch’s never being fully developed, it was no wonder our characters seemed to be lacking that pioneering gumption. Marc Singer’s Mike was more a meathead than a leader, the annoying child who gave birth to the spawn seemed more annoying than helpful – and Ham seemed to be unreasonably angrier. This wasn’t the same set we stopped with on the miniseries. The resistance was going to win; it was inevitable, so why did it have to be so mismatched to get there.

What was kept? What worked? It was somewhat like that feeling of seeing “Star Wars” for the first time. When the villains finally get it, one cannot help but feel that moment of excitement swell in the throat, but there needed to be more. The alien baby is worth the price of the DVD alone, a cross between originality and a “Ghoulie”, it provided at least an hour of laughter. The fist fight between Ham and Mike seemed reminiscent of the film “They Live”, so it received some points for that, but overall it just felt cheap. The sets were bigger, the acting was weaker, and the money was tighter. While you should watch this after “The Miniseries”, don’t expect the same quality.

Found in my "Videohound 2008" book, this concludes the V's in this book. I am off to work on the Ys - we shall see how that goes. "V: The Final Battle" alas, will get a pink mark in my book. I didn't like this final chapter, but the universe that Johnson created was deeper than that. I could not watch this again, but wouldn't have any problem suggesting it to friends or family. Watched once - that is enough for me.