Movie Review Night Moves

Night Moves (1975) 

Directed by Arthur Penn

Written by Alan Sharp 

Starring Gene Hackman, Melanie Griffith 

Release Date July 2nd, 1975

Published ? 

Night Moves is a hidden gem of 1970s neo-noir. The film stars the legendary Gene Hackman as private detective Harry Moseby. Harry is married to Ellen (Susan Clark), a fact that has a surprising prominence despite not having anything to do with the main mystery at hand in Night Moves. Director Arthur Penn cleverly smuggles a domestic drama into a missing person mystery and it's kind of great. Harry Moseby's well-founded trust issues are a significant part of how this movie plays out. 

Harry Moseby has just been given a tip about a potentially lucrative gig. A former Hollywood actress, B-Movie gal, Arlene Iverson (Janet Ward), is looking to hire someone to find her daughter, Delly (Melanie Griffith), an aspiring young actress. As unusual as Arlene is, Harry takes her money and the job and sets about his search. The trail begins with a movie studio mechanic named Quentin (James Woods). Quentin was believed to have dated Delly despite her being only 16 years old. 

Quentin points Harry in the direction of a man who had beaten him up on the set of a movie, a stunt man named Marv Ellman (Anthony Costello). Through Marv the story travels to Florida where Arlene's ex-husband, Tom Iverson (John Crawford), Delly's stepfather, lives and operates a tourist attraction, taking people out on a glass bottom boat or flying them around the area. Also with Tom is his new girlfriend, Paula (Jennifer Warren). 

Indeed, Delly is there, and she doesn't want to go home. The case appears to be closed; all Harry has to do is take Delly back to Los Angeles. If only it were that simple. Things get complicated when Harry has a brief flirtation with Paula and, while tooling around in the glass bottom boat, Harry, Delly and Paula find a dead body. At the bottom of the ocean, they spot a crashed plane with the corpse of the pilot inside. This finally causes Delly to finally go home but, again, the story doesn't end there. 

Find my full length review at Geeks.Media 

Classic Movie Review Jeanne Dielman 23 Commerce Quay 1080 Brussels

Jeanne Dielman 23 Commerce Quay 1080 Brussels (1975) 

Directed by Chantal Akerman 

Written by Chantal Akerman 

Starring Delphine Seyrig, Jan Decorte, Jacques Doniol Valcroze 

Release Date May 14th, 1975 

Published Unknown 

Jeanne Dielman stars Delphine Seyrig as the title character, a housewife, mother and sex worker named named Jean who lives in Brussels. Jeanne's life consists of a very specific routine. She has sex with anonymous men in the afternoon, for exactly the length of time it takes for potatoes to properly boil. The men pay her and leave and she cleans up in the shower before finishing the preparation of dinner just in time for her son, played by Jan Decorte, to arrive home. The following day we see more of the routine as Jeanne wakes before her son, makes breakfast and shuttles him off to school. She makes the beds, cleans up around the house and for maybe an hour, she watches the baby of her chatty neighbor. 

Then Jeanne runs errands. She may stop for a cup of tea but then it is back home for her client, her shower, dinner and a clipped and brief conversation with her son. And on, and on, and on, the routine is laid out with some of the most mundane tasks of Jeanne's life, such as her shower routine or the peeling of potatoes, or the attempt to have one nice cup of coffee. These scenes play out in real time, of sorts and you are asked to either observe the mundane nature of these actions or let your mind wander into these scenes and find a story or a way to amuse yourself. 

Through the forces of visual filmmaking director Chantal Akerman tells us that the protagonist of Jeanne Dielman is a sex worker. We see her with an older man, they are familiar but not particularly intimate. He says he will see her next week as he hands her a handful of bills. There is no need for us to have seen them have sex or make the arrangements for the sex act, a hand full of bills and minor pleasantries, in the hands of a great filmmaker, can be all it takes to tell a story that introduces a character. 

Then it is off to the bath. This isn't presented in a way that caters to the male gaze, Jeanne is seated in the tub, mostly obscured, this about the act of cleaning, not eroticism. This extends to a jump cut when it is time for Jeanne to get out of the bath. The jump cut from Jeanne seated in the bath, to Jeanne nearly finished dressing is visually important here. The jump cut prevents ogling or fantasizing. The way Jeanne cleans up after work is intended to show you how this is just an aspect of her job, the lack of specific nudity, the jump cut, are a visually dynamic reminder that this isn't intended as anything other than part of a work a routine.  

Jeanne's life is an example of the expectation of extreme patriarchy, the expectations placed on a woman in an extreme idea of patriarchy, one where a woman's life is dedicated to what men want or expect. The casual misogyny of this idea is portrayed in a conversation between Jeanne and her son, Sylvaiin (Jan Decorte). He says, "If I were a woman, I could only make love with someone if I were deeply in love." She replies, How could you know? You're not a woman." Sick burn. He doesn't appear to know that his mother is a sex worker, he's reacting to the rather matter of fact way she referred to her late husband, his father. He doesn't understand yet that men like him have dictated to women like his mother who their sexual partners should be, how a woman is intended to cater to the needs of men, regardless of their desires. 

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