Joel and Ethan Coen's third collaboration, the gangster film Miller's Crossing, stars Gabriel Byrne as Tom Reagan, the right-hand man of big-city Irish mob boss Leo (Albert Finney). The film opens with Italian mobster Johnny Caspar (Jon Polito) and his second in command Eddie Dane (J.E. Freeman) informing Leo and Tom that they are going to kill bookie Bernie Bernbaum (John Turturro) because he has been revealing Caspar's fixed fights to other gamblers. Leo informs Caspar that Bernie pays for protection and is not to be touched. After the Italians leave in a huff, Tom informs Leo that he should give up Bernie. Tom and Leo are both involved with Verna (Marcia Gay Harden), Bernie's sister. After a failed hit on Leo starts a full-scale mob war, Tom reveals to Leo the truth about his relationship with Verna. This leads to a falling-out between the pair. Tom goes to work for Caspar, but in truth, he is still loyal to Leo.
Somewhere in Wichita, Kansas, David is a potential college football star who's just won a four year scholarship to a (no doubt, nice posh) college somewhere in Oaklahoma. His mates decide to throw him a serious farewell party whilst his folks are out that night. Unfortunatley three uninvited guests secretly gatecrash these nightly celebrations, two are convicts who've fled from lockup, now hiding out somewhere in the homes cellar, while our third interloper is a mental patient escapee, with a connection to the party guests and notably David himself. Before long homicidal rage resurfaces in one of these trio leading to a carnage filled rampage.
Hazel Flagg of Warsaw, Vermont receives the news that her terminal case of radium poisoning from a workplace incident was a complete misdiagnosis with mixed emotions. She is happy not to be dying, but she, who has never traveled the world, was going to use the money paid to her by her factory to go to New York in style. She believes her dreams can still be realized when Wally Cook arrives in town. He is a New York reporter with the Morning Star newspaper.
Monty Python at the O2.
The film’s narrative follows three leading actresses, all appearing in the same movie (but not appearing in the same shot until the end of the film), and all undergoing their own personal crises. It’s very formally worked out, through a series of carefully balanced dialogues with confessors, synchronized confrontation scenes, and staggered flashbacks. If Farewell was Yoshida’s self-conscious Resnais tribute, this is him in Bergman mode (Mariko Okada’s story even begins with her experience hysterical mutism, à la Persona), though the finished product is much livelier and more pungent than anything Bergman would have come up with (maybe Zetterling’s The Girls is a more apposite reference point). On another level, it’s also referencing a big old Hollywood melodrama, pastel panoramas in various shades of bitch (there are also nods to All About Eve).
Angélique is sixty. But she is not old. The best proof is that she is still working as a taxi girl in a cabaret by the French-German border. And that her love for men is intact. And that she keeps loving partying. And that there is nothing for her like night life… Of course clients are becoming rarer and rarer. Sure a few of them are offensive to her and treat her like meat… But what a surprise when Michel, a friendly retired miner, asks her to marry him! Will she be able to become a respected married lady? Will she manage to make it up with her family? Can she really say farewell to her present lifestyle?