Tag: Taxi Driver

New Podcast Episode Available Now: “The Card Counter”

Post author By Reece Crothers
Post date October 7, 2024

**Paul** **Schrader** directs his 22nd picture, “**The** **Card** **Counter**.”

Writer-director **Paul** **Schrader** in a press photo for “**The** **Card** **Counter**.”

On this week’s episode of The Filmography podcast, Bjorn and I take a deep dive into Paul Schrader’s 22nd picture, 2021’s “The Card Counter.”

Listen to The Filmography podcast on Spotify (with the above link), Apple, or wherever you get your podcasts. New episodes streaming Fridays.

Character Posters for **Paul** **Schrader’s** “**The** **Card** **Counter**.”

“The Card Counter” stars Oscar Isaac as William Tell, a gambler with a dark past, another of Schrader’s “man in a room” characters, which we know as soon as we see him sat at his table writing in his journal, as these men in rooms tend to do in Schrader pictures.

Tell is seeking redemption through his relationship with a troubled young protégée, played by Tye Sheridan (“Ready Player One“).

The relationship between the two men is a gender swap for the older man/younger woman (or girl) relationships we have seen in other Schrader pictures, from “Taxi Driver” (Jodie Foster) to “Hardcore” (Season Hubley).

Rounding out the cast of principal players is Tiffany Haddish (“Girl’s Trip“) as La Linda, a manager of card players who recruits, then slowly falls for Isaac’s William Tell.

The Case for The Card Counter's Tiffany Haddish as One of 2021's Best Performances | Features | Roger Ebert — **Tiffany** **Haddish** as La Linda.

William Tell and La Linda fall into romance.

Fast Eddie returns in “**The Color of Money**“

La Linda reminds me of Paul Newman’s and Mary Elizabeth Mastrantonio’s characters from Scorsese’s “The Color of Money” combined, serving as both William Tell’s backer and his love interest.

**Paul Newman** and **Mary Elizabeth Mastrantonio** in **Scorsese’s** “**The Color of Money.**“

Incidentally, “The Color of Money” director (and frequent Schrader collaborator) Martin Scorsese also serves as Executive Producer of “The Card Counter.”

And like “The Color of Money” the film is more pre-occupied with the interpersonal relationships of its central trio than the mechanics of the pool or poker.

In the villainous role of Major John Gordo, Willem Dafoe returns for his 8th collaboration with Schrader.

**Willem** **Dafoe** returns for his 8th **Schrader** picture.

Most of the Maj. Gordo storyline takes place in flashbacks to William Tell’s military past, a new approach to the “man in a room” picture, which have previously avoided the use of flashbacks.

Extreme wide angles used for the flashback sequences.

Another unusual component to the flashback sequences is the use of an extreme wide angle lens, something that would not have been out of place amongst the visual experimentations of Schrader’s “Dog Eat Dog” but feels new to these men in a room pictures.

**Oscar** **Isaac** in a still from “”**The** **Card** **Counter**.”

Like the endless musical variations on a theme that Schrader’s “Mishima” composer Philip Glass is able to create in ways that always feel fresh and new, Schrader’s variations on his “man in a room” stories continue to feel like discoveries of new territories rather than retreads of familiar grounds.

Schrader and Isaac enjoy a lighter moment on set.

After the success and accolades of “First Reformed,” it’s exciting to see Schrader follow it up with another powerful narrative about guilt and the search for love and redemption.

Though “First Reformed” is the more celebrated film, I prefer “The Card Counter” for reasons that are hard to articulate, and would require revealing some of the pictures biggest surprises. For that, and all of the highs and lows of one of Schrader’s best pictures, you’ll have to tune into the podcast and hear for yourself!

Watch the trailer for “The Card Counter” here:

The Card Counter trailer on YouTube

Listen to Philip Glass’ complete score for Schrader’s “Mishima”:

Glass’ “Mishima” score on YouTube.

Read the Guardian’s article on Schrader‘s and Dafoe’s creative partnership here:

https://www.theguardian.com/film/2016/may/27/paul-schrader-willem-dafoe-dog-eat-dog#:~:text=The%20director’s%20at%20his%20best,in%20seven%20of%20Schrader’s%20films.

Podcast

New Podcast Episode Available Now: “First Reformed”

Post author By Reece Crothers
Post date September 28, 2024

**Paul Schrade**r in press photo for “**First Reformed.**“

On this week’s episode of The Filmography podcast, Bjorn and I take a deep dive into Paul Schrader’s 21’s picture, “First Reformed,” for which he received his first Oscar nomination for Best Screenplay.

Listen to The Filmography on Spotify (link above), Apple, or wherever you get your podcasts.

**Ethan Hawke** as Reverend Toller in my favourite still from “**First Reformed.**” Just look at that pink and purple sky! Like something out of an impressionist painting.

**Paul** **Schrader** in a press photo for “**First** **Reformed**.”

With “First Reformed,” Paul Schrader’s wilderness years are finally over. It seems “Dog Eat Dog” did what it was supposed to do, blasted away all the cobwebs, cleansed the palate (especially of “The Canyons”), done away with all of the experimentations of genre and style, and returned Schrader to his transcendental roots, exploring the influence of austere filmmakers like Ozu, Bresson, and Dreyer, on whom Schrader wrote the book that launched his career as a film critic even before he became a celebrated screenwriter and director.

**Paul Schrader’s** classic text on the style of **Ozu**, **Bresson**, and **Dreyer**.

From the moment we see Ethan Hawke alone in a room, sitting at a table, writing in a journal, we know immediately that this is not just a Paul Schrader picture, but one of his “man in a room” stories, a cycle which began with “Taxi Driver,” and includes “American Gigolo” (no journal writing), “Light Sleeper,” “The Walker” (no journal), “First Reformed,” and following that, “The Card Counter,” and “Master Gardner.”

These films are linked with common themes of isolation and self-destructive violence.

Out of bullets, De **Niro’s** finger becomes a weapon.

Willem Dafoe goes kamikaze in “**Light** **Sleeper**,” and survives.

Ethan Hawke works out his Jesus complex in “**First** **Reformed**.”

“First Reformed” recalls “Taxi Driver” in many other ways, too. Some similarities are superficial, referencing specific shots, such as the Pepto Bismol in the whiskey glass in “First Reformed,” and the Alka Seltzer in water in “Taxi Driver.”

Breakfast of champions in “First Reformed.”

**Martin** **Scorsese’s** out-of-the-box **Alka** **Seltzer** ad from “**Taxi** **Driver**.”

Some references are more profound, such as the protagonists of both films attempting to save themselves by saving a young woman. In the case of “Taxi Driver,” that woman was initially a romantic interest, as played by Cybil Sheppard, before morphing into an actual rescue attempt, with the character played by Jodie Foster.

**Cybil** **Sheppard** as Betsy, a campaign worker De **Niro’s** **Travis** **Bickle** fixates on.

**Jodie** **Foster** as Iris, an adolescent sex worker that Travis attempts to rescue.

In “First Reformed,” both parts manifest in one character. Played by Amanda Seyfried, Mary is one of Reverend Tiller’s parishioners, a pregnant widow to whom he feels an immense sense of responsibility, since he blames himself for her husband’s suicide.

**Amanda** **Seyfried** as Mary in “**First** **Reformed**.”

Unlike Travis’ relationships with Betsy or Iris, Rev. Tiller’s feelings for Mary are reciprocated, fuelled by a shared sense of grief and trauma. It is Schrader’s most tender romance to date, culminating in a hyper-stylized “magical mystery tour” sequence (as Bjorn calls it) that would have eyes rolling in the hands of most other directors, but coming from such an unsentimental filmmaker as Schrader, is actually quite moving.

**Amanda** **Seyfried** in a still from “**First** **Reformed**.”

The “magical mystery tour” sequence in “**First** **Reformed**.”

Three men in a room (though two are pictured outside here!): **Ethan** **Hawke**, **Oscar** **Isaac**, and **Joel** **Edgerton**.

With the success and acclaim of “First Reformed” Schrader must have realized he had finally hit upon the winning formula. His next two pictures, “The Card Counter,” and “Master Gardner,” would complete an unofficial “man in the room” trilogy.

Though “Light Sleeper” remains my favourite Schrader Picture, “First Reformed” may very well be his best. For the full breakdown on why, you’ll have to listen to the podcast!

Watch the trailer for “First Reformed” here:

“First Reformed” trailer on YouTube.

Listen to Schrader’s audio commentary for “First Reformed” here:

Audio commentary by Paul Schrader for “First Reformed” on YouTube.

Watch the “magical mystery tour” sequence from “First Reformed” here:

Ethan Hawke takes Amanda Seyfried on a “magical mystery tour” in “First Reformed.”

“**First** **Reformed**” double exposure image from Mubi.com

Read Mubi’s article “Everybody Sacrifices” here:

https://mubi.com/en/notebook/posts/everybody-sacrifices-paul-schrader-discusses-first-reformed

Read the NY Times review, “First Reformed Is An Epiphany…” here:

https://www.nytimes.com/2018/05/17/movies/first-reformed-review-paul-schrader-ethan-hawke.html

Listen to the Variety podcast, “Paul Schrader reflects on the long journey of ‘First Reformed'” here:

https://variety.com/2019/film/podcasts/playback-podcast-paul-schrader-first-reformed-1203136319

Watch Alex Ross Perry’s portrait of Paul Schrader, “Man In A Room,” on the Criterion Channel here:

https://www.criterionchannel.com/meet-the-filmmakers-paul-schrader

Read the Interview Magazine article “Paul Schrader tells Nicolas Cage why ‘First Reformed’ is his masterpiece” here:

https://www.interviewmagazine.com/film/paul-schrader-nicolas-cage-april-issue-2018-interview

Podcast

New Podcast Episode Available Now: “The Canyons”

Post author By Reece Crothers
Post date September 6, 2024

On this week’s episode of The Filmography, Bjorn and I find a rare opportunity to truly disagree on a picture!

**Lindsay** **Lohan** looking appropriately miserable with **James** **Deen** glaring at her.

While Bjorn found much to praise about Paul Schrader’s 2013 Lindsay Lohan-starring, Bret Easton Ellis-scripted, self-financed, psycho-sexual thriller, “The Canyons,” I found myself wanting a lot more from (as the poster reminds us) the creators of “American Psycho” and “Taxi Driver.”

**Paul** **Schrader** with his screenwriter **Bret** **Easton** **Ellis**.

There is no way to detail my number one complaint without a major spoiler, so suffice it to say that the story doesn’t get interesting until the last 15 minutes of this movie. Although it doesn’t look anywhere as cheap as it’s actual budget, it lacks the polish of Schrader’s other pictures, is his least ambitious piece of filmmaking, and the most compelling thing about it is the fact that Schrader and Ellis self-financed. That should have resulted in a picture of great artistic vision, where two iconoclasts who have pushed the boundaries of what is acceptable (or even advisable) in mainstream cinema and literature, respectively, are freed from the constraints of studio interference. But there is nothing particularly revolutionary about the film itself.

**Lindsay** **Lohan** looking adrift in a still from “**The** **Canyons**,” a picture that ultimately wastes her talents.

Lohan is (unsurprisingly) much better than her part calls for, but everyone else is beyond wooden. Notorious pornstar (and accused rapist) James Deen’s casting in particular reeks of a publicity stunt. It’s only in the last couple of scenes that he gives off even a glimmer of whatever Schrader and Ellis must have seen to cast him in the first place. The bottom line is that Schrader and Lohan both deserve far better material than this.

**Schrader** directing **Lohan**, **Deen**, et al.

Listen to the latest episode of The Filmography podcast here:

Listen to the episode on Spotify, Apple, or wherever you get your podcasts.

Producer **Braxton** **Pope**, writer **Bret** **Easton** **Ellis**, and director **Paul** **Schrader** on location with **Lohan** and one of her co-stars.

Watch the trailer for “The Canyons” here:

“The Canyons” trailer on YouTube.

Watch the Q&A from the world premiere of “The Canyons” at the Film Society of Lincoln Center here:

Paul Schrader’s “The Canyons” Q&A on YouTube.

Read the NY Times Magazine’s article “Here Is What Happens When You Cast Lindsay Lohan In Your Movie” here:

https://www.nytimes.com/2013/01/13/magazine/here-is-what-happens-when-you-cast-lindsay-lohan-in-your-movie.html

Screenshot of the NY Times Magazine’s snooty article on **Lindsay** **Lohan** and the making of “**The** **Canyons**.”

And in the spirit of fairness, here is an IndieWire article, which like my dear pal Bjorn does, inexplicably praises the picture:

https://www.indiewire.com/features/craft/the-canyons-paul-schrader-bret-easton-ellis-lindsay-lohan-1234898432

Screen capture of **Jim** **Hemphill’s** article of appreciation.

And finally, as a very special treat, here is an excerpt from the excellent Paul Schrader interview with my pals over at The Seventh Art:

The Seventh Art’s interview with Schrader on YouTube.

Tags American Psycho, Bjorn Olson, Braxton Pope, Bret Easton Ellis, Film Society of Lincoln Center, IndieWire, James Deen, Jim Hemphill, Lindsay Lohan, Paul Schrader, Spotify, Taxi Driver, The Canyons, The Filmography, The Seventh Art

Morricone

The Morricone Collection: “Il Giocattolo” (1979)

Post author By Reece Crothers
Post date August 19, 2024

Opening with a music-box melody that recalls “Watch Chimes” from “For a Few Dollars More,” Morricone’s score for 1979’s “Il Giocattolo,” is at turns haunting and tender, with pounding piano chords (hints of the future score for “The Untouchables“) sweeping strings, funky guitar, and a touch of Morricone’s signature whistling. This 11-track Cinevox release is one of my favourite albums from the Maestro’s lesser-known works.

Directed by Guiliano Montaldo (“Sacco & Vanzetti“), written by Sergio Donati (“Once Upon A Time In The West“), and starring Nino Manfredi (“Bread & Chocolate“), “Il Giocattolo” has been described as “the Italian Taxi Driver.” Also known as “A Dangerous Toy,” the film tells the story of a mild-mannered accountant who becomes obsessed with guns and revenge after his police officer friend is killed.