Another day at the EIFF

We're getting there, gradually. Here's what I watched on Sunday. Once again I'd remind you that it's late and I can't be bothered checking for spelling errors.

REMEMBER THE NIGHT

Today's opener, again from the Mitchell Leisen retrospective, is again a romantic comedy although one that is slightly darker in tone again. Barbara Stanwyck is a reoffending shoplifter who is remanded into the custody of prosecuting D.A. Fred MacMurray for the Christmas holidays. A quick trip back to see his family soon results in (and I don't think I'm spoiling anything by saying it) her seeing the error of her ways and the two natural enemies falling for each other.

The lead couple sparkle and the film's feel-good factor and family Christmas setting would make it suitable for a double bill with IT'S A WONDERFUL LIFE if you ask me.

FIRST LOVE

Inspired by the real-life 3-million-yen heist of the 1960s (and a book in which a woman confessed, many years later, to be the robber), this Japanese movie is a subtle blend of heist movie and agonising romance (with the emphasis on the latter) against the backdrop of a changing Japan. The film really begins to sag in the middle but the heartbreakingly beautiful ending means all is forgiven. You'll need patience to make it all the way through - don't go expecting huge action set pieces for the heist itself either.

WALKING TO WERNER

Linas Phillips is a filmmaker from the currently popular trend of budding directors who see cheaply shot documentaries as the way to get their films made and make stars of themselves at the same time. I really wish he hadn't bothered.

Inspired by Werner Herzog's infamous cross-country trek on foot to see a sick friend, Phillips decides he is going to walk the 1200 miles to Herzog's house just to meet him (despite Herzog's assurances that he will not be in the country at the time).

Many things become obvious on the trip - Phillips clearly wants to be Herzog but lacks any of the wit, style or charisma; he soon resembles the kind of madman that Herzog himself usually turns the camera on; he offers nothing insightful (the characters he meets are all, without exception, far more likable and interesting than he is); we're told that the trip results in him "finding himself" though there is no such evidence on screen.

This film is a stinker and perfectly illustrates the downside of the digital film revolution.

THIS FILM IS NOT YET RATED

This documentary is a fascinating and very entertaining look at the way the MPAA in America is run (for those of you not familiar, they're the folks that give films ratings in the US). It's not just funny and interesting, but also makes you realise that in many ways they're even shadier than Britain's own BBFC. Sure, there's a lot wrong with our system but it's a hell of a lot more transparent than the US one if this expose is anything to go by. Contains lots of nudity. Which is nice.

ELECTRA GLIDE IN BLUE

Wow. I've never seen this one before but it played as part of the "They Might Be Giants" retrospective and I'm glad I caught it. Robert Blake plays a police officer who dreams of making detective only to find out that it's not all it's cracked up to be when he finally makes it. It's an interesting counter to EASY RIDER, and the chance to see Conrad Hall's breathtaking cinematography on the big screen (in what was, it must be said, a marvellous print) was worth the admission alone. The scenes in the desert are particularly impressive - like a cross between all the best elements of John Ford westerns and MAD MAX car chases.

More this weekend!