The Ice Harvest (2005) or, It's a Difficult Life

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Cut-outs of the three stars are obviously photo-shopped together on this poster for Harold Ramis' The Ice Harvest

A disillusioned lawyer and his cynical buddy steal 2 mil. $ in Wichita Falls, Kansas on a wet Christmas Eve, but after this feat they run into a series of problems.

 

The Ice Harvest is written by Robert Benton (Bonnie and Clyde (1967)) and Richard Russo (Twilight (1998)), adapting Scott Phillips' (The Devil Raises His Own (2024)) same-titled 2000 novel, and directed by Illinoisan master filmmaker Harold Ramis (Caddyshack (1980)), whose 10th feature it was.

It is a sardonic, dark Christmas movie with a fine, well-acting cast in a knotty plot with many funny, superbly delivered lines. John Cusack (Hot Tub Time Machine 2 (2015)) is good as the protagonist, and Billy Bob Thornton (Bad Santa 2 (2016)) is ideal as the ornery prick he gets to play here. Oliver Platt (Modern Family (2015-17)) plays a character that's both funny and somewhat tragic. Connie Nielsen (FBI (2018, TV-series)) is beautiful and provides depth to boot; and Mike Starr (Clowning (2022)) is very funny in a part that goes mostly unseen.

The look of The Ice Harvest is sometimes film noir inspired, and quite successfully so. This is a dark, wet, cold, strip, liquor and curse-word filled dose of yo-ho-ho. The plot leaves some things for us to ponder about: SPOILER Worst among these instances must be that Cusack's character feels impelled to murder Nielsen's, - at least without me being fully clear about why this was necessary, - and then proceeding to be fairly unaffected by the action. But over-all The Ice Harvest is too funny for these holes to ruin the experience.

 

Related posts:

Harold Ramis: 1999 in films and TV-series - according to Film Excess 

Analyze This (1999) - Analyze what, Ramis? 

1993 in films and TV-series - according to Film Excess 

Top 10: Best fantasy movies reviewed by Film Excess to date 

Groundhog Day (1993) - Rubin, Ramis and Murray's irresistible comedy masterpiece 

Ghostbusters II (1989) - Reitman's unjustifiably maligned sequel (co-writer/co-star)

Ghostbusters (1984) - Reitman and Co. conjure up the gleeful pomp and circumstance of the 1980s (co-writer/co-star)

Caddyshack (1980) - And you thought golf was boring?

 

 

Watch a trailer for the film here

 

Cost: 16 mil. $

Box office: 10.1 mil. $

= Huge flop (returned 0.63 times its cost)

[The Ice Harvest premiered 3 September (Deauville Film Festival, France) and runs 89 minutes. Ramis approached his Ghostbusters co-star Bill Murray to star in the film, but Murray did not return his call. Monica Bellucci had to bow out due to her pregnancy. Shooting took place from April - June 2004 in Illinois. The film opened #10 to a 3.7 mil. $ first weekend in North America, its peak there, grossing 9 mil. $ (89 % of the total gross). The 2nd and 3rd biggest markets were Spain with 599k $ (5.9 %) and France with 254k $ (2.5 %). Roger Ebert gave the film a 3/4 star review, equal in rating to this one. Ramis returned with Atlanta (2007, TV movie) and theatrically with Year One (2009). Cusack returned in The Contract (2006); Thornton in School for Scoundrels (2006); and Nielsen in The Situation (2006). The Ice Harvest is rotten at 47 % with a 5.50/10 critical average at Rotten Tomatoes.]

What do you think of The Ice Harvest?

The Human Stain (2003) - Stellar cast drives Benton's Roth adaptation

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Two major stars drenched in sensual blue make up this poster for Robert Benton's The Human Stain

 

Coleman is a college dean who lectures in classical literature, until he is one day accused of racism and decides to quit. His wife passes away, but he finds a young, exciting woman - with a heavy personal baggage. It turns out that he is also carrying around quite a load himself.

 

The Human Stain is written by Nicholas Meyer (Medici (2016-18)), based on the same-titled 2000 novel by Philip Roth (Exit Ghost (2007)), and directed by Texan master filmmaker Robert Benton (Bad Company (1972)), whose 10th feature it is.

Anthony Hopkins (Chaplin (1992)), Ed Harris (Virginia (2010)), Gary Sinise (Bruno (2000)) and Nicole Kidman (Rabbit Hole (2010)) is a tremendously strong cast, and they carry this stained drama home. Kidman's character suddenly evolves to an incredible degree; and the entire storyline with beautiful Wentworth Miller (Underworld (2003)) is mysterious and may seem overly American to some audiences.

Related posts:

Robert Benton: Kramer vs. Kramer (1979) - Benton's amazing, truthful divorce drama

What's Up, Doc? (1972) - Screwball comedy revived for a wonderful show (co-writer) 

Watch the 2-minute 'accusation' scene from the film here

 

Cost: 30 mil. $

Box office: 22.9 mil. $

= Huge flop (returned 0.76 times its cost)

[The Human Stain premiered 29 August (Venice Film Festival) and runs 106 minutes. Shooting took place from March - May 2002 in Massachusetts, Illinois, including in Chicago, and in Québec, including in Montréal. The film opened #15 to a 1 mil. $ first weekend in 160 theaters in North America, where it widened to 388 theaters but never attained a higher position, grossing 5.3 mil. $ (23.1 % of the total gross). The film's biggest market was Italy with 6 mil. $ (26.2 %); North America was the 2nd biggest, and Spain was 3rd biggest with 2.4 mil. $ (10.5 %). The film won an AFI award. Roger Ebert gave it a 3.5/4 star review, translating to a notch over this one. Benton returned with Feast of Love (2007). Hopkins returned in Shortcut to Happiness (2003); Kidman in Cold Mountain (2003). The Human Stain is rotten at 42 % with a 5.50/10 critical average at Rotten Tomatoes.]

 

What do you think of The Human Stain?

Kramer vs. Kramer (1979) - Benton's amazing, truthful divorce drama

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The poster for Robert Benton's Kramer vs. Kramer wisely keeps a blissful atmosphere

Kramer vs. Kramer is one of those 70s classics that you just have to have seen. - And if you haven't yet, get a hold of it, because it's a masterpiece.
It's the third directorial effort of screenwriter Robert Benton (The Human Stain (2003)), who had already written other classics like Bonnie and Clyde (1967) and What's Up, Doc? (1972). He adapted the same-titled 1977 novel by Avery Corman (Prized Possessions (1992)).

Ted & Joanna Kramer's marriage is over. He has been working too much, while she has grown increasingly unhappy, and she now decides to leave him and their young son for a while.

My plot summary above doesn't contain most of the film's story, because I don't want to give away the emotional journey that the film covers. Kramer vs. Kramer shows the break-up of a 'good' marriage, (I mean that in the sense that it is not one that is haunted by violence, alcoholism, drugs, cheating or other unpleasantries), SPOILER and how a custody battle in a modern world might play. The title is, in a sense, a contrast to the film at hand, SPOILER because, while Ted and Joanna ultimately do fight each other in court, they never go to all-out war with each other, and the tenderness that most married couples feel for each other even after a divorce also has its place here.
Benton's Oscar-winning script keeps the plot moving and the characters evolving in a believable way, as we witness them, which is exhilarating and rare to witness. The film seems archetypal and very plausible at the same time. It is heightened by several simple yet golden scenes, (SPOILER my favorite might be Ted's first morning alone with his son), great, Oscar-nominated cinematography by Néstor Almendros (The Blue Lagoon (1980)), pitch perfect, Oscar-nominated editing by Gerald B. Greenberg (American History X (1998)) and excellent choices of original, classical music pieces by Vivaldi, Henry Purcell and others that play extremely well in scenes around the dialog scenes.

The glorious Meryl Streep as Joanna Kramer in Robert Benton's Kramer vs. Kramer

The details:

Two vital ingredients are what make Kramer vs. Kramer stand out and transcend most other divorce dramas:
Dustin Hoffman (Finding Neverland (2004)) and Meryl Streep (Rendition (2007)), who both won their first Oscars here and engender their roles to a remarkable degree, making them nuanced and almost palpably real to us. They are both truly amazing here.
And they are backed by several other great actors' performances; especially Justin Henry (Sixteen Candles (1984)), who was Oscar-nominated as little Billy Kramer is incredibly well-playing, and Jane Alexander (The Blacklist (2013-14)) as neighbor Margaret, George Coe (Funny People (2009)) as Ted's boss and Howard Duff (Too Much Sun (1990)) as his lawyer also give excellent characterizations.
Benton has made it all come to life so vividly, intelligently, perfectly, eliciting tears and a little laughter in just the right dose for the subject. Kramer vs. Kramer is a gem.

Dustin Hoffman as Ted Kramer in Robert Benton's Kramer vs. Kramer

Watch the original trailer for the movie here

Cost: 8 mil. $
Box office: 106.2 mil. $ (North America only)
= Blockbuster
[Kramer vs. Kramer was unbelievably successful, especially for an exclusively adult drama about divorce, and it's the kind of success that 'serious' movie lovers everywhere would love to see materialize again, because it allows for many serious adult movies to be made in its wake. The film won 5 Oscars; besides the ones mentioned, it also won Best Picture and Best Director, making Benton a two-time Oscar winner overnight, (he would win his third for his writing of Places in the Heart (1984)). Alexander was also nominated as Best Supporting Actress, and the film won and was nominated for a heap of other awards worldwide. A shame the international gross figures don't seem to be out on the web, but it appears from the few numbers that are available that the film was a global hit.]

What do you think of Kramer vs. Kramer?
What other superior films of divorce can you mention?

Bonnie and Clyde (1967) - Penn and Beatty's true-crime classic marks a turn in American film

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The wild, lawless allure of the subjects attract on this poster for Arthur Penn's Bonnie and Clyde

Clyde Barrow and Bonnie Parker are young and aimless in Texas in the doldrums of 1931's Depression-era US, but they find each other and discover a new kind of freedom, - based on robbing banks.

 
Bonnie and Clyde is written by Robert Benton (What's Up Doc? (1972)) and David Newman (Still of the Night (1982)), with uncredited contributions by Robert Towne (Tequila Sunrise (1988)), and directed by Arthur Penn (The Left Handed Gun (1958)). It is a heist/road movie/drama-romance based on the historical figures.

The film is a very entertaining, albeit perhaps a bit overrated, American classic, first and foremost because it is also very funny, which it seems to be with a charming ease. One example from the film could be Clyde's brother Buck's cow joke. Often the film blends comedy and crass violence for the audience to digest with some ambiguity. 

Gene Hackman (The French Connection (1971)) is Buck, and Gene Wilder (Willy Wonka & the Chocolate Factory (1971)) debuts in a supporting role. Warren Beatty (Reds (1981)) produced and co-stars; he is great as Clyde. Faye Dunaway (Chinatown (1974)) is beautiful and lost as Bonnie.
Beatty and Dunaway's scenes together are wonderful. The language and the images of Bonnie and Clyde contribute to its distinguished magic. It is a good, oft cited and distinctive film.
But in the outlaw couple sub-genre, I find that both Terrence Malick's Badlands (1973) and David Lynch's Wild at Heart (1990), both, however, inevitably influenced by Bonnie and Clyde, are greater films.
Bonnie and Clyde was very trendsetting, and served as an indicator for the arrival of the New Hollywood era with young, strong-minded directors like Steven Spielberg, Brian De Palma, Francis Ford Coppola, George Lucas, William Friedkin and Martin Scorsese, who revitalized American cinema. It also marked a change in the depiction of violence; a change for the more boldly realistic, explicit and transgressive.
Bonnie and Clyde is heavily influenced by the French New Wave, and the direction of the film was, in fact, offered to both François Truffaut and Jean-Luc Godard, the two most famous directors of the French New Wave, before it ended up with Penn. SPOILER To those who have seen Bonnie and Clyde and wondered at Clyde's sexual problem in the film, it was originally the idea for the character to be portrayed as bisexual, but for reasons of censorship and possibly Beatty being against the idea, Clyde, in the film, is instead meant to be impotent.

 

Related post:

 

Arthur Penn: Top 10: Best heist movies

 

Watch a trailer for the film here

Cost: 2.5 mil. $
Box office: Reportedly 70 mil. $
= Mega-hit (returned 28 times its cost)

[Bonnie and Clyde premiered 4 August (Montréal Film Festival) and runs 111 minutes. Truffaut passed on directing the film in favor of his Fahrenheit 451 (1966); Godard wanted to shoot in New Jersey (not Texas) and was not hired as a consequence; Penn was reportedly asked several times to direct by Beatty before accepting. Beatty's deal with Warner Bros. secured himself 40 % of the film's profits (if it would make any); and 10 % for Penn; eventually netting the two more than 6 mil. $ (Beatty) and more than 2 mil. $ (Penn). Dunaway was paid 60k $ for her performance in the film; Estelle Parsons (Diane (2018)) 5k $. Shooting took place from October 1966 - January 1967 in Texas, including in Dallas, and in California. Warner Bros. were unsupportive of the film, which ran over budget, and tried to give it a small release without marketing it, but its impressive reception (and Beatty's threat to sue) made them change their tune, and the film became their 2nd highest-grossing film up to that point, only beaten by My Fair Lady (1964). It was in the North-American top 12 for 22 weeks, becoming one of the 5 highest-grossing films overall in 1967.The film was nominated for 10 Oscars, winning 2: For Best Supporting Actress (Parsons) and Cinematography (Burnett Guffey (The Split (1968)). It lost Best Actor (Beatty) to Rod Steiger for In the Heat of the Night; Supporting Actor (Hackman; Michael J. Pollard (Forever Lulu (2000))) to George Kennedy in Cool Hand Luke; Actress (Dunaway) to Katharine Hepburn in Guess Who's Coming to Dinner; Costume Design to Camelot; Director to Mike Nichols for The Graduate; Picture to In the Heat of the Night; and Original Screenplay to William Rose for Guess Who's Coming to Dinner. It also won 1/4 BAFTA award nominations, 2 David di Donatello awards and was nominated for 7 Golden Globes and a Grammy, among other honors. Roger Ebert gave it a 4/4 star review, translating to 2 notches over this one. Penn returned with Flesh and Blood (1968, TV movie) and theatrically with Alice's Restaurant (1969). Beatty returned in The Only Game in Town (1970); Dunaway in The Thomas Crown Affair (1968). Bonnie and Clyde is certified fresh at 91 % with an 8.40/10 critical average at Rotten Tomatoes.]

 

What do you think of Bonnie and Clyde?

What's Up, Doc? (1972) - Screwball comedy revived for a wonderful show

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Even the credits and poster work is brimming with spirit and right on the money for Peter Bogdanovich's What's Up, Doc?

Four highly important plaid overnight bags get mixed up in San Francisco around a musicologist doctor, who is in town with his fiancee Eunice to compete for a grant.

Barbra Streisand (Funny Girl (1968)) is the sprawling stranger who begins to impersonate the doctor's wife, hilariously played by master comedienne Madeline Kahn (Blazing Saddles (1974)). Ryan O'Neal (Barry Lyndon (1975)) is the very cute and confused Doc in the middle. Both Streisand and O'Neal look sweet as pie, and they also have great screen chemistry. They are sexy and funny in What's Up, Doc?, often at the same time.
But this is not merely a mix-up romcom, but also an homage to all the old, classic screwball comedies as made by Howard Hawks (Bringing Up Baby (1938)), Frank Capra (Arsenic and Old Lace (1944)), Preston Sturges (The Lady Eve (1941)) etc. in the high days of Old Hollywood. Gender-related mix-ups with gags of all kinds involved, it is a genre I have sometimes thought too silly to be really funny, but in great New York filmmaker Peter Bogdanovich's (Targets (1968)) able and very enthusiastic vision, I am laughing and rejoicing in the calamities again and again.
Great Hungarian cinematographer László Kovacs (Easy Rider (1969)) supplies great crips pictures, and Bogdanovich has cast an incredible supporting cast to one outrageously funny character after the other. It all concludes in a memorable and quite elaborate chase through San Francisco and then a court room scene that simply puts the capital H in Hilarity.
The Streisand character is especially cartoonish, deliberately, SPOILER and the film's ending pays appropriate homage to Warner Bros.' Looney Tunes.
What's Up, Doc? will make you laugh and make you happy and perhaps also a bit nostalgic. It is written by Buck Henry (Catch-22 (1970)), David Newman (Superman (1978)) and Robert Benton (Kramer vs. Kramer (1979)), based on Bogdanovich's story. It is one of my all-time favorite comedies and one that I can watch again and again and fall in love with all over every single time.
Bogdanovich is a somewhat under-appreciated American filmmaker and actor. He has made several good films, especially The Last Picture Show (1971), which, - on the other hand, - is an incredibly depressing film. He has also made many film documentaries, montages and books on filmmakers and actors. I just finished reading his Who the Hell's In It, which is an incredible joy to read for anyone who loves film and film stars. It features chapters on Bogdanovich's encounters/relationships with stars like John Wayne, Marlene Dietrich, James Stewart, James Cagney, Charlie Chaplin, Lillian Gish etc., including comments on their major achievements. - A great book from a great guy.

Related posts:

Peter Bogdanovich: Corman's World: Exploits of a Hollywood Rebel (2011) - Stapleton's Corman doc. is among the year's best films (interview subject) 
The Wild Angels (1966) - Young biker rebels deliver a counter-culture punch in Corman's hands (co-writer)

Watch the very unorthodox, unpretentious and funny trailer for the hilarious comedy, What's Up, Doc? here

Cost: 4 mil. $
Box office: 66 mil. $ + 3 mil. in 1973 re-run rentals (North America only)
= Mega-hit (returned at least 17.25 times the cost)
[What's Up, Doc? premiered 9 March (New York) and runs 94 minutes. It was shot in New Jersey and California, including Los Angeles and San Francisco, from August - December 1971. It became the 3rd highest grossing film of the year in North America, behind The Godfather and The Poseidon Adventure. The only international figure I have available is from Sweden, where the film was also a major hit with 1.1 mil. admissions there. The film's success closely tails the subsequent major hits Jaws (1975) and Star Wars: Episode VI - A New Hope (1977), said to have started the blockbuster term. The 1982 video release of the film garnered another 28.5 mil. $ in rentals. Bogdanovich returned with Paper Moon (1973). Streisand returned in Up the Sandbox (1972), O'Neal in The Thief Who Came to Dinner (1973). What's Up, Doc? is fresh at 90% with a 7.4/10 critical average on Rotten Tomatoes.]

What do you think of What's Up, Doc??