Twin Peaks: Slaves and Masters

 "The only things I know in Hungarian are paprika and goulash..."

This episode is especially well directed... by none other than Diane Keaton. Yes, that Diane Keaton...

This feels very much like an episode that's there to tie up all these rather odd little mid-season plot threads before the season enters the final stretch. Ben's madness arc climaxes and abruptly ends.... essentially, because Audrey is too clever to allow Jerry to exploit his madness. The sub-plot with James being framed by Evelyn and Malcolm seems, by the end of the episode, to have met a sudden end- mainly via Donna's intervention.

Then we have the disturbing scenes of Earle abusing Leo ("Domestic violence. Well, I am partial to that."), Catherine seemingly about to, rather evilly, just hand poor Josie over to the sinister Eckhart after making her serve them both as maid. Ouch. One can see where the episode's title comes from, while feeling rather more sorry for Josie than for Leo.

Then we have the rather delicious scene of Nadine casually finding Ed in bed with Norma, lots of random owls, and more intrigue in the battle of wits between Earle and Cooper. It's a good enough episode, although... is it me but, for an episode of Twin Peaks, the weirdness level seems a bit lower than usual!

The Godfather: Part II (1974)

”Keep your friends close, but your enemies closer..."

 I've always thought, before seeing both films again lately, that whilst The Godfather: Part II is utterly sublime,it isn't as good as its genius predecessor. Now I'm not so sure. This epic sequel (there's even an intermission!) just carries on where its predecessor left off, like a Patrick O'Brian novel, giving us another splodge of saga with the same unbelievably awesome directing and acting. Al Pacino is awesome in exactly the same way as before, but Robert de Niro amazes as the younger Vito Corleone in a wonderfully realised 1917, with mannerisms that evoke the earlier performance of Marlon Brando but also branch out into new areas,

It's a non-linear narrative, taking us from Vito's brutal Sicilian origins in 1901, through to the beginnings of his empire in 1917 towards (the bulk of the film) a present day that has moved on to the late 1950s and Michael Corleone is safely ensconced in Nevada, branching out to Cuba and losing touch with the old-fashioned New York world exemplified by the rather interesting character of Frank, too "Italian" and too old-fashioned for this brave new world. And yet, the Corleone family is tested, but it survives even if Michael's hopes of a normal family life cannot.

Again this is a film on the Italian-American experience, showing us the early waves of tired, huddled masses on Ellis Island, the fascinating period details of early twentieth century life in Little Italy with everyone in those early decades still speaking Italian with each other, and to the almost contemporary struggle to escape the Mafia legacy. But theme isn't really the point; the characters, the visuals, the acting- this is just the pinnacle of how to make a film well. Right up there with the greatest.

The Godfather (1972)

"He made him an offer he couldn't refuse..."

There's a school of thought, one I'm sympathetic too, that says this is the greatest film ever made, and that's a heavy burden to bear. Can any film survive such expectations? Best to ignore the whole question, I think, and just say that the film is superb.

Few films are as well directed as this, with every shot framed beautifully, and incredible cinematography. Marlon Brando and Al Pacino are both, of course, sublime. And the script is the perfect take of both the Mafia and of the Italian (or Sicilian) immigrant experience in America.

There are so many iconic scenes, from the infamous horse's head to the moment when the murders of all Michael Corleone's enemies are juxtaposed with him affirming his Catholic faith at his nephew' christening. But the scenes hang together perfectly in a tale of how war hero Michael, at first intended to be kept away from the business of the family, is slowly drawn in and takes over from his imposing yet declining father and his fatally hot-headed brother Sonny. The change is convincingly and carefully shown, with a brilliantly inscrutable performance from Pacino. The film pretty much centres on the tension-filled scene with Michael slowly retrieving the gun from the restaurant toilet, ready to Kill for the first time out of family revenge. A film right up there with the very best.

So, yes- this is quite the contrast from Barbarella!