Film Yes Boss

[Prisc Chandola]

BossFilm Studios was a prominent American visual effects company, founded by visual effects veteran Richard Edlund after his departure from Industrial Light and Magic, producing visual effects for over thirty films from 1983 to 1997.[1] Before that period Edlund had worked at ILM on films like Raiders of the Lost Ark (1981) and the original Star Wars trilogy (1977-1983).

Edlund and his team chose to compete with ILM technically, continuing EEG's preference for using 65mm film for the creation of their optical effects work. This provided potentially cleaner effects than ILM's VistaVision format due to its much larger negative area.

Boss Film branched out into video game production in 1994 through sister company Boss Game Studios. Boss Film also operated a commercial production company producing many television spots for companies including Budweiser, Dodge, United Airlines, and DHL.

I wondered the exact same thing after I saw this movie. I knew that Melissa McCarthy went through a drastic weight loss recently and I thought that she may have had extra skin removed and she was just hiding that with those high neck scarves and turtlenecks.

This is not the case. Melissa McCarthy envisioned this character and her wardrobe long ago and wardrobe designer Wendy Chuck helped her realize her vision with that character. From a People magazine interview:

Apparently it was an intentional choice made by Melissa McCarthy, who co-wrote the film. She wanted to convey that her character had a consistent (if slightly quirky) fashion motif that carried across into all of her outfits.

My first exposure to John Payne, like so many others, was through 1947's Miracle on 34th Street, a feel-good holiday movie that finds the actor starring opposite Maureen O'Hara in a romantic, good guy role that remains a favorite of many, reportedly including Payne himself. But in the decade that was to follow, the actor would continue his career by appearing in a bevy of crime, noir, and western pictures that were about as far as you could get form the fantastical charm of his earlier successes. With titles like Kansas City Confidential, 99 River Street, and Hell's Island, Payne's career path took him down the dark side streets of cinema.

1956's The Boss is unlike any other John Payne movie I've seen, stripping this likable actor of any charisma and affability. He plays Matt Brady, a returning war vet (that's Dubya Dubya One) who has come home from the front lines to find his brother running an empire. But Matt has a mighty temper and a taste for liquor that comes at a high cost, including a relationship with the love of his life. Before you can say "you've had enough, Matt," he's drunkenly married a plain woman that he thinks is a prostitute and inherited his brother's business, leaving him as the boss of the entire outfit. With a cold ruthlessness and hunger to own it all, Matt Brady is about to trade his soul for success.

John Payne turns in a despicable performance as a narcissist with virtually no positive traits. He's arrogant, violent, unkind, and completely without mercy or remorse. When his business successes lead him into politics with the help of a corrupt lawyer, it somehow all gets even worse as his thirst for power and control becomes unquenchable. Unsurprisingly, the screenplay comes from blacklisted Hollywood writer Dalton Trumbo (Johnny Got His Gun) under the pseudonym Ben Perry. It's an angry script, but then again, Trumbo was an angry man, having been vocal about what he viewed as injustice and hypocrisy not just in Hollywood, but in the entire U.S. government during and following World War II. The most striking thing about the story is how easily it translates to today's political climate in which many U.S. citizens believe in the total corruption of virtually every political office. Trumbo was also drawing upon the real story of Tom Pendergast, an infamous Kansas City political boss, though the screenwriter wisely avoids any overt party lines, instead allowing us to separate the cautionary tale from our own political leanings. However, the story remains a scathing indictment of corruption and moral compromise, and has lost none of its weight in the intervening years. If anything, one only has to turn on the television for this film to feel more relevant today than it has been in decades. Credit also goes to director Byron Haskin, a wonderful talent who brought such classics as Disney's Treasure Island and War of the Worlds to screen, not to mention lesser--but still enjoyable--films like The Naked Jungle and Conquest of Space.

The Boss makes its Blu-ray debut in Kino Lorber's Film Noir: The Dark Side of Cinema VII with a new 2K scan that looks beautiful. All three of the films included in this box set come from the United Artists catalog by way of MGM, and all three films carry a loose through-line of political or corporate corruption. As is often the case with these Kino Lorber box sets, the definition of "film noir" is loose. While The Boss retains several hallmarks and themes that are common in noir, the film is more of a melodrama than a crime movie. Alan K. Rode delivers an excellent, thoroughly-researched commentary that mixes the scholar's impeccable academic perspective with approachable anecdotes.

The Boss is one of the last films to feature John Payne in a lead role. With the rise of television, many veteran actors were finding work on the small screen, and 1957 would see the star taking up the mantle of The Restless Gun for two seasons on NBC. Considering The Boss is one of Payne's final films, it's somewhat fitting that it presents is such a reflective, thoughtful story about the consequences of our choices.

I watched all 33 episodes of The Boss and Me twice! That has never happened to me. I am a crime fiction author who writes gritty police procedurals but also likes to write contemporary crime and cosies. But when I watch TV, aside from watching my favourite crime shows, I mostly watch programmes that friends and family snicker at. Reality shows like Real Housewives and the Kardashians.

Then an author I admired, Helen Oyeyemi, spoke of Korean drama, popularly known as K-drama, in an interview, and I was intrigued. Oyeyemi is a literary author and experimental and fearless in her writing. What would make Helen so like K drama that she had created a lecture on it? So, I watched my first K drama and was hooked. I thought about whether I should review them, as there were hundreds of fans already doing this, but I needed to bring my perspective into this universe just as I do with my book reviews.

Feng Teng was rich, handsome, calm, and reserved and could have his pick of any of the society ladies clamouring to be Mrs Feng Teng. Still, he quickly fell in love with Shanshan for just being herself. Shanshan, on the other hand, did not want his attention. He was out of her league, and she found him too distant and cold. But Feng Teng slowly wooed her, and she also fell in love with him.

I do have a few criticisms of the boss and me. Handsome Qi, Lishu and Feng Teng travelled to the UK for business and Handsome Qi got assaulted by two black males. That used a stereotypical negative image of another race and diminished my enjoyment. I found it a blot on this fantastic drama. It should tell creatives that stories are universal and you do not know who is watching. I am a creative black female, evolving in my work. Therefore, please, no stereotypes!

Also, near the end, Shanshan told Feng Teng that she was not interested in being a super executive nor running her own company but would be content with being just Mrs Feng. They should add that she would take on charitable causes to help develop young women like her. After all that she has achieved, it is boring to focus on Feng Teng. He would be bored as well.

And then there is all the baby nonsense with Ted (Alec Baldwin) and Tim (James Marsden replacing Tobey Maguire) all grown up getting turned back into babies to help the new boss Baby Tina (Amy Sedaris) defeat Jeff Goldblum baby from taking over the world.

To say I dislike this baby world and story would be an understatement. Evidently it appeals to others but not me. I hate the design of the characters especially the adults with the bulbous heads and giant eyes. I hate the story with the brothers fighting and then being turned back into babies. Groan.

In this interview with Cartoon Brew, the director discusses how he came to those design decisions, how he drew upon classic sources of inspirations to inspire the look of the film, and how the child point of view was crucial in telling the story.

I just wanted to approach it like you would a 2D movie. So I hired Joe Moshier [as our character designer], who is very graphic and very stylized, and I wanted the eyes to be more appealing, which is a slightly larger pupil. And I wanted to make sure that the modeled rigs could also do the kind of expressions you could only do hand-drawn.

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2. Pour this mixture in a large frozen plastic bag. Place the piece of meat inside and make a knot to the bag. Let marinate in the refrigerator between 12 and 24 hours turning it upside down occasionally...

Lol, if that it is so, Maria Dolores. Check a little, but that day was Saturday and we really enjoyed it! So to save it for the weekend and let me know. Thank you for writing and for being here with me!

Wow! Spectacular! I have yet to see the movie and see that I was tempted but I took a summer of hop and between one thing and another, I passed.

Pintaza having your sandwich, come on, that right now I was going to your House and took me one with a straw and so we started the day.

I pointed out to me, that it is of insurance like that at home!

Kisses to jug!

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