"Of all the arts, movies are the most powerful aid to empathy, and good ones make us better people."
-- Roger Ebert, The Great Movies

Friday, December 30, 2011

Monty Python and the Holy Grail

Title:  Monty Python and the Holy Grail
Directors:  Terry Gilliam and Terry Jones
Date:  1975
Studio:  Columbia Tristar
Genre:  Comedy
Cast:  Graham Chapman, John Cleese, Eric Idle, Terry Gilliam, Terry Jones, Michael Palin, Connie Booth
Format:  Color, Widescreen
DVD Format:  R1, NTSC

"Listen, strange women lying in ponds distributing swords is no basis for a system of government."  -- Peasant


"Let me go back in there and face the peril."  -- Sir Galahad
"No, it's too perilous."  -- Sir Lancelot

Monty Python's Holy Grail film is very silly -- but I mean that in a good way.  The film is full of  very funny, and very quotable lines (I'm delibrately avoiding listing all of  them) and it's episodic.  However, it does have a plot -- it's not a collection of random sketches, like the Monty Python's Flying Circus TV series.

The film begins, well, before even the plot of the film gets started we're treated to the irrelevant humor of  the Pythons as the film is subtitled, for no apparent reason, in Swedish - then the subtitles break down into an invitation to visit  Sweden and a discussion of  moose bites.  A title card then informs us that those responsible for the titles have been sacked (fired).  The new titles are alternating red and green flashing, with lots of  mentions of  llamas.  Needless to say - this is no better.  But it is an example of  the clever Python humor.

The film, proper, begins with Arthur, king of the Britons, looking to collect the bravest knights in the land to join his court at Camelot.  But no one has heard of  him.  Eventually he finds Sir Bedevere, the clever, scholarly knight.  The film then breaks to "The Book of the Film" to briefly introduce Arthur's crew of knights (including "The aptly named 'Sir not appearing in this film' ") -- which is one of  my favorite lines.  Arthur and company encounter the French taunters, then each knight gets a tale from Sir Robin's encounter with the three-headed knight, to Sir Galadhad's bravely facing the women of Castle Anthrax, only to be "rescued" by Sir Lancelot.  Sir Lancelot himself gets his own tale, to rescue the person in Swamp Castle about to be forced into marriage -- he is very surprised to learn the person is a prince not a princess!

Arthur and Sir Bedevere encounter the Knight who say "Ni".  Finally the group meet Tim the Enchanter who gives them a clue.  They proceed to the cave and encounter the Killer Rabbit, before getting another clue leading to the bridge of  death.  There, each knight must answer three questions:  "What ... is your name?", "What ... is your quest?"  and either "What is your favorite color?" or an actual question.  This task manages to whittle down Arthur's knights, 'til it's only Arthur and one page who reach the castle where the Grail is hidden - only to again run into the French taunters.  Arthur, however, is about to seize the castle with an impressive group of  Ren-faire knights when the police show up and the film ends.  (Throughout the film we see clips of this - an old historian is cut down by one of  Arthur's knights, he's found dead by his wife, the police arrive, the body's taken away, the police start to investigate, etc -- all of  this is silent drama for the most part).

Terry Gilliam's drawings and animations, made famous in the Monty Python TV series, then later in films, break the episodes of  the film apart, and act as transitions.  They are quirky and surreal but add little to the plot (except for the sequence with the Black Beast in the cave; and Arthur's crew somehow being stranded in the snow in Iceland or some such place for no reason whatsoever).

Again, the film is very funny, and very silly.  There really isn't any logic too it, but it's Monty Python -- logic is the last thing one expects.  It's also intentionally low-budget looking.  For example, no one rides a horse, but the sound of  Arthur's horse is provided by two coconuts.   'Course, other characters actually notice this!  Again, it's a fun, enjoyable film.

Recommendation:  See it!
Rating:  4 of  5 Stars
Next Film:  Moulin Rouge

Wednesday, December 28, 2011

Master and Commander: The Far Side of the World

  • Title:  Master and Commander: The Far Side of the World
  • Director:  Peter Weir
  • Date:  2003
  • Studio:  20th Century Fox, Miramax, Universal
  • Genre:  Action, Drama, Historical Epic
  • Cast:  Russell Crowe,   Paul Bettany, Billy Boyd, James D'Arcy
  • Format:  Color, Widescreen
  • DVD Format:  R1, NTSC
"Would you call me an aged man of war, Doctor?  The Surprise is not old.  She has a bluff bow, lovely lines. She's a fine sea bird, weatherly, stiff and fast.  Very fast, if  she's well handled.  No, she's not old.  She's in her prime." -- Captain Jack Aubrey

"This is the second time he's done this to me.  There will not be a third."  -- Captain Aubrey

"England is under threat of  invasion.  And though we be on the far side of  the world, this ship is England."  -- Captain Aubrey

I loved this movie the first time I saw it, and I really do enjoy it every time I re-watch it.  Peter Weir is a very talented director, who manages to balance the large scale, such as full-on battles between tall ships during the Napoleonic Wars, and the more intimate story of the unlikely friendship between the ship's doctor, a man of science; and the ship's captain, a life-long Navy man.

Master and Commander is set in 1805, and the HMS Surprise is a man o'war, captained by Jack Aubrey, a hard but fair man, lucky, but also experienced.  He's been in the service his entire life.  The ship's doctor is Stephen Maturin, - a man of  science, and a naturalist.  He's close enough friends with Aubrey to be able to challenge him, and speak his mind, especially when talking to Aubrey as his friend, rather than as a member of  the crew.  The film is based on a series of  several novels by Patrick o'Brian, specifically the two that form the film's compound title (the first introduces the characters, the second is the plot of  the film, since Weir wanted to do a plot involving a long sea voyage).

The film contains a lot of  beautiful historical details (I love the look of  the ship, especially when Aubrey stands alone on the top of a mast).  However, the film also doesn't shy away from the brutal historical facts of the life of sailors, especially naval sailors in the 19th century.  The crew of  HMS Surprise is shockingly young, and as the British are at war with France, the young die too.  We also see Aubrey order the flogging of a disrespectful sailor, not because he is cruel, but to keep discipline.  Life in his majesty's navy is tough, nasty, and often short -- and the film shows you that.

The plot of  the film is basically that of a cat and mouse game.  A French privateer frigate is harassing British whalers and merchant ships.  Aubrey is ordered to find the ship and - "sink, burn, or take her as a prize" as the film's opening printed narration tells the audience.  But the frigate vastly outguns the Surprise -- 44 guns to 28, with twice the crew, and the frigate has two decks to the man o'war's single deck.   The frigate also seems to be a cross between a ghost, a Flying Dutchman, and Jack's opposite number.  In two engagements, the Surprise is caught nearly unaware, and the frigate has the "weather gauge" or the advantage in the engagement.  In their final battle, Aubrey turns the tables and is able to successfully surprise the frigate, but at a high cost in lost men.

A secondary plot is the ship's doctor, a naturalist.  Because of  the damage done to the ship, in both the battles with the frigate and a journey around Cape Horn in a storm, one place Aubrey takes the ship during repairs is the Galapagos -- someplace Stephen would dearly like to explore, to collect and document new species of  wildlife.  But every time it looks like the ship might head there - the frigate shows up, and Aubrey must fight.

There is also a plot about one of  the Midshipmen being cursed as a "Jonah".  Basically, he's scapegoated for the ship's run of  bad luck.  He's the Midshipman whom another sailor disrespects, and gets lashed as a result.  The scapegoat plot is one of  several examples showing the innate superstition of  the sailors.  The Midshipman commits suicide, and the ship's luck begins to turn.  Though, Dr. Maturin is accidentally shot after the poor lad's death.  (Maturin is shot by one of  the Royal Marines who's taking pot shots at a following albatross.  Obviously, the guy never read "The Rime of  the Ancient Mariner").  Aubrey temporarily gives up his chase of  the frigate, so Maturin can be brought ashore to remove the bullet and cloth in his stomach.  Stephen does the surgery himself, using a mirror, and Aubrey keeps a hand on Maturin's belly to steady him.  It's one of  the more frightening scenes in the film - not that it's overly gross, but can you imagine operating on yourself?  Even if  it's the only way to survive?  Yikes!

The final battle is total chaos, then silence, then more chaos.  Aubrey looks fine, and in his element as he boards the enemy vessel.  Billy Boyd is also quite good in the scene!  For the most part, he's seen alot but doesn't get many lines, but it is nice to see him again.   Russell Crowe and Paul Bettany are perfectly cast, and have a great rapport with each other.  The rest of  the crew of  the HMS Surprise slowly move from faces to having personalities.

One thing both Aubrey and Maturin share is a love of  music.  Aubrey plays violin and Maturin the cello; and there duets in the captain's cabin are some of  the best moments in a film that is full of  excellent moments.

Again, Weir's direction really is very, very good -- and he's now one of  my favorite directors.  There are plenty of  gorgeous shots in this film:  the ship at full sale, the creatures in the Galapagos Islands, etc.  There are also plenty of  terrifying shots:  the storm around Cape Horn, the battle scenes.  But the driving force of  the story is the friendship of Aubrey and Maturin; and the comradeship between the sailors on the ship.

I have the two-disc collector's edition and it really is a beautiful DVD set.   The set looks like old parchment, with line drawings of  Crowe and the ship.  The special features are located on the second disc and there are plenty of  them and they are enjoyable to watch.  I also found that I learned from the special features, especially about the different techniques used in the production of  the film.

Recommendation:  See it!
Rating:  5 of 5 Stars
Next Film:  Monty Python and the Holy Grail

Friday, December 23, 2011

Mary Poppins

  • Title:  Mary Poppins
  • Director:  Robert Stevenson
  • Date: 1964
  • Studio:  Disney
  • Genre:  Musical, Children
  • Cast:  Julie Andrews, Dick Van Dyke, David Tomlinson, Glynis Johns, Hermoine Baddeley, Reta Shaw, Karen Dotrice, Matthew Garber 
  • Format:  Technicolor, Widescreen
  • DVD Format:  R1, NTSC (40th Anniversary 2-disc ed)
"Kindly do not attempt to cloud the issue with facts."  -- George Banks


"As I expected:  'Mary Poppins, practically perfect in every way.' " -- Mary Poppins


"I never explain anything."  -- Mary Poppins


"You know, begging you pardon, but the one my heart goes out to is your father. There he is in that cold, heartless bank day after day, hemmed in by mounds of cold, heartless money. I don't like to see any living thing caged up."  -- Bert
"Father? In a cage?"  -- Jane
"They makes cages in all sizes and shapes, you know. Bank-shaped, some of 'em, carpets and all." --Bert


Mary Poppins is a wonderfully inventive film made for children but that the entire family can still enjoy.  The animation looks a bit flat by today's standards, however the film's music and storyline still hold up.  Set in 1910, Mr. Banks is a banker with two children and a wife.  His wife is involved in the Suffragette movement (to give women the right to vote).  It's implied the children are holy terrors -- the Banks have fired six nannies in four months.  However, Mary Poppins shows up and takes the children through a series of adventures, with her friend, Bert - a Cockney who makes money any way he can (as a one-man band, painting chalk drawings on the sidewalk, selling roasted chestnuts, even as a chimney sweep).  But it's Mary's ability to loosen up the stiff, cold, and indifferent Mr. Banks and bring him closer to his own children that is at the heart of this film.


Though largely live-action, with plenty of special effects, the entire section where Mary, Bert, and the children jump through a chalk drawing and have adventures in a park is animated.  This is classic Disney animation, and the technique of combining animation with live action was new when the film was made.  It does look a bit dated now, but the dances, music, and even excitement of things such as the horse race, or Mary and Bert being carried across the animated river by animated turtles still work.


This film is also filled with music, song, and dance  -- and contains some of Disney's best songs:  "A Spoonful of Sugar", "Chim-Chim Cheree", and "Supercallifragilisticexpialidocious! " -- all of which I knew as a child and can still sing along to and even recite.  (I still have all of "Supercallifragilisticexpialidocious! " memorized!


Please note in the list below I am not including a single line or two of a main song repeated later.


List of Songs and Musical Numbers 


Sister Suffragettes -- Mrs. Banks
The Age of Men/Banks Schedule -- Mr. Banks
The Nanny Song (a desperate advertisement) -- Jane and Michael Banks
A Spoonful of Sugar -- Mary Poppins
Chim Chim Cheree -- Bert
Jolly Holiday (with Mary) -- Bert, Mary
Supercallifragilisticexpialidocious! -- Mary, Bert, Ensemble
Stay Awake (a lullaby) -- Mary
I Love to Laugh -- Ed Wynn
Feed the Birds (Tuppence a Bag) -- Mary
Investing in the Bank / Interest -- The Bankers
Chim Chim Cheeree -- Bert
Step in Time -- Bert, Ensemble
Let's Go Fly a Kite -- Mr. Banks


Again a wonderful film, especially for children.


Oh, and I should say that I am aware that the life of chimney sweeps and the children they used was not a good one, and also that Suffragettes were treated horribly, often force-fed and jailed, but that still doesn't stop this from being a good fantasy film.  However, I do find it amusing that Disney cleaned-up the old British saying, that "it's good luck to kiss a chimney sweep", changing it to "good luck will rub off if I shake-hands with you."


Recommendation:  See it!
Rating:   4 of 5 Stars
Next Film:  Master and Commander:  The Far Side of  the World

Wednesday, December 21, 2011

Gone with the Wind

If you are wondering why I didn't cover this movie before now, I had seen it before, of course, and it's a great film, but I didn't own it on DVD.  I just bought the 2-disc version a few weeks ago, and finally got a chance to watch it over the last two nights  (It's 234 minutes long, and is spread over two discs).  So another bonus review.  And it's fitting -- this is my 100th review!  Woo-hoo!
  • Title:  Gone with the Wind
  • Director:  Victor Fleming
  • Date:  1939
  • Studio:  MGM
  • Genre:  Classic, Romance, Historical Epic
  • Cast:  Vivien Leigh, Clark Gable, Leslie Howard, Olivia deHavilland, Ann Rutherford
  • Format:  Technicolor, Standard
  • DVD Format:  R1, NTSC
"Most of the miseries of the world were caused by wars, and when the wars were over -- no one ever knew what they were about."  -- Ashley Wilkes


"No, I don't think I will kiss you.  Although you need kissing and badly, that's what's wrong with you.  You should be kissed and often, and by someone who knows how."  -- Rhett Butler


"What a woman!" -- Rhett Butler

Gone with the Wind sweeps you into it's story gradually but completely.  You are quickly immersed in the story and the characters.  And the film is really Scarlett's story.  Scarlett O'Hara, despite first appearances, in a way is a very modern character, and at times a strong woman.  She's manipulative, determined, strong and feisty, and she knows what she wants (or thinks she does).  She's willing to do whatever she has to do, whenever she has to.  Scarlett is in sharp contrast to Melanie (deHavilland) who's kind and generous -- to a fault, and weak and even, at times, a bit simple.  Melanie can be strong (watch her face down Union troopers in the second half of the film for example), and she's honest about her feelings and in her marriage to Ashley (her much older cousin).  DeHavilland is fantastic in her thankless role as the perfect Melanie.  Scarlett's sisters never learn anything about strength, or getting what they want (which is simply a husband to care and provide for them) and whine and simper-on throughout the film.  Scarlett never once whines or complains, not really, she just does what needs to be done, or what she thinks she needs to do (and she doesn't care at all who she hurts in the process).  Essentially Scarlett's a bitch in both the good and bad sense of  the word.  Because in some circles to be a bitch is a compliment, and in some circles it's the only way to really survive.  And whatever else you say about Scarlett O'Hara -- she's a survivor.

When we meet Scarlett, she's not that impressive -- she comes off as dumb, and shallow, concerned only with her looks, and her beaus.  But even in the beginning of the film it's suggested she's not as dumb as she pretends - she just acts that way because it's how she's been taught and how she thinks she can get a man.  However, she soon finds out the man she's "wanted", who she thinks really loves her, Ashley Wilkes (Leslie Howard) from the plantation next door, is going to marry his cousin Melanie, instead.  We aren't told if  this is an arranged marriage or a love match.  Ashley and Melanie are actually well suited to each other -- both are kind and gentle, always doing what's expected, never raising any controversy, filling their roles the way one was expected to -- given the times and their statuses.  Scarlett, throughout the film says both aloud and by her actions that she loves Ashley and that she's convinced he loves her -- even when both are married to other people.

The war (the American Civil War) comes and all the men go off to fight.  Ashley and Melanie have been married.  Scarlett, in a fit of pique, marries Charles, Melanie's brother, even though Charles was her sister's beau.  Charles dies of pneumonia during the war.  Scarlett really doesn't care, and even rebels at wearing Widow's Weeds and not dancing at the next round of society balls (which at this point are only being held as war fund raisers).  She gives in to convention, though, and manages to look stunning in black.  (At the time, only a widow would have worn black, especially at a society function).  During the society ball, she manages to arrange things so each of  the women will be "auctioned off" for dances.  Rhett Butler bids on and wins Scarlett.  She's so desperate to dance, she takes him up on it, claiming it's for charity (we know it's not).  Rhett is the dashing stranger -- he's avoided service in the war because he has no desire to get himself  killed and he hates all the waste of  war.  Rhett's a gambler, a blockade runner, and a rakish rogue.  He's trouble and considering Scarlett is as well -- they are very suited to each other.  Even Rhett says to her, they are two of a kind.

Scarlett and Melanie end up in Atlanta, working as nurses to help the wounded.  Scarlett doesn't particularly like this duty, but she knows she must do it.  Melanie has Ashley's baby (nine months after his Christmas leave). She's sick and ill just before and during the birth, but Scarlett manages to figure out and help with the process.  By this time, the war is nearly over, and Sherman's troops are marching on Atlanta.  Rhett comes to the rescue of  the three women (Scarlett, Melanie, and Scarlett's maid, Prissy) and the baby.  He gets them out of Atlanta and safely on the road to Tara, Scarlett's home, then leaves, informing Scarlett he's going to join the war effort for a last stand.

Scarlett manages to make it the rest on the way on her own, seeing Twelve Oaks (the Wilkes plantation) burned to the ground on the way.  Tara's survived, but her family's in ruins:  her mother has died, her sisters are still weak and ill from a fever that killed her mother, and her father's gone out of  his head from shock.  Saddled with a another sickly and physically weak woman and a baby, Scarlett endures.  She finds that her home still stands, but it sits in the middle of  a wasteland, and there's no food or money.  Scarlett runs out into a field, eats a carrot she finds, and starts to throw up.  Then  she holds up her hand, "As God as my witness, I'll never be hungry again," she swears.  This is the end of part one, and the intermission card is on the DVD.

Part two picks up during the Reconstruction.  Scarlett is told she needs three hundred dollars to pay the taxes on her home.  That might not sound like much, but in the 1860s/1870s it was a small fortune, especially when you have absolutely no way of  making any money.  Scarlett uses a pair of drapes to sew herself a new dress and tries to get the money from Rhett Butler.  He's in a union jail (stockade) and can't access his money which is in a London bank.  (After all, it's not like they had ATMs back then, and though he could access his funds via bank draft, it could be traced and the money taken -- this is a risk Butler isn't willing to take).  Scarlett then runs into Frank Kennedy, another of  Sue Ellen (her sister's) beaus.  She marries Frank to get at his money that he's made running a general merchandise store, and convinces him to buy the lumber mill next door.  Scarlett saves Tara, but lives in Atlanta, running the mill and lumber business.

Scarlett proves to be a shrewd businesswoman, running the mill (though Ashley Wilkes is her partner in name), at a time when women seldom worked, much less ran their own businesses.  However, one day she takes a horse and buggy (another concept the ladies in town find scandelous - Scarlett driving her own buggy, alone) through a bad area of  town.  She's attacked.  Rhett Butler shows up and rescues her.  Scarlett, Melanie and the other girls have a sewing party, and Scarlett knows something is going on, but doesn't know what.  She later learns Ashley, her husband, Frank, and several other men have gone to attack the men who attacked Scarlett.  Frank's killed.  Ashley returns, wounded, but alive.  (Rhett again comes to the rescue, faking being drunk, with Ashley faking being even drunker, as in the local doctor, so they can get into Tara which is being guarded by Reconstructionist/Union troops on the lookout for the men who attacked the men who attacked Scarlett).  A widow again, and in Widow weeds, again, Rhett proposes to Scarlett.  They marry and soon have a daughter, Bonnie.

Scarlett, however, is so vain, that after the birth of  her daughter, she decides not to have any more children because it will ruin her figure.  Rhett considers divorcing Scarlett when she tells him this, but decides to stay.  He's fallen for Scarlett, despite their tendency to constantly fight, and Scarlett's drinking issues.
When Bonnie's around eight, Rhett gets fed-up and takes Bonnie with him on a trip to England, when they return dual tragedies occur:  Bonnie's killed in a horse-jumping accident (it really is one of  the saddest moments of the entire film), and Scarlett, who's gotten pregnant again, despite her intentions, falls/is pushed down a flight of stairs, gets sick, and has a miscarriage.  Her second pregnancy is interesting anyway because it's the result of  something seldom talked about now, and certainly not in 1939 -- marital rape.  (She's drunk/he's drunk -- they fight, he carries her up the stairs and literally has his way with her, then leaves for London the next day).  Also, the scene on the stairs between Rhett and Scarlett is filmed in such a way that we really don't know if  Scarlett fell by accident, if she fell accidentally on purpose to anger Rhett, or if  Rhett was so angry at her he pushed her without thinking.  Whatever -- he's devastated  by the two losses.  It doesn't help that though Scarlett calls out for him, all the women around her decide not to tell  Rhett she wants him with her when she's ill.  Shortly thereafter, Melanie, who was told not to have more children, get's pregnant, has a miscarriage, and dies of  sepsis  (or possibly pre-eclampsia).  She even tells Scarlett to look after  Ashley for her.  Scarlett talks to Ashley though, and finally realises she really loves Rhett, and her feelings for Ashley were a childish crush and a pipe dream.  She goes to tell Rhett -- but he basically doesn't believe her and leaves her.  In the end, Scarlett's bereft and without a man, but she realises that she does still have the one thing that really matters -- land, Tara, her home.   Somehow, Scarlett will be just fine.

Gone with the Wind really is a great film.  It's more than simply a romance or a war film.  It's unusual in that the entire film is told from the point of view of a woman -- and not a goody-goody woman, but a woman who's complex, scheming and manipulative.  And unlike the designing women or femme fatales of  the Film Noir films, Scarlett isn't made to fatally suffer for her mis-doings.  The film sweeps you up and into it's world and it's characters.  Vivien Leigh is gorgeous, and gives an incredible performance as Scarlett.  Clark Gable is fantastic as Rhett Butler.  The rest of  the cast shine in their roles, sometimes in the smallest and simplest scenes (such as the conversation between Melanie and the Atlanta madam Miss Belle after she hides Ashley and saves his life).

The film also looks gorgeous -- it's a early Technicolor film, and the colors just pop right off  the screen.  I loved the restoration work on my copy -- it looks brand new, with no color bleeding or red cast.  There are scenes in Gone with the Wind that still impress, such as the burning of  Atlanta.  The film is of course, based on a novel, and print screen cards appear not just at the beginning of  the film, but throughout the movie explaining what is going on, especially in the larger canvas of  the Civil War -- it adds to the scope of  the film.

The politics of  the film deserve a mention -- this is a film that white-washes (no pun intended) the Old South, and slavery in particular.  Blacks (called "darkies" in the film -- even by Scarlett and Rhett) are referred to as servants, not the slaves they were.  They are also portrayed as being well treated and taken care of  and happy with their lot (something that simply wasn't true).  The film is definitely sympathetic to the South.  However, that speaks volumes about the times when the film was made (1939) and the times the film portrays (the 1860s) as well as the point-of-view of  the author of  the book.  Students can learn from such a film what attitudes were in the past, and then learn what the harsh realities were.
About the famous slapping scene, though -- often it's taken, completely out of  context as an example of  the film's racism.  In reality, when Scarlett slaps Prissy -- she's hysterical.  Scarlett could have easily have slapped a white woman who was behaving in such a fashion.  And Scarlett pretty much slaps everyone in the film at one point or another (including her sister, Rhett, Ashley, and possibly even Melanie - but again to wake her up).  Slapping Prissy is not out of  character for Scarlett, it's in character.  And considering Prissy's hysterical at the time -- she needed to be slapped (it's film grammar for shutting up a hysterical woman).  Besides, in the film's context -- Prissy is Scarlett's slave, not a servant, and technically Scarlett had the right to hit her.  Not that it's right, but there you go.  There's a lot more in Gone with the Wind that is on the racist side, but that scene isn't one of  those things.  It certainly isn't something worth banning the film for, as has been proposed occasionally.

Overall, a really remarkable film and a must see.

Recommendation:  See it!
Rating:  5 of 5 Stars
Next Film:  Mary Poppins

Thursday, December 15, 2011

Happy Feet

  • Title:  Happy Feet
  • Director:  George Miller
  • Date:  2006
  • Studio:  Warner Brothers Animation
  • Genre:  Musical, Animation, Children's
  • Cast:  Elijah Wood, Robin Williams, Hugh Jackman, Nicole Kidman, Hugo Weaving, Anthony LaPaglia, Steve Irwin
  • Format:  Color, Widescreen
  • DVD Format:  R1, NTSC
"What fabulous worlds lay out there far beyond the ice?  Was there anyplace one small penguin without a Heartsong could ever truly belong?" -- Lovelace / Narrator

I truly enjoyed this movie when I first saw it in 2006, but only recently found it on DVD on sale, albeit the 1-disc edition.  Thus this bonus review.  However, the movie is still excellent and the animation is astounding!  In Happy Feet penguins court their one true love by singing their unique Heart Song.  However, baby Mumble can't sing.  He can dance, though.  Mumble (Elijah Wood) is a fantastic tap dancer (especially for a penguin).  However, the other penguins think this is weird, and ultimately the Elder Penguin (Hugo Weaving) kicks poor Mumble out, blaming him for the famine that's troubling Emperor (penguin) Land.  Mumble having heard about strange aliens tries to find out why they are taking the fish and has a series of adventures, meeting a group of  Latino penguins, led by Ramon (Robin Williams), the guru Rockhopper penguin, Lovelace (also Robin Williams), and ultimately ending up in a zoo.  His dancing attracts attention, and Mumble returns to Emperor Land.

There he again courts his childhood sweetheart, Gloria, and wins her, with his dancing.  I loved the sequences between Gloria and Mumble, I really did.  The Elder Penguin again gets upset, but the aliens (man) shows up and issues edicts to ban fishing in Antarctic waters.  The penguins are saved.

The music in this film is Motown -- and extremely well integrated into the plot, as is Mumble's dancing.  Mumble needs to be true to himself, and ultimately he is.  The animation is incredible -- the ice looks like ice, the water looks like water, and even the snow isn't as fake looking as filmed snow normally is.  At one point wind blows and we see Mumble fur move.  And of course, the dancing penguins, all in time, works perfectly. Mumble is adorable, and his story works well and is very enjoyable.  Again I really enjoyed this film.

The special features on the single disc version are a little disappointing -- music videos, an old Merrie Melodies cartoon, one trailer, and probably the most useful special feature - a lesson in tap dancing by the film's choreographer -- though that is geared for children.  Still the film is worth having.

Recommendation:  See it!
Rating:  4
Next Film:  Either Mary Poppins or Gone with the Wind (another film I just recently picked up on sale)

Monday, December 12, 2011

The Maltese Falcon (1931)

  • Title:  The Maltese Falcon (1931)
  • Director:  Roy Del Ruth
  • Date:  1931
  • Studio:  Warner Brothers
  • Genre:  Mystery, Film Noir, Drama
  • Cast:  Ricardo Cortez, Bebe Daniels
  • Format:  Standard, Black and White
  • DVD Format:  R1, NTSC
“This is murder and don’t you forget it!”  -- Police Detective Dundee

This film is one of two earlier versions of Dashiell Hammett classic mystery included on the Warner Brothers three-disc  special edition of the classic Film Noir version starring Humphrey Bogart from 1941.  I actually avoided watching it for over a week.  However, it wasn’t as bad as I feared it might be.  It’s no classic, but it’s not a disaster either.

Richard Cortez plays Sam Spade as a hopeless flirt, who trades quips with his secretary and is definitely having an affair with his partner’s wife (something alluded to in the 1941 edition, but definitely toned down).  Archer, moreover, knows about his wife’s indiscretions.   The only woman Sam doesn’t seem to flirt with, is his client, Ms. Wonderly.

Since we actually see Archer in this film, he’s slightly more sympathetic.

Watching the 1931 version of  The Maltese Falcon is very much like watching a stage play version of a favorite film.  Much of  the  dialogue is the same or recognizable, but it’s delivered completely differently by a different crew of actors, none of whom are well-known.  I didn’t mind flirty Sam Spade, though Bogart gives a much more nuanced and haunted performance.  Bogart’s Spade is a man on the edge.  Cortez breezes through the film like he’s having a grand  time, and even reminded me a bit of Errol Flynn.  Bebe Daniels, in a way, I actually liked better than Mary Astor.  At least she’s fairly straight-forward, even when she’s lying to Sam.  (This version drops her multiple identites from the plot).  But the bit players – Cairo, Gutman, even Wilbur are very bland here.  The 1941 version is much better with Peter Lorre, Syndey Greenstreet and Elisha Cook Jr.

This film is much shorter (around 71 minutes), and less complicated.  And, like a play, many larger (more expensive to film) scenes are dropped or mentioned but not shown (we never see Archer’s body, or  the burning of La Poloma, the ship that brings the Falcon to San Francisco).  Also cut is some of Sam’s wondering around the streets of his city, thinking things over.

Recommendation:  Skip it, unless you happen to get a free version as an extra, then you may as well watch it.
Rating:  2.5 Stars
Next Film:  Mary Poppins

Sunday, November 20, 2011

The Maltese Falcon (1941)

  • Title:  The Maltese Falcon (1941)
  • Director:  John Huston
  • Date:  1941
  • Studio: Warner Brothers Pictures
  • Genre:  Drama, Mystery, Film Noir
  • Cast:  Humphrey Bogart, Mary Astor, Peter Lorre, Sydney Greenstreet, Elisha Cook Jr.
  • Format:  Black and White, Standard
  • DVD Format:  R1, NTSC
"That's good coming from you.  What have you ever given me besides money?  Ever given me any of your confidence, any of  the truth?  Haven't you tried to buy my loyalty with money and nothing else?" -- Sam Spade


"Our private conversations have not been such that Im anxious to continue them.  Forgive my speaking blunting but it is the truth."  -- Joel Cairo


"I'll tell you right out, I'm a man who likes talking to a man who likes to talk."  -- Kasper "The Fat Man" Gutman


The Maltese Falcon, based on Dashiell Hammett's novel almost defines the genre of  Film Noir, though for Noir films, I prefer Billy Wilder's Double Indemnity.  The Maltese Falcon is a tad long, and rather confusing, even after several viewings (and I have seen this film several times over the years).  However, it still does have  many Noir hallmarks:  the snappy, fast dialogue, the designing woman (or femme fatale), and introduces the Noir staple of  the tough-as-nails, but honest, private detective.

Bogart, and the rest of  the cast, which includes Sydney Greenstreet and Peter Lorre, as well as Elisha Cook, Jr. and Mary Astor are all good, and excellently cast in their roles.  And this film is from the heyday of  Warner Brothers, when the studio turned out dozens if  not hundreds of  Noir films (including their gangster films) a year.  This is also a breakout film for Bogart, moving him from day player at Warner's (oddly enough often playing "heavies" simliar to Cook's role in this film) to leading roles.

The plot, involving the chase for the the Falcon (often called "The Black Bird", and once, by Spade, "The dingus"), is more of  a McGuffin -- the real plot, and the driving force of  the film is the murder of Spade's partner, Archer, at the beginning of  the film.  This murder is nearly forgotten until the end, when the audience discovers that Sam hasn't forgotten, at all, what happened to Archer.  And, despite the fact that Sam may have had an affair with Archer's wife (or she at least has a crush on him, she pretty much throws herself at Spade, while still in Widow's Weeds), he still considers it his duty to do something about the murder of his partner, no matter what.  Sam is an honorable man and will keep his honor, whatever the cost.  Thus it is the conclusion of  the film that is excellent and memorable.

The look of  the film is great, and it's set in atmospheric San Francisco, which helps, though I doubt it was filmed there.

Overall, The Maltese Falcon is one of  those classic films one just really needs to see, and appreciate and occasionally re-watch.  For such a dark film, enjoyable isn't really the correct word, but it is a very good film, and an important contribution to Film Noir.

Recommendation:  See it!
Rating:  4 of  5 Stars
Next Film:  The Maltese Falcon (1931)

Thursday, November 17, 2011

Batman: Year One

  • Title:  Batman:  Year One
  • Directors: Sam Liu, Lauren Montgomery
  • Date:  2011
  • Studio:  Warner Brothers Animation
  • Genre:  Action, Drama, Animation, Film Noir
  • Cast:  Bryan Cranston, Ben McKenzie, Eliza Dushku, Katee Sackhoff
  • Format:  Color, Widescreen Animation
  • DVD Format:  R1, NTSC
Another bonus film!  And there will be five more to come (what can I say, Barnes & Noble was having a sale!)

The animation in this film is very impressive -- it's difficult to get a gritty, dark look to animation, yet Batman:  Year One manages to do so.  This film impressively keeps the look of  Frank Miller's Batman:  Year One from the Batman comic book published by DC Comics.  This is also Jim Gordon's story, and cast in the role of Lt. James Gordon is Bryan Cranston, who does a good job.  The film is also real film noir stuff.  Film Noir doesn't have heroes, it has protagonists.  The difference being a hero is frequently perfect (or can be thought of as perfect or trying to obtain perfection.  Superman is a hero -- invulnerable to anything bar Kryptonite, immortal, and always, always doing the perfect thing without errors or mistakes).  A protagonist is much more realistic -- Batman, in whatever guise you find him, has always been a protagonist.

Batman:  Year One, though, makes Jim Gordon the protagonist.  He's a honest cop, which is dangerous in a town with a dishonest and corrupt police force.  He's just moved to Gotham City, after turning in a dirty cop to Internal Affairs in another city, and not being thanked for his efforts. But Gordon is no perfect angel.  He has an affair while his wife is pregnant.  He watches and waits as he's introduced to the corruption in the Gotham PD, but he isn't anxious to make the same mistakes he did before.  And he's tough.

Batman:  Year One, is also the story of Gotham City.  A nightmare town, full of danger, violence, graft, corruption, and sex.  Catwoman starts off as a hooker.  She's also trying to protect a young girl who's starting in the trade as well, when Bruce meets her for the first time.  Gotham is rough, scary and dark -- and it needs the Dark Knight as a protector.  This is a city that understands when Batman says, "I am the dark, I am the night, I am Batman."

Unfortunately, Batman doesn't get to utter that line, or any other seminal Batman lines of  Bruce claiming his identity as his own.  Part of  the problem is the actor they got for Batman/Bruce (Ben McKenzie) just doesn't do a very good job.  I can't believe this guy as Batman, he just doesn't work.  Why, oh why, couldn't they have asked Kevin Conroy back?  Or at least Bruce Greenwood?  This Batman is too weak, and doesn't work as Bruce either.  (A good Batman must also be able to carry the part of Bruce Wayne, something Christain Bale and Kevin Conroy could do.  In this version, Bruce is either WAY over-the-top, or so morose he sounds semi-suicidal.  Neither is right for Bruce Wayne, not even a young Bruce Wayne.)

Alfred is also practically non-existent in this film.  One of  the advantages of  early Batman stories, is they tend to use Alfred more.  And the Alfred and Bruce relationship has always been one of  my favorites in the Batman mythos.  (The other is Batman and Nightwing.  And there's a similarity between those two relationships.  Alfred is very much a father to Bruce -- he raised him, and is the only person in the entire DC universe to have any idea what Bruce was like before that fatal night.  Bruce in turn raised Dick Greyson, and he's very much a father to the younger man.)  This was a missed opportunity, by not showing Alfred hardly at all.

But if  Alfred is practically non-existent in Batman:  Year One, it's ironic, given the title of  the film, that Batman really doesn't get much screen time.  This is Gordon's story, it's Gotham's story, but it sure isn't Batman's story -- and therefore it misses the boat.  I was disappointed, for I did have high hopes.  So, yes, the film is good, and the animation is incredible, but it's not great (as it should be), and that's to be laid at the feet of a major casting mis-step.

Recommendation:  See it at least, it's worth it for the noir story.
Rating: 3.5
Next Film:  The Maltese Falcon (1941)  No really!

Saturday, October 29, 2011

The Majestic

  • Title:  The Majestic
  • Director:  Frank Darabont
  • Date:  2001
  • Studio:  Warner Brothers Pictures
  • Genre:  Drama
  • Cast:  Jim Carrey, Martin Landau, David Ogden Stiers, Laurie Holden, James Whitmore, Bruce Campbell
  • Format:  Widescreen, Color
  • DVD Format:  R1, NTSC

"Right, no Blacklist, The Studio just doesn't want to know you.  Not with this thing hanging over your head." -- Peter's agent


"Once this place was like a palace...  that's why we called it The Majestic.  Any man, woman, child could walk right in, here they'd be, here we'd be, 'Yes, sir; Yes, Ma'am, Enjoy the show.'  And in they'd come, entering the palace, like in a dream, like in heaven.  Maybe you had problems and worries out there but once you entered those doors, they didn't matter any more and do you know why?  Chaplin, that's why, and Keaton, and Lloyd, Garbo, Gable, Lombard, Jimmy Stewart, Jimmy Cagney, Fred and Ginger!  They were gods, and they lived up there.  That was Olympus!"  -- Harry

I never was much of a fan of Jim Carrey -- because he was known for his very broad, over-the-top, wild comedies, and that kind of comedy just wasn't my thing.  But The Majestic is a drama, not a comedy and it is brilliant.  I thought Martin Landau gave an Oscar-worthy performance in this film, and Carrey was equally brilliant.  His speech at the end of the film to the Committee is reminiscent of the clips I've seen of Jimmy Stewart in Mr. Smith Goes to Washington.  Carrey is truly brilliant in this film and makes you believe he is the character he's playing - which is what acting is all about, really.

The film begins with just voices, people having a discussion, then we see Carrey in a medium close up.  He looks bored, and slightly annoyed.  He's a writer, sitting in on an executive meeting with about his latest film, "Ashes to Ashes".  Carrey is Peter Appleton, a writer, trying to make his way into Hollywood Pictures.  He's had some success, having written a screen play for a B picture called, "Sand Pirates of  the Sahara", which has been produced and released.  He has a girl, a job with the studio, and he thinks of  L.A. as "his town".  He's trying to break into a pictures with "Ashes to Ashes", and is afraid to rock the boat when the studio executives propose all sorts of  ludicrous changes.  But then it all comes crashing down, when he's accused of being a communist by the House Un-American Activities Committee.  Peter's as non-political as they come, and simply doesn't care about any sort of politics.  He's totally bewildered by the entire accusation.  The studio drops him like a hot potato, shelving "Ashes to Ashes", his girl dumps him, and the bottom's dropped out of his world, so Peter goes to a bar and tells the bartender (and his stuffed monkey toy) all this, while getting drunk.  He leaves the bar, intending to drive up the coast, just to clear his head.

In short, Peter has an accident on the drive and wakes up on a beach.  He's found my an old man and a dog, who help him up, and take him to the nearest town.  The accident has caused Peter to lose his memory, yet everyone in the town says he looks familiar.  After buying him a hot meal at the local diner, the local doctor, Doc Stanton, comes in (David Ogden Steirs) and takes him to his office to look after him.  He fixes up Peter's head wound, and gives him a clean shirt to wear, since Peter's is pretty much wrecked.

Harry Trimble (Martin Landau) meanwhile, had barely seen Peter in the diner, but he knows who he is -- it's his son, Luke, who went missing in the war (World War II).  Pretty soon, everyone has declared that it he is Luke, and treats him like a hero.  And, even though Peter has no memory of the town, it's people, or of being Luke, he sort of rolls with it.  Not out of malice, or an intent to deceive anyone, but because it just seems easy, and comfortable, and he's enjoying how everyone cares about him and treats him as a hero.  He meets the doctor's daughter, Adelle, who was Luke's high school sweetheart, and they begin to fall for each other.

Meanwhile, Harry's taken Luke (Peter) in, showing him his apartment above the local movie theater.  The theater is closed now, and run down.  It had been the dream of  Harry, his wife, and Luke, but with Luke going missing in the war, and the death of  his wife shortly thereafter, Harry just didn't have the heart to continue with the business and let the theater go into disrepair.

The town where Luke and company live is very small, but lost 62 boys in the war, 17 at Normandy alone.  The return of Luke Trimble, bouys up the town, and most of people are very happy to have Luke back.  Things seem to be going well for Peter, now Luke.  At the welcome home party for Luke, Doc Stanton points out to Harry, that if  it is Luke -- where was he for nine years?  He must have been injured, shipped home, cared for.  He could have a whole 'nother life, and a family who loves him who are looking for him.  Harry acknowledges the possibility, but he is so happy to have his son back, he really doesn't care.

Harry then proposes to Luke that they clean-up, restore, and re-open The Majestic.  Luke is hesitant at first, especially after he sees the amount of work involved and the cost of supplies needed.  However, they go to the town council and ask the mayor for help.  Before long, half the town is helping Luke and his father, Harry, to clean and fix up the Majestic.  The montage of restoring the old theater is very well done.  They re-open and have a rousing success as everyone in town comes to see the weekly films.  Harry's happy, and everyone is doing well.  Until, the film, "Sand Pirates of  the Sahara" is shown.  Peter watches the film from the side of the full theater, and starts reciting the lines, then it dawns on him -- he realizes who he really is.  But before he can do anything, the film stops running.  Emmett, one of the small staff of  The Majestic, and someone who's like family to the Trimbles', says something's wrong.  They run upstairs to the projection booth, and find Harry  on the ground.  He's had a heart attack.

The Doc Stanton is called, and he does what he can, but Harry is dying.  Luke/Peter says goodbye to Harry, and although tempted to tell him who he is, doesn't.  At the funeral, the FBI (whom the film had cut to a couple of times), representatives of  the House Un-American Activities Committee, shows up and serves a subpoena on Peter Appleton (aka 'Luke').  The entire town turns against Peter, even Adelle, though later she changes her mind.

In the small town of  Lawson, where he'd been living, his agent convinces him to read a prepared statement and a list of  names to the committee.
"All you do is show up, read the statement, salute the flag and everybody goes home happy."  -- Agent
"And I won't be a communist anymore?" -- Peter
"That's the idea." -- Agent
"Doesn't matter that I never was one?" 
Peter is hesitant and unsure of  himself.
"The Declaration of Independence, the Constitution, they're all just piece of paper with signatures on them.  And you know what a piece of paper with a signature on it is?  A contract.  Something that can be re-negotiated at any time.  Just so happens the House Un-American Activities Committee is renegotiating the contract this time." --Agent.

Peter speaks to Adelle, who tries to convince him that he shouldn't just cave in and admit doing something he didn't do to get his life in Hollywood back.  Peter admits he's basically a coward, that he was at Fort Dix during the war and was happy to not go overseas because he didn't want to die like the boys of Lawson, especially Luke.

On the train back to Hollywood, Peter opens a gift from Adelle.  It's a red-leather hard-bound copy of the Constitution, inscribed to Adelle from Luke.  Tucked inside is a letter from Luke, which includes the line, "When bullies rise up, the rest of us have to beat them back again - whatever the cost." (read by Matt Damon).  Peter gets to the committee hearing, and the room is filled with photographers.  The committee begins to question Peter, and his advisors complain that Peter was supposed to simply read the statement.  However, Peter stands up, and finally, stops reading the statement he had started to read.  Instead, in a bold act of courage, he reads the First Amendment of  the Constitution.  He talks about Luke, and his "Big America", as opposed to the "small America", of  the Committee.

"That's the First Amendment, Mr. Chairman, it's everything we're about -- if only we'd live up to it.  It's the most important part of  the contract every citizen has with this country, even though these contracts, The Constitution, and the Bill of Rights, even though they are just pieces of paper with signatures on them they are the only contracts we have that are not subject to re-negotiation, not by you, Mr. Chairman, not by you, Mr. Clyde, not by anyone, ever!  Too many people have paid for this contract in blood."  He holds up the copy of  the Constitution in his hand.

He also confronts the Committee with Luke's medal of  honor.  Then he walks out, despite the Committee telling him he's not dismissed.  The room erupts in applause.  He and his agent talk in a car, and Peter's convinced he's going to prison.  The agent tells him, it's all about "naming names".  Peter says he didn't give the committee any names.  The agent mentions the girl Peter mentioned; they'd gone to some meeting in college, the "Bread Instead of Bullets club" -- a club now retroactively declared communist.  Peter is shocked, he certainly didn't mean to get anyone else in trouble.  And he had no idea she was a television producer on CBS.  However the agent points out, she's the one who gave the Committee Peter's name.

Peter goes back to his old life, and the film cycles back to the beginning, and Peter sitting in the boring meeting.  When the off-camera voices ask him what he thinks -- he ends up walking out.  He sends a letter to Adelle and heads back to Lawson.  When he gets there, the entire town, who had heard his impassioned speech on the radio, gives him a hero's welcome.  That he marries Adelle and raises children with her, while running the Majestic, is a story told through photos on the piano (we'd seen the piano and photos before during the picture).

The film is magnificent -- Peter finally deciding to stand up for something and sticking it to the HUAC is brilliantly played, and Jim Carrey's performance in that scene is particularly good.  Though it's his confrontation with Adelle, where he admits to being a coward by the standards of the time, that's probably the  best bit in a film that's full of "good bits".  This is also a brave film, considering it came out in 2001, when a bully called Bush and the Republican party were trampling all over the civil rights of everyday Americans -- limiting free speech, freedom of religion and even the right to read what you want or listen to the music you want.  That Conservative attack continues (libraries are being shut, books taken out of school libraries or the school libraries closed completely, as well as public ones; there's been an assault on public radio and TV, and anyone who's not a Christian Fundamentalist like Bush is considered a second-class citizen, or not a citizen at all but someone who should be kicked out of  the country -- or what do you think "America is a "christian" country means?).  Bush also made it a crime for anyone to publicly criticize him under the so-called Patriot Act, and made travel difficult, and foreign travel nearly impossible (especially Canada -- prior to Bush only a birth certificate and driver's license were required to travel there, and hundreds of Americans traveled across the border from Michigan to Ontario to work every day.  Bush's stunt with requiring passport threw all those people out of work.)  The Constitution is sacrosanct -- and that's the point of  this film, but it's groups like the House Un-American Activities Committee and Bush's Republicans (also Palin, Limbaugh, O'Reilly, Buchanan, etc.) who are the ones breaking it, especially the First Amendment, while accusing middle-of-the-road Democrats of doing the same thing.  I hate to be political here, but when reviewing a political film one really has to be, so sorry.

This film is also directed beautifully!  When Adelle and Peter/Luke first meet they end up near the ocean, at sunset, and it is absolutely beautiful.  The two climb the (albeit small, but working) lighthouse to talk and have their first kiss.  It's a gorgeous shot.  The shots of main street, which is about as small-town, 50s America as you can get are picture perfect.  Luke's homecoming party, and the montage sequence of the town working together to restore The Majestic are particularly well-crafted.  Even the scene in front of the Committee, looks really good.  The Majestic is an over-looked gem, and I particularly recommend it.  And, if, like me, you had avoided Jim Carrey films because of  his comic reputation, give this film a try.  I just wish Carrey, as an actor, would do more dramas (I can only think of  four, three of which I've seen and two I own).

Recommendation:  See it!
Rating 5 of 5 Stars
Next Film:  The Maltese Falcon (1941)

Sunday, October 23, 2011

LotR The Return of the King (4 Disc Ext. Ed.)


  • Title:  Lord of the Rings The Return of the King (4 Disc Ext. Ed.)
  • Director:  Peter Jackson
  • Date:  2003
  • Studio:  New Line Cinema
  • Genre:  Action, Drama, Fantasy
  • Cast: Elijah Wood, Sean Astin, Billy Boyd, Dominic Monaghan, Ian Holm, Viggo Mortensen, Orlando Bloom, John Rhys-Davies, Liv Tyler, Hugo Weaving, Ian McKellen, Andy Serkis, Bernard Hill, Mirando Otto, Karl Urban, David Wenham, John Noble
  • Format:  Widescreen, Color
  • DVD Format:  R1, NTSC, 4-disc Extended Edition

"He's always followed me.  Everywhere I went, since before we were 'tweens.  I would get him in to the worst sort of trouble, but I was always there to get him out.  Now he's gone.  Just like Frodo, and Sam."  -- Merry
"One thing I've learned about Hobbits, they are most hardy folk."  -- Aragorn

"Take heart, Merry, it will soon be over."  -- Eowyn
"My Lady, you are fair, and brave, and have much to live for and many who love you." --Merry

For complete summary of The Return of the King, see review of the two-disc edition, here I will highlight the differences and added scenes in the extended edition.  Again, the added scenes make the film richer, and more enjoyable, though unlike the other two extended editions, many, though not all, of the "new" scenes are extensions to the battle and fight scenes in the film.  Or new battle scenes altogether.  However, there is more characterization, and Merry and Eowyn get additional scenes and dialogue which is most welcome.

Return of the King is a magnificent film.  It is a truly wonderful film.  The heart of the film is the emotional journeys of the characters, which are now fulfilled in the third and final chapter of  The Lord of the Rings.  Tolkien's book is loved by so many, including myself, because not only are there a lot of characters, but those characters each have an important and interesting journey to take -- and they each have a part to play in the story.  In adapting the books to film, I think many directors would have been tempted to only show us Frodo and Sam's story -- and that might have been okay, heck it might have even been fine; but such a film would have lacked the richness of the books.  Peter Jackson choose to adapt all the story lines of the books -- and allowed each of the major characters to have their stories and for them to be completed.  That makes these films masterful.


Now on to specifics about the Extended Edition.

The prologue scene of Smeagol murdering Deagol to get the Ring, seems longer.

Gandalf, Aragorn, Gimli, and Legolas, with Theoden and Eomer, ride through Fangorn forest, which now lies between Helm's Deep and Isengard, to Isengard.  Merry and Pippin, at Isengard, talk a bit more about Longbottom Leaf pipeweed and ale.

There's a confrontation between Gandalf and Saruman.  Saruman has the Palantir.  Gandalf breaks Saruman's staff, casting him from their Order of Wizards.  Theoden asks Grima to give up his loyalty to Saruman, and return to Rohan as a loyal subject.  Grima stabs Saruman in the back, and he then falls to his death, landing on his back on his own machinery which crushes him.  The Palantir falls from his hand and then Pippin sees it and gives it to Gandalf.

I like this better than in the shorter version of the film, where Gandalf simply leaves Saruman and Grima in his tower (a line added to the film in ADR, when the above scene was taken out).  Saruman's death at Orthanc is closer to the book, than merely leaving him there.  In the book, he and Grima escape, after Grima throws the Palantir at Gandalf and Company, and Saruman is responsible for the Scouring of the Shire.  However, Saruman does meet his end at Grima's hands, who stabs him in the back.  If the filmmakers were determined to drop the Scouring of the Shire, for there own reasons, some of which were sound (partially it was a matter of time), then actually showing the death of  Saruman is considerably more satisfying than just saying "we'll leave him in his tower" and that's that, and the general audience has no idea what happened to him.

In  Rohan, at the celebration feast/wake for the fallen warriors, Gimli and Legolas have a drinking game, and Merry and Pippin sing and dance.  However, during the Hobbits' song, there's a pause as Pippin looks at Gandalf.

During the Smeagol/Gollum discussion in Ilthilien, Gollum flashes back to killing Deagol.

Aragorn looks at Eowyn sleeping and she awakens.

Pippin looks into the Palantir, and his separation from Merry is still heart-breaking.  However, not only does Merry climb to the top of one of the watchtowers to watch Gandalf and Pippin leave, he talks to Aragorn of what his cousin means to him, that Pippin always followed him.

The introductory flyby shot of  Minas Tirith is breath-taking, and the city is very beautiful.

Pippin flashes back to Boromir's death, when Denethor mentions that he knows his son is dead.  Pippin offers his service and explains Boromir was pierced by many arrows defending his kinsman and him.  Denethor claims Lord and Kingship, saying he will not bow to the Ranger from the North (e.g. Aragorn).

Gandalf explains what's happened in Gondor, where the stewards come from.

Frodo talks to Sam of not coming back.  Sam encourages him that they'll go there and back again, like Bilbo.  They reach the Crossroads, and see the statute of the king, with it's Orc pumpkin-head like thing.  The proper head of the statute is on the ground a few feet away, covered with a crown of flowers.  A beam of light hits the flowers, making them shine like a crown of gold, this heartens the Hobbits.

I loved that scene in the book -- the description of  the crown and the sun, and the way it gives hope to Sam and Frodo, is very beautiful and meaningful.  I was so disappointed it wasn't in the shorter version of  the film when I saw it in the theater, so I was very glad to see it here in the extended cut.

Sam threatens Smeagol, basically saying he will kill him if anything happens to Frodo.

Gandalf tells Pippin there's an opportunity for the Shirefolk to prove their great worth, when sending him to light the beacon.

Faramir is with his guard in Osgiliath, and his aide-de-camp tells him of sending out scouts to the north.  Then we see Orcs on boats.  Faramir takes his men to the river to attack the Orcs. Faramir and his men fight the Orcs with swords.

Then we see Pippin lighting the beacon, and the beacon fires going one by one to Rohan.

Merry offers his service to Theoden King, who accepts it, naming him Esquire of Rohan.

Gimli talks to Legolas, wishing he could bring a legion of Dwarves to the battle.

More of  Faramir's battle in Osgiliath.  He begins to call for retreat to Minas Tirith, and a Nazgul attacks.  They make a run for it.  Faramir's aide-de-camp (or second in command) is killed.  Gandalf rides out, with Pippin, to challenge the Orcs and Nazgul and help Faramir's men safely get to Minas Tirith.

Denethor criticizes Faramir about sending the Ring with Frodo to Mordor.  Faramir states he wouldn't use the Ring.  Faramir tells Denethor, Boromir would have used the Ring and been corrupted -- they wouldn't know him.  Denethor has a vision of  Boromir standing near Faramir.  Denethor kicks Faramir out of  his chamber.

The Witch-King orders the Orc Captain to take the city and kill them all.

The men of  Gondor ask Gandalf  if  Rohan will come.

Pippin wonders what he's done, offering his service.  He meets Faramir who tells him the armor he's wearing was once his own.  Faramir talks to Pippin of Boromir, Pippin tells him he has strength of a different sort.  Then we see Pippin formerly swear loyalty to Denethor, and the service of the guard in Gondor.

Cuts to Sam, Frodo, and Gollum sleeping.  Gollum throws away Lembas, the Elven waybread, setting up Sam.  Frodo sending Sam away is heartbreaking.

The men of Gondor leave the city, at Denethor's order, women throwing flowers -- it's a very mournful scene.  Gandalf tries to stop Faramir --  Faramir states this is the City of the Men of Numenor and he will die defending it.

Then Denethor asks Pippin to sing, and Pippin's song is still intercut with Faramir's men riding out to a hopeless battle -- where they are all going to get killed.

The shorter version tightens up the editing of this sequence, but keeps Pippin's song and the intercutting between that, Denethor stuffing his face, and Faramir and company riding out to their doom.  The slightly shorter, more tightly edited version is actually better, even though it makes sense that Gandalf would try to stop Faramir.  Gandalf can't succeed at that, and Faramir must prove his loyalty.

During the muster of Rohan, Eomer talks to Eowyn of war, but you can see in her eyes it hasn't dissuaded her.

Aragorn has nightmares of Arwen dying.  As he wakes from the nightmare, a messenger asks Aragorn to see Theoden.  Elrond comes to Aragorn, talks to him of the Oathbreakers in the mountain, gives him Anduril, the Flame of the West, the re-forged Narsil.  Elrond also encourages Aragorn to become king.

Aragorn tries to dissaude Eowyn from her plans.  Then he, Legolas, and Gimli take the Paths of the Dead.  Legolas talks a bit more in detail of the prophecy that the heir of Elendil, who shall come from the North, will call on those who are Dead to fulfill their Oaths.

There's a quick shot of the Orcs marching on Minas Tirith.

Legolas sees ghosts of men and horses under the mountain.  There are mists of ghosts near Gimli, Legolas, and Aragorn.  There are skulls in the cave.  They reach the cavern where Aragorn asks for the allegiance of the dead.  There are more shots of the dead army.  Aragorn raises Anduril, summons the dead, commands them to fight for their honor.

There is an avalanche of skulls.  Aragorn, Gimli, and Legolas leave the path and see the Cosair ships.  Aragorn seems completely defeated.  Then, the dead King arrives, swearing they will fight.

Injured Faramir is returned to Gondor.  The heads of the rest of his men are flung into the city by Orc catapults.  Pippin realizes Faramir is still alive, no one listens.

Denethor begins to break, blames Theoden for betraying him.

Gandalf leads the battle, the battle begins in earnest.  The battle is longer.  Pippin makes his way to Gandalf, saves him from an Orc and is ordered back to the citadel by Gandalf.  (This was in the shorter edition).

The Orc Captain orders that Grond, the flaming Wolfshead ram, is used to break the city gate.

End of  Part 1

Part 2

Aragorn, Legolas, and Gimli meet the Corsair ships.  Aragorn denies them passage.  The dead attack the ships.

Smeagol leads Frodo into Shelob's lair.  Frodo tells Smeagol he must destroy the Ring for both their sakes.  Smeagol attacks Frodo and falls down a cliff.  Frodo continues on through the pass of Cirith Ungol.

The men of Rohan gather at the camp.  Eomer reports the scouts say Minas Tirith is surrounded, the lower levels in flames.  Eowyn and Merry talk, he tries to raise her spirits.

Flaming stones or rocks are sent into Minas Tirith.

One flower blooms on the tree in Minas Tirith -- despite Denethor saying Gondor is lost.
 Denethor argues it is better to die soon rather than late, for 'die we must'; then he calls for wood and oil to burn himself and his son.

Gandalf  is still commanding Gondor's soldiers.

But when Gandalf and Pippin return to the citadel to confront Denethor and rescue Faramir they are stopped by a Nazgul, the Witch-king.  Gandalf's staff is broken.  Pippin starts to charge and then stops  -- the Witch-King leaves at the sound of the horn of Rohan.

I'm glad this scene WASN'T in the shorter version of the film, and it makes no sense here.  It also slows down the sense of urgency to rescue Faramir.  I mean, seriously, Denethor is already in the midst of commiting murder and suicide -- Pippin and Gandalf need to get there quickly to stop it.  Saving Faramir is one of Pippin's great heroic scenes, breaking it up isn't necessary and actually lessens the tension rather than adds to it.  Also, as powerful as the Witch-King is, he shouldn't be able to break Gandalf's staff -- only another Wizard can do that, and the only other one left is Radagast the Brown who's never seen in the films, and is barely mentioned in the books.  (There are meant to be five Wizards, but the remaining two aren't even named).

Gandalf and Pippin do, though, get into the tomb.  They are unable to rescue Denethor, but Pippin saves Faramir.

Back to the Battle of Pelennor Fields, which the men of Rohan have joined.  There are more Oliphaunts and men of Haradrim in the Battle, and it's more complex and longer.

Merry fights in the Battle, and Eowyn fights the Orc Captain.


Then the Nazgul arrives, attacking Theoden.  Eowyn goes to defend her Uncle and King, and her fight with the Witch-King is longer.  Merry gets the first strike on the Witch-King, then Eowyn stabs him with her sword through the head, destroying him.  Thus the Witch-King, whom "no man can kill" is destroyed by a woman and a Hobbit.

The ships arrive, but it's Aragorn and his army.  Note that in the films this is just the Army of the Dead, who make short work of any orcs and evil men still alive in the Battle of Pelennor Fields.  In the book, the Battle is even bigger, and involved even more variety of forces than just Gondor and Rohan -- Aragorn brings with him Dunedain from Dol Amroth in Belfalas.

Aragorn and Legolas defeat the Orc Captain that Eowyn was fighting before she was distracted by a Nazgul.

The speech the dying King Theoden says to Eowyn is longer.

After the battle, Pippin first finds Merry's Elven cloak.


Eomer finds Eowyn and screams.


We see Eowyn in the Houses of Healing and Aragorn acting as a healer.  He succeeds in healing her, and she also meets Faramir there and they fall in love.


Pippin searches for  Merry, finally finds him.  Pippin swears to take care of his older cousin.


In a departure from the book, rather than also being brought to the Houses of Healing, where Aragorn heals him, Merry rides with Pippin and the rest of the company to the Black Gate to provide a distraction so Frodo and Sam can get to Mt. Doom.


Insert shot of Sam approaching the tower where Frodo is held.  There is also a tiny bit more dialog between Frodo and Sam as they enter Mordor.


Aragorn challenges Sauron in the Palantir in Minas Tirith, shows his sword.


Aragorn sees Arwen, and the Evenstar pendant falls and breaks on the marble floor.


Faramir courts Eowyn.


Frodo and Sam are forced into a line of Orcs that marches for the Black Gate and whipped.  Frodo has Sam start and fight and they are able to escape off.  They start to climb up the slopes of Mt.  Doom. Frodo talks of  the weight of the Ring.  They dump the extra armor.


At the Black Gate, the Mouth of Sauron shows Frodo's mail.  Pippin cries, and Gandalf  is near to crying himself.  Aragorn decapitates the Mouth, and says he will not believe it.  Eomer with Merry, Gandalf with Pippin, and Aragorn return to the line as the army of Orcs appears.
Aragorn gives his awesome Men of  the West speech.


Gollum attacks Frodo and nearly kills him.  Gollum bites Sam.  Frodo runs up the side of  Mt Doom alone.


Aragorn goes down at the Battle before the Black Gate.


Screen blacks out as Frodo says, "I'm glad to be with you, Samwise Gamgee, here at the end of all things," before Gandalf comes to the rescue with the Eagles.


The end is the same as in the shorter version, as is the Fate of the Ring.  But the film is satisfying, though long.  The break between part one and two is welcome and helpful.  I even found myself watching some of the extra features immediately after seeing the film yesterday because I wanted more -- which is the same feeling one gets when reading the books.  I really think Peter Jackson did the best he possibly could.  The cast is absolutely brilliant.  New Zealand is the perfect place to use for filming Middle-Earth.  The effects, including new ones developed for the films are top-notch, but seamless -- one doesn't sit in a movie theater or at home watching the films thinking, "oh, what a nice special effect".  Great care was given in adapting the novels, and though one can quibble about this or that, I think Peter Jackson did the best he could, and created a nearly perfect adaptation and visualization of the books.  Film is a different medium than the written word, and that changes how storytelling is done.  Also, hopefully, many of the films' legions of fans picked up and read the books, or re-read them if they had read Lord of the Rings before.  Overall, I can't complain too much because I really, really love the films, and the books as well.


Recommendation:  See it!  If you can add both versions of Return of the King to your DVD Library, but if you must choose only one, choose this one.
Rating:  5 of 5 Stars
Next Film:  The Majestic