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

Saturday, August 6, 2016

Hamlet (2009)

  • Title:  Hamlet
  • Director:  Gregory Doran
  • Date:  2009
  • Studio:  BBC / Royal Shakespeare Company
  • Genre:  Drama
  • Cast:  David Tennant, Patrick Stewart, Penny Downie, Mariah Gale
  • Format:  Color
  • DVD Format:  R1, NTSC
The DVD is a filmed version of the Royal Shakespeare Company's production of Hamlet, starring David Tennant as Hamlet, and Sir Patrick Stewart as Claudius, costumed in modern dress -- and it's brilliant!  Instead of merely filming the production straight-on, this is an actual film (and shown on BBC television per IMDB) - shot on location at an old abandoned seminary (according to the behind-the-scenes feature).  A few scenes do look like an older college building, rather than a castle - but for the most part the location really works.
The main location in the film, the court at Elsinore, has a jet black shiny floor that would make an Art Deco set designer from RKO Pictures proud.  Seriously, I thought this was a set when I watched the film, though a brilliantly designed one, for a play about deception and secrets. That the basic space really existed is amazing!
Anyway, David Tennant is so brilliant in this -- and I thought he was brill in Doctor Who.  He has a wonderful manic energy -- but, because this is film, and shot as film - not a mere theatre archive piece, he also has the ability to go very quiet and intense (such as in the famous "To Be or Not To Be" speech). Tennant also brings to Prince Hamlet the impression that he's really quite clever and crafty - he's faking being insane while trying to decide what to do with the information provided by his Dad's ghost.  OK, so maybe not totally sane -- but Hamlet doesn't come off at the whiny wimp he sometimes can.
Sir Patrick Stewart, meanwhile, is also brilliant as Claudius.  You can see how he manipulates everyone around him - Gertrude, and Laertes, especially.  But even courtiers like Rosencrantz and Guildenstern jump to do Claudius' will, immediately.
Both Gertrude and Ophelia were brilliantly played.  Gertrude is especially good in the "closet" (or bedroom) scene with Hamlet.  And Tennant is scary good in that - especially when he breaks the mirror! Mariah Gale as Ophelia does a great job with her mad scene, though it's a thankless role.
The only one I didn't like in the play was Polonius - whom I found annoying.  Now maybe he's supposed to be annoying, but his quoting of quaint proverbs sounds actually clichéd, and he underplays giving the lines too! (E.g. bits like giving his son the advice "neither a borrower or a lender be" when sending his son off to college or wherever Laertes is going at the start of the play).
I loved the use of highly polished surfaces throughout the play, such as the floor in the court, and also the mirrors.  The cracked mirror in Gertrude's room seems to symbolise Hamlet's cracking soul.  Brilliantly realised that!
The use of cctv footage (breaking to a view through a camera) I found less successful - it was distracting, and I even wondered if there was a fault in my DVD at first (like it was going to an alt-angle view or something for no reason).  According to the "Behind the Scenes" documentary on the DVD - this is meant to suggest the lack of privacy and the "all-knowing, all-watching" state that prevails at Elsinore.  It didn't quite work for me.
But I do highly recommend this - Tennant is brilliant, Stewart is brilliant, the rest of the cast is fantastic, the film is quite, quite good.
Running time was at least three and a half hours, though.  I watched it last night, and man - it did feel a bit long. But still well worth it.  There are two special features and a commentary.  There's a nice behind-the-scenes feature, which runs a bit over half-an-hour, and there's a quick advert for careers in the RSC (Royal Shakespeare Company), that's actually pretty cool.  Haven't listened to the commentary yet.
Recommendation:  See it!
Rating:  5 of 5 Stars!

Superman - Doomsday

  • Title:  Superman - Doomsday
  • Director:  Bruce Timm, Lauren Montgomery, Brandon Vietti
  • Voice Director:  Andrea Romano
  • Date:  2007
  • Studio:  Warner Brothers Animation
  • Genre: Action, Animation, Drama, Fantasy
  • Cast:  Adam Baldwin, Anne Heche, James Marsters, John Dimaggio, Tom Kenny, Swoosie Kurtz, Cree Summer
  • Format: Widescreen, color animation
  • DVD Format:  Blu-Ray 
"Just look at him, so sleek, so powerful, so beautiful, like some great golden god made flesh. Of course, any sensible god would demand absolute obidence in return for his favor. But no, our Man of Steel protects us and keeps us with no strings attached. And the people, hum, they practically worship him anyway. Enjoy your reign while you may, Superman, for as surely as night follows day, there comes a time when even gods must die." - Lex Luthor, prologue
"The subject in question was biologically engineered to be the ultimate soldier: precise, clinical, unstoppable. But its creators came to realize it could not distinguish between friend and foe, thus this Doomsday machine lives to extinguish any and all life forms. Because it must." Superman's robot in the Fortress of Solitude
Luthor has a group of scientists and miners digging to the Earth's core in search of a new energy source that Lexcorp can sell. However, they get more than they bargain for by freeing Doomsday, a biological killing machine. Luthor will later have his assistant Mercy eliminate all trace of Lexcorp's involvement in freeing Doomsday, and to cover his tracks further, Lex cold-heartedly murders Mercy.
Doomsday escapes and wrecks havoc. Lois and Superman had been having a romantic get away to Superman's Fortress of Solitude, when Superman's robot informs him of Doomsday's attacks on Metropolis. They return. Superman fights Doomsday, and they both cause havoc. Lois and Jimmy Olsen cover the story. The fight between Superman and Doomsday wrecks buildings, causes havoc, and ranges all over Metropolis - city streets, subway tunnels, city streets again. But in the end, Superman does the only thing he can - he grabs Doomsday from the back, flies straight up to the stratosphere, then crashes to Earth. He and Doomsday land in a huge impact crater. Doomsday is stopped, but Superman is also killed. Superman crawls out from beneath Doomsday's body, and dies in Lois's arms. Jimmy Olsen takes a picture of the dead Superman, and of Lois with tears streaming down her face.
Martha Kent, who had been watching the fight between Superman and Doomsday on TV, collapses off her chair, tears streaming down her cheeks. In the wake of Superman's death, Clark Kent is missing, though Perry White is convinced he's "fine" just incommunicato in Afghanistan (where Kent had gone as a war correspondent). Lois decides she has to talk to Clark's mother, and drives to Smallville to see her. At first, Martha is suspicious, but when Lois talks about being "in love with him" and "being loved by him" the two go inside to talk.
Lois returns to Metropolis and covers a story of Toyman threatening a schoolbus full of kids. She sneaks inside to rescue the kids, and all of them get out but one little girl. Lois and the girl are also threatened by a "Chuckie"-type living doll/toy with a big knife. Lois defeats the toy/doll, but Toyman pushes the bus off the building. Lois and the little girl are rescued by "Superman". At first, Lois is overjoyed to have Superman back - but then she notices things - like he doesn't know where her apartment is, and his attitude towards her is cold and clinical not romantic. Lois tries to figure out if it's a result of Superman's trauma, or if this Superman is perhaps not really Superman.
Lois becomes even more suspicious when Clark Kent still doesn't return or make contact, and Martha calls her and says that even though "Superman" has returned - Clark hasn't contacted her, he hasn't even called.
The new Superman goes to confront Luthor, but he's trapped in a room filled with red sunlight, and Luthor beats him up with Kryptonite brass knuckles. We then learn two things - this new Superman isn't Superman, he's a clone made by Luthor and under his control. And Luthor actually missed his enemy Superman so much after his death, he made the clone but a clone who would work for him. Luthor also has Superman's dead body in status.
Lois tries to get Jimmy to help her investigate, but Jimmy, feeling his mortality after the huge Superman - Doomsday fight in Metropolis, has quit the Daily Planet, and taken a well-paid job as a Paparazzi photographer for a tabloid. Jimmy refuses to help the first time Lois asks.
Meanwhile, Superman's robot steals Superman's real body from Lex Luthor. The robot takes the body to the Fortress of Solitude where it turns out Superman isn't dead - his pulse had slowed down to a rate of once every 17 days to allow him to heal. It had taken the robot 17 days to detect it, and another 17 days to pin-point the location. The robot tells the still injured Superman he retrieved him from LexCorp.
"Superman" takes on Toyman, and, after learning the villain had killed a young child at a day care center, takes him from police custody, flies up high with Toyman, then drops Toyman to his death on top of a police car. Jimmy takes a picture of the bloody and very dead Toyman. It becomes very apparent this this is not the Superman we know - he's cold, threatening, and scary. Plus he's still very, very powerful. When the police commissioner asks Superman to come in for questioning - Superman simply refuses because he has "better things to do", and there's nothing anyone can do to stop him.
At the Fortress of Solitude, the robot continues to treat Kal-El, the real Superman.
Back in Metropolis, "Superman" goes into a beauty shop and looks into a mirror. With his X-ray vision he finds a lead ball in his head containing Kryptonite. He uses his laser heat vision to remove it.
Lex Luthor hits on Lois when she confronts him. Lois lets Lex kiss her - and knocks him out with a hypo. She, and Jimmy search Lex's office.  Lois and Jimmy use Lex's unconscious body on a retinal scanner. They find Lex's bank of cloned Supermen.  Lex arrives to kill Lois and Jimmy, then Superman arrives. Superman destroys the clone bank. Superman locks Lex in the red room and takes the entire thing into the stratosphere then throws it to the ground.
Meanwhile at the Fortress of Solitude, Superman weight-lifts and exercises to tone his body. He hears the news reports of Lex Luthor's death. The army is mobilized in Metropolis to take out "Superman" for "killing" Lex Luthor.
The real Superman, in a solar suit, armed with a Kryptonite gun, flies to Metropolis to confront the clone "Rogue Superman". Superman tries to use the Kryptonite gun, but it goes flying. Superman and Rogue Superman fight. There is a lot of destruction during the fight. Lois grabs the Kryptonite gun, but when she fires at Rogue Superman - she misses. Rogue Superman beats up Superman. However, Superman is able to get the Kryptonite into Rogue Superman's chest and it explodes - destroying him. Superman is also weakened by the blast but survives. He kisses Lois Lane as proof that he's the "real" Superman. At the end he reveals himself to Lois as Clark Kent.
Luthor also is reveal to be not as dead as he appears.
This animated film adapts the Death of Superman storyline from the regular weekly Superman comic books. The blu-ray is accompanied by three excellent documentaries - especially the one on the public and press reaction to the Death of Superman (Superman #75), as well as trailers and sneak peeks for other films in the DC Animated Universe series of films. However, this film also has some changes and unique features that differ from the original printed story. First, Bruce Timm, who co-wrote, produced, and co-directed the film with others introduced Luthor both as a narrator for the story and as the cause of Doomsday's escape. I thought that made the film stronger - if someone's going to kill Superman - it should be his well-known enemy. Second, though, simply for time limitations, many of the vignettes of the one to two-year long story arc of the death of Superman and his return weren't used.
Also, this story, like many Superman stories, is a slug fest. Yes, it's a slug fest where Superman loses, and he has to sacrifice himself to stop the threat, but it's still a slug fest. The second half of the film -the world without a Superman, and Lois, Perry, Jimmy, and Martha all coping with there grief in their own ways, was better than the opening and closing fight scenes. However, I wanted to see more of that human story - especially Lois and Martha. Specifically, when Lois goes to see Martha at the Kent family farm, and Martha invites her in - I really wanted to see what happened next.
The animation in Superman- Doomsday was incredible. It was gorgeous and at times I forgot I was watching an animated film. It was that good. I haven't seen a DC Comics / Warner Brothers Animation film that looked this good since Batman: Under the Red Hood (which, yes, I realize chronologically came after this - but I saw it first.) The realistic animation style and the seriousness of the subject matter also reminded me strongly of Batman: Under the Red Hood.
I will say though that this animated film from several years ago handled Doomsday and the Death of Superman better in many ways that a certain live-action film that is probably still in theaters.
Recommendation:  See It - especially  if your a fan of Superman or good animation
Rating: 4 Stars

All-Star Superman

  • Title:  All-Star Superman
  • Director:  Sam Liu
  • Voice Director:  Andrea Romano
  • Date:  2011
  • Studio:  Warner Brothers Animation
  • Genre:  Action, Fantasy, Drama, Animation
  • Cast:  James Denton, Christina Hendricks, Anthony La Pagulia, Edward Asner, Alexis Denisoff, John Dimaggio, Robin Atkins Downes
  • Format:  Widescreen, Color
  • DVD Format: R1, Blu-Ray
"Lex Luthor, you're under arrest for attempted murder and crimes against humanity!" - SWAT Captain
All-Star Superman opens with a group of scientists in a spaceship that's about to crash into the Sun, in no small part due to evil goings-on by Lex Luthor. Superman flies near the Sun and rescues the scientists but soon finds out that he suffered and overdose of solar radiation and he's dying. Essentially, the theme of the story is Superman with cancer. You would think that would be depressing, but this animated film has a wonderful tone to it. The story is very episodic, but in a very real sense we're seeing Superman actually fulfilling the items on his bucket list.
Superman, tells Lois Lane he's Clark Kent - something she barely believes, and brings her to his fortress of solitude. There he gives her a serum that gives her his powers for a day, and the two have a romantic day playing superheroes together. They even stop a fight between Samson and Atlas and intelligent dinosaurs from the center of the Earth. When Superman brings the creatures back where they belong, he's goaded into a fight with Samson and Atlas. However, he ends-up besting them with his intelligence solving the Riddle of the Ultra Sphinx. The riddle is what happens when "the irresistible force meets an immovable object", Superman answers, "They surrender", and rescues Lois. He then bests Samson and Atlas in arm wrestling.
Meanwhile, the Daily Planet has exposed Luthor's water crisis scheme, and Luthor's been charged by the International Court of Justice. Not only is Luthor found guilty he's sentenced to die in the electric chair even though it's been banned for years.
Clark goes to interview Luthor in prison, and Luthor states he likes Clark Kent but he hates Superman - and he's happy that even though he will die, Superman will die first. The Parasite escapes during Luthor and Kent's discussion and starts a riot in the prison, killing guards and prisoners alike. Luthor escapes.
Superman, in his fortress with her, tells Lois he's dying. Lois insists he will figure out an answer.
Superman takes the bottle city of Kandor to a planet that they can safely colonize. Two months later he returns to Earth.
Two Kryptonians show up and prove to be spoiled, superior, colonials bent on cultural imperialism. Superman discovers, however, they have been poisoned by Kryptonite. In the end, they are sent to the Phantom Zone.
Superman even goes to his father's grave, leaving a Kryptonian flower there. He says hi to his mother, Martha Kent, but doesn't stay long.
Lex Luthor is "executed" but he doesn't die - he's stolen some of Superman's serum to give himself super powers for 24 hours.
Superman records his final journal entry in the Fortress of Solitude.
Luthor's next stratagem arrives - Solaris a living, intelligent sun eater who will poison the sun and turn it blue. Luthor thinks he's gotten Solaris to turn the Earth's Sun red, which will leave Superman helpless - but Solaris betrays even Luthor and poisons the Sun to turn it blue.  There's a classic fight scene.  Superman has his pet sun-eater attack Solaris, but Solaris rips it to shreds. Superman then faces the super-powered Luthor, including firing a gravity gun at him. The gun eventually speeds up Luthor's personal time, so just as Luthor is beginning to see the real meaning of things, and that everything is connected, he collapses because he's burned through the serum.
But Superman is also dying. As his face cracks with light, he kisses Lois then flies off to the Sun to "fix it" and reverse the poisoning done by Solaris. The film ends with Lois sitting in a park. Jimmy Olsen drops by and asks her if she's "going to the memorial". Lois says no because she knows that Superman isn't dead, he's fixing the Sun and he will be back.
All-Star Superman has a wonderful 50s/early 60s quality to it. It has innocence and sweetness without being saccharin. The story is episodic, but underlining the individual bits is the very real threat that Superman is dying, essentially from cancer, and there's nothing that can be done about it. You'd think that would be depressing, but Superman takes the news in stride and does take the time to do the things he wants or needs to do. It's even Clark Kent who writes the "Superman Dead" newspaper story then collapses at his desk. The animation style also has a wonderful retro look to it that works wonderfully with the story.
There are some lovely special features as well, including interviews with Grant Morrison who wrote the original graphic novel. Overall, it's an enjoyable and feel-good Superman story that doesn't get bogged down in just fight sequences but shows the audience a human side to the Man of Steel.
Recommendation: See it, especially if you're a fan of Superman or Classic DC Comics
Rating: 4 Stars

Sunday, September 13, 2015

The Truman Show


  • Title:  The Truman Show
  • Director:  Peter Weir
  • Date:  1998
  • Studio:  Paramount Pictures
  • Genre:  Drama
  • Cast:  Jim Carrey, Ed Harris, Laura Linney, Natascha McElhone
  • Format:   Color, Widescreen
  • DVD Format:  R1, NTSC
"Seahaven is the way the world should be." - Christof

"Cue the sun." - Christof

Imagine if your whole world - everyone you knew, every place you'd ever seen, every memory you had, was, in a sense - not real. Your very life had been manipulated from before your birth, and that all of this was completely unknown to you. That's the theme of The Truman Show, one of the most innovative and unusual films ever made.

Truman Burbank has an almost perfect life, living in the small island community of Seahaven. His wife is a nurse, and he works selling insurance. Truman sometimes dreams of going off on an adventure, or of being an explorer, but his daily life is quite dull, though perfect.

Then one day, as he's about to get into his car to drive to work, a studio light crashes to the ground, nearly hitting his car. Truman thinks it's strange, until the radio explains a plane flying over Seahaven began shedding parts. Yet, slowly, but surely, more and more strange things begin happening. Truman remembers a girl he was interested in, Lauren, the girl with a red sweater and a button that said, "How is it going to end?" but before he could really pursue a relationship with her, another girl, a cute blonde is literally dropped in his lap. Truman meets Lauren again at the library - and they try to run off together, but she is picked up and dragged away by her "father".

As we know from scenes in Truman's present - he marries the blonde, Meryl. But in his present, another encounter is harder to explain - he sees his father on the street. His father had died years ago, falling overboard and drowning when their sailboat was caught in a storm. Truman is disturbed by the encounter, and doesn't quite buy the explanations offered by his mother and his wife. He meets up with his best friend, Marlin, and they have a heart-to-heart. Yet we see the Director, Christof, feeding lines to Marlin over a hidden earpiece. As the conversation concludes, a man walks out of the fog and smoke. It's Truman's lost father. But we see this momentous event through the eyes of the Director and his technical aides - as he orders the fog machine to back off, orders the arrangement of shots and cameras, and even has the music fade up.

Then we see the title sequence of "The Truman Show" which explains that Truman was born on camera, he was legally adopted by a Corporation, that millions had watched his first step and his "stolen kiss" (with Lauren), etc. Next is a cut to a talk show, "Tru Talk", and an interview with Christof, the Director. Truman's entire life is a TV show - aired 24 hours a day, 7 days a week, without interruption or advertisements. It's revenue comes from product placement - and everything on the show is for sale in "The Truman Catalog". The rest of the cast are actors, paid to interact with Truman. The Director manipulates everything to create "good television".

Yet, despite the return of his father, Truman continues to question, continues to push.

He walks into a travel agency - an agency with posters, not of beautiful island paradises, but of planes hit by lightening, and of dire warnings of other Bad Things that can happen to the unwary traveller. When Truman tries to buy a plane ticket, he's told there's nothing for two months.

Next, he kidnaps his wife and spontaneously drives off. He gets her to drive from the passenger seat with one hand on the steering wheel of the car over a bridge over water to the "mainland", something Truman himself is afraid to do. As they continue to drive, they hear sirens - and find an accident at a Nuclear Plant, with men in hazmat and fire-proof suits. A uniformed police officer tells them they can't continue - but the cop makes a mistake when Truman agrees to turn around and says, "You're welcome, Truman." Truman tries again to escape, but he's captured.

There's a clip of Christof explaining that Meryl will leave Truman and a new "love interest" introduced. And that he's "determined to have the first on-air conception" on the show.

But Truman has other ideas. He pretends to go back to his old self, continues to sell insurance, and "acts normal". But one night, he sneaks in to his basement, creates a sleeping dummy with a recording of snores, and hides in a closet, then breaks out through a hole. This is discovered by the Director, who's in his control room on the moon. First, Marlin is sent to find out if Truman is really sleeping (he discovers the deception). Then the entire cast and all extras are sent to search for Truman, they step in a long line, perfectly in time, arms linked, to a frightening sound reminiscent of goose-stepping. The group even has barking dogs. Having already ceased transmission, Christof is desperate to find his star. He uses the moon as a searchlight. Finally, even though it's too early, he turns on the sun.

Christof realizes the one place he hasn't searched is the sea. He finds Truman on a sailing boat, and begins transmitting pictures again. The audience begins to root for Truman's escape, especially Lauren who leads some sort of protest group that wants Truman freed. As Truman tries to make his escape, Christof orders a storm. When his orders to stop Truman escalate to killing him by capsizing the boat - the other directors and technicians finally protest and refuse. Christof increases the storm and Truman falls off the boat and into the water. Christof turns off the storm and Truman, not drowned, coughs up the water and makes it back onto the boat. At this point, Christof says he wants to talk to Truman.

Christof's voice appears to come from a break in the clouds.

"Who are you?" asks Truman.

"I am the creator of a television show that gives hope, and joy, and inspiration to millions," replies Christof.

"Who am I?" asks Truman.

"You are the star," replies Christof.

Christof then tells Truman he has watched him since he was born, saw him take his first step, watched him cut his first tooth. Truman still is determined to leave Christof's giant television studio. He's awakened when his boat hits the wall of the studio, and he walks, apparently on water, around the edge, until he finds a stair case. Finally, Truman climbs the stairs and exits the door. Christof orders "Cease Transmission".

But the meta of the film is carried over into the credits which are listed in three parts: Truman's World, Christof's World, and the Viewers. Only the characters in Truman's World have names - other than Christof and "Chloe" in Christof's world characters are listed by their job description, "Control Room Director", "Network Exceutive", "Keyboard Artist", etc. Similarly, the audience members are listed by descriptions, "bar waitress", "Man in Bathtub", "Japanese Family", etc.

The Truman Show is a deep and fascinating film. Originally almost dismissed as a commentary on the "new" phenomena of Reality Television, it's actually a deeply philosophical film. The Director is God - he's created Truman's entire world. He controls all of Truman's encounters. If an actor becomes difficult or complains - they are removed from the show. New characters are introduced - giving the Director the show he wants - creating situations that Truman should respond to in predictable ways, such as dropping Meryl in his lap. Even what the actors say is at times scripted or suggested by Christof - such as Meryl insipid product placement lines (which she always delivers badly) or in a more serious scene, Christof feeding lines to Marlin to give to Truman. When the reality starts to break down, Truman's search to find Lauren, to escape to Fiji, is really an attempt to understand his world and discover who he really is. It's not accidental at all, that when Christof first speaks to Truman, it's a voice, from the sun, peaking out from clouds, after a storm. That's  a very Christian image. Though the entire story is of Truman's fight to push the boundaries of his world and control his own fate, rather than stay safe, in a world created for him. Christof loses his battle, when Truman wins.

Besides the Christian implications, there's another whole level to the film - the meta implications. Although the first half of the film stays in Truman's world, but often with lens hazing or a curved perspective (like the really old shots in films that indicated a character was looking through binoculars or a telescope), once he meets his father, we are introduced to Christof's World. We hear Christof defending his perspective. We hear Lauren, an actress named Sylvia, attack Christof on the "Tru Talk" call-in talk show program. And we see the audience watching the show and making comments - and eventually rooting for Truman's escape. It's a film, about a fictional television show, that shows us the director making that show, and the audience watching that show. It's just so meta it practically defines the term.

And in many ways, this seventeen-year-old film predicts in a non-specific way, our world of constant Social Media interaction. The give-and-take and interaction between viewers and makers of film and television via websites, social media, Live Tweet Events, etc. The creating of profiles to emphasize what we want others to know about us and de-emphasize or even hide what we don't want others to know about us. The putting on a friendly face, that can be an act as much as Truman's wife and best friend act a certain way towards him. Though, to it's credit, Truman's world isn't a totally paranoid or scary one. And in our world, Social Media does much good - giving voice to the voiceless, and in times of crisis turning us all into citizen journalists.

The Truman Show is an underrated classic and it is a film that really must be seen. I highly, highly, highly recommend this movie.

Recommendation: See it!
Rating: 5 out of 5 Stars
Next Film: UHF

Saturday, March 28, 2015

The Third Man


  • The Third Man
  • Director:  Carol Reed
  • Date:  1949
  • Studio:  London Films Productions (UK)
  • Genre:  Film Noir, Mystery, Drama
  • Cast:  Joseph Cotten, Orson Welles, Alida Valli, Trevor Howard, Bernard Lee, Wilfrid Hyde-White
  • Format:  Black/White, Standard
  • DVD Format:  NTSC, R1 (Criterion Collection)
"Is that what you say to people after death? 'That's awkward.' " - Holly

"Death's at the bottom of everything, Martins.  Leave death to the professionals." - Major Calloway

"Look down there, would you really feel any pity if one of those dots stopped moving forever? If I offered you £20,000  [English Pounds Sterling] for every dot that you stopped - would you really, old man, tell me to keep my money? Or would you calculate how many dots you could afford to spend?" - Harry Lime

Holly Martins (Cotten) is a down on his luck American writer who jumps at the chance when his old childhood friend, Harry Lime, offers him a job in post-World War II Vienna. He arrives in a city that's still literally digging out from the destruction and rubble of war, and a city that's split into British, American, Russian, and French zones (so having your passport handy is of vital importance), only to find that his friend, Harry Lime, is dead. The police believe it to be an accident. Holly has trouble believing his old friend is dead. He starts to investigate - at first, merely to learn what happened. He talks to various people, the porter at Harry's building who witnessed a few things about the time of the accident, Harry's girlfriend, Anna Schmidt, other friend's of Harry's, and becomes suspicious that not only was Harry's death not an accident - but that something odd is going on in Vienna.

Harry also has several encounters with Major Calloway (Trevor Howard) a member of the British police for the British sections, and his aide, Sgt. Paine (Bernard Lee). When he takes his suspicions to the police, he's told, not unkindly, that even if Lime was murdered, the police won't waste resources investigating - because the man was a racketeer, involved in the Black Market, and most importantly he was involved in a scheme to steal, cut, and re-sell penicillin to sick and injured men, women and children - that resulted in several deaths, and a number of children with meningitis. As first, Holly doesn't believe his old friend would be involved in such a scheme. Later in the film, Major Calloway shows him proof of Harry Lime's involvement, and Holly reluctantly believes it. Still later on - Calloway takes Holly to a hospital ward filled with children who were left mentally disabled because of the tainted medicine and the resulting meningitis. There is considerable restraint in the scene, the audience doesn't see the sick children - only doctors and nurses tending to them, some shadows and medical charts, and the reactions of Holly, Major Calloway, and Sgt. Paine.

Holly also spends time with Anna, Harry's girlfriend. He begins to develop feelings for her - and she seems to return those feelings, but it's not to be.

About halfway through the film, when Holly's considering leaving Vienna altogether, he actually meets Harry Lime, who isn't as dead as everyone thought.

The second half of the film turns into more of a moral dilemma for Holly. Harry wants him to join him in another scheme to make money, that would probably harm as many people as his last one if not more. Holly tries to get Anna to go with him - but she's still in love with Harry. Anna's been having her own problems - she's living with a false passport, perhaps even a false name - because, as a Czechoslovakian she would be sent to Russia. Anna's reactions throughout the film are influenced by her blaming Holly somewhat for getting her in trouble with the police and her undying and unexplained love for Harry Lime.

Meanwhile, Major Calloway holds his duty to turn Anna over to the Russians, because she's an illegal immigrant, and the carrot of arranging her freedom over Holly as well.

Holly agrees to set-up Harry after Major Calloway presents him with proof of Lime's involvement in the drug stealing and selling scheme. They also discover that the person buried in Harry's grave is the missing hospital porter Calloway's been looking for.

However, an encounter with Anna again shakes Holly's resolve, he meets with Harry Lime, who turns out to be a real sociopath. Harry does not take up Lime on his implied offer to go into illegal business together someplace outside of Vienna.

Holly goes back to Calloway - who this time shows him the children in the hospital. Holly resolves to set-up Lime to help the police, especially as Calloway let's him have Anna's passport back.

Anna - gets off the train (Calloway had also supplied a ticket out of Vienna), she sees Holly and blows up at him because she knows he's setting up Harry. She even rips up her forged passport.

The conclusion of the film is a chase in Vienna's sewers, as Holly, then the Major and his troops, then police from the other districts of Vienna all chase down Harry Lime.

The brilliance of this film isn't in the overall plot, though the dead man who isn't dead was probably somewhat novel at the time - the brilliance is in the details. The cinematography of this film is just incredible. Director Carol Reed uses all sorts of unusual, tilted, and strange camera angles, which alongside the strange score, act to put the audience at unease. This odd setting emphasizes for example, Holly's isolation and grasping need to trust somebody. It sets all the characters apart, especially Harry Lime who towers over the film, despite not really being in it all that much. Lime is the "Third Man" of the title - referring to a Third Man who witnessed Harry's death as described by a witness, whom everyone else involved denies was even there. The discovery of a "Third Man" is an early clue that Holly discovers and uses to try to find out who "killed" Harry Lime.

The setting of this film is also unusual. Vienna is literally pulling itself out of rubble. Piles of concrete, and stone dust, and bombed out buildings are in nearly every shot. Nothing looks new and almost nothing is whole. There is evidence of war in nearly every scene. Oddly enough, the sewers are the only structures that seem solid, not crumbling or broken - and they are far underground. But it isn't just the buildings that are destroyed - the faces of the people, all very old or very young (except the main leads who are all probably in their 30s) - are a visual hint that the able-bodied men are all gone - and good young women don't appear on the streets. Anna, who works in a theater singing comedy opera in German, isn't exactly what the times would have called a "good woman". The faces of the bit players, and the few people in the streets, have character - but they have also seen pain and destruction.

Overall, I would highly recommend watching The Third Man at least once. Visually it's a film not to be missed, despite the bleak setting. I'd say it really needs to be seen because of the bleak setting.

Recommendation:  See it
Rating: 4 out of 5 Stars
Next Film:  The Thomas Crown Affair (1999)

Tuesday, March 17, 2015

Eternal Sunshine of the Spotless Mind


  • Title:  Eternal Sunshine of the Spotless Mind
  • Director:  Michel Gondry
  • Date:  2004
  • Studio:  Focus Features
  • Genre:  Romance, SF, Drama
  • Cast:  Jim Carrey, Kate Winslet, Elijah Wood, Mark Ruffalo, Kirsten Dunst, Tom Wilkinson
  • Format:  Color, Widescreen
  • DVD Format:  R1, NTSC
"My embarrassing admission is that I really like that you're nice. Right now, I mean, I can't tell from one moment to the next what I'm going to like, but, right now, I'm glad you are." - Clementine

"Technically speaking, the procedure is brain damage, but its, its on a par with a night of heavy drinking." - Dr. Howard Mierzwiak 

Eternal Sunshine of the Spotless Mind  is not your typical romantic comedy - it isn't even a typical film in the rarer genre of romantic tragedy. The film starts with Joel Barish (Jim Carrey) waking up, heading off to work, then playing hooky and taking the train to a beachside community in the middle of Winter, to be precise, on Valentine's Day.  He runs into a strange girl with bright blue hair, named Clementine, and the two start to hit it off. However, the film then diverges off into unusual and different territory. Joel discovers that Clementine, his girlfriend of two years, had him erased from her memory. Joel, in a pique of anger then decides to erase her from his memory.

However, the film doesn't tell this story linearly. We see Joel going to the Lucuna Clinic to have Clementine erased. He explains why he wants to forget her. He looks at objects from their relationship (mementos, gifts, etc) and thinks about his memories of her while undergoing CAT Scans to map his memory. That night he takes a sleeping pill. Three people from the Lucuna Clinic arrive at his apartment to erase his memory - Stan, Patrick, and Mary. However, they do not act like medical professionals, but rather like irresponsible party guys (and gal). While Stan's laptop computer performs the procedure - they drink, and do drugs. Patrick leaves pretty quickly so he can see his girlfriend - Clementine. Stan and Mary get even more drunk and stoned, and before long Mary's dancing on Joel's bed in her underwear.  Eventually, both Stan and Mary are dancing in their underwear.

Meanwhile, in a series of flashbacks, as Joel is undergoing the procedure - he remembers the times, the moments, he's spent with Clementine. He eventually realizes just how good some of those moments were - and tries to keep them. But the procedure works too well, and the audience sees scenes disappear piece by piece, or fade out of existence, or break apart in a pixelated fashion, or turn dark as if the lights were being turned off. The unusual effects heighten the strangeness of the film, but they also visually express Joel losing his memories. As the memories disappear, and Joel gets to his good memories with Clem, he realizes he doesn't want to forget. He and Clem try to outsmart the procedure by hiding in Joel's childhood memories - including some of his earliest memories.

At this point, the film flashes back to Joel having the procedure done - where Stan freaks out because "he's off the map." Joel calls in Howard (Dr. Mierzwiak) who gets the procedure back on track. However, Mary - who's still stoned, hits on Howard and even kisses him. Outside, Howard's wife watches. Howard finds out about this - as Mary tries to explain it was meaningless - Howard's wife tells her that she and Howard did have an affair, but he performed the procedure on her to make her forget.

Eventually, all of Joel's memories of Clementine disappear - but as he gets to the memory of the first time they met, a time when Joel walked out, Clem suggests he change what happened and make a new memory. We then flash-forward to the beginning of the film and Joel's compulsion to go to the beach in the middle of Winter, on Valentine's Day - where he meets Clem.

But this is not the end of the story. Because as Clem heads into her apt to pick up her toothbrush so she can spend the night with Joel (whom she's "just met") she find a letter from Mary, with a copy of her file and a tape of her conversation with the Doctor about why she wants to forget Joel. She starts the tape playing in the cassette player of his car - and he freaks out, accusing her of messing with him. But when he gets home, he find another letter and cassette from Mary for him. He starts to listen to the tape - when Clem arrives. Clem gets so angry at the things he says, she leaves - but Joel pursues her. In the hallway, Clem says they should forget it - bringing up the reasons why their relationship won't work again. But Joel seems to think they should try anyway.

Eternal Sunshine of the Spotless Mind  is a forerunner of films like Inception - especially in terms of the effects used to show Joel's memories being destroyed. It has a very non-linear style - I've re-organized the story more linearly in this review, but when you are watching the film it slips easily back and forth between the "present" as Stan, Patrick, Mary, and later Howard work on Joel in his bedroom - and Joel's scattered memories of his relationship with Clementine. The story is gradually built up in pieces until the audience understands exactly what it going on - it's a very intelligent film. It asks intelligent questions, If you could completely forget someone - wipe them from your mind, would you? And, there are implications too - What if such a procedure was done without your permission? (The film gets into that briefly - when it's made clear that although Howard pressured her into it - Mary did give verbal permission for the procedure.) But the film is also about the way relationships twist over time - although Joel's early (meaning late - or most recent) memories of Clem are of fights and disagreements - his late (meaning earliest) memories are sweet and lovely - and those memories he fights to keep but fails. There are other tiny bits as well - the woman in the clinic with a dog bowl, leash, and such for example. Mary arguing with a woman on the phone that she can't have the procedure done three times (in a short period is implied). And even the idea of destiny in a relationship.

Jim Carrey is very reserved and quiet as Joel. Even when he and Clem are fighting - he barely raises his voice. He's very closed off as well. It's an understated performance, the complete opposite of Carrey's normal comedic roles - and it shows what a truly great actor he is. Kate Winslet plays Clementine as a free spirit but a bit dumb. Elijah Wood as Patrick is slimy as one of the med techs working on Joel - he admits to Stan he fell in love with Clem when she he erased her mind - and he even stole her panties. Patrick also used Joel's journal and other mementos of his relationship with Clem (gifts, jewelry, etc) in an attempt to win her over.

Eternal Sunshine of the Spotless Mind  is a excellent and original film and I recommend it.

Recommendation:  See it!
Rating: 4 out of 5 Stars
Next Film:  Justice League:  Throne of Atlantis

Wednesday, January 14, 2015

The Prestige


  • Title:  The Prestige
  • Director:  Christopher Nolan
  • Date 2006
  • Studio:  Touchstone, Warner Brothers
  • Genres:  Drama, SF, Historical
  • Cast:  Hugh Jackman, Christian Bale, Michael Caine, Piper Perabo, Rebecca Hall, Scarlett Johansson, David Bowie, Andy Serkis, Mark Ryan, William Morgan Sheppard
  • Format:  Color, Widescreen
  • DVD Format:  Blu-Ray, R1
"But you wouldn't clap yet, because making something disappear isn't enough, you have to bring it back.  That's why every magic trick has a third act, the hardest part, the part we call... The Prestige." - Mr. Cutter, narrating

"I love you." - Alfred Borden
"Not today.  Well, some days it's not true, and today you don't mean it.  Maybe today you're more in love with magic than me.  I like being able to tell the difference, it makes the days it is true mean something." - Sarah Borden

"I don't want to kill doves." - Robert Angier
"Then stay off stage.  You're a magician not a wizard.  You gotta' get your hands dirty if you're going to achieve the impossible." - Mr. Cutter

"I can recognize an obsession, no good will come of it." - Nikola Tesla

"The truly extra-ordinary is not permitted in science and industry.  Perhaps, you'll find more luck in your field - where people are happy to be mystified." - Tesla

The Prestige is a film about envy, jealousy, and obsession. But rather than jealousy over someone else's relationship with a third person; or obsession with a person, The Prestige is about professional jealousy and obsession with an idea. Add to that it's unusual structure, and it's a fascinating film, that's intriguing to watch.

This is the story of two stage magicians in the 1890s. They start off as friends, working with an ingenue (or magic trick designer) and a female magician (Julia, played by Piper Perabo) who is married to one of them (Angiers, played by Hugh Jackman). Bordan (Bale) seems to be jealous of Angiers relationship with his wife, though this is not obviously stated. And when Julia dies performing a water-tank trick, after Bordan tied her hands - Angiers becomes angry and blames Bordan for the accident. However, this definitely doesn't become your cut-and-dried "you killed my wife - I'm going to get revenge" film. Even by the end of the film, we don't really know if Bordan deliberately tied the wrong knot or if it really was an accident. However, the death of Julia is the spark that turns a friendship into a rivalry - and then into professional jealousy, and finally into obsession. As the film unfolds Angiers and Bordan both one-up each other, and both simply do horrible things to each other - physically harming each other, undercutting each other's stage acts, and simply just not letting the rivalry rest but escalating it with each act of the film.

The structure of the film is also different.  It starts with the end, then tells the story through a series of interweaving flashbacks that tell the story in short scenes that not only move forward and back in time, but change point of view as well.  The film begins with Angiers dying in a stage magician's trick and Bordan being arrested and charged with his murder.  The flashbacks explain their history, their rivalry, and Angiers growing obsession with Bordan's trick:  The Transported Man. Angiers follows his obsession to Colorado where he meets Nikola Tesla (David Bowie) and his assistant Alley (Andy Serkis), whom he convinces to build a special machine for him. Angiers both gets what he wants and gets much more than he bargained for. But, as the story unfolds - and different parts of the story are told first from Angiers point of view and then from Bordan's, the audience learns more and more about these characters - the doomed characters.

Because the flashbacks are interweaving, as an audience member, not only is one forced to pay very close attention in order to follow the film - but one is also, constantly rearranging the scenes in one's head.  Especially the first time I watched this film, as I watched it, I found myself thinking, "OK, so this goes before that, and this goes before that, etc."  But unlike other films with a lot of editing and scenes that aren't presented in chronological order - with The Prestige, that the film's story is essentially presented in reverse order before returning to the present and then again turning on a dime, everything in the story is crystal clear.  You will not be confused by the story - at all, once you get used to the style and concentrate on the plot.

I'm determined to not spoil this excellent film, but it is also very dark and even somewhat disturbing. To explain just what is going on, and how, would destroy the experience of seeing this film.  It's excellent, with an excellent cast, incredible direction, and it's very thought-provoking. However, it is very, very dark.  I mean, I've seen film noir before, but the final implications of this film really push the envelope into disturbing territory. Oh, and by disturbing - I do not in any way mean "gross" or bloody, or any of the typical tropes of horror. I wouldn't even call this a horror film. Do not avoid this film simply because of a prejudice against horror - that is not what it is at all.

Recommendation:   See it
Rating:  5 out of 5 Stars
Next Film:  Inception

Sunday, October 12, 2014

Shall We Dance? (Japan, 1996)

  • Title:  Shall We Dance? (Japan, 1996)
  • Director:  Masayuki Suo
  • Date:  1996
  • Studio:  Miramax
  • Genre:  Drama, Musical
  • Cast:  Kôji Yakusho, Tamiyo Kusakari, Naoto Takenaka, Eri Watanaka, Hiromasa Taguchi
  • Format:  Color, Widescreen (In Japanese, with English Subtitles)
  • DVD Format:  R1, NTSC
"...There is a secret wonder...about the joys that dance can bring." - Spoken introduction
"Dance is more than just the steps.  Feel the music and just dance for sheer joy." - Sensei Tanaka
Shall We Dance (1996) and Shall We Dance (2004) have the exact same plot, but it is the Richard Gere film that is a re-make and Americanization of this Japanese film.  I actually saw both in the movie theater, and enjoyed them both.
The Japanese film starts with a spoken introduction about the reserved nature of the Japanese people, a nature than sees ballroom dancing with suspicion.  In a land where married couples don't hold hands, much less kiss in public, and would seldom if ever express love with words even in private, the act of dancing with a stranger is seen, well, as something perverse. However, this film is about ballroom dancing in Japan and the world-wide competitive dance sport.
Sugiyama, is a successful accountant, who has just bought a house for his family.  He works long hours and commutes daily to his job.  He is satisfied, if not exactly happy with his life. But it would never occur to him to change anything.  On the commute, from his train window, he sees a beautiful young woman in a dance studio - who seems filled with melancholy.  It takes a few tries for Sugiyama to work up the courage, but he finally goes to the dance studio to sign up for lessons.
Upon learning that private lessons are very expensive, he signs up for group lessons instead. His tutor is Sensei (teacher) Tanaka, an older, experienced, and patient teacher. The other students in the class include a slightly overweight man who's taking dance lessons to lose weight and hopefully meet girls, and a know-it-all type who's taken one dance class before with his wife, and now thinks improving his dance skills will impress her.
Also at the studio is Mr. Aoki, who works with Sugiyama at his office, and is a competitive dance hopeful; and a second teacher (Toyoko) who also hopes to be more successful at competitive dance.  Mia, the young woman Sugiyama saw in the window, also works there, but only gives private lessons.  Unraveling her story is as much of the plot, as are Sugiyama's growing skills at dance.
Sensei Tanaka works with Sugiyama and his fellow students, teaching them basic steps, and the ten competitive dances as well as a few fun, social dances.
At home, Sugiyama's wife and daughter notice he now seems happier, but eventually, his wife grows suspicious and hires a private detective.  Upon learning his secret is that he's taking weekly dance lessons, and he's not having an affair, his wife accepts it, but is confused. Remember that, culturally, ballroom dance isn't accepted.
As the students improve, there are montages not only of the dance lessons, but of Sugiyama dancing on the train platform, in a park (including in the rain), and even moving his feet in time under his desk.  Meanwhile, Mr. Aoki, slides through corridors and rows of desks with precise movements - but cannot find a good partner for competitive dance.
The second half of the film involves an amateur ballroom dance competition.  Due to various events, Toyoko will dance two traditional dances (Waltz, and Quick Step) with Sugiyama and the Latin dances (Rumba, and Paso Double) with Mr. Aoki.  The Latin dances are first and Aoki starts off doing what he always does - overacting, using "jazz hands", and wearing a ridiculous wig and costume.  A competitor turns the wig, so for the second dance he removes it and dances far better than he ever has, because he's not trying to be someone he's not. During their dances, Sugiyama and Toyoko are doing brilliantly, until Sugiyama's distracted by his daughter rooting him on from the stands.  He manages to step on and tear off Toyoko's skirt.  Needless to say, Toyoko is forced to default.
Sugiyama is appalled by this.  He gives up dancing and goes back to his wife and daughter. He's invited to a fair-well party for Mia, who's decided to return to Blackpool (England) and competitive dancing. Finally, though, he shows up at the very end of her party and she dances her last dance with him.  As they dance, other couples join in on the dance floor.
The Japanese, original, film version of Shall We Dance? moves at a slower pace than the re-make with Richard Gere.  But at times, this makes for a better film.  It's filled with fascinating characters, all of whom have their own stories, and all of whom are looking for something.  That it isn't until the very end that we find out all of Mia's story, makes her story that much richer.  The music also, is mostly traditional ballroom dance music.  "Save the Last Dance for Me" is used for montages.  Mia's theme dance song is "Shall We Dance?" from Rodgers and Hammerstein's The King and I  (yes, the Yul Brenner musical).  "Shall We Dance?" fits, but it will stick in your head for days after seeing the film.
Recommended:  See it.
Rating: 3.5 out of 5 Stars
Next Film:  Oz the Great and Powerful

Sunday, November 10, 2013

Les Misérables

Title:  Les Misérables
Director:  Tom Hooper
Date:  2012
Studio:  Universal
Genre:  Musical, Drama
Cast:  Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Aaron Tveit, Samantha Barks, Colm Wilkinson, Helena Bonham Carter, Sacha Baron Cohen
Format:  Color, Widescreen
DVD Format:  R1, NTSC

"But remember this my brother, see in this some higher plan, you must use this precious silver, to become an honest man." -- The Bishop

"But the tigers come at night, with their voices soft as thunder, as they tear your hope apart, as they turn your dream to shame. ...  There are dreams that cannot be, there are storms we cannot weather.  I had a dream my life would be, so different from this hell I'm living.  So different from what it seemed, now life has killed the dream I dreamed."  -- Fantine

"You know nothing of Javier, I was born inside a jail.  I was born with scum like you, I am from the gutter, too!"  -- Javier

"...how your world might be changed in one burst of light, and what was right seems wrong and what was wrong seems right."  -- Marius

"But now there's a higher cause.  Who cares about your lonely soul?  We strive towards a larger goal, our little lives don't count at all." -- Enjolras

Les Misérables is a sung musical, meaning that nearly every line in the film is sung, rather than the majority of the film being spoken and acted, only to break for the musical numbers.  However, because everyone is always singing everything in the film, the singing quickly becomes part of the reality of the film, and the audience becomes used to it and accepts it.  Also, the characters are often singing their hearts out, and many of the best songs in the film are actually soliloquies.

The film is based on the long-running stage musical (which ran in both New York on Broadway, and in London on the West End), which is turn is based on a novel by Victor Hugo.  The story though is about redemption, about mercy, about love for one's child, and about how tiny kindnesses or tiny slights can have vast effects on a person's life.

The film opens with Jean Valjean and a group of convicts in the rain pulling ropes to right a capsized ship.  Inspector Javert looks on, then orders Jean Valjean to bring him the French flag.  Valjean does this by lifting the entire broken ship's mast -- a very heavy, long, wooden mast.  Javert then gives "Prisoner 24601" his yellow ticket of leave.  Jean Valjean is at first excited that he has finally gained his freedom after nineteen years a slave to the law - his crime breaking into a house to steal bread to feed his sister's starving child.  However, he is only placed on parole - ordered from place to place by the French police and military.  Jean Valjean soon discovers no one will offer work to a convict, and he can't even find food or a place to sleep.

Still desperately trying to live, Jean Valjean, drops into a local church, where the bishop (Colm Wilinson, originator of the role of Jean Valjean on Broadway), offers him food and a place to sleep for the night.  Yet, in the middle of the night, he awakes and steals the bishop's silver.  He's immediately caught and brought in front of the bishop.  The bishop shocks Jean Valjean by lying for him, confirming his story to the police that he "gave" his silver to him.  The bishop then also gives him his silver candlesticks, and dismisses the police.  But for his mercy, the bishop demands that Valjean must become a better man.

Valjean goes into the church to contemplate his fate and his future.  He ends by tearing up his yellow papers which brand him a convict.

Eight years later, in Montreul, Valjean, now using the name M. LeMer, owns a factory employing hundreds, and is mayor of the town.  In his factory, Fantine is one of the female workers.  She continues to refuse the advances of the foreman.  When she receives a letter, a rival female worker steals it and reads it aloud.  Upon learning Fantine has a child, she attacks her.  The two fight and Fantine shouts back that the woman has a husband and "something on the side".  Enraged, the woman attacks again.  Valjean arrives and is about to deal with the problem - then he sees Javert and goes to his office instead, leaving his foreman to settle matters, though he admonishes him to show mercy.  The foreman sacks Fantine, and kicks her out in the cold.

Meanwhile, Valjean meets with Javert who introduces himself, remarks that he's been noticed as an excellent mayor, and gives him papers introducing himself and his transfer as officer of the law for the town.  Valjean is a bit nervous, but accepts him.  There's a shout from the street and Valjean runs outside.  A man is trapped under a collapsed cart.  Though the cart is quite heavy, Valjean lifts it to free the man and save his life.  Javert looks on, suspiciously.

Meanwhile, Fantine struggles to support herself.  She sells her jewelry, her hair, her teeth, and finally gives in and sells herself.  Fantine's soliloquy, "I Dreamed a Dream", tells her story and contrasts the golden summer of her youth with the hell she's now living.  Hathaway's performance is strong and makes the audience feel sympathetic to her, rather than feel sorry for her.  And won her several "Best Supporting Actress" awards.  Later, wearing the sleeveless red dress of a prostitute, a man attacks Fantine.  When Javier arrives the man claims she attacked him.  But Valjean also arrives, and upon learning the woman once worked in his factory, he takes pity on her and takes her to a hospital.  He also learns she has a daughter, living with an innkeeper and his wife.

Later, Javert presents himself to Valjean, admonishing himself for making a false report, and telling Valjean that "Prisoner 24601" has been caught, so he apologises for thinking "M. LeMer" was Valjean.

This leaves Valjean in a moral dilemma.  He cannot allow another man to go to prison in his place, yet his workers depend on him.  In the end, Valjean decides he cannot allow an innocent man to be jailed in his place.  He goes to the court, and admits he is "Prisoner 24601".  But then he leaves the court and goes to the hospital to see Fantine.  There, he finds Fantine dying.  He promises to find and care for her child.  She promises her to his care.  At the hospital, Javert arrives.  They confront each other.  Jean Valjean pleads for three days to find, take care of, and make arrangements for Cosette.  Javert pretty much says, "Are you kidding?" and draws his sword.  Valjean defends himself with a wooden beam and escapes by jumping into the water.

Jean Valjean travels to the inn, and pays the Thénerdiers' fifteen hundred for their "sacrifice" of keeping Cosette.  Madame Thénerdier had been abusive of Cosette, treating her like a slave while spoiling her own daughter, Éponine.  M. Thénerdier had cared so little for her - he couldn't get her name right.  Valjean and Cosette leave, taking a horse-drawn couch to Paris.  The flight to Paris features the one new song from the film that isn't in the original musical, "Suddenly, You're Here".

Javier, having lost Valjean again, sings "Stars", his own soliloquy.  He's on a roof, and the song begins with a large, stone eagle behind him.  As he sings, he walks on the top of the stone balustrade, seemingly careless of the result if he fell.  He swears he will catch Valjean.  "Stars" is a beautiful song, and one of my favorites from both the film and the musical.

In 1832 Paris, Valjean and now teenaged Cosette, have made a life for themselves.  Times are hard, as the people are suffering.  Marius, Enjolras, and a group of students are disgusted with the state of affairs, and try to raise the people in rebellion.

One day, Marius sees Cosette on the street.  She and Valjean are handing out alms to the poor.  They also run into the Thénerdiers.  Meanwhile, Éponine lives in the same rooming house as Marius, and knows that his father is rich.  She's also trapped in the gang of thieves led by her parents, the Thénerdiers.  Javier is also in Paris, and still obsessed with catching Jean Valjean.

When Marius arrives in the wine shop, his fellow students tease him about falling in love at first sight with a girl whom he doesn't even know.  But his best friend, Enjolras, is actually angry.  As staged in the film, "Red and Black" actually becomes an argument between Marius (who's just fallen in love and is beginning to re-think things) and Enjolras and the other students, who want to start a revolution.  When young Gavroche arrives to tell them the people's hero, General LeMarque is dead, the students all agree - they will raise the barricades at his funeral.

Cosette gets her turn at a soliloquy, "In My Life", as she realises she's also fallen in love at first sight.  The song, "In My Life", transitions from Cosette to Marius, to Éponine, to a duet of Cosette and Marius.  That night she and Marius meet in her garden.

The Thénerdiers' gang plans on robbing Valjean's house, Éponine stops them by screaming to attract attention, but Valjean thinks Javert has discovered him, and tells Cosette they must leave and move on.  Cosette is angry and hurt, as she's just fallen for Marius.

Éponine, realising that Marius will never fall for her, sings her soliloquy, "On My Own", in the rain.

Everyone then sings, "One Day More", anticipating the coming battle in the morning.

At General LeMarque's funeral, the people sing, "Do You Hear the People Sing?" and the barricades are raised.  The students rush to the barricades.  Javier sneaks around to discover what is going on, and wears a French tricolor boutonniere.  Javier lies to the students about the army's plans.  Gavroche however, recognizes him, and tells everyone he's "Inspector Javier".  The students attack Javier who attacks back, and finally he's at the students mercy as the soldiers advance.  Battle breaks out.

Éponine sacrifices herself to save Marius from being shot.  She gives Marius Cosette's letter.  Marius gives Gavroche a letter, who gives it to Jean Valjean.  Valjean has to figure out what to do, and he decides to go to the barricade.  Enjolras gives Javert to Valjean.  Javert taunts Valjean to kill him.  Valjean sets Javert free with no conditions, he evens offers his address.

As night falls, the students drink wine and sing the melancholy, "Drink with Me".  Valjean also sings, "Bring Him Home", praying for Marius' safety, for Cosette's sake, and sees him as his son.  In his prayer, Jean Valjean offers his own life to save Marius and bring him home to Cosette.

The next day, Marius and the students are the only barricade left.  The people never rose up, not liking the odds.  The rain has ruined their gunpowder.  Enjolras, knowing their situation to be hopeless, urges those who wish to, to leave.  Gavroche sings one line of "Do You Hear the People Sing?" and the students stay for a desperate last stand.  Gavroche then goes out to get ammunition from the dead bodies before the barricade.  He's shot dead by an French army soldier.  One of the older students, presumably his father, is devastated.  The soldiers give them the opportunity to give up.  Enjolras encourages a last stand.

There's a last minute battle.  One by one the students die.  The soldiers bring in cannons to blow-up the barricade.  The rest of the students are killed, Enjolras raises his banner, and is shot dead.

Javier sees the death, walking among the row of impossibly young people lying dead in a row on the street.  He pins his own medal on Gavroche, and is completely disgusted by the death and waste.

Jean Valjean carries a wounded Marius away through the sewers.

In the sewers, Thénerdier steals from the dead.

Javier and Valjean confront each other.  Valjean pleads for mercy for Marius, so he can get him to a doctor.  Javier lets Valjean go, then commits suicide by jumping off a dam.  Javier's final soliloquy makes it clear that he can't stand Valjean's mercy, that Valjean had saved his life, or that his entire life dedicated to law and order has become such as sham, as so many young children were killed in the rebellion.

Marius is brought to a doctor.  Marius sings "Empty Chairs and Empty Tables", a lament for his friends he's lost, though the film does not use the "ghosts" behind him, used to great effect in the stage musical.  Cosette comes to Marius.  Marius offers Valjean a home with he and Cosette.  Valjean refuses, and explains who he really is.  Jean Valjean leaves and goes to a convent, seeking sanctuary.

Cosette and Marius marry.  The Thénerdiers  arrive to cause trouble, and to bribe Marius, but Marius realises instead that Valjean had saved his life at the barricade.  At the convent, Valjean is dying.  He hears Fantine's voice, then she appears.  Cosette and Marius arrive and say their final farewells.  Fantine leads Jean Valjean to the light.  "Do You Hear the People Sing?" is reprised as Jean Valjean joins Fantine, Gavroche, Enjolras, and all the other dead characters on the barricade, singing in the sun.

I saw Les Misérables on opening night in 2012, in a packed theater, with people of all ages.  I think I started crying during "Red and Black" and I don't think I really stopped until the end of the film.  Every time I started to not cry, the woman next to me started, and before long we were both sobbing again.  But I don't think there was a dry eye in the house.  I cried when I saw it the second time in the theater.  When I bought the DVD, I watched the commentary track first -- and still managed to cry while concentrating on Tom Hooper's description of making the film.  Even while taking notes in preparation for this review - I cried during, "Do You Hear the People Sing?"  The film is that moving and beautiful and stirring.  But it's also a very moral film.  By giving his silver to Jean Valjean, the Bishop shows him mercy that he had never seen and completely changes his life.  Later, Valjean must sacrifice everything to spare an innocent man mistaken for him, to rescue Fantine (who's downfall was his own fault - he'd been too wrapped up in his own problems to notice hers) and most importantly to save Cosette.  Raising Fantine's child, not only does he come to love her, but he rescues Marius and gives him to her because he loves her, and knows he must let her go.

Meanwhile, Javert, as played by Russell Crowe, is considerably more sympathetic than in the two stage productions of  Les Misérables, I've seen.  Javert isn't evil, but he's overly concerned with fulfilling the letter of the law, without any care to extenuating circumstances.  Javert at the beginning of the film, doesn't care that Valjean stole to feed his sister's starving children.  He honestly believes it's better to starve and die then  to resort to crime to live.  When Valjean shows him mercy, letting him go at the barricade, and covering it up with a gunshot directed away from the inspector, Javert cannot understand it, and begins to become unhinged.  When he catches Valjean and Marius, and Valjean pleads for mercy - Javert grants it, but decides he cannot live in Valjean's world.  Javert is incapable of seeing the grey of the real world, and only sees black and white.  However, whereas such a character is often portrayed as "evil" or "hated" - Crowe gives him depth and makes him understandable and sympathetic.

This is a beautiful film.  It's not to be missed.  I highly, highly recommend it.

Recommendation:  See it!
Rating:  5 of 5 Stars
Next Film:  Iron Man 3

Saturday, September 7, 2013

Goldfinger


  • Title:  Goldfinger
  • Director:  Guy Hamilton
  • Date:  1964
  • Studio:  United Artists
  • Genre:  Action, Drama
  • Cast:  Sean Connery, Honor Blackman, Gert Fröbe,  Harold Sakata, Bernard Lee, Richard Vernon, Desmond Llewelyn
  • Format:  Technicolor, Widescreen
  • DVD Format:  R1, NTSC

"This is gold, Mr. Bond, all my life I have been in love with its color, its brilliance, its divine heaviness.  I welcome any enterprise that will increase my stock."  - Goldfinger

"Do you expect me to talk?" - James Bond
"No, Mr. Bond, I expect you to die." - Goldfinger

"You can turn off the charm.  I'm immune." - Pussy Galore

Goldfinger really is the quintessential James Bond film.  Even those who aren't big fans of James Bond have likely seen it, or parts of it.  The image of a girl painted in gold, dead on a bed, and the immortal line - "Do you expect me to talk? / No, I expect you to die." have slipped into popular culture.  And it really is a good James Bond film and a good film, over all.

Goldfinger, unlike other early Bond flicks, does not feel overly long (hello, Dr. No), overly complicated, or overly boring (yeah, Thunderball, I'm looking at you).  It moves at a good clip, and the plot is easily followed.  The opening gambit takes place in Jamaica, where Bond uses some nearly laughable Really Big plastique and nitro to blow up a building.  Later he's with a girl and is attacked.  He fights the guy, hand to hand, ending with tossing his assailant into a bathtub filled with water.  The guy gets the jump on Bond, pointing his gun at him.  Bond tosses a lamp into the water, electrocuting him. "Shocking," says Bond.

Felix Lighter, Bond's contact in the CIA then shows up and gives him his assignment from MI6.  He's to keep track of a British national in Miami, by the name of Goldfinger.  Bond catches Goldfinger making money by cheating at cards, gets him to lose on purpose, and steals his girl, Jill.  However, Goldfinger kills Jill by having her painted gold.  She dies from skin suffocation.  Bond reports to MI6, where he's informed that Goldfinger is suspected of smuggling gold.  He's kitted-up with equipment by Q - in a scene that will become expected in every Bond film thereafter.

Bond is then sent to Scotland, where he discovers Goldfinger also cheats at golf - though Bond gets him back.  Bond then uses a tracking device to follow Goldfinger to Switzerland.  Bond meets a girl who is trying to kill Goldfinger.  It's Jill's sister.  The two try to get into Goldfinger's estate.  The girl is killed by Odd Job, Goldfinger's mute Korean manservant.  Bond is caught, and ends up spread-eagled on a gold table, with an industrial laser pointed at his privates.  Bond gambles, claiming to know more than he does, and is not killed.

However, he is knocked out and wakes up on a plane, meeting Goldfinger's pilot, Pussy Galore.  She goes to great pains to explain to James Bond that she is only Goldfinger's pilot, and she's not at all taken in by Bond's flirting.  The plane lands in Kentucky, at Galore's Flying Circus - where all the pilots are women.

In Kentucky, Bond discovers Goldfinger's plot.  He's gotten a group of mobsters to smuggle all the various things he needs to break into Ft. Knox.  Only one of the mobsters named Solo wants his gold million dollars rather than the promised ten million payday.  Goldfinger gives him his gold bullion, but has Odd Job kill Solo, then crush his car at a junkyard.  The crushed car is returned to Goldfinger.  Goldfinger gasses to death the rest of the mobsters.

Goldfinger's plan, however, isn't to break into Ft. Knox to steal the gold, but to irradiate it with a nuclear bomb, thus making the gold useless and making all the gold he's stored overseas even more valuable.

Galore's pilots drop nerve gas in the area around Ft. Knox - knocking everyone out.  It's eerie to see all the slumped over people, as Goldfinger heads into the building.  But Bond had convinced Galore to help - she had switched the canisters to something less deadly, and called Washington.  Bond ends-up in a hand-to-hand with Odd Job, and defeats him by electrocuting him on a fence in Ft Knox.  He barely defuses the bomb in time and it stops at:  007.  Bond sets off for Washington, DC, in a plane piloted by Galore, but Goldfinger confronts him on the plane.  During the fight, a bullet is fired, air is sucked out, Goldfinger is pushed out of the plane, and the plane starts to crash.  Bond and Galore escape by parachute and the film ends with the two in each other's arms under the parachute.

Made in 1964, Goldfinger has some huge and impressive sets, especially the Ft. Knox set, with it's vaults of gold.  This also is the quintessential James Bond film.  It has pretty girls, including the improbably-named "Pussy Galore".  It has car chases.  It has gadgets.  It has Bond's Astin Martin car.  It has the M and Q we know and love.  It stars Connery as Bond.  Goldfinger, with his German accent, and his mysterious servant Odd Job are perfect villains.  And the plot holds together and is big - really big.  I mean, break into Ft. Knox?  That's big.  But everything about Goldfinger is big - the sets, and the props in them are all huge.  It's impressive, in that sense, and even now, I wondered how they did some of the stuff they did - and marveled at the huge sets - no CGI extensions here!  However, some things in the film did seem out of date, from the huge Nitro barrels and regular (non-digital) clock detonator, and toothpaste-like plastique, to the truly really big bomb Goldfinger brings into Ft. Knox - it felt out-of date.

But one surprising thing about the film to me was Pussy Galore.  This is a woman who doesn't immediately fall for Bond.  She's feisty, and tells him she's immune to his charms.  Over and over she pushes Bond away.  And she's not with Goldfinger either - not in that way.  Galore is a pilot, a difficult profession for women today, in 2013, and virtually an impossible one for women in the early 1960s.  All the pilots in her flying circus are women as well.  Galore wears pants, trousers, and jodphurs throughout the film - we never see her in a skirt or dress.  She's a very different Bond woman.  She also knows judo, and defeats Bond once in hand-to-hand combat.  Later, they fight in a barn, and throw each other into hay.  Bond eventually gets on top of her - she resists, - he persists, and eventually she gives in.  It's after their literal "roll in the hay" that she decides to help Bond, and is crucial in defeating Goldfinger.

Looking at it now, Galore, who surrounds herself with women, and is contemptuous of men, might be a lesbian.  Yet, Bond forces himself on her, despite her cries of protest.  The scene in the barn made me squirm, because to me Bond raped Galore.  And in sexist 60s fashion, this "converted" her to be on his side.  In a sense, it nearly ruins the film for me.  At the very least, it adds an uncomfortable subtext, that Bond is not the hero he pretends to be.

Bond himself doesn't seem to be the perfect spy in Goldfinger either.  He's constantly getting beat up, caught, tied-up, and locked in cells.  He gives the impression he has no idea what Goldfinger is up to.  He doesn't care about the women he uses and sleeps with.  He's only interested in Pussy Galore because she resists him.

Still, it's a good film overall, especially if  you ignore the subtext.

Recommendation:  See it!  It is the James Bond film after all.
Rating:  4 out of  5 Stars
Next Film:  Inception

Sunday, September 1, 2013

The Great Gatsby

Warning this review includes spoilers.  If you have not seen The Great Gatsby and don't want to know the end, there are spoilers below.  You have been warned. 
  • Title:  The Great Gatsby
  • Director:  Baz Luhrmann
  • Date:  2013
  • Studio:  Warner Brothers
  • Genre:  Drama
  • Cast:  Leonardo DiCaprio, Tobey MaGuire, Carey Mulligan,  Elizabeth DeBicki, Isla Fisher, Joel Edgerton
  • Format:  Color, Widescreen
  • DVD Format:  R1, NTSC
"By which I mean no one except me ever received an actual invitation to Gatsby's.  You see, the rest of  New York simply came uninvited.  The whole city packed into automobiles, and all weekend, every weekend, ended-up at Gatsby's."  - Nick, narrating

"He gives large parties and I like large parties.  They're so intimate.  Small parties, there isn't any privacy."  - Jordan

"It was also the night that I became aware of Gatsby's extraordinary gift for hope.   A gift that I have never found in any other person and which it is not likely I shall ever find again."  - Nick

Baz Luhrmann's The Great Gatsby is a stunning visual masterpiece.  The party scenes especially are reminiscent of Luhrmann's hyper-real style used to great effect in Moulin Rouge.  But where Moulin Rouge is a story about love.  The Great Gatsby really is a story of obsession.  Visually, it's an incredible film, and a must-see.  The crisp images, sweeping camera moves, editing, and color bring the viewer into the story. Again, Luhrmann uses modern music to make scenes, especially parties, feel the way they would have then. For example, Gatsby's parties are wild affairs, with a mixture of modern rap music and more traditional 1920s jazz.  At his parties, the (illegal) alcohol flows freely, and there's confetti, streamers, dancing girls, live music, drunk guests, and fireworks.  People dance, drink too much, and jump into the reflecting pool in their clothes.  It short, it's wild.  But even the smaller party at a brothel that Tom invites Nick to, in order to show off his mistress and his power and influence, is a wild party where Nick gets extremely drunk.

But not only does Luhrmann uniquely re-create the feeling of a time and place, but he tells the story of six people, all of whom become victims of obsession.  Nick Carraway narrates the story as a story he tells his therapist in a sanitarium.  Nick's from Chicago, and puts aside his dreams of being a writer to make his fortune on Wall Street.  It's his doctor who suggests he work out his issues by writing.  Nick does, and at the end of the film, he pulls the cover sheet out of his typewriter, and places it on the top of the stack of paper that will be his novel.  The typewritten title is, "Gatsby", but he adds two words by hand in pen and it becomes, The Great Gatsby.

Structurally the film actually starts and ends with the same image, a green light blinking in the distance across the water, in the darkness and mist.  This green light will represent Jay Gatsby's dream and obsession.  He met Daisy when he was a young, penniless, officer in the army at a party.  They fell in love and had an affair, but then he went off to war.  Daisy swore to wait, but Gatsby disappears.  She marries instead the very rich, very old money, and very prejudiced and sexist, George Buchanan.

Gatsby, meanwhile, has decided that in order to pursue Daisy properly, he needs to make his fortune, so he can keep her in style.  He fights in the war (World War I), attends Oxford, rescues a millionaire who's yacht nearly sinks on Lake Superior, learns to be a gentlemen, and finally ends up in New York, where he buys the mansion directly across the bay from Daisy's house.  He gives his wild parties, hoping one day she will simply show up.  Everything he's become and everything he does - Gatsby's done to impress Daisy.

Meanwhile, Tom Buchanan, Daisy's husband is a philanderer.  Even on their honeymoon, he had his way with a hotel parlour maid.  He has a mistress on the side, Myrtle, and he flaunts it.  His dinner conversation consists of putting down the new rich (like Gatsby), insisting there's an order to the world, and insulting "negros" as he calls him.  Tom is basically a bully, and he thinks his money gives him the right to treat everyone else terribly.  He wants to own Daisy, and keep her from anyone else, but it's doubtful he really loves her or Myrtle.

George is Myrtle's husband - he owns a garage in The Valley of the Ashes, a dump and coal loading station half way between West Egg and New York.  It's where New York's garbage goes.  He loves his wife, but freaks when he realizes she's been having an affair.  He's rough, and lower class and we know little about him.

Jordan is a female golfer who seems to live at the Buchanan's residence.  Daisy tries to push her together with Nick.  Their story isn't central to the film.

What is central, is the story of Gatsby and his obsession with Daisy.  Nick moves in next to Gatsby at the beginning of the summer.  Before long, he's acting as a go between for Gatsby and Daisy.  Gatsby is, at first, extremely nervous around Daisy.  But soon the two are having an affair.  Gatsby, however, insists that Daisy tell Tom she never loved him.  Daisy tries to do this but can't.  She does tell Gatsby that she loves him now, and she no longer loves Tom -- she does this in front of  Tom.

Tom doesn't take it well, and begins to repeat all the gossip and stories told about Gatsby.  There's a fight and Gatsby and Daisy leave the hotel in Gatsby's custom yellow car.  Meanwhile, George confronts Myrtle about her affair - having found a string of pearls that George gave her.  (Pearls had also been George's wedding gift to Daisy).  The two fight, and a distraught Myrtle runs into the road -- to get hit by Gatsby's yellow car.  Later, Nick learns that Daisy was driving it, rather than Gatsby.  But it's Gatsby who takes the fall.  Tom, Nick, and Jordan arrive moments later at the accident site.  Tom pretends he doesn't even know Myrtle, and hints to George that it was Gatsby having the affair with her.  He tells the police that Gatsby drives the custom yellow car that witnesses saw.

Needless to say, it doesn't end happily.  George kills Gatsby, then commits suicide.  Daisy, who had picked up the phone to call Gatsby that morning, ends up trapped in her loveless marriage to Tom.  Nick ends up in a sanitarium hopelessly addicted to alcohol.

The Great Gatsby is a terrific, stunning, gorgeous, achingly beautiful film.  The images... from the blinking green light in the mist, to the blue sign for Dr. TJ Ecklesburg looking over the Valley of Ashes, to the incredible filming of Gatsby's parties are memorable and really must be seen.  Luhrmann as a director has an excellent gift of mastery of the visual sense - and of incorporating the modern with the historic to make modern audience's truly understand what a time was like.  I originally saw this film last May on opening night, and the theater was packed.  It was a sold-out show in the largest theater at my local multiplex.  The audience was filled with people of all ages, and many of them even dressed-up in 1920s fashions.  It was more than a movie premiere -- it was an event.

However, the theme of the film isn't love.  This isn't a impossible romance.  And it's not a tragic romance either.  It's a film about obsession.  Jay Gatsby is obsessed with Daisy.  He wants to make her his wife.  He has a perfect life planned out for them in his head, and he's obsessed with doing everything he needs to do to get what he wants.  Thinking she wouldn't marry him if  he was penniless or struggling, he leaves her to marry Tom, and goes off to make his fortune.  Everything, literally everything in his huge mansion - he put together for Daisy.  His wild parties were only given in the hopes that Daisy would come.  Everything is for her and to create this image in Gatsby's head.

Tom is also obsessed - he wants to own people, like he owns things and his station in life.  He owns Daisy.  He owns Myrtle.  He owns his servants.  They may not technically be slaves, but in the way he treats people, Tom sees people as possessions, to be tossed away when they are no good.  He condemns the New Rich, and exalts his own old money class.

The Great Gatsby is similar in many ways to Moulin Rouge.  Both have a sense of hyper-reality and mix modern music and film techniques with the clothes and set dressing pieces of the past.  Both films have a writer narrating the story.  Both films have tragic endings. The Great Gatsby has a crispness and cleanness of both image and line.  There's no fantastical elements here.  There is sweeping, nearly impossible camera movements, and a use of the Art Deco colors of  black, gold, and silver.

I also found similarities between The Great Gatsby and one of my personal favorite films of all time, Sunset Blvd, directed by the Film Noir great, Billy Wilder.  Both Gatsby and Sunset Blvd are narrated by a writer.  Both are tragic stories, in Sunset Blvd a writer becomes a kept man of an aging silent film star and cannot escape her clutches, before finally being killed by her.  Though Nick Carraway escapes the excesses of Gatsby, Daisy, Tom, and Jordan, it isn't without cost.  But the most direct link between the two films, is they both end with the same image, a dead man, who's been shot, floating in a swimming pool.  If you haven't seen Sunset Blvd, watch it, it's a great film, but there's a visual symmetry between the shot looking upwards at a dead Joe Gillis (William Holden) in the pool, and looking up at a dead Jay Gatsby (Leonardo Dicaprio) in The Great Gatsby.

Recommendation:  See it!
Rating:  5 out of 5 Stars
Next Film:  Goldfinger