When black Benny Carson was growing up poor,

He had little hope for success,

But Mother spurred him to keep trying for more

And not simply settle for less.

 

Encouraging him to read two books a week

And limit his watching TV,

She taught him to love learning more and to seek

New subjects to fill him with glee.

 

He grew ever smarter, and cockier too,

A violent, unfortunate trend.

His temper he knew that he had to subdue

When he almost murdered a friend.

 

With God’s help, he studied, and he persevered

To graduate college and train

And work at Johns Hopkins, the halls so revered,

To heal the mysterious brain.

 

As Candy, his wife, offered her full support,

He dealt with severe operations,

Repairing brain maladies of every sort

And earning impressed commendations.

 

When Ben had progressed to a surgery leader,

He took a case others would dread.

Two scared German parents, Augusta and Peter,

Had twins that were linked at the head.

 

While weighing the risks, for four months he prepared,

Assembled a team that would strive,

And tried to perfect how these infants, thus paired,

Could be split apart and survive.

 

The risky procedure took twenty-two hours

And strained every surgeon’s last nerve,

But both babies lived, thanks to Ben’s healing powers

And his will to learn and to serve.

___________________

 

I had read Ben Carson’s memoir Gifted Hands for a book report before this film version was even made, and I definitely admire how faithful the filmmakers were to the renowned brain surgeon’s real life. They didn’t include every incident, but the film expertly succeeds in the whole purpose for an inspirational biopic – to provide a comprehensive portrait of a life (usually) worthy of admiration and emulation.

A few early scenes are a bit too cheesy, such as Ben’s discovery of his own imagination thanks to a rather stupid blue mouse. Yet the film improves as it goes, detailing how Ben’s troubled mother encouraged him and instilled an eagerness for learning through some uncommon tough love. The humor and drama continue into his dangerously rebellious teen years, and by the time he finds the Lord and grows up into Cuba Gooding, Jr., I felt as if I understood this man’s upbringing surprisingly well. Once he becomes a resident at Johns Hopkins, the film recounts some of his more difficult successes, including the famous conjoined-twin surgery he pioneered. The grueling surgical scenes aren’t explicit, though they could turn off the squeamish, and they deftly bring to life the preparation and difficulty involved in real surgery, which is often shortened or exaggerated in TV shows.

By film’s end, one can’t help but admire Ben for all the disadvantages he overcame to become such an eminent saver of lives. Cuba Gooding, Jr., is outstanding in the lead role and should have received at least an Emmy nomination. The film also depicts his faith favorably without ever becoming preachy. I’m not sure how the real Ben Carson felt about the movie, but I would be extremely flattered and satisfied if such a positive film were made of my life. As far as recent rumors that he may be considering a 2016 Presidential run, all I can say is that, if Gifted Hands is any indication, I wouldn’t mind having such a thoughtful, well-grounded professional in the White House, one who’s a wonderful role model for children and politicians alike.

Best line: (Dr. Carson, to the babies’ parents, immediately after the surgery) “Which child would you like to see first?” (the perfect line for that moment, complete with touching, emotional reaction)

 

Artistry: 8

Characters/Actors: 9

Entertainment: 8

Visual Effects: 8

Originality: 7

Watchability: 8

 

TOTAL: 48 out of 60

 

Next: #143 – Mrs. Doubtfire

© 2014 S. G. Liput

184 Followers and Counting

 

Jean Valjean, a thieving con,

A man who stole some bread,

Got nineteen years of blood and tears

That left his spirit dead.

 

When on parole, he wrongly stole,

And when they caught the debtor,

A bishop freed him of the deed

And told him to be better.

 

This saved his soul; he broke parole,

And started his life o’er.

Out of distress, he found success,

A changed man to the core.

 

With altered name, he won some fame

And rose to be a mayor,

But then one day, to his dismay,

He once more meets Javert.

 

This rule-obsessed, persistent pest

Was once his prison guard.

Valjean’s strong face revives the chase,

For mania’s die hard.

 

Meanwhile, unseen, the poor Fantine

Is found out and dismissed.

She is reviled for a child

Who should not exist.

 

Arrested soon, she finds a boon

When Valjean helps her plight

And proves compassion’s still in fashion,

Sparking Javert’s spite.

 

But when a pawn some call Valjean

Will soon receive his blame,

The real Valjean cannot go on

And let him bear his shame.

 

Before the court, he gives report

Of who he really is.

His doubts fulfilled, Javert is thrilled,

And victory is his.

 

His words are mean, which kills Fantine,

And Valjean flees Javert.

In Fantine’s debt, he finds Cosette

And takes her in his care.

 

Cosette and he discreetly flee

To Paris, where they find

A place to live in, and they’re given

Walls to hide behind.

 

A decade gone, and Jean Valjean

Still loves Cosette, now grown.

Despite the years, he still has fears

And won’t leave her alone.

 

Yet young romance still has its chance,

And though her father’s wary,

Affections show for France’s foe,

A revolutionary.

 

They meet each night, out of Jean’s sight,

While Marius prepares

To soon ignite a hopeless fight

So freedom can be theirs.

 

Again Javert attempts to snare

Valjean, but he is caught.

Amid parades, the barricades

Arise from what they’ve got.

 

Because Cosette can’t help but fret,

Valjean locates her swain.

With mercy rare, he frees Javert,

Who thinks this act insane.

 

Amid attack, upon his back

Valjean conveys the boy.

Through sewers dank and dark and rank,

He saves his daughter’s joy.

 

Valjean is caught; Javert’s distraught

When mercy makes its plea.

The strict Javert just cannot bear

To break his own decree.

He leaves Valjean and can’t go on;

At last Valjean is free.

___________________

 

Not to be confused with the more recent adaptation of the stage musical, this 1998 version of Les Miserables was the first version I saw, though I also enjoyed the 1978 version with Richard Jordan and Anthony Perkins. It doesn’t have the rousing musical numbers that thousands have come to love, but the drama flows smoothly in its elegant reworking of Victor Hugo’s classic novel.

Liam Neeson is a marvelous Jean Valjean, exhibiting both his early brutishness and his reformed piety with equal skill. Little flashes of his temper toward Cosette realistically reveal remnants of his past ruthlessness, and though his religion is seen only in passing after the bishop’s gift, his whole performance showcases the main moral of the story (at least for me): man’s potential to change his life for the better. Geoffrey Rush is equally excellent as probably the best Javert I’ve seen. Though his final act is a bit puzzling, he is entirely convincing in his narrow-minded devotion to the law. Uma Thurman as Fantine, a young Claire Danes as Cosette, and Hans Matheson as Marius likewise fill their roles admirably. While a few over-explanatory scenes seem a tad stiff toward the beginning, other scenes easily impress with large crowds, recalling the cast-of-thousands epics of yesteryear.

I very much enjoyed the 2012 musical version with Hugh Jackman, and I find it interesting to compare this film with that one. While the well-lyricized songs allow the musical to eloquently gloss over certain scenes, the 1998 Les Miserables gives some added details, such as Valjean’s touching care for Fantine and a less rushed romance between Cosette and Marius. The courtroom scene in which Valjean reveals his identity is particularly good in both versions for different reasons: whereas the song “Who Am I?” superbly evoked his moral struggle with its stunning climax, there’s also something to be said for Neeson’s inner turmoil culminating to a more developed revelation of himself. Also, at least one person I’ve read mentioned that morally Fantine didn’t seem deserving of heaven in the 2012 film, but this version made it clearer that she had indeed repented of her sins.

The 1998 film does leave out many subplots, including Eponine, a larger role for the Thenardiers, and the more tragic conclusion of the book and musical, but these omissions serve to streamline the plot and not let it feel over-stuffed, as the 2012 version did at times. I especially liked the conclusion, which seemed more hopeful and optimistic. (For some reason, I did find the denouement of Valjean walking away with a relieved expression on his face to be strangely reminiscent of the final scene of Marathon Man. Maybe it’s just me.) Some lovers of the musical may find this version lacking, but it’s a stylish period piece that handsomely puts the best of the novel onto the screen.

Best line: (Fantine, to Valjean) “But you don’t understand, I’m a whore… and Cosette has no father.“  (Valjean) “She has the Lord. He is her father. And you’re His creation. In His eyes, you have never been anything but an innocent and…beautiful woman.”

 

Artistry: 9

Characters/Actors: 9

Entertainment: 8

Visual Effects: 7

Originality: 7

Watchability: 7

 

TOTAL: 47 out of 60

 

Next: #151 – Cinderella

© 2014 S. G. Liput

179 Followers and Counting