Category Archives: Writing

Secondhand Lions (2003)

25 Monday Aug 2014

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Walter is used to his mom’s many lies
And isn’t too thrilled with her latest surprise,
A stay with his uncles, two old, surly guys.
 
The two McCann brothers are said to be rich
But live all alone in their ramshackle niche
And like shooting salesmen before they can pitch.
 
Both Hub and Garth let Walter share their address,
Because they enjoy other relatives less,
And such money-grubbers just serve to depress.
 
When Walter sees Hub out sleep-walking at night,
Garth tells him their past, full of romance and fight,
Such colorful tales that amuse and excite.
 
Garth tells him of Jasmine, of whom Hub won’t speak,
And how Hub enthralled her, so fair and unique,
And how he defended against a mean sheik.
 
Hub has no delusions about getting old
And seeks out new methods to prove himself bold,
Things all of those salesmen are glad to see sold.
 
When they buy a lioness too tame to kill,
It’s Walter that cares for her out of goodwill
And lets her live out in a cornfield they till.
 
He learns from old Hub of his fabled love’s fate
And gets him to not be so risky but wait
And give him a lecture at some future date.
 
When Walter’s mom shows up with her latest flame,
The uncles’ stashed cash as their ultimate aim,
The lioness makes the beau sorry he came.
 
Since Walter’s mom can’t stop the lies she’s used to,
He stays with his uncles, who raise him and who,
As he confirms later, are reckless but true.
______________________
 

Secondhand Lions is not quite a “meet ‘em and move on” movie, but it’s as close as you can get, complete with quirky scenarios, flashbacks, and a heartwarming ending. In many ways, it is a counterpart to the Tim Burton film Big Fish from the same year, which was also about eccentric stories that strained credulity. Unlike that film, in which a son was sick of his narcissistic father’s oft-repeated yarns (which is certainly relatable for many people), here Walter has never heard his uncles’ anecdotes and has to coax them to reveal their colorful pasts, making them more humble and likable than Albert Finney’s character in Big Fish.

The two uncles are brilliantly portrayed by Robert Duvall (Hub) and Michael Caine (Garth), and the latter covers his distinctive British accent amazingly well. The duo play off each other expertly, and their gradual embracing of Walter as their ward is a pleasure to watch. Walter himself, played by the formerly great Haley Joel Osment, is entirely sympathetic, though it’s puzzling why he has any fondness for his cheating, lying, egocentric mother (Kyra Sedgwick).

The film makes the rather wishy-washy statement, “Sometimes the things that may or may not be true are the things a man needs to believe in the most,” but, after years of his mother’s infidelity, Walter needs something to believe in and trust. His mother lies constantly yet somehow assumes he’ll believe her, though she’s given him plenty of reasons to not trust a word she says. In contrast, his uncles don’t expect him to accept their tales of the glory days but have never given him cause to doubt them. By the end, when he is forced to decide which narrative to believe, both of which are certainly plausible, he chooses right, a determination that shapes the rest of his life.

The secluded desert location causes the main plot to feel small and withdrawn, making the swash-buckling flashbacks carry a completely different tone that captures the audience’s imaginations along with Walter’s. Secondhand Lions was somewhat of a sleeper film that didn’t get the attention it deserved upon its release, but it holds a wealth of humor, drama, and heart that few films offer nowadays. (The reversed meaning of a sign as Walter leaves his uncles’ property is a good example of the understated poignancy the film conjures.) While Big Fish had too many fanciful elements that bordered on lies themselves, Secondhand Lions is grounded mostly in reality, a reality in which two cantankerous old men turn out to be surprising role models.

Best line: (Hub, when a young punk doesn’t show him due respect) “I’m Hub McCann. I’ve fought in two World Wars and countless smaller ones on three continents. I led thousands of men into battle with everything from horses and swords to artillery and tanks. I’ve seen the headwaters of the Nile, and tribes of natives no white man had ever seen before. I’ve won and lost a dozen fortunes, killed many men, and loved only one woman with a passion a flea like you could never begin to understand. That’s who I am. NOW, GO HOME, BOY!”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 9
Visual Effects: 7
Originality: 8
Watchability: 8
 
TOTAL: 48 out of 60
 

Next: #138 – Extraordinary Measures

© 2014 S. G. Liput

189 Followers and Counting

 

#140: A Christmas Carol

23 Saturday Aug 2014

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The old miser Scrooge was the worst of cheapskates,
The most feared and hated of men,
And even on Christmas, the gladdest of dates,
His “humbug” supplanted “Amen.”
 
He hectored Bob Cratchit, his tireless clerk,
Resented his kind nephew Fred,
And never would donate or take off from work,
But praised the workhouses instead.
 
One dark Christmas Eve, in his home all alone,
His dead partner Marley appeared,
With ponderous chains and lugubrious moan
For the conduct to which he’d adhered.
 
He warned Ebenezer he too had a chain
He’d forged from a lifetime of greed.
Three spirits that night would begin a campaign             
To change his behavior with speed.
 
The first spirit showed Christmases of the past,
Of childhood and his career,
Of how Scrooge’s greed branded him an outcast,
Devoid of all romance and cheer.
 
The second ghost offered a present-day view,
Completely uncharted by him,
Of Cratchit’s large family, humble but true,
And sweet crippled boy Tiny Tim.
 
He saw that his nephew was wholly sincere
In granting a meal invitation,
And that, if some kindness did not interfere,
Poor Tim would soon face expiration.
 
The final ghost showed him a future in doubt,
In which Tiny Tim was with God,
In which a rich man no one dared care about
Had died and been raided by fraud.
 
This man so forlorn, with no friend but his pelf,
Was buried with nothing but scorn,
And when Scrooge perceived that this man was himself…
He woke up upon Christmas morn.
 
So moved by the spirits was miserly Scrooge
That he had been changed overnight
And let out a joyous compassion deluge
That gave his charwoman a fright.
 
He bought Bob a goose and surprised with a raise
And called upon Fred and his wife
And cared for dear Tim in benevolent ways
And kept Christmas all of his life.
___________________
 

Though I’ve already written a post for Bill Murray’s Scrooged, that was a modern-day comedy; this post is for the original straight-faced version of Charles Dickens’ morality tale. Although there have been countless retellings of the Christmas novella, starting with a silent version by Thomas Edison back in 1908, they’re all pretty much the same, and my poem does not apply to any one in particular. Still, I am partial to two: specifically the classic 1951 Scrooge, featuring Alastair Sim in the title role, and (believe it or not) the 2009 Disney animated version with Jim Carrey. Both have their strengths and weaknesses, and, as far as I’m concerned, both are classics.

Alastair Sim’s portrayal of Ebenezer Scrooge is often cited as the best. He spits his bitter words out quickly and has a face well-suited for scowling. When that face is turned to grinning and laughing instead, the change seems entirely genuine and unforced. All the supporting actors are excellent, especially Mervyn Johns as Cratchit and the angel-faced Glyn Dearman as Tiny Tim, who honestly is much too big to be sitting on anyone’s shoulder.

What I enjoy most about this version is its additions to the familiar story. It includes all the recognizable quotes that we expect from these films, but it builds upon Scrooge’s character, particularly in his change as a younger man. Whereas most versions have him going straight from dancing at Fezziwig’s to breaking up with his sweetheart Belle (here called Alice for some reason), this film presents the death of his sister and his betrayal of Fezziwig, events that were not in the book but certainly could have been and add context to his change of heart. I also liked the moment between Scrooge and charwoman Mrs. Dilber; whereas the Disney version features Scrooge scaring her for laughs, Sim does the same but then gives her a heartfelt gift that will surely change the unfeeling future he witnessed. Where the film stumbles a bit is in its few overacted moments and the highly dated effects, though the transitions with the Ghost of Christmas Yet to Come are well-done.

As for my other favorite, the motion-capture Disney version is easily the most visually interesting telling. It utilizes the CGI animation with arresting dexterity, swooping throughout 19th-century London and viewing Scrooge’s world from a number of previously unseen angles. Jim Carrey portrays Scrooge and all three ghosts through both his voice and movements. Other actors such as Gary Oldman, Cary Elwes, Robin Wright Penn, Colin Firth, and (Lost alert!) Fionnula Flanagan also fill various roles, often more than one, but the detailed animation tends to overshadow their performances. The visuals, such as the Ghost of Christmas Present’s method of travel, are frequently spectacular, though the animators get too carried away with Christmas Yet to Come, shrinking Scrooge, launching him along rooftops, and making his voice unnecessarily squeaky. These additions for the sake of excitement or humor are impressive to watch but add nothing to the story. Even so, the film is surprisingly faithful to the source material and admirably doesn’t try to modernize the dialogue to make it more salable. Both films also feature a number of Christian hymns.

While most critics might claim the Alastair Sim film to be the definitive version of A Christmas Carol, it’s difficult for me to make that judgment. Each may have flaws, but no version of this beloved story is inherently bad. While I’m partial to these two, I also enjoyed Patrick Stewart’s portrayal of Scrooge and Disney’s previous edition of the tale featuring Scrooge McDuck and many of their most popular characters. Whichever version you prefer, there’s no question that A Christmas Carol is a holiday classic, preaching a message of goodwill to our fellow men that continues to be relevant today.

Best line: (Tiny Tim) “God bless us, every one!” (I know, it’s obvious)

 
Artistry: 10
Characters/Actors: 10
Entertainment: 9
Visual Effects: varies
Originality: 8
Watchability: 9
Other (classicness): +2
 
TOTAL: 48 out of 60
 

Next: #139 – Secondhand Lions

© 2014 S. G. Liput

189 Followers and Counting

 

Grave of the Fireflies (1988)

21 Thursday Aug 2014

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I hate to remember that horrible day
When war became more than a far-distant fray,
When lives were upset and embittered and lost,
When I witnessed firsthand the heartbreaking cost.
 
Our home and town levelled, our mother gone too,
My sister and I were unsure what to do.
I took little Setsuko where we could stay,
To live with our aunt, who got meaner each day.
 
At last, we decided to live on our own,
And now I regret that we set out alone.
At first, we were happy, together apart;
We made our own meals and supposed ourselves smart.
 
But as the war lingered, the food became scant,
But I was too proud to return to our aunt.
My mother had said before we were assailed
To care for my sister; I tried, but I failed.
 
Oh, dear Setsuko, I remember one night;
I saw your face brighten with hope and delight
When fireflies lit up our shelter forlorn;
I watched as you dug them a grave the next morn.
 
I watched as you itched and grew tired and pale;
I gathered mere dregs but to little avail.
I traded and worked; then I pleaded and stole,
But unyielding hunger would still take its toll.
 
Your light, so unsteady, did flicker and fade,
But I’ve kept you close since that pyre I made,
And now as my own spirit’s starting to swoon,
I ask, why must fireflies perish so soon?
____________________
 

Readers of this blog may have gathered that I was prone to crying in my youth. Plenty of cartoons did the trick, and it took much less than Bambi’s mother to get my waterworks flowing. Yet as I’ve grown up, I’ve noticed that I don’t cry anymore, at anything really. Nothing seemed to melt my heart anymore, at least until I saw Grave of the Fireflies. Upon first viewing, I bawled like a baby; upon my second viewing with my VC, I did the same while she sat there unaffected and merely depressed. This latest viewing had the same effect on me.

Ironically released as a double feature with Hayao Miyazaki’s ultra-lightweight family fantasy My Neighbor Totoro (which I don’t care for), Grave of the Fireflies is probably the most depressing movie ever made because it is about two children starving to death, and that’s it. My VC saw little redeeming value in it since it’s enough to make some people suicidal, but I was deeply touched by the tragic story and the beauty with which it is told. Based off of a novel by Akiyuki Nosaka, who lost his own young sister to malnutrition during World War II, the film is presented with no doubt about the fates of Seita and Setsuko, but it uses a spiritual flashback as a framing device to look back at what brought them to their deaths. Metaphors abound in relation to the ubiquitous fireflies (kamikazes, mass graves, etc.), and several brief but happy scenes of shared pleasures between the two siblings act as fireflies themselves, lighting up the otherwise oppressively bleak tale with endearing character moments.

At times, Seita seems like the perfect big brother, protecting his sister from the evil around them and attempting to keep a happy face, even while Setsuko isn’t buying it. Yet he is realistically powerless in the face of ever more distressing circumstances, and glimpses of his own fragility and need for comfort are truly heartbreaking. Setsuko is also a realistic child, sometimes cranky and annoying, other times carefree and innocent. Her slow march to the grave has got to be the saddest movie death ever, and a final montage (set to that catalyst of tears, classical music) is pitiful and beautiful in the way it milks the sadness for all it is worth. The cremation scene is the part that always gets me, though, because as Seita looks at his sister one last time, all the viewer need do is replace her with the face of the person they love most in the world, and tears will flow.

I appreciate how the film doesn’t demonize the Americans for essentially being the cause of this suffering, along with Japan itself, but rather acts as an indictment on war itself and the hard-heartedness of people toward others’ suffering. Though it is visceral in its portrayal of suffering, I was also relieved that director Isao Takahata did not make it overly violent or disturbing (such as the earlier similar film Barefoot Gen, in which faces are melted from the atomic bomb; I don’t want to see that).

Though it tears me up inside, Grave of the Fireflies holds a special place in my heart, both because it is the only film that can still make me cry and because it reintroduced me to anime. Though I had been turned off by the bizarreness of Spirited Away, the intense realism of Fireflies was such a contrast that it opened me up to viewing other Japanese films that ended up on this list. Grave of the Fireflies may be slow and upsetting, but it is one of the most powerful films I have ever seen.

Best line: (Setsuko) “Why do fireflies have to die so soon?”

 
Artistry: 10
Characters/Actors: 9
Entertainment: 2
Visual Effects: 8
Originality: 8
Watchability: 2
Other (crying effect): +9
 
TOTAL: 48 out of 60
 

Next: #140 – A Christmas Carol

© 2014 S. G. Liput

186 Followers and Counting

 

Star Trek IV: The Voyage Home (1986)

21 Thursday Aug 2014

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While on their way to Earth to face the music for their crimes,
Our favorite crew learns Earth’s in danger, as it is sometimes.
A giant probe is clouding Earth, depleting all its power,
With some peculiar signal making things worse by the hour.
 
When Spock (who was revived, you know) investigates the sound,
He learns it’s that of humpback whales, but there are none around.
Therefore, they must go back in time to find the needed whales.
They use the sun to slingshot round; I’ll spare you the details.
 
The latter 1900s is when they arrive and land,
To find whales which will be extinct because of mankind’s hand.
The Klingon ship they’re borrowing unfortunately broke,
But at least to hide their presence, it can disappear by cloak.
 
They split up there in San Francisco, and soon Spock and Kirk
Locate two whales and a girl involved with conservation work.
This Dr. Taylor asks them of their interest in cetaceans
And gets a crazy story and Kirk’s infamous flirtations.
 
The whales are soon released into the wild, unannounced,
And, with their ship replenished, they then leave some whalers trounced.
They save the whales and bring them back, with Dr. Taylor in tow,
And crash into the ocean, where the two whales swim below.
 
They calm the enigmatic probe, which leaves no worse for wear,
And seas and skies all stabilize, like it had not been there.
Since Kirk and crew have saved the Earth (again), Starfleet is wise,
And Kirk’s again the captain of a brand new Enterprise.
_____________________
 

Seeming to confirm the shortsighted theory that even-numbered Star Trek films are the good ones, Star Trek IV: The Voyage Home was significantly lighter in tone than its predecessor and far more enjoyable: no cruel villain, no life-shattering deaths or losses. The plot, involving going back in time to retrieve extinct whales in order to communicate with a power-draining cylinder from space, is as outlandish as they come, yet it somehow works. This is thanks largely to the proven charm of the familiar actors, and, since ensembles are often hard to balance in these films, it’s satisfying to see each character given a chance to shine (except Uhura). Whether it’s McCoy’s grumbling about 20th century medicine, Chekhov’s latent dreams of promotion, or Scotty’s introduction to a Mac computer, the humor is deftly woven into the plot so that, even though Earth’s fate hangs in the balance, no one’s afraid to have a little fun along the way. The resurrected Spock (still played by director Leonard Nimoy) is a particularly welcome return, and his fish-out-of-water frankness makes for some of the film’s comedic highlights.

Like most Star Trek episodes, there’s timely message included, namely the importance of conservation. “Save the Whales” may be an oft-used declaration, but it takes on new meaning when you consider that, if we don’t, a singing probe may one day destroy Earth.

There are some minor issues, aside from the fact that the more contemporary setting calls for more obscenities, or “colorful metaphors.” For instance, from the outside, that Klingon bird-of-prey doesn’t look like it could hold two grown humpback whales. Also, it’s unclear why Uhura, Kirk, and Scotty are in uniform while the others seem to be wearing civilian clothing. Plus, there’s a throwaway joke in which Dr. McCoy gives a sick woman a pill that regrows her kidney. Shoot, I didn’t know they were that advanced! (There’s an episode of Voyager in which someone’s lungs are stolen; why couldn’t they just regrow them with that magic pill?)

Despite these questions, The Voyage Home remains a favorite among Trekkers for good reason. It’s hard not to geek out when Kirk dramatically says, “Spock, start your computations for time warp.” The film has humor, excitement, a few high concepts, and time travel; what more does a Star Trek film need?

Best line: (Kirk, explaining Spock’s strangeness to Dr. Taylor) “Oh, him? He’s harmless. Back in the sixties, he was part of the free speech movement at Berkeley. I think he did a little too much LDS.”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 8
Visual Effects: 7
Originality: 9
Watchability: 8
 
TOTAL: 48 out of 60
 

Next: #141 – Grave of the Fireflies

© 2014 S. G. Liput

186 Followers and Counting

 

Mrs. Doubtfire (1993) / Robin Williams Tribute

19 Tuesday Aug 2014

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Daniel Hillard loves his son
And both his daughters, every one,
Perhaps a bit too much.
When wife Miranda seeks divorce,
He must be near his kids, of course,
Through trickery and such.
 
His make-up artist brother molds
A new persona Dan upholds,
A nanny Mrs. Doubtfire.
As Daniel acts his chosen role,
He fools his family on the whole,
Though Dan is still an outlier.
 
Enforcing rules he used to flout,
At first he makes his children pout,
But he/she proves proactive.
He’s sad to see Miranda dating
Some Bond type named Stu he’s hating
Since he’s so attractive.
 
Meanwhile, Daniel gets a job
And makes himself no more a slob,
A point he gets across.
By accident, he earns a chance
At his own show, but, in advance,
He must impress the boss.
 
Miranda’s birthday’s that same night,
At that same restaurant! Awkward, quite.
So he goes forth and back
Between the tables, switching roles,
But things spin out of his controls,
And he starts losing track.
 
Thanks to a snafu of his own,
His Mrs. Doubtfire cover’s blown,
Which shocks his former wife.
But as in court, he pleads his case,
She sees the passion in his face;
To spare him separation’s knife,
She lets the kids stay in his life.
____________________
 

There must be something inherently funny about cross-dressing, since AFI’s top two comedies were Tootsie and Some Like It Hot. Though neither one featured sexual reasons behind the masquerade, Mrs. Doubtfire has the best, a father’s love for his children. This film is an excellent example of the inimitable skill of the late Robin Williams. It features some of his manic delivery, his quick-thinking dialogue, his talent for impressions, and his capacity for unforeseen sincerity. Just as Dustin Hoffman wowed audiences by convincingly portraying a woman in Tootsie, Williams does an outstanding job in the title role, and, thanks to Oscar-winning make-up, there’s no doubt about why his family didn’t recognize him.

The film is rife with outstanding one-liners, a self-aware soundtrack, and many now-classic comedic moments, such as Daniel trying to hide his alter ego from a court liaison in his apartment (as well as his rapid-fire impressions trying to make her laugh), his initial fooling of Miranda over the phone, and his/her rocking out with a broom. The sequence at the end, in which Daniel must alternate between engagements, is now an all-too-familiar routine in animated shows (an episode of Hey, Arnold! comes to mind), but it’s the hilarious highlight of the film. Sally Field and Pierce Brosnan also shine as Miranda and Stuart, and Field’s reaction to Daniel’s subterfuge recalls her memorable personality switches in Sybil.

Overall, Mrs. Doubtfire not only has humor in spades, but it showcases the heart with which Robin Williams could fill his performances. His behavior throughout the film is indeed cause for concern, but his heartfelt speech before the judge at the end makes it completely understandable, at least to the audience and to Miranda. It was just a coincidence that this film came on my list so soon after his death, but it’s one of his most enduring comedies and, like all his films, will now include a touch of sadness at the loss of a legend.

Best lines (I couldn’t choose): (Daniel, dressed as Mrs. Doubtfire, after catching on fire) “My first day as a woman and I’m getting hot flashes.”
 
(Daniel, as Mrs. Doubtfire) “Oh, I thought I saw Clint Eastwood; that would make my day! He is such a stud muffin!”
 
(Mrs. Doubtfire, when told God made her as she is) “Well, He broke the mold when He made me.”
 
(Mrs. Doubtfire, speaking of her fake husband) “He was quite fond of the drink. It was the drink that killed him.”
(Miranda) “How awful. He was an alcoholic?”
(Mrs. Doubtfire) “No, he was hit by a Guinness truck. So it was quite literally the drink that killed him.”

 

Artistry: 9
Characters/Actors: 10
Entertainment: 10
Visual Effects: N/A (not counting make-up)
Originality: 9
Watchability: 10
 
TOTAL: 48 out of 60
 

Next: #142 – Star Trek 4: The Voyage Home

© 2014 S. G. Liput

186 Followers and Counting

 

P.S. It doesn’t compare to the testimonies of those who knew him personally, but below is a short tribute to Robin Williams and his career. May he rest in peace.

 
He charmed as an alien hatched from an egg,
A naïve observer, a fun powder keg.
Endearing and funny and mentally quick,
He made every film he was in. Take your pick.
 
A radio DJ, a nutty professor,
A nanny pretending so no one will guess “her,”
A seller of cars, and a feverish genie,
A rain forest bat, and a shrewd Arctic meanie,
An android, and Theodore Roosevelt too,
A player who learns what a board game can do,
A doctor who helps patients frozen in time,
A therapist aiding a lad in his prime,
A heavenly soul mate, a tap-dancing creature,
A Fagin musician, a wise English teacher,
A weird photo maker, a manic gay man,
A Holy Grail seeker, a grown Peter Pan.
I doubt any other like him shall exist.
Farewell, Robin Williams, for you shall be missed.
 

 

Gifted Hands: The Ben Carson Story (2009)

19 Tuesday Aug 2014

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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

 

The Little Mermaid (1989)

17 Sunday Aug 2014

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(Best sung to “Under the Sea”)
 
When King Triton’s youngest daughter,
The curious Ariel,
Is sick of her life in water
And dreams of where humans dwell,
She angers and worries Father,
Who thinks humans all are bad.
Her interests are such a bother
That she always gets him mad.
 
She misbehaves
Above the waves;
Flouting the norm, during a storm,
A human she saves.
Prince Eric hears her lovely voice,
And she would surely be his first choice,
But Triton hears,
And, fueled by his fears,
Her stuff he destroys.
 
A sea witch provides assistance,
And Ariel makes a deal.
She threatens her whole existence
For legs and three days to feel.
She sells off her voice as payment
And hooks Eric on the beach,
Although she is lacking raiment
And can’t seem to manage speech.
 
Two days of bliss
He can’t dismiss.
Ursula’s fear makes her interfere
To stop true love’s kiss.
She enthralls Eric with a spell,
Deeply upsetting Ariel.
Soon it’s too late,
And Ariel’s fate
Is gloomy as well.
 
The king won’t oppose,
And Ursula grows,
Threatening all with one giant squall
And malice that shows.
Eric then skewers with a mast,
And Triton’s prejudices fade fast,
He lets his daughter
Walk from the water,
Happy at last.
_________________
 

Here we have the film that kicked off the Renaissance and revived Disney to its former glory. Compared with prior efforts in The Black Cauldron and Oliver & Company, The Little Mermaid was a bolt from the blue, a musical triumph that “brought Broadway into cartoons.” The detailed underwater world also blew away previous films in the animation department and was the last Disney film to use hand-painted cel animation. The digital animation of later films allowed for smoother lines and motion, but The Little Mermaid is still stunning, especially during the musical numbers.

It’s not perfect: King Triton is a now-familiar cliché of an overbearing authoritarian father, and his turnaround at the end, even though the danger at the end was ultimately Ariel’s fault, is not as well-explained as it could have been. Though it seems odd that Ariel, as a 16-year-old, would get married at the end, the film luckily avoids any suggestive content from her near-nudity and remains enjoyable family entertainment.

Though not his first musical (that was Little Shop of Horrors), this was the first film fully scored by Alan Menken and just the first example of his symphonic genius. “Under the Sea” is a fun, Oscar-winning song if I ever heard one, and “Kiss the Girl” continued the catchy Jamaican flavor of the soundtrack. The golden-voiced Jodi Benson was perfectly cast as Ariel and truly owns her central song “Part of Your World.” Pat Carroll’s scratchy, resonant voice is ideal for Ursula, and her “Poor Unfortunate Souls” is a great example of a Disney villain song, complete with excellent lyrics from Menken and Howard Ashman.

Though I’m a big fan of the Renaissance films, The Little Mermaid is not as high on my list as others simply because I don’t have as much nostalgia for it. I watched it religiously as a young kid, but then didn’t see it for many years. Watching it again, I was thoroughly entertained, but it’s not quite as much of a personal classic as other Disney films of the ‘90s. Nonetheless, Disney reforged its winning princess brand with this marvelous fantasy that is a whole lot happier than the Hans Christian Anderson tale on which it is based.

Best line: (Buddy Hackett as Scuttle the seagull, mistakenly explaining what a pipe is) “You see the snarfblatt dates back to pre-hysterical times when humans would sit around and stare at each other all day. [he demonstrates]  Got very boring.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: 9
Originality: 8
Watchability: 9
Other (I just like other films better): -4
 
TOTAL: 48 out of 60
 

Next: #144 – Gifted Hands: The Ben Carson Story

© 2014 S. G. Liput

184 Followers and Counting

 

Out of Africa (1985)

17 Sunday Aug 2014

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I had a farm in Africa,
The grandest place I ever saw.
I wed a baron to progress
And gain the title Baroness.
 
In Kenya, I grew coffee beans
Amid the vibrant browns and greens.
My dear Kikuyu served me well
And helped my sorrows to dispel.
 
My husband cheated, as I knew,
And brought disease, but I pulled through.
Though forced to leave, my whole heart burned
And would not rest till I returned.
 
I met a man named Denys, who
Would visit me and closer drew.
He’d take Mozart on long safari,
Months away, but never sorry.
 
I’d tell him tales, made up alone,
Of places I had never known,
And he showed me the country’s sights
And took me to God’s lofty heights.
 
A crop of plenty would not stay,
For fire took it all away;
In fire, Denys too was lost,
My stay in Kenya’s final cost.
 
I read a poem above his grave
And tried my tribal friends to save.
I left, respected by the men,
But I’ll see Denys once again.
_____________________
 

Another Meryl Streep classic, Out of Africa is one of my VC’s favorite films for three main reasons: Streep’s strong, Oscar-nominated performance; the gloriously iconic score; and, of course, Robert Redford in fine form. Showcasing her skill with accents (in this case, Danish), Meryl Streep makes Karen Blixen, a.k.a. author Isak Dineson, a compelling character who happens to have both good and bad taste in men. Klaus Maria Brandauer was also nominated for an Oscar as her philandering husband Bror, but, with his laid-back confidence and appreciation of Africa’s thrills and beauty, it’s obvious why Redford captures Karen’s attention more. (Interesting note: Denys Finch Hatton’s real compass was used in the movie, but someone stole it during filming.) While it may be true to the book, most of the main characters seem to arbitrarily sleep around, and, since I prefer more pure romances, some scenes that were meant to be utterly romantic didn’t engage me as they might others.

The film is rather slow and boring in parts and is an obvious chick flick; even an episode of Everybody Loves Raymond labeled it a “girly” movie. Yet, unlike a tired rom com, this film features a number of realistic, ill-fated relationships, as well as some truly magnificent cinematography that displays Africa’s natural grandeur, particularly during the plane ride montage. I also like how the native Kikuyu tribe is sympathetically depicted and how Karen assists and protects them, earning their respect and affection. The scene in the gentlemen’s clubhouse toward the end is reminiscent of the finale of The Autobiography of Miss Jane Pittman and is just as satisfying in its display of well-deserved deference.

Out of Africa won seven Academy Awards, including Best Picture, and stands as a tribute to the life of a great writer, who sadly never returned to her beloved Africa. With a haunting score that will play in your mind long after the credits roll, Out of Africa is a touching, often wistful romance that deserved every one of its accolades.

Best line: (Karen, about Denys) “Perhaps he knew, as I did not, that the earth was made round so that we would not see too far down the road.”

 
Artistry: 10
Characters/Actors: 10
Entertainment: 6
Visual Effects: 7
Originality: 8
Watchability: 7
 
TOTAL: 48 out of 60
 

Next: #145 – The Little Mermaid

© 2014 S. G. Liput

184 Followers and Counting

 

Die Hard (1988)

15 Friday Aug 2014

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When John McClane visits his wife in L.A.,
A skyscraper party for Christmas Eve serves
To strain the pair more at the end of the day,
As terrorists break in and get on their nerves.
 
The leader, Hans Gruber, takes hostages fast,
And Holly’s boss, Mr. Takagi, is shot,
But John, a policeman, escapes at the last
Into the air shafts and avoids being caught.
 
From then on, it’s cat and mouse with machine guns
As John picks the baddies off one at a time.
The “terrorists” turn out to be after funds,
Locked up in a safe that protects every dime.
 
John gets the attention of one cop named Al,
And soon the police have the building surrounded.
Reflecting on life with his radio pal,
John has to save Holly, although he’s still hounded.
 
John saves all the hostages from a roof blast,
Though choppers and John’s own bare feet pay a price.
Though the thieves breach the safe, the right timing has passed,
And John and Hans are not about to play nice.
 
When both John and Holly are in Gruber’s sights,
The tables are turned by some clever gun play.
Hans quickly develops a brief fear of heights,
And John is relieved, having now saved the day.
Both Holly and John can relax from such fights,
At least till the next sequel. Yippee ki-yay!
_______
 

Often cited as one of the best action movies ever, Die Hard sparked a multitude of sequels and imitators and provided Bruce Willis (John McClane) and Alan Rickman (Hans Gruber) with the most memorable roles of their careers. Considering Die Hard’s immense success and Willis’s well-known action hero appeal, it now seems odd that the studio had doubts about his casting, but until this film, he was only known for his comedic role in the show Moonlighting. Just as Big opened up dramatic possibilities for Tom Hanks, Die Hard crafted Willis’ butt-kicking action star persona. Likewise, this was Rickman’s first film, and his calculating ruthlessness and distinctive voice instantly made him an ideal villain. Sure, he’s played more sympathetic roles (Galaxy Quest, Something the Lord Made, Sense and Sensibility), but he’ll always be Hans Gruber.

Of course, action movies that are nothing but mindless explosions fail (if not commercially, then critically). Amid all the gunplay, we get a welcome peek at John’s marital failings, as well as Al’s past regrets, which provide incentive to root for them beyond the fact that we’re just supposed to.

The film may be 26 years old, but its impressive stunts and explosions have allowed it to age quite well. The unusual Christmas setting and some unique musical choices also stand out; the safe-opening scene somehow became one of the film’s most memorable, thanks to Beethoven’s “Ode to Joy.”

The blockbuster fun is sadly hampered by an overabundance of profanity and F-words (including the film’s most iconic line), not to mention the rampant violence, much of it bloody. Nevertheless, Die Hard is an action-packed favorite (best seen cut) that can be enjoyed at Christmastime and any other.

P.S. Though this doesn’t share the high profile of the recent sad losses of Robin Williams, Lauren Bacall, and James Garner, I feel I should include a R.I.P. for James Shigeta, who played Mr. Takagi. He died quietly on July 28th, just a few weeks ago, having lived a nice long life, unlike his character in this film.

Best line (ignoring the obvious): (Holly, seeing a terrorist’s frustration and knowing John must be alive) “Only John can drive somebody that crazy.”

VC’s best line: (John recalling his wife’s invitation) “’Come out to the coast, we’ll get together, have a few laughs…’”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 10
Visual Effects: 9
Originality: 9
Watchability: 10
Other (language, violence): -6
 
TOTAL: 48 out of 60
 

Next: #146 – Out of Africa

© 2014 S. G. Liput

184 Followers and Counting

 

Kramer vs. Kramer (1979)

15 Friday Aug 2014

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Ted Kramer is having an excellent day,
Until he comes home for Joanna to say
She’s fleeing him, leaving him,
Terribly grieving him,
Finding her own life by getting away.
 
He isn’t prepared for the loss of his wife,
And now he is forced to reorder his life.
At first, he’s unwilling
But does his best filling
The role she vacated with maximum strife.
 
As many months pass, he and Billy connect.
Though fatherhood causes vocation neglect,
The bike rides and stories,
The worries and glories
Are moments he treasures more than they expect.
 
A year and a half of both good and bad later,
Joanna returns, and more struggles await her.
She wants her dear Billy,
But Ted’s rightly chilly.
They each fight in court with their own mean debater.
 
As both Kramers beg, the judge hears every side,
But Ted’s heartfelt pleas are completely denied;
But, seeing how broken
He is, as a token,
Joanna lets Ted keep their shared joy and pride.
_________________
 

Kramer vs. Kramer features Dustin Hoffman and Meryl Streep perfectly playing two very imperfect people, roles that won both of them Academy Awards. As most critics mentioned, the film is so compelling because it isn’t black and white. While Joanna is certainly blamed for her abandonment of her responsibilities to her son, she is not vilified for it, and, since the years of assumed neglect are not shown, there is room for her actions being partially justifiable.

Still, the film’s and the audience’s sympathies lie squarely with Ted, who is by no means an ideal parent but does his best, as do we all. His struggles relating to Billy are entirely believable, since he mostly left child duties to Joanna, and his embracing of his paternal role is sweet and gratifying. Even for those who have never had children, the film brilliantly captures the realistic ups and downs of parenthood, from unforeseen accidents that leave parents guilt-ridden to simple joys and routines that are deeply missed when lost.

As I said, the film doesn’t go into the details of what leads to divorce but instead focuses on the negative impact it has on everyone involved. Everybody is miserable, and though they all manage to piece their lives together again, they are still obviously broken. The film overall makes a convincing argument for how fathers, as well as mothers, can be worthy single parents, a growing new concept at the time. The courtroom scenes also provide evidence of why lawyers gain a bad reputation, since the attorneys’ unkind probing and refusal to allow clarification of answers become frustrating for both parties. The final kindness Joanna bestows on Ted may be unlikely in real life, but it feels right, particularly for a film that showcases what a good parent Ted has become. Hoffman and Streep made this Triple A film the Best Picture winner it was, and, as divorce rates remain high, Kramer vs. Kramer’s realism and shared sympathies continue to keep it a timely film.

Best line: (Joanna, emotional at the end) “I woke up this morning, kept thinking about Billy, and I was thinking about him waking up in his room with his little clouds all around that I painted, and I thought I should have painted clouds downtown because then he would think that he was waking up at home. I came here to take my son home. And I realized he already is home.”

 
Artistry: 10
Characters/Actors: 10
Entertainment: 8
Visual Effects: N/A
Originality: 9
Watchability: 8
Other (realistic look at divorce): +3
Other (language, one scene with nudity): -1
 
TOTAL: 47 out of 60

 

Next: #147 – Die Hard

© 2014 S. G. Liput

184 Followers and Counting