Gravity (2013)

28 Saturday Jun 2014

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Three astronauts are conversing in space
As they work on the space telescope,
Till one gets a piece of debris through his face,
And the others are left without hope.
 
A medical engineer named Ryan Stone
Is sent whirling out in the void,
But Matthew Kowalski, with comforting tone,
Gets her to their shuttle (destroyed).
 
That onslaught of wreckage, an old satellite
That the Russians were unwise to blow,
Will orbit around and have them in its sight
In the next ninety minutes or so.
 
Matt calms her and tells her they’ll carefully soar
To the space station off in the distance.
Stone tells of her daughter, who died at just four,
And Matt tries to spur her persistence.
 
They make it, but Matt makes a bold sacrifice
And goes drifting away into space
To let Stone get aboard, though he gives her advice,
While she finds a way into the base.
 
As she floats through the halls, a fire breaks out,
And she narrowly gets to a pod,
A Soyuz spacecraft, which she’s happy about,
Till its chute won’t allow her abroad.
 
She tries to get loose but is hit by debris,
And she barely escapes that as well.
It shatters the station and sets the ship free,
But she’s out of fuel, she can tell.
 
She attempts giving up, but is spurred to survive
By Kowalski, or rather his ghost,
So she figures a way to (just barely) arrive
At a plummeting Chinese outpost.
 
She gets in the Shenzhou space capsule to land,
Determined to live or die trying,
She says that the ride down will truly be grand
And can’t avoid laughing and crying.
 
She tells Matt to visit in heaven her daughter,
And burns through the earth’s atmosphere.
She finally lands (just by chance?) in some water,
Thus ending her spaceflight career.
 
Her module and suit nearly cause her to drown,
But she swims to the pond’s muddy banks,
And, feeling Earth’s gravity weighing her down,
She walks off, relieved, giving thanks.
____________________
 

Gravity was the most eye-catching film of 2013 and with good reason. It is pure spectacle, full of long, continuous scenes designed to make the audience say, “How did they do that?” From the quietly tense devastation caused by the zooming debris to the seemingly simple weightlessness of the characters and everything else, Gravity is a wonder to behold.

At the heart of the Oscar-winning visual effects are the two leads, Sandra Bullock and George Clooney. Both are excellent, but I actually preferred Clooney’s performance. Bullock is certainly the star, but other actresses could have done just as well (Halle Berry, Cate Blanchett, or Julia Roberts, for example). Clooney’s smooth, reassuring voice gave his character much more personality, and I thought he was just as worthy of an Oscar nomination as Bullock.

Though it’s less than a year old, Gravity has already begun to earn a reputation as overrated, full of impressive special effects and little else. I agree to some extent, but it does offer more than just visuals. Ryan’s backstory is quite touching and emotional, as is her wish for someone to pray for her since she was never taught how.

In addition, films like Avatar and the Transformers movies were visual feasts for the eyes but were so long as to be overindulgent. Gravity is comparably short at just 91 minutes, and Oscar-winning director Alfonso Cuarón achieved much more artistry in that time than any of those films combined. The scene of Ryan floating as if in the womb and that of her rising from the water in the evolution-inspired finale (with a welcome “Thank you” sent heavenward) are two beautiful sequences that wouldn’t be found in other effects extravaganzas. The immersive, Oscar-winning score does much to build tension and emotion, especially paired with well-timed cuts to spatial silence.

My VC felt there was too much of Bullock just breathing hard, as well as annoying alarms going off, but I prefer these to the vast stretches of nothing in the similarly artistic but nowhere-near-as-entertaining 2001: A Space Odyssey. While there are similarities to other space disaster films like Marooned, WALL-E (hello, fire extinguisher!) and Apollo 13 (especially since Ed Harris played “Houston” here as well), Gravity is a film like no other, presenting seamless visuals sure to blow you away.

Best line: (Ryan Stone, in a massive understatement) “I hate space.”

 
Artistry: 10
Characters/Actors: 8
Entertainment: 7
Visual effects: 10
Originality: 5
Watchability: 6
Other (language and brief violence): -4
 
TOTAL: 42 out of 60
 

Next: #194 – Hoosiers

© 2014 S. G. Liput

144 Followers and Counting

 

Swiss Family Robinson (1960)

27 Friday Jun 2014

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The Robinson family is wrecked
On some rocks, and the ship’s crew defect.
Their ill-fated cruise
Leaves them much they can use,
Though they’re not sure what to do next.
 
The father and sons Ernst and Fritz
Get all to the shore in one blitz.
On the ship the next day,
They scare pirates away
With only a flag and their wits.
 
Since New Guinea’s off their radar,
The five just made do where they are.
A house like no other
Intimidates Mother,
And she wants a good safety bar.
 
But once the men finish, the tree
Proves a comforting place to sightsee.
The men’s great inventions
Calm her apprehensions,
And they settle down cheerfully.
 
Young Francis collects his own zoo
With ostrich and elephant too,
To join all the pets
That they rescued from threats
On the ship left behind by the crew.
 
To see if they’re all on an isle,
The older sons sail for a while.
They rescue a lad
But can’t save his granddad
From pirates both fearsome and vile.
 
They learn it’s a girl they retrieved,
Dressed up so she won’t be perceived.
Through forest and swamp,
With Roberta they romp,
Till they reach the treehouse, relieved.
 
The pirates will no doubt return,
So they build defenses in turn.
Both Ernst and Fritz vie
For Roberta’s fair eye,
But both of them have much to learn.
 
They all take a break for a race,
But soon pirates swarm the whole place.
They thwart their offenses
With homemade defenses
From high on a mountainous base.
 
With fruit bombs and many a pit
And one with a tiger in it
And logs and big rocks,
The small family blocks
The pirates, who won’t seem to quit.
 
They try climbing up from the back,
Which makes their defense nearly crack.
When a ship then arrives,
It saves all of their lives
By halting the pirate attack.
 
Roberta’s granddad gives advice,
But most of the family think twice.
Roberta and Fritz
Stay together; Ernst splits,
But the rest stay in their paradise.
__________________
 

Swiss Family Robinson was the best non-musical live-action Disney film made during his lifetime (and for some time after). It works well as both a loose adaptation of Johann Wyss’s classic novel and as a stand-alone adventure tale. There are a number of changes from the books, such as the inclusion of a pirate attack, a bigger role for the girl (named Emily in the novel), and the omission of a fourth son named Jack. Even so, the film expands on the amazing ingenuity of the Swiss family, furnishing their treehouse with all kinds of clever inventions. It also includes pirates, a menagerie of exotic animals, and countless other adventure elements to enthrall kids and their parents alike.

For me, the film’s biggest liability is young Kevin Corcoran as Francis, who is annoying in just about every scene he’s in. He’s a brat, who’s so enamored of animals that he ignores his parents’ warnings and common-sense safety, such as when he stupidly gives away their position to bloodthirsty pirates for the sake of two dogs! The other boys are fine, and Tommy Kirk as Ernst reminds me of Wil Wheaton’s Wesley Crusher (in a good way). John Mills projects authority and warmth as the Father, while Dorothy McGuire lends maternal warmth and worry to Mother Robinson.

The final battle with the pirates is one of the great early action sequences, but other moments shine too, such as the silent prayer Mother insists on when they first reach the island. (You wouldn’t see that in a remake nowadays.) Swiss Family Robinson is a marvelous family film that may not be on par with adaptations like Dr. Zhivago or Gone with the Wind, but it’s no less of a classic.

Best line: (Father, upon reaching the beach) “First thing we’ve got to do is to, uh, unload the raft. Then, uh… put up some sort of shelter for the night.”   (Mother) “No. That’s not the first thing.” [She kneels in grateful prayer, and the others follow suit.]

 
Artistry: 5
Characters/Actors: 7
Entertainment: 8
Visual effects: 8
Originality: 7
Watchability: 7
 
TOTAL: 42 out of 60
 

Next: #195 – Gravity

© 2014 S. G. Liput

142 Followers and Counting

 

The Great Escape (1963)

26 Thursday Jun 2014

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In 1943, the Germans thought they’d gotten wise
When they designed a camp to hold the most troublesome guys,
The prisoners who always tried escaping from their jail
And caused a lot of headaches for the Nazis on their trail.
 
But in their aspirations for a perfect prison dream,
In fact they put together the best liberation team.
The leader “X” was Roger, who was wanted far and wide,
And Danny was the “Tunnel King,” who dug three shafts outside.
 
The “Scrounger” was named Hendley, who finagled all supplies
And helped the “Forger” Colin Blythe, who lost sight in his eyes.
Then Sedgwick built all tools and had a big suitcase to carry,
And Hilts was called the “Cooler King,” who earned much solitary.
 
These men and more worked day and night to build three tunnels out
Named Tom and Dick and Harry, for there was no better route.
They masked their noise and hid the dirt in several clever ways
And tried to hide their plan below the Germans’ watchful gaze.
 
The Nazis still discovered Tom, which caused a suicide,
But all then worked on Harry to soon reach the woods outside.
The night arrived, and their whole plan discreetly took effect
As men began escaping through their passageway unchecked.
 
The hole came short of reaching woods but still they sneaked away,
Until the Germans heard a sound, to everyone’s dismay.
They stopped the flow but seventy-six escaped the camp in all,
Which launched a massive search for every man in this cabal.
 
Although they tried to blend right in, with forged passports and clothes,
Some chances and some poor mistakes and gaffes served to expose,
For all but three were seized again and fifty men were shot,
And Hilts marched calmly to his cooler when he too was caught.
Thus ended this escape attempt and their most brilliant plot.
_______________________
 

As I said in my Memphis Belle review, most war movies have different focuses than just a battlefield. In The Great Escape, POWs get the spotlight, and there’s not a single battle scene. Instead, we get a true story with an incredibly clever and detailed plot to escape from a German war camp. It’s one of those classic manly men ensembles of the 1960s, but here everyone is entirely likable, unlike, say, The Dirty Dozen.While the mostly British officers could just as easily have sat out the war, they instead fulfilled their “duty” to escape, and, though the film drags on rather long, it’s an incredible thing to see their plan put into effect, provided you have enough popcorn to keep you awake.

The actors are all skilled thespians, but sadly not all of them stick out, perhaps because they no longer have the star power they held in 1963. I recognized monikers like Ashley-Pitt, MacDonald, Sedgwick, and Cavendish, but I couldn’t tell who they were unless someone directly called them by name. Still, a number of the men make an impression, if only with their code names: Richard Attenborough as “Big X,” Donald Pleasence as the blind “Forger,” James Garner as the “Scrounger,” Charles Bronson as Danny, and of course Steve McQueen as Hilts, one of his most memorable roles. Interestingly, Bronson’s character of Danny is one of the few to reach freedom, just as he was one of the three who survived in The Dirty Dozen. I guess some guys are just lucky.

A number of elements of the film have been parodied to no end. The scenes involving the men wheeling down the narrow tunnel have found their way into several shows and movies like the similarly plotted Chicken Run, and the iconic score has also been imitated by shows ranging from Disney’s Recess to Hogan’s Heroes, which had a similar storyline involving POWs. And of course who can forget McQueen riding that motorcycle?

The actual escape is the tense highlight of the film, and it keeps the audience on their toes. Though it’s satisfying to see so many sneak away, the sad part is that most of them die. Considering the light-hearted tune in the score, it’s a rather dark ending, but one that is true to history. Overall, The Great Escape is an entertaining and clean war film that pays tribute to men who weren’t content to just sit around, men who harassed the enemy to the last and did their countries proud. To the fifty!

Best line: (Ramsey, having been told of the great resources used to guard the camp) “Well, it’s rather nice to know that you’re wanted.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 8
Visual effects: 6
Originality: 8
Watchability: 7
 
TOTAL: 42 out of 60
 

Next: #196 – Swiss Family Robinson

© 2014 S. G. Liput

140 Followers and Counting

 

Doc Hollywood (1991)

25 Wednesday Jun 2014

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A cool young surgeon named Ben Stone
Is headed for L.A.,
But lands in Grady, little-known,
Where he is forced to stay.
 
He trashed a fence, which trashed his ride,
And must do doctor duty.
The townsfolk welcome him with pride,
Except one country beauty.
 
Because Vialula/Lou’s been burned
By city boys before,
She leaves the flirting doctor spurned,
Though he tries even more.
 
The townspeople are full of quirks,
Like squash fan Mayor Nick,
And Melvin the mechanic works
On Ben’s car, none too quick.
 
There’s also Hank, who can foresee
Insurance aspirations,
And mayor’s daughter Nancy Lee,
Who dreams of long vacations.
 
As Ben cares for the populace,
In simple, closer ways,
He starts to feel that he will miss
This town, despite the raise,
 
Especially when Lou soon starts
To soften up to Ben.
Yet he can’t bear to break their hearts,
Since he’ll soon leave again.
 
When Ben rescues the stodgy doc
Named Hogue, who thinks him rude.,
The judge allows Ben Stone to walk;
Ben feels oddly subdued.
 
He tries to sneak away at night,
But moms he can’t ignore.
While he assists one pregnant plight,
His car is wrecked once more.
 
The town gives him a one-way flight
To L.A., and he goes,
But as he lives his dream all right,
He rues the path he chose.
 
When Hank and Nancy Lee appear,
Ben craves more than success.
He chooses Lou above career
And finds his happiness.
_________________
 

Doc Hollywood is one of Michael J. Fox’s most entertaining movies, presenting a kooky but affectionate glimpse of cinematic small town life. It doesn’t present them as backwards or stupid but rather eccentric and focused more on life’s simple pleasures: squash festivals, nice-looking pigs, and fishing—with dynamite. It’s impressive how many memorable characters they pulled off, from David Ogden Stiers as Mayor Nicholson; Bridget Fonda as his eager-to-leave daughter Nancy Lee; Woody Harrelson as Haymitch—I mean Hank Gordon; Barnard Hughes as the crotchety country doctor Aurelius Hogue; Frances Sternhagen as the deadpan diner waitress Miss Lillian, who can only make Hungry Man dinners; and the lovely Julie Warner as love interest Vialula; not to mention the two quirky mechanics, the stern Nurse Packer, and the family who come to the doctor’s office just to have their mail read. By the time Ben leaves and has to say goodbye to all these faces, the audience bears the same feeling of loss, of leaving “Shangri La” as the mayor calls Grady, South Carolina.

Sadly, the film is not completely wholesome, featuring some language and a scene with Lou completely nude that could easily have been cut since it adds nothing to the picture. Plus, a scene involving urination was rather uncomfortable and weird and again unnecessary.

Aside from this, the wistfully scored film is a hilarious romantic comedy that surprisingly bucks Hollywood convention by not having the two leads sleep together, though they’re tempted. It’s one of the few such scenes I’ve ever viewed that laudably eschews the “romance” of a one-night stand. Overall, Doc Hollywood could be a family movie with the appropriate cuts and one that my family watches whenever it’s on (such is my definition for a Watchability of 10).

Best line: (a woman in the background, as her grill is clearly on fire) “Mayor Nicholson, can you help check these ribs and tell me if they’re done?”

VC’s best line: (Nancy Lee, in L.A.) “Is that a star?” (Hank, played by Woody of Cheers fame) “No, that’s Ted Danson.”

Other best line: (Melvin the mechanic, looking at Ben’s totaled car) “I think I can fix that.”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 10
Visual Effects: N/A (except for two brief car crashes)
Originality: 8
Watchability: 10
Other (nudity, language): -2
 
TOTAL: 42 out of 60
 

Next: #197 – The Great Escape

© 2014 S. G. Liput

140 Followers and Counting

 

Philadelphia (1993)

24 Tuesday Jun 2014

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(Best sung to Springsteen’s “Streets of Philadelphia”)
 
Lawyer Andrew Beckett is on top of his game
And earns from his law firm great acclaim.
But when he gets AIDS, he starts wasting away,
And is fired because he’s gay
On the streets of Philadelphia.
 
He seeks representation from a Joe Miller, who
Isn’t pleased with Andy’s plan to sue
His former bosses for the unfair break,
Which they claimed was for a lone mistake
They feigned in Philadelphia.
 
Joe takes a while to decide to assist,
Even though he wanted to resist.
He is scared of AIDS and has clear disdain,
But he opts to act the more humane
To this man of Philadelphia.
 
In the courtroom, Andy and his former firm
Make their cases, causing all to squirm.
Andy’s partner, family, and folks with signs
Give their full support, as he declines
In full view of Philadelphia.
 
Andy then collapses as the jury hears
All the witnesses with talk and tears.
Though he wins the battle against bigotry,
He still passes on, no more to see
The streets of Philadelphia.
________________
 

While TV shows like St. Elsewhere had highlighted homosexuality and AIDS in certain episodes, Philadelphia was one of the first films to bring it to the forefront with masterful actors and expert direction. Tom Hanks gives an astounding, Oscar-winning performance; the scene in which he comes outside after being declined help from Joe Miller is particularly affecting, since it epitomizes what Thoreau called “quiet desperation,” something I’ve felt myself. Denzel Washington is equally superb as Andy’s lawyer Joe Miller. It also features Antonio Banderas in one of his first English roles to garner wide recognition.

It’s a fantastic courtroom drama and a truly powerful film that isn’t just about gay people and discrimination but about treating everyone with humanity and respect, regardless of their race, gender, etc. One may not agree with Andrew Beckett’s lifestyle, but the film focuses on him as a person, his professionalism and skill as a lawyer, his love of opera, and his affectionate family. Miller himself is wary of Beckett at first, and there’s little indication that his gut feelings toward homosexuals have changed by the end, but he sees Andy as not just “a gay” but as a human being and cares enough to straighten Andy’s oxygen mask, despite his initial fear of AIDS.

As with his prior hit The Silence of the Lambs,director Jonathan Demme heightens the drama by utilizing his proven tactic of having the actors look straight into the camera for many scenes. (It’s so effective that I wonder why the same technique was criticized in the recent version of Les Miserables.)

The film starts and ends very strongly. First, Bruce Springsteen’s Oscar-winning song “Streets of Philadelphia” sets the somber mood for the whole film, and at the end is an incredibly melancholy scene in which Andy’s friends and family gather to mourn his death and watch old family movies of him as a child. It’s an utterly poignant final scene, demonstrating how the world and life’s choices can turn an innocent little boy into a gaunt man on his deathbed a scene earlier. Though it has the requisite profanity and crude dialogue, Philadelphia is a sad but influential film that opened up many conversations upon its release and one that continues to be timely to this day.

Best line: (the Judge) “In this courtroom, Mr. Miller, justice is blind to matters of race, creed, color, religion, and sexual orientation.” (Joe) “With all due respect, Your Honor, we don’t live in this courtroom, do we?”

VC’s best line: (Joe Miller, repeated several times) “Explain this to me like I’m a six-year-old.”

 
Artistry: 10
Characters/Actors: 10
Entertainment: 8
Visual Effects: N/A
Originality: 10
Watchability: 6
Other (language and some subject matter): -2
 
TOTAL: 42 out of 60
 

Next: #198 – Doc Hollywood

© 2014 S. G. Liput

139 Followers and Counting

 

#200: My Girl (1991)

23 Monday Jun 2014

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Vada Sultenfuss resides
In a funeral home; besides,
She’s just eleven, but her knack
Is being a hypochondriac.
Her one real friend is Thomas J.,
Who is allergic, by the way.
On her teacher, she has a crush,
Which she hides, despite a blush.
Although it’s summer, Vada speeds
To a class that Mr. Bixler leads,
A writing class for poetry,
Which she composes childishly.
 
Her undertaker dad did list
His need for a cosmetologist.
One Shelley answers, though misled,
And needs the job, despite the dead.
She’s worried for young Vada, who’s
Obsessed with death and morbid views.
Though Vada likes her, she grows mean
When Shelley and her dad are seen
Beginning a relationship,
Which Vada would much rather skip.
Yet Shelley’s kind and helps her through,
When fears of growing up debut.
 
Once Vada shares a kiss, her first,
With Thomas J., then comes the worst.
He goes to seek her lost mood ring,
But hornets swarm him as they sting.
Poor Vada’s shocked to learn he’s dead,
And at his funeral tears are shed.
She’s further stunned when it is said
That Mr. Bixler will soon wed.
She runs off, but when she returns,
Her father calms her deep concerns,
And life goes on with newer friends
And less distress for how life ends.
__________________
 

My Girl is one of those classic coming-of-age tales that also has an unexpected tearjerker ending. Though it lacks the obvious voiceover of Stand by Me, the whole film feels like a childhood flashback etched on someone’s memory. Anna Chlumsky is perfectly cast as young Vada Sultenfuss and does so well that it’s a shame she hasn’t done much else, though she’s had a recent comeback on shows like HBO’s Veep. Coming a year after Home Alone made him a star, the film also reminds us of how cute Macaulay Culkin was back in the day as the ever-allergic friend Thomas J. Dan Aykroyd and Jamie Lee Curtis are also spot-on in very different roles from when they starred together in Trading Places eight years earlier.

As with Murphy’s Romance, much of the film’s charm lies in its small moments: Vada’s first kiss with Thomas J., her incessant visits to the doctor to confirm that she’s dying (or not), Harry and Shelley’s bingo night (hmm, that is like Murphy’s Romance). There are also some hilarious scenes that exemplify the word dysfunctional. Picture this: Vada’s father carries on a conversation at the dinner table while her grandmother starts singing a Gershwin song while Vada is on the floor, pretending that her prostate is killing her. I can’t help but laugh.

With its innocent portrayal of childhood in 1972, My Girl is mostly clean as well (aside from some sexual dialogue during the poetry class), unlike other foul-mouthed coming-of-age stories like American Graffiti and Stand by Me. It’s a charming film that is sad, sweet, and funny all at once, with a ‘70s soundtrack and a touching poem at the end. What’s not to like?

Best line: (Vada) “Why do you think people want to get married?” (Thomas J.) “When you get old, you just have to.”

 
Artistry: 8
Characters/Actors: 8
Entertainment: 9
Visual Effects: N/A
Originality: 8
Watchability: 9
 
TOTAL: 42 out of 60
 

Next: #199 – Philadelphia

© 2014 S. G. Liput

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Murphy’s Romance (1985)

22 Sunday Jun 2014

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Emma Moriarty,
Who is hard-working and hearty,
Moves with son to Arizona,
With no money but a plan.
Having had it with divorces,
She will board and train some horses.
Soon she meets a town persona
Who is one heck of a man.
 
In the drugstore that he owns
Works the trusty Murphy Jones,
Who is so opinionated
That he’d rather pay in cash
Parking tickets he’s accepted
Just so his old car’s protected
So it won’t be desecrated
By a hoodlum acting rash.
 
Though he doesn’t help at first,
He proves kind when not coerced,
Helps her business getting started,
And makes visits frequently.
Emma’s ex soon rears his head,
In need of money and a bed
And acts as if they’d never parted,
Which she swallows grudgingly.
 
Bobby Jack is charismatic
But a loser problematic.
Though he claims that he has changed,
He is still a selfish jerk.
Murphy isn’t getting thinner
As he always stays for dinner.
Jealous glances are exchanged,
But Murphy doesn’t shirk.
 
After all four bond a while,
Emma won’t stand Bobby’s guile,
But before she sends him packing,
His twin babies find the place.
He stands up (perhaps) to duty,
Leaving with his latest beauty,
While poor Emma finds what’s lacking
In old Murphy’s warm embrace.
_________________
 

The year after she won the Best Actress Oscar for Places in the Heart, Sally Field filled a role both different and similar in Murphy’s Romance. Still a strong single mother forced to work for a living, she is more independent and self-reliant here while also depending on help from Murphy. Oscar nominee James Garner turns in his finest performance as the titular Murphy, who has just the right amount of folksy charm and tough, down-to-earth wisdom to make up for the fact he’s nearly twice Emma’s age. Brian Kerwin is appropriately unlikable as the loser ex-husband Bobby Jack (he utters the film’s lone F-word), while retaining some evidence of why Emma first found him appealing.

Since the plot is pretty simple and uneventful, the film thrives on its dialogue, and it’s one of the most underrated quotable movies out there. Murphy and Emma trade sharp wit throughout the film, and little lines here and there have found their way into my own family’s conversations. I love the affectionately realistic mother-son relationship between Emma and Jake, as well as the fond depiction of small-town life, preferring country dances and innocent bingo halls to slasher films and such. My VC also likes the score by Carole King (who had a cameo), featuring David Sanborn on sax.

Nevertheless, it deserves its PG-13 rating, with several profanities and some brief scenes of nudity and violence thrown in to appease the studio. The final scene indicating Emma and Murphy will spend the night together may be romantic, but it seems to ignore the fact that Emma’s son Jake is right there in the house. Aside from that, their clever exchanges are the highlights of the film and make it a near-perfect romance.

Best line: (Emma, questioning the number of candles on Murphy’s birthday cake) “Okay, what is it? How old are you, Murphy?”   (Murphy) “Just set the damn thing on fire.”

VC’s best line: (Murphy, at his birthday party) “My friends have overlooked my shortcomings, seen me through some dark days, and brightened up the rest of them. I’m glad to have them; I’m honored to have them; I’m lucky to have them.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: N/A
Originality: 9
Watchability: 10
Other (language, brief violence): -3
 
TOTAL: 42 out of 60
 

Next: #200 – My Girl

© 2014 S. G. Liput

136 Followers and Counting

 

Nausicaä of the Valley of the Wind (1984)

21 Saturday Jun 2014

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Nausicaä, the princess of the Valley of the Wind,
Explores the toxic jungle that is spreading o’er the earth.
The girl admires Ohmu, colossal insects, armor-skinned,
Who can be quite aggressive but do have a hidden worth.
 
She saves her friend Lord Yupa from an anger-blinded Ohmu,
And flies upon her glider to announce his soon return.
In their protected valley, her small people built a home,
Content to let fierce kingdoms fight; it’s none of their concern.
 
But soon a crippled airship from Tolmekia appears
And crashes in the valley, killing everyone on board.
The threat of jungle infestation sparks the people’s fears,
And plus, the living cargo is too dire to be ignored.
 
Kushana of Tolmekia soon comes to claim their prize,
A deadly giant warrior, which bathed the earth in flame.
They kill the valley’s king but still they claim to be good guys,
For burning down the forest is their ill-considered aim.
 
The warrior’s developing as Nausicaä is bound
With others by Kushana on a journey through the air.
Their airships are shot down by one small plane that’s also downed.
The princess and Kushana land within a jungle snare.
 
Escaping from an Ohmu nest thanks to Nausicaä’s calm action,
Kushana and the other fly while Nausicaä must stand
To save the shooter pilot who is from another faction
Called Pejite, but the two of them are captured by quicksand.
 
They find themselves below the jungle, where the air is clean,
And realize that the jungle plants absorb the earth’s pollution.
Mankind corrupted all the earth, and now most people mean
To burn the jungle, ruining the planet’s last solution.
 
They fly their way to Pejite, which is ravaged by insects.
Survivors plan to lure the Ohmu to Nausicaä’s homeland
To take out the Tolmekians and all of their subjects
And catch the giant warrior to have at their command.
 
Their ship is ambushed yet again, which lets the princess flee.
She goes ahead to see the Ohmu stampeding toward the valley.
The Pejites have an injured baby o’er an acid sea,
And she succeeds in freeing it before the big finale.
 
Kushana wakes the giant which annihilates some Ohmu,
Before it melts away, too undeveloped to survive.
The baby Ohmu and Nausicaä then stand before her home
In front of the invading insects, rushing to arrive.
 
They run her over but then stop to see this brave young lass;
They heal her wounds and so fulfill an ancient prophecy.
Kushana and her men return back home at this impasse,
And now the earth and all mankind may live in harmony.
______________________
 

Nausicaä of the Valley of the Wind was Hayao Miyazaki’s breakout film as a director. It’s an environmentally heavy sci-fi action film that highlights Miyazaki’s pacifist ideology and his wildly imaginative storytelling. While Disney was working on the likes of The Black Cauldron, Japan was producing animated gems like this.

Technically made before the start of his Studio Ghibli, Nausicaä was a tale that didn’t have much support at first because most anime depends on pre-existing properties in the world of manga (Japanese comic books). Since he couldn’t get funding without an already popular manga, he made one and published Nausicaä in serial form from 1982 to 1994. This earned him the necessary backing, but since only 16 chapters (out of 59) had been completed by the time of the film, the plot encompasses only the part that he had finished. While it was a huge blockbuster upon its release because of the manga, the movie ends a bit abruptly, and it feels like there is more of the story to tell, even though the film is ambitious enough as it is.

The hand-drawn animation is detailed and impressive throughout the two-hour film, especially in the climax, and it has that Miyazaki touch that raises it above most other anime. The voice acting in Disney’s English dub is uniformly good, featuring Alison Lohman, Shia LaBeouf, Uma Thurman, Chris Sarandon, Edward James Olmos, Mark Hamill, and the inimitable Patrick Stewart as Lord Yupa. Joe Hisaishi’s outstanding score also grabbed my attention when I first saw it and, not counting the synthesizer segments, is one of my favorite film scores. As for the plot, it’s incredibly detailed, and my above poem only scratched the surface of the layered events, characters, and motivations. With its complex mythology, messianic prophecy, and giant misunderstood insectoid creatures, the closest thing I could compare it to is Frank Herbert’s Dune series.

The environmentalist theme is rather clunky, blaming mankind for polluting the earth’s topsoil and water and building the giant warriors to destroy everything while providing no details about the circumstances. Thankfully, though, the film doesn’t browbeat humanity too much, and when the focus is on the science fiction and the characters, it’s some of Miyazaki’s best work. My VC, who doesn’t care for anime, at least saw and appreciated it for what it was, but, for me, Nausicaä of the Valley of the Wind remains an influential sci-fi classic.

Best line: (Asbel, after eating some “healthy” nuts) “Why does everything that’s good for you have to taste so bad?”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 8
Visual Effects: 7
Originality: 9
Watchability: 7
Other (heavy environmentalism): -3
 
TOTAL: 42 out of 60
 

Next: #201 – Murphy’s Romance

© 2014 S. G. Liput

135 Followers and Counting

 

The Iron Lady (2011)

20 Friday Jun 2014

Posted by in Movies, Poetry, Reviews, Writing

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Margaret Thatcher, once so proud,
Voicing her opinions loud,
Now can’t be seen in a crowd.
 
Her caretakers fear and dread
That she’s not right in the head,
Talking to her spouse, long dead.
 
She recalls how she began,
A grocer’s daughter with a plan,
Less respected than a man.
 
Denis helps her reminisce:
How they met and their first kiss,
His support and wedded bliss.
 
In ’59, she won a seat
And earned support, as well as heat,
For her refusal to retreat.
 
Two decades, she tried to stir
Conservatives, who heeded her
Till she ran for Prime Minister.
 
With some changes, Margaret Thatcher
Rose in her appeal and stature.
No competitors could catch her.
 
Her government did hit some ruts
And protests for her spending cuts,
Yet she would stand no ifs or buts.
 
When the Falklands were invaded,
She made choices many hated,
But she held her own, as stated.
 
Although she won and all seemed fine,
She railed at those who lacked her spine,
And her MPs made her resign.
 
Now she’s old, without a throne.
Denis died; this she has known.
She sends him off and is alone.
 
Though her laws were met with strife,
She improved things with her life,
As a leader, mother, wife.
___________________
 

The Iron Lady, a biopic about conservative British Prime Minister Margaret Thatcher, boasts one of Meryl Streep’s greatest performances. She wholly immerses herself in the role such that I see and hear Thatcher even while I know it’s Streep.

Beyond the actress alone, though, the film is almost two stories in one, the obvious one featuring Thatcher’s life story and a much more intimate one involving the elderly Margaret and her dementia-conjured husband Denis (played endearingly by Jim Broadbent). While the first shines a spotlight on the impact she had on history, I prefer the second, which is more emotional and bittersweet. When she sits contentedly talking to an empty chair about the price of milk or turns on all the kitchen appliances to drown out her delusions, I can’t help but think that this plotline could easily have made an excellent film with no connection to Thatcher at all. The scene with Denis’s departure is particularly touching.

As for the historical side, I commend the filmmakers for not only keeping the film clean (aside from a brief shot of nudity) but also staying surprisingly neutral in their portrayal of Thatcher. It does seem as if they focus too much on the negative effects of her policies (violent protests, IRA bombings), but at least her conservative ideology is allowed its say as well. Though there’s an uncomfortable scene of her acting unusually harsh, presumably from stress, the film focuses for the most part on her accomplishments, her empowering of women, her victory with the Falklands War, her concern for the mothers of fallen soldiers, and her sincere desire to help the British nation (whether people agreed with her methods or not).

While I don’t know how accurate the depiction of her later years is, the final scene bears a quiet and meaningful message of the inevitability of old age and things we never would have considered doing in youth, a theme that transcends an ordinary biopic. Streep certainly deserved her Best Actress Oscar, and whether or not one likes or agrees with Thatcher, it’s a powerful film that’s well worth watching.

Best line: (Denis, as Margaret is viewing old family movies of her children) “You can rewind it, but you can’t change it.”

VC’s best line: (Margaret Thatcher) “Watch your thoughts, for they become words. Watch your words, for they become actions. Watch your actions, for they become habits. Watch your habits, for they become your character. And watch your character, for it becomes your destiny. What we think, we become. My father always said that.”

 
Artistry: 10
Characters/Actors: 10
Entertainment: 6
Visual Effects: N/A (except for one explosion)
Originality: 9
Watchability: 6
 
TOTAL: 41 out of 60
 

Next: #202 – Nausicaa of the Valley of the Wind

© 2014 S. G. Liput

135 Followers and Counting

 

Peter Pan (1953)

19 Thursday Jun 2014

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(This one is best sung to the tune of “You Can Fly”)
 
Wendy and Michael and John
Like to listen, play, and fawn
Over tales of Peter Pan,
Who won’t grow into a man
But always stay a boy
With his youth as the source of his joy.
 
Their father can’t stand the thought
Of these silly games they’ve got.
Since she is no more a pup,
He insists his girl grow up.
But when parents go out,
Peter and Tinker Bell sneak about.
 
Once Peter’s shadow is caught,
Wendy starts to talk a lot.
When she mentions loving mothers,
Pan wants her for him and others
Back in Neverland
And she won’t have to grow up, as planned.
 
Tinker Bell’s envy is plain,
But her protests are in vain.
With some faith, and trust as well,
And some dust from Tinker Bell,
The kids are soaring high.
They can fly! They can fly! They can fly!
 
Soon they arrive there and—Look!
It’s the pirate Captain Hook,
Who feared throughout the isle,
But he fears a crocodile.
Hook despises Pan,
For the lad once cut off Hook’s left hand.
 
After a couple close calls
From falls and Hook’s cannonballs,
Wendy goes to see mermaids;
John and Michael lead parades,
But soon the boys are caught
By the Indians; happy they’re not.
 
Wendy and Peter behold
Hook’s next evil plan unfold:
He has nabbed the chief’s own daughter,
Placing her in rising water,
But Pan does outsmart
Hook and Smee, and the croc plays its part.
 
After the Lost Boys and Pan
Revel with the Indian clan,
Wendy quickly feels ignored,
But her value is restored
When she decides to sing
Of the joys that a mother can bring.
 
Hook uses Tinker Bell’s spite
Against Wendy to, one night,
Learn of Peter’s whereabouts
And to kidnap all his scouts,
While leaving a surprise
To ensure that his enemy dies.
 
Tinker Bell saves Peter Pan,
Who flies off to stop Hook’s plan.
First, he frees his captured friends,
And the company defends
Against the pirate crew;
Pan and Hook have a duel overdue.
 
Once Pan has bested the crook
And replaced ol’ Captain Hook,
Back to London they’ve a trip
On a flying pirate ship,
And Wendy’s parents see
Being young’s not a bad thing to be.
________________
 

Walt Disney had hoped Peter Pan would be his second animated film after Snow White, but, though he had to wait about fifteen years due to legal issues and World War II, his animation and storytelling had merely improved over that time to make Peter Pan yet another children’s classic (and incidentally Michael Jackson’s favorite film). There are plenty of small details that make it timeless, from Hans Conreid’s distinctive voice as both Hook and Mr. Darling to memorable scenes like the children landing on the face of Big Ben.

Like Pinocchio, I don’t always think of Peter Pan as a musical, but its melodies are certainly distinctive. While “The Second Star to the Right” and “You Can Fly” are the most memorable, little elements of the score are instantly recognizable, including the crocodile’s tick-tocking theme to the low tune heard when the Indians are introduced. It’s true that the portrayal of the Indians in the film is outdated, stereotypical, and potentially offensive, but, for good or bad, the deep-voiced “How!” remains an enduring line from the film.

There are a number of changes from J. M. Barrie’s original stage play, such as deleting the clap-if-you-believe-in-fairies audience participation in favor of a bomb left by Hook and foiled by Tinker Bell. Still, it’s one of the best of Disney’s original lineup. Peter Pan is a nostalgic visit to Neverland that never gets old.

Best line: (Peter Pan; classic as they come) “Second star to the right and straight on till morning.”

 
Artistry: 5
Characters/Actors: 8
Entertainment: 8
Visual Effects: 8
Originality: 6
Watchability: 6
 
TOTAL: 41 out of 60
 

Next: #203 – The Iron Lady

© 2014 S. G. Liput

135 Followers and Counting