Tag Archives: Comedy

#16: You’ve Got Mail (1998)

22 Thursday Jan 2015

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“You’ve Got Mail”
Has never grown stale
For Kathleen Kelly when online.
Anonymous,
She loves to discuss
Trivialities that somehow shine.
 
She does not know
Her chatroom beau
Is bookstore heavyweight Joe Fox.
Her own bookstore
Has charm galore
But can’t compete when conflict knocks.
 
She is upset
Once they have met,
For he excels at talking smack.
And yet online,
They’re both benign,
Not knowing who is writing back.
 
When Joe Fox learns
The truth, it burns,
And he just keeps it to himself.
As business slows,
Her store must close,
And Kathleen mourns each empty shelf.
 
Because love’s growth
Eludes them both,
Joe tries again to be her friend.
Although his strife
Undid her life,
She doesn’t mind more time to spend.
 
Through days and weeks
And lows and peaks,
Friendship and love begin to bloom.
When truth is told,
They kiss and hold
The one behind the nom de plume.
_________________
 

When it comes to Tom Hanks and Meg Ryan, most people seem to gravitate to Sleepless in Seattle, a great romantic comedy but one that suffers from their almost total lack of contact, despite memorable performances and script. Yet my VC and I have always enjoyed You’ve Got Mail even more. While it is based on a play previously adapted to film twice (1940’s The Shop Around the Corner and 1949’s In the Good Old Summertime), in some cases borrowing scenes line for line, the movie is further enhanced by references and parallels to Pride and Prejudice and Nora Ephron’s legendary dialogue. It’s one of those films I’ve seen so often that I practically know it by heart.

The two romantic leads start off unaware of each other’s existence but for trading impressions and insight via the Internet. Yes, the prominence of AOL’s “You’ve got mail” greeting dates the film, but it’s still an update from the letters used in prior versions of the story. Ryan and Hanks may not get along at first and even trade rather cruel barbs, but both of them exude charm and humor, which is simply more evident when they’re not around each other. Ryan is the underdog, owner of a small bookshop on the Upper West Side of New York; she’s friendly with her employees (Heather Burns, Steve Zahn, and Jean Stapleton) and living with a highly opinionated columnist obsessed with typewriters and himself (Greg Kinnear). Meanwhile, Hanks as Joe Fox is heir to a Barnes-and-Noble-style bookstore chain, full of discounts and lattes and a survival-of-the-cheapest mentality. He is superior to some extent, yet takes time out for his younger kin and seems like an overall decent chap. While it’s obvious that the two of them are on opposite sides, as business rivals, their back-and-forth sparring never overshadows the fact that they’re MFEO (go watch Sleepless in Seattle for clarification).

So much of this film’s success lies in the two lead actors, whose mere glances and tone offer endless amusement. There’s a scene in which their respective dates meet each other and trade unconsciously embarrassing remarks; the expressions on Hanks and Ryan’s faces are priceless. When Fox tries writing a conciliatory e-mail with ridiculous excuses, Hanks milks the unforeseen humor from the BACKSPACE button. When the script requires Ryan to respond with three yeses in a row, she fills each one with growing gravitas. They know how to say their lines perfectly, and luckily they are given plenty of notable lines to say, whether it be the meditations on the significance of Starbucks or The Godfather, the discussion of well-timed zingers, or the hilarious guesses on who the mysterious pen pal could be.

On top of all that, the film touches on some serious points, like the unstoppable advance of big-name commercialism over small-scale intimacy. Even though Kathleen and her boyfriend deride Fox as “the destroyer of city books,” when she actually visits the superstore, there’s little to dislike about all the “cheap books and legal addictive stimulants” that attract so many. The main fault is a lack of passion and knowledge in the employees (specifically Chris Messina in an early role), the personal customer connection lost amid the endless aisles. I’ll admit I enjoy visiting Barnes & Noble and Books-a-Million (and Borders before they closed), but there’s something special about the well-worn shelves and comforting appeal of the “Shops around the Corner” that are still surviving, as well as a sense of loss when they fold. (See 84 Charing Cross Road for similar themes.)

Full of enduring quotes and droll character moments, You’ve Got Mail is among my favorite romantic comedies, an underseen gem and some of Ephron’s best work.

Best lines: (Kathleen, online) “So much of what I see reminds me of something I read in a book, when shouldn’t it be the other way around?”
 
(Joe, discussing his handle NY152 with Kathleen) “N-Y-one-five-two. One hundred and fifty-two. He’s a hundred and fifty-two years old. He’s had one hundred and fifty-two moles removed, so now he’s got one hundred fifty-two pock marks on his… on his face.”   (Kathleen) “The number of people who think he looks like Clark Gable.”   (Joe) “One hundred and fifty-two people who think he looks like a Clark Bar.”
 
(Joe) “I like Patricia. I love Patricia. Patricia makes coffee nervous.”
 
 
Rank: 60 out of 60
 

© 2015 S. G. Liput

282 Followers and Counting

#20: The Incredibles (2004)

17 Saturday Jan 2015

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In a comic book world full of heroes and powers,
Which nonetheless isn’t too different from ours,
Strong Mr. Incredible uses his skills
To stop evil, you know, just everyday thrills.
The day that he marries Elastigirl, though,
Is one he’ll regret, for in fighting a foe,
He makes one, and supers are forced to lie low.
 
Years later, he’s stuck in a job that he hates,
With kids and a wife who’s content with their fates.
In trying to relive his old glory days,
He captures a secretive agency’s gaze.
Things start looking up when he stops a robot,
Until he’s betrayed by his sponsor and caught.
A fan has become the new villain Syndrome,
Who plans to wreak havoc and falsehoods back home.
 
When Helen goes searching for him high and low,
With speed demon Dash and shy Violet in tow,
They’re threatened as well, but when family fights,
They do so together…and in matching tights.
They race to the city to stop Syndrome’s plot
And take out his deadlier rampaging bot.
When Syndrome is vanquished and peace is renewed,
These heroes defend when new villains intrude.
_____________________
 

While The Avengers is a better movie strictly in the superhero genre, The Incredibles offers even more: a believable family dynamic, an insightful comparison of talent versus fitting in, and yet another example of Pixar’s groundbreaking animation. Released during Pixar’s golden years, The Incredibles didn’t quite please me upon my first viewing for some reason; perhaps it was because I had already seen two other films in the theater that day. Future watchings have only improved my opinion of this exciting family favorite.

The world full of supers depicted at the beginning is practically a comic book come to life, full of routine heroics, gleeful admirers, fancy tech, and “playful banter”; from what we’ve seen, it’s not surprising that Mr. Incredible thinks they’re untouchable. Yet the story takes an unforeseen realistic turn, with lawsuits and accusations and an eventual suburban nightmare in which Bob Parr, like Jack Campbell in The Family Man, finds no satisfaction. (The only major plot hole I can see is that of supervillains, which I assume existed in the world at the beginning. It seems to me that the main reason for the existence of superheroes is to combat supervillainy, which wouldn’t obey some government sanction anyway. With all the heroes off-duty, who’s to stop the likes of Bomb Voyage or worse?)

Craig T. Nelson is ideal for Mr. Incredible, able to vocalize both oppressive boredom and heroic spirit, while Holly Hunter brings feminine resilience to his wife Helen/Elastigirl. Their son Dash (Spencer Fox) fits perfectly into the mischievous son archetype, while Sarah Vowell as daughter Violet is a bit annoying until she gets into costume. Indeed, all of the Incredibles look better with their black masks; perhaps it was intentional in the character design, but they all seem lacking without their matching red super suits. Other great voice performances come from a pre-Nick Fury Samuel L. Jackson as Bob’s pal Lucius/Frozone and director Brad Bird himself as snooty fashion designer Edna Mode.

As with so many of Pixar’s Oscar-winning features, The Incredibles combines a number of outstanding elements to perfection. Michael Giacchino’s suave yet bombastic score blends with the stylish gadgetry to create a distinctly James Bond feel, while the familiar superpowers (borrowed from the properties like Mr. Fantastic, the Flash, and the Invisible Woman) are used to ingenious effect, particularly Elastigirl’s elongated scuffle with guards and Dash’s thrilling jungle chase with those awesome bladed hovercraft. Not to mention the costume lesson that caused us to never look at capes the same way.

One of the few great superhero films to not possess a comic source material, The Incredibles won Academy Awards for both Best Animated Feature and Best Sound Editing. Mature enough to take seriously matters of marital infidelity and superhero genocide, yet lightweight and comedic enough for repeated family viewing, The Incredibles continues to be one of Pixar’s best. While most of Pixar’s films don’t need sequels (though that hasn’t stopped them), The Incredibles is one that could certainly deserve one, which is in the works, last I heard. I only hope it can compare to the original.

Best line: (Lucius) “Honey?”
(Honey) “What?”
(Lucius) “Where’s my super suit?”
(Honey) “What?”
(Lucius) “Where – is – my – super – suit?”
(Honey) “I, uh, put it away.”
(Lucius, after an explosion) “Where?”
(Honey) Why do you need to know?”
(Lucius) “I need it!”
(Honey) “Uh-uh! Don’t you think about running off doing no derring-do. We’ve been planning this dinner for two months!”
(Lucius) “The public is in danger!”
(Honey) “My evening’s in danger!”
(Lucius) “You tell me where my suit is, woman! We are talking about the greater good!”
(Honey) “’Greater good?’ I am your wife! I’m the greatest good you are ever gonna get!”
 
 
Rank: 59 out of 60
 

© 2015 S. G. Liput

281 Followers and Counting

#22: Heart and Souls (1993)

14 Wednesday Jan 2015

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A waitress, a singer, a thief, and a mother
Get onto a bus but don’t know one another.
That changes tonight when a bus accident
Deprives them of life, leaving no one content.
 
Remaining as ghosts, they are tied to a boy,
Newborn Thomas Reilly, their pride and their joy.
Yet as he grows up, his invisible friends
Perceive that their presence is starting bad trends.
 
They vanish from view, and through maddening years,
They wait in his shadow, where none interferes…
Until a bus driver arrives for the souls,
Explaining they should have all settled their goals.
 
Their unfinished business now has urgency,
And Thomas has no choice but help with their plea.
Meanwhile, relationship troubles persist,
Especially with all the ghosts in their midst.
 
A wrong now made right and a brave second chance,
A sudden reunion and broken romance
Fulfill everyone as the souls each depart
And Thomas decides to be true to his heart.
__________________
 

Have you ever gotten on a bus with a bunch of total strangers? Have you ever wondered what it would be like to spend eternity getting to know them, whether you liked it or not? I first saw Heart and Souls as a kid, enjoyed it tremendously, and then promptly forgot about it for some years. When I rewatched it more recently, I was surprised to find it just as funny and touching as I remembered it.

This was my first introduction to several famous actors, particularly Robert Downey, Jr. as Thomas Reilly. Though his career quickly went downhill in the subsequent years (before his triumphant comeback), Heart and Souls came right after his Oscar-nominated role in Chaplin and utilizes some of the slapstick talent he displayed in that film. His acting chops are obvious, as his character is forced to do impressions of his invisible companions when they take over his body, with hilarious results. All the other actors are in top form, including Elizabeth Shue as Thomas’s girlfriend Anne, Charles Grodin as timid would-be opera singer Harrison, Kyra Sedgwick as vacillating lover Julia, Alfre Woodard as devoted mother Penny, and Tom Sizemore as lecherous burglar Milo. Their interaction with each other is just one of the film’s strengths, since spending decades within ten feet of the same people would understandably wear on the nerves while also building unexpected friendships. Their relationship with Thomas is sweet throughout, whether entertaining him with “Walk Like a Man” as a child (played by Eric Lloyd, or Charlie from The Santa Clause) or berating his jerkish tendencies as an adult.

Though the transcendent impetus for their unfinished business may imply reincarnation or guardian angel fallacies, the film is not concerned with religion but rather with the ghosts’ unfinished lives. Each of them has something that would fulfill them, whether it’s realizing a dream or learning of those they left behind, and as each ambition is achieved, there’s a satisfying sense of accomplishment worthy of a triumphant cheer or a wiped-away tear. Heart and Souls is a film I will always be fond of, for it touches both heart and funny bone in all the best ways.

Best line: (Thomas, when Harrison assumes he will remain a failure) “No offense, Harrison, but you died a failure because you never tried.”

 
Rank: 59 out of 60
 

© 2015 S. G. Liput

281 Followers and Counting

#30: The Family Man (2000)

04 Sunday Jan 2015

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Remember, Kate, when we were at the airport years ago?
How stupidly I left you for what job and wealth could bring?
I grew to be a true success, a businessman, a pro,
And never would have thought that I was missing anything.
 
But then a glimpse was given me, and much to my chagrin,
I found my happy, wealthy life replaced with kids and you.
I saw ourselves together, as what would or might have been,
But hated the suburban life I barely never knew.
 
Yet as I started seeing past the lack of cash and clout,
I saw the truer joys that I had not perceived before.
I wasn’t getting anywhere with how I’d whine and pout,
So I embraced this other life, despite my being poor.
 
Although I tried improving it, the truth I didn’t see
Is we indeed were happy in our own suburban way.
That’s when the precious, fleeting glimpse was taken back from me,
And left me now regretful of that dim departing day.
 
Please reconsider life and love and all that we could be;
Don’t make the same mistake I did; but hear, believe, and stay.
____________________
 

Sorry for the week-long hiatus. A family hospitalization called me away, but I’m back to finish the list!

My family received The Family Man on DVD as an unwanted gift, and it was some time before we finally got around to seeing it. I’m glad we did. Whereas It’s a Wonderful Life presented a terrible alternate reality to encourage George Bailey, The Family Man hinges on another “what if” situation that causes Jack Campbell to realize the importance of marriage and family.

Nicolas Cage is at his best playing Jack as both confident businessman and sullen dad/husband, and most of the humor comes from his reactions to the sudden change forced upon him. Likewise, Tea Leoni is perfect as his could-be wife Kate; her performance spans the expansive range of spousal emotions, from insistent anger to glum disappointment, all surpassed by a familial give-and-take warmth. Don Cheadle also has a low-key role as “Cash Money,” the unexplained angel(?)/representative that gives Jack the glimpse. Also, (Lost alert) the Chinese guy in the convenience store early on is Ken Leung, known to Lost fans as ghost hunter Miles Straume.

It’s amazing that a film that depicts all the headaches of married suburban life turns out to be a tribute and endorsement of such, insisting that truer happiness can be found in a kid-harassed New Jersey home rather than an expensive but lonely apartment suite. Some critics didn’t consider the film an affirmation of middle-class suburban joy, pointing to Jack’s constant dissatisfaction with his situation, even near the end. Yes, his former/real life had its delights, which he understandably misses, yet it is just as he recognizes the preferred pleasure of this “glimpse” that it is taken from him.

That’s another sticking point for some viewers: Whereas George Bailey was shown his alternate reality to cheer him about his own accomplishments and worth, “Cash Money” plucks Jack from his ignorant bliss with a glimpse he neither wanted nor seemingly needed, only to return him to a comparatively dismal life made empty by his supernatural intervention. To be honest, I see how that view could turn people off, yet Cash Money’s motivations seem benevolent (a cross in the background implies he might be angelic), and his presence is ultimately just a plot device to initiate Jack’s change. Even if Jack thought he was happy, the reemergence of Kate reopened the door he closed thirteen years prior and made a better life possible if only he would jump on the opportunity; the glimpse was the catalyst. Such is how I see the film, and such is how I believe it was intended to be interpreted.

(Clear spoilers in this paragraph) I would have only changed one thing, the very end. While Jack’s final plea is wonderful, not unlike Billy Crystal’s in When Harry Met Sally…, the open-ended conclusion bears wistful potential rather than complete satisfaction. There was a 2010 remake with Kevin Sorbo and John Ratzenberger entitled What If…, which strengthened the Christian resonances in the story but was clearly borrowed material. The one improved point was the final scene, in which a home video the main character had seen earlier was recreated, indicating that the life and children he glimpsed did indeed become reality. Such a scene may have been overly clear for a sometimes ambiguous film like The Family Man, but it would have been more satisfying.

Excellent modern Christmas fare, The Family Man is also the best film from director Brett Ratner (whom I have never forgiven for ruining X-Men: The Last Stand, which coincidentally also featured Ken Leung). The Family Man is a celebration of the fulfillment found in family, and a bittersweet reminder of what could be lost down the path not taken.

Best line: (Jack, at the end) “I don’t know, maybe it was just all a dream. Maybe I went to bed one lonely night in December, and I imagined it all. But I swear, nothing has ever felt more real. And if you get on that plane right now, it’ll disappear forever. I know we could both go on with our lives and we’d both be fine, but I’ve seen what we could be like together. And I choose us.”

 
Rank: 58 out of 60
 

© 2015 S. G. Liput

275 Followers and Counting

#31: The Mummy (1999) and The Mummy Returns (2001)

26 Friday Dec 2014

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Many centuries ago, upon the hot Egyptian sands,
Imhotep betrayed his pharaoh, who was murdered at his hands.
He and love Anck-su-Namun suffered death for what they did,
And the priest was mummified and cursed and vigilantly hid.
 
1926 or so is when a brave librarian,
Evelyn, with Jonathan, her brother, come to carry in
A map of sorts to Rick O’Connell, who discovered it and knows
Where the fabled treasure city Hamunaptra once arose.
 
Leading them, the dashing rogue encounters Beni, once a friend,
Who is leading treasure seekers to the city and their end.
Medjai warriors attempt to stop the bold adventurers,
Who discover Imhotep and resurrect this worst of curs.
 
As the mummy desiccates the bodies of a chosen few,
He then kidnaps Evelyn, his former lover to renew.
Rick and Jonathan, as well as Medjai leader Ardeth Bay,
Follow back to Hamunaptra, where a book can save the day.
 
Evelyn is very nearly sacrificed by Imhotep,
Till Rick fights while Jonathan is reading symbols step by step.
When the mummy is defeated and the just desserts are served,
Evelyn and Rick O’Connell leave in triumph well-deserved.
________________
 
Evelyn and Rick O’Connell, married now and with a son,
Take along the spunky Alex to dark crypts for family fun.
They unearth a golden bracelet, and when Alex tries it on,
He sees visions meant to guide him ere a coming lethal dawn.
 
He must head for an oasis, where the Scorpion King now lies,
Who will waken for destruction if not handed his demise.
Imhotep is resurrected by a cult with dark intentions,
Which includes his reincarnate lover and her interventions.
 
When the cult starts kidnapping, it’s clear that Imhotep intends
To defeat the Scorpion King and take his army for his ends.
Alex is abducted soon and guides them all to the oasis,
The O’Connells following upon a blimp to distant places.
 
Pygmies cause them further trouble as the deadly dawn arrives,
And as Imhotep approaches, not quite everyone survives.
When the Scorpion King awakens, he is mighty (like a Rock),
And his wicked jackal army causes Ardeth Bay a shock.
 
Rick and Imhotep face off against the evil hybrid king,
And at last when he is vanquished, everything starts crumbling.
Danger proves the truer romance, and as the O’Connells flee,
Wealth and global preservation lend them happy victory.
___________________
 

Critical reception for The Mummy and its sequel may not have been universally positive, but I consider both films quintessential actioners, with dashing characters and awesome set pieces recalling the excitement of Indiana Jones. I’m not much for horror comedies, mainly because the horror often manifests as gore, but the genre can be quite entertaining when the focus is on the comedy (Ghostbusters) or on the action, as in The Mummy.

My VC and I have always loved Brendan Fraser; he has the perfect adventure hero charisma for these movies, including that making-things-up-as-he-goes element that made Harrison Ford so likable. Pair him with Rachel Weisz as Evelyn, looking as beautiful as any actress ever has, and a modern classic romance is born. John Hannah is excellent comic relief as Evie’s con man brother Jonathan, and even if he’s CGI much of the time, Arnold Vosloo is effectively frightening as the reanimated mummy Imhotep. Ardeth Bay (which was the name taken by Imhotep in the original 1932 The Mummy) is played by Oded Fehr, whom my VC has always found dark, handsome, and hunky, even with the face tattoos.

As for the second film, despite changing directors, all the same actors returned, supplemented by Freddie Boath as Alex, who is not the most annoying of child actors and serves as a plucky addition to the O’Connell family. Oh, yeah, the Rock (a.k.a. Dwayne Johnson) had his big film debut as the Scorpion King, but considering he never speaks anything in English and is basically just a CGI tough guy most of the time, there’s not much I can say for his “performance.” Also, (Lost alert) Adewale Akinnuoye-Agbaje, who played Mr. Eko on my favorite show, plays a much less sympathetic killer as the villain Lock-Nah.

I was not impressed by Boris Karloff’s original The Mummy, hailed as a classic horror film yet exceptionally boring, at least to me. Retooling the basic plot points into a shoot-‘em-up pulp adventure was an inspired idea, complete with booby traps, ancient curses, killer beetles, and some then-advanced CGI. The first film is more foreboding in its build-up to the mummy’s resurrection, while the second veers into occasionally cartoonish territory, like racing sunrises and Alex’s childish high jinks. Even so, I think I like the second a little better, thanks to some outstanding action scenes, especially an awesome chase scene with a double-decker bus and the pyramid finale. I also liked how, aside from a few gruesome scenes, objectionable content was kept to a minimum, making both films the kind of Saturday night fare a family can enjoy, provided the kids’ eyes are covered every now and then. There’s some talk of reincarnation, and I don’t know how or why a mummy can recreate the plagues of Egypt, which came from God, but none of the spiritual mumbo jumbo is to be taken seriously anyway.

Neither film is Oscar material, but both are so spectacularly entertaining that Imhotep’s stereotypical romance and some unrealistic moments are easily forgiven. Such is not always the case: The third film The Mummy: Tomb of the Dragon Emperor, thanks mainly to the loss of chemistry from the recasting of Rachel Weisz, just didn’t have the same magic, nor did director Stephen Sommers’ other monster movie rehash Van Helsing. With these films, it’s the full package that makes them something special: the thrilling score by Jerry Goldsmith (The Mummy) and Alan Silvestri (The Mummy Returns), funny and dynamic performances from most of the cast, and the perfect blend of humor, horror, and action.

Best line from The Mummy: (Evelyn) “You were actually at Hamunaptra?”
(Rick) “Yeah, I was there.”
(Evelyn) “You swear?”
(Rick) “Every damn day.”
 
Best line from The Mummy Returns: (Ardeth Bay, concerning Alex’s putting on the Bracelet of Anubis) “By putting this on, you have started a chain reaction that could bring about the next apocalypse.”
[Alex gasps]
(Rick, to Ardeth) “You, lighten up.” (to Alex) “You, big trouble.” (to Jonathan) “You, get in the car.”
 
 
Rank: 58 out of 60
 

© 2014 S. G. Liput

275 Followers and Counting

#32: Driving Miss Daisy (1989)

25 Thursday Dec 2014

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When Miss Daisy’s car comes alive
And threatens her day to deprive,
Her son Boolie hires
The man she requires,
A black man named Hoke, who will drive.
 
Miss Daisy is opinionated
And wants things exactly as stated,
A faithful old Jew
Who resists what is new
And often leaves poor Hoke berated.
 
At last, she concedes to his aid,
For which Boolie sees he is paid.
As years pass away,
Hoke escorts her each day,
Ensuring that she is conveyed. 
 
Despite her pretentious reproach,
She bonds with the guide of her coach,
Who drives her about
And attempts to help out,
When old age and hatred encroach.
 
Her years leave Miss Daisy ablur,
And though Hoke no longer drives her,
He stays to attend
As her dearest best friend:
The old woman and her chauffeur.
_______________
 

Despite having several potentially Christmas-y films nearby on the list, none actually fell on December 25. Oh, well. Regardless, Driving Miss Daisy is a Triple A film (All About the Acting, though the AAA abbreviation is funny considering all the driving) if ever there was one, relying entirely on the amazing performances of Jessica Tandy and Morgan Freeman. Adapted from Alfred Uhry’s Off-Broadway play, the film retains Freeman from the original stage production and carries the same quiet, character-driven style and geriatric spotlight of another Triple A play adaptation On Golden Pond.

Jessica Tandy was 81 when she became the oldest Oscar winner, thanks to her portrayal of the uppity Miss Daisy, the kind of inflexible old woman who blames accidents on the car, freaks out over a missing can of salmon because it’s hers, and enjoys a nice home with a lifelong servant while taking offense at being called rich. She’s the kind of person who would, quite frankly, drive me nuts, but Morgan Freeman is the ideal companion for her, friendly, unassuming, and patient as Job. Though he lost Best Actor to Daniel Day-Lewis for My Left Foot, I do wish he had won. His folksy longsuffering becomes more and more sweet, as it progresses from just another job to a lifetime commitment on which Miss Daisy clearly relies, even if she would hate to admit it. By the end, the audience feels like they know these two dissimilar people far better than one might expect from a plot synopsis, and the film ends on a bittersweet but not morbid note, as if the writer was also too fond of the characters to let either go.

Dan Aykroyd found his best dramatic role and only Oscar nomination as Miss Daisy’s son Boolie, and Hans Zimmer’s score deserved a nomination it didn’t receive. If I had to criticize, I do wish that the progression of time had been made clearer, perhaps with subtitles explaining what year it is rather than small details, like a radio in the background, which are easy to miss. While Oliver! was the last G-rated Best Picture, Driving Miss Daisy was the last to be rated PG (though The Artist could have been rated such). While some have said it didn’t deserve to win Best Picture, I consider its simple, nuanced approach to characterization and unlikely lifelong friendships to be more than worthy.

Best line: (Idella, Miss Daisy’s maid) “I’m goin’, Miss Daisy.”
(Miss Daisy, from upstairs) “All right, Idella. See you tomorrow.”
(Hoke) “I’m goin’ too, Miss Daisy.”
(Miss Daisy) “Good!”
 
VC’s best line: (Idella, who gets some great lines, to Hoke) “I wouldn’t be in your shoes if the Sweet Lord Jesus come down and asked me himself.”
 
 
Rank: 58 out of 60
 

© 2014 S. G. Liput

275 Followers and Counting

P.S. Merry Christmas to all you readers out there! And for those who enjoy sketch comedy and poetry adaptations, here’s something I came across on YouTube. Have a laugh!

#40: Babe (1995)

15 Monday Dec 2014

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(Can be sung to “If I Had Words”)
 
A pig is chosen as a contest prize
And won by a farmer to his surprise.
On Hoggett’s farm, Babe’s taught so far
To stick to her place and the way things are.
 
Adopted by the boss’s sheepdog Fly,
Babe helps out a duck who dares not comply.
Befriending sheep with her heart of gold,
Babe learns how the dogs keep the sheep controlled.
 
When Hoggett gives the friendly runt a chance
To aid with the sheep, Babe bids them advance.
She finds asking is always preferred,
And Hoggett is floored by his ordered herd.
 
He enters Babe in a dog competition
To lead sheep with her cordial disposition.
Though Babe is shocked at what pigs are for,
She chooses to serve the boss, as before.
 
As Hoggett leads his entry on the field,
The crowds laugh and jeer at what he’s revealed,
But when his pig leads each willing ewe,
Babe’s satisfied that what she did will do.
_________________
 

Exuding simple charm, Babe is one of the few modern family films to earn and be worthy of an Oscar nomination for Best Picture (E.T., Beauty and the Beast, The Blind Side, Up, and Toy Story 3 are the only others I can think of). As straightforward and appealing a fable as any Hollywood has produced, the film has a unique ability to appeal to children and adults on the same level, rather than including kiddie stuff solely for the kids and mature jokes only their parents would get.

Babe is pleasingly whimsical with its sneezing ducks and bucolic Hobbiton-like location, but also surprisingly blunt in how it depicts the true “purpose” of pigs and the reality of death. Babe may not understand the meaning of a meat truck or a shotgun, but the audience does, even impressionable young viewers. In creating lovable characters out of edible farm animals, the film succeeded in guilting many into a vegetarian lifestyle, including star James Cromwell, and though I myself still enjoy a good steak, it’s a decision I can certainly understand and respect, having seen this film.

Even with the truth of “the way things are,” the film is replete with unabashedly sweet moments: Fly’s comforting of Babe when she misses her mother, Babe’s comforting of Fly when she misses her pups, Hoggett’s musical comforting of Babe when she falls ill. Roscoe Lee Browne’s sapient narration highlights the film’s storybook quality, along with the intermittent chapter headings provided by a trio of mice who are high on Alvin and the Chipmunks.

James Cromwell earned a Best Actor nomination for his understated portrayal of laconic Farmer Hoggett, and it’s amazing that he can play the father of robotics or warp travel with the same skill as an outdated farmer who can barely operate a fax machine. Magda Szubanski milks some laughs as his overbearing wife, while the rest of the cast is mostly the talking animals. In addition to Christine Cavanaugh (the original Dexter from Dexter’s Laboratory) as naïve and innocent Babe, the standout voice actors are Miriam Margolyes as Fly and Hugo Weaving as Rex, the two dogs who assist Babe in her rise to stardom.

Though Babe failed to win most of its nominations (‘twas the year of Braveheart and Sense and Sensibility), it beat out Apollo 13 for the Best Visual Effects Oscar. Unlike the usual spectacle that earns that award nowadays, it won for the seemingly simple feat of granting the animals speech, at times using puppets, other times replacing their lower jaws and partial faces with CGI to create mouth movement. The result is subtle but impressive, and the animals are significantly more realistic than the more recent all-CGI attempts, like Marmaduke or Scooby Doo. In addition, the film’s orchestral score is lovely, dominated by a piece of Saint-Saëns’ Symphony No. 3 in C Minor. Scott Fitzgerald recorded the tune as the 1977 pop song “If I Had Words,” which is also prominent in the film; in fact, the mice’s rendition at the end deserves a place in my End Credits Song Hall of Fame.

Babe is the most notable proof that a G-rated family film can still be Oscar-worthy without the objectionable material so many awards contenders feel is necessary. While it and another famous pig story Charlotte’s Web probably turned off half a generation from pork, Babe is a shining example of a family film done right.

Best line: (the narrator, as Fly is trying to figure out if Babe was guilty of a crime) “Fly decided to speak very slowly, for it was a cold fact of nature that sheep were stupid, and there was nothing that could convince her otherwise.”  (Fly) “Please, someone tell me… what happened this morning.”  (the narrator again) “The sheep decided to speak very slowly, for it was a cold fact of nature that wolves were ignorant, and there was nothing that could convince them otherwise.”

VC’s best line:  (Farmer Hoggett) “That’ll do, pig. That’ll do.”

  
Rank: 58 out of 60
 

© 2014 S. G. Liput

268 Followers and Counting

#41: The Blues Brothers (1980)

15 Monday Dec 2014

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Fresh out of jail but in need of reform,
“Joliet” Jake, for whom odd is the norm,
Pairs up with his brother, one Elwood by name.
The orphanage where they grew up to such shame
Is led by a nun, who can’t pay a tax claim.
 
A visit to church has them both see the light:
They’ll rebuild the band to gain funds in the right.
From hotel bar has-beens who croon empty chairs
To one harried husband whose woman declares
He ought not to leave her, all members are theirs.
 
Their first gig does not go exactly as planned,
But soon they book just the right hall for their band.
The trouble is, as they’ve been driving around,
They’ve gained enemies who harass, hate, and hound,
Like Nazis and cowboys and cops, who surround.
 
They earn enough money so Elwood and Jake
Take off with a chaotic mess in their wake.
They flee through Chicago with foes on their tail,
And, due to their mission from God, they prevail.
Although luck runs out, the two still rock the jail.
_______________________
 

Based on the Saturday Night Live skit with a screenplay by Dan Aykroyd and director John Landis, The Blues Brothers is a one-of-a-kind comedy that never gets old. John Belushi and Dan Aykroyd are at the top of their games as the titular siblings, boasting an iconic suited presence and an unflappable demeanor, like the Men in Black without Agent J’s reactions. The two are absolutely hilarious as they endure being chased, shot at, and blown up with cool nonchalance, as if it’s all just another day in the life of a blues musician on the run.

Despite its simple storyline, the film contains many marvelous elements that work together to create a unique musical comedy. There’s the music, with plenty of blues, yes, but also tastes of gospel, soul, scat, rock, and even country/western (I still don’t understand the difference). There’s the comedy, with Belushi and Aykroyd shifting from laconic assurance to con-man determination and seeming to enjoy the ride just as much as we the audience. The film starts at a slow, measured pace, such as showing the inner mechanisms of a rising bridge rather than just the bridge, but builds in action and absurdity as villains, jokes, and vehicles begin to pile up with abandon. There are the car chases, long stretches of zealous mayhem that impart the same strange destructive satisfaction of a demolition derby. There are the cameos, with big musical names like James Brown, Aretha Franklin, John Lee Hooker, Ray Charles, and Cab Calloway, who don’t simply appear but contribute energetic performances and mostly serve a purpose in the plot as well. Other scene-stealing stars include Carrie Fisher as a scorned hit woman with an affinity for weaponry, John Candy as a police chief, and Henry Gibson as an Illinois Nazi with an over-the-top final scene, as well as other appearances by Twiggy, Chaka Khan, Frank Oz, and even Steven Spielberg. By the way, that kid that tries to steal the guitar in Ray Charles’ shop went on to play Argyle, the limousine driver in Die Hard.

All these elements that could potentially work on their own are only enhanced by their fun overlapping. My favorite parts would have to be Aretha Franklin’s “Think” and the excessive, car-ravaging climax, which is the definition of overkill. The film’s classic plotline has gone on to inspire many imitators, including The Muppets in 2011 and the best episode of Phineas and Ferb entitled “Dude, We’re Getting the Band Back Together.” It’s a shame that John Belushi met his end only two years after this, his most iconic role. Minus the frequent language, it remains his best film, a cult classic, and one of the funniest comedies of the ‘80s.

Best line: (Elwood Blues) “We’re on a mission from God.”

VC’s best line: (Jake, with fake accent, causing trouble in a fancy restaurant) “How much for the little girl? How much for the women?”  (father at next table) “What?”  (Jake) “Your women. I want to buy your women. The little girl, your daughters… sell them to me. Sell me your children!”

 
Rank: 58 out of 60
 

© 2014 S. G. Liput

268 Followers and Counting

#45: Ratatouille (2007)

10 Wednesday Dec 2014

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Remy’s a rat with a keen sense of smell,
Who loves not just eating but cooking as well.
His wish to create, though, attracts a backlash
From Django, his dad, who just wants to steal trash.
 
Their colony’s forced to abruptly take leave,
And Remy is lost in the sewers to grieve.
The voice of his hero, the late chef Gusteau,
Encourages Remy to rise from below.
 
He climbs to find Paris, the City of Lights,
And finds Gusteau’s restaurant, which thrills and excites.
When Remy tries fixing a soup in the kitchen,
He’s captured and threatened for trying to pitch in.
 
However, he’s freed by the awkward Linguini,
A garbage boy who couldn’t boil fettuccine.
He teams with the rat, who can pull on his hair
And cook from beneath the tall hat that chefs wear.
 
Though Skinner, the head chef, is sure there’s a rat
When some garbage boy begins cooking like that,
He can’t stop Linguini from gaining acclaim
And lifting Gusteau’s from its relative shame.
 
Linguini must face expectations concerned
And deal with celebrity he hasn’t earned,
While Remy must choose between kitchen and kin
And unearths a secret, to Skinner’s chagrin.
 
At last, when a critic named Ego arrives
To taste if Gusteau’s reputation survives,
The dish ratatouille reminds of his youth,
An odd revelation of taste and the truth.
 
Though Ego’s review is a tip of the hat,
Some people just can’t handle food from a rat,
But those who will open their mouths and their minds
Are thrilled by the flavors their tolerance finds.
_________________
 

Yet another Pixar masterpiece, Ratatouille is a film that could have so easily been a ridiculous failure with its absurd concept and rambling narrative, yet Brad Bird did it again, lending outstanding character development to Pixar’s ever-phenomenal animation.

Patton Oswalt will forever be Remy to me. (I know his real voice sounds exactly the same, having seen him on “Marvel’s Agents of S.H.I.E.L.D.”) As foolhardy as Remy’s dream seems, his vehement arguments with his dad and genuine talent for the culinary arts manifest a passion worth pursuing. Lou Romano is lovably incompetent as Alfredo Linguini (not the other way around), whom Remy uses as a living marionette. True, this is unrealistic, even for a film about talking rat chefs, but it leads to some of the funniest moments, as Remy perfects his follicular puppetry. The rest of the voice actors contribute exuberant performances, obviously enjoying their French accents, including Ian Holm as Chef Skinner, Janeane Garofalo as Colette, and Brad Garrett as Remy’s hero and imagined conscience Chef Gusteau. Plus, Peter O’Toole’s scathing articulations make Anton Ego a truly forbidding presence, albeit with an unforeseen soft side.

The animation is exceptional, one of Pixar’s most detailed depictions of the real world from the perspective of rat and human alike. My VC enjoys pointing out Remy’s adorable feet and sniffing nose, which make him considerably cuter than any rat I’ve seen. Textures and lighting are meticulously rendered, from the rushing water of the sewers to the distant, warm lights of the Eiffel Tower to the food itself, which is as delectable to the eye as to the characters’ taste buds. The atmosphere of Paris is further brought to life by the romantic score from Michael Giacchino. (Lost alert; in addition to scoring Pixar films like this, The Incredibles, and Up, Giacchino has also worked with J.J. Abrams on the Star Trek reboots and Lost.)

In addition to being laugh-out-loud with lethal thumbs and an abundance of slapstick humor, Ratatouille tackles some heavy material as well, including the morality of benign thievery, the expectations of parent and child, and the purpose and responsibility of criticism. Ego’s review, in particular, flew over my head upon my first viewing, but its profound message is a credit to the entire creative and analytical industry. Ratatouille also dares into less kiddy subject matter, such as legal scams, drunken interrogations, a character’s illegitimate child, and the realistic ramifications of a rat in the kitchen (which the film then ignores for the final gratifying scene).

Attempting much more than most animated films and succeeding in every area, Ratatouille is a film that can entertain both children and their parents on different levels. Heart-warming, funny, and appetizing, it was yet another feather in Pixar’s cap.

Best line: (Gusteau) “You must be imaginative, strong-hearted. You must try things that may not work, and you must not let anyone define your limits because of where you come from. Your only limit is your soul. What I say is true—anyone can cook… but only the fearless can be great.”

 
Rank: 58 out of 60
 

© 2014 S. G. Liput

267 Followers and Counting

#49: The Lion King (1994)

06 Saturday Dec 2014

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(Best sung to “Be Prepared”)
 
The pridelands rejoiced at the showing
Of Simba, the new lion prince.
His father Mufasa was glowing,
But Scar has been sour ever since.
While Simba is learning and dreaming
Of when he’ll be king fully grown,
Mufasa’s own brother is scheming
To murder his way to the throne.
 
He employs his hyena companions
To dispose of the cub and his dad,
A sudden stampeding
Of wildebeest speeding
Puts Simba in peril,
And Scar, ever feral,
Dispatches Mufasa,
And yet for this loss, a
Despicable Scar tells the lad,
That Simba is sadly to blame.
What a shame!
 
The cub runs away in dejection
And would have soon died, but for friends.
Hakuna Matata’s protection
Lets Simba ignore what offends.
His past, nonetheless, comes a-knocking
To urge him return for what’s his,
But not until storm clouds start talking
Does Simba accept who he is.
 
He returns to the land Scar has ruined;
He returns final justice to bring.
The truth is then spoken;
Scar’s cover is broken.
In Pride Rock’s arena,
Scar and each hyena
Are fought and defeated,
And Simba is treated
At last as the genuine king.
The Circle of Life, tried and true,
Starts anew.
_____________
 

Often considered the zenith of the Disney Renaissance, The Lion King is indeed one of Disney’s greatest features, a step away from the princess mold in favor of Shakespearean drama, though still with the perfect blending of humor and show tunes. Officially the third highest-grossing animated film (after Frozen and Toy Story 3), it was a joy to watch as a child and is still just as delightful.

The beginning could be compared to that of Up, a moving collection of beautifully crafted scenes that mark the high point of the entire film, though sparking a sense of grandeur and goose bumps rather than tears. The rest of the film doesn’t quite reach the same level as the first glorious song, though it tries and comes very close, particularly during the wildebeest stampede through the canyon. That scene, accompanied by Hans Zimmer’s ever-ideal score, carries the tension and terror of a childhood trauma, further deepened by Mufasa’s death. Usually, it’s the mother that gets it in Disney films, but their foray into explicit fratricide is even more heartrending than most parental losses. After all, Bambi never found his mother’s lifeless body.

Despite the occasionally weighty material, the filmmakers peppered the film with plenty of jokes and memorable characters that captivated kids and parents alike. Boasting some of the best casting of any Disney film, The Lion King featured some big names that truly owned their characters: James Earl Jones as deep-throated Mufasa, Jonathan Taylor Thomas as young Simba, Nathan Lane as nasally meerkat Timon, Ernie Sabella as swinish Pumbaa, Robert Guillaume as sagacious mandrill Rafiki, Rowan Atkinson as nagging hornbill Zazu, and Cheech Marin and Whoopi Goldberg as two hilarious hyenas. Though Matthew Broderick doesn’t exactly fit my idea of a lion’s voice, Oscar winner Jeremy Irons lends gravity and sneering treachery to Scar, one of Disney’s best villains.

However, the film’s greatest strength is its music, which was a gamble, since unlike previous Renaissance efforts, it lacked Alan Menken’s involvement. Yet Elton John and Tim Rice fashioned one of the most popular of Disney soundtracks, from the carefree jubilance of “I Just Can’t Wait to Be King” and “Hakuna Matata” to the building menace of “Be Prepared” to the sultry romance of “Can You Feel the Love Tonight?” Elton John’s cover of that last love ballad deserves a place in my End Credits Song Hall of Fame. (Trivia note: I didn’t realize until recently that Jeremy Irons only sang most of “Be Prepared”; after straining his voice on the line “You won’t get a sniff without me,” the song was finished by Jim Cummings, who provided the hysterical laughter of the hyena Ed. Now that I’m listening for it, I can hear Cummings’s voice, but it’s a credit to his voice talent that he could sound so similar to Irons.)

The film and its music were also adapted into the hugely successful Broadway play, and the film and play have supposedly made The Lion King the highest grossing title in stage-and-screen history. While I do like other Disney films better, The Lion King’s enthralling animation and music and prudent life lessons make it a Renaissance classic to be cherished for years to come.

Best line: (an emerging gopher, again played by Cummings, to Zazu) “Sir, news from the underground.” (That just cracks me up every time!)

 
Rank: 57 out of 60
 

© 2014 S. G. Liput

264 Followers and Counting