Tag Archives: Drama

Coal Miner’s Daughter (1980)

17 Wednesday Sep 2014

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(Can be sung to the title song)
 
Well, here’s the tale of Miss Loretta Lynn.
She grew up poor, and no one thought it sin.
Kentucky fit her fine,
Her daddy worked in the coal mine,
And life went on as it had always been.
 
But then one day, a man by the name of Doolittle
Caught her eye, and she caught his as well.
Their romance sure was fast,
Her parents were both aghast,
But soon the couple were wed, no ring to tell.
 
It was rough at first, but once they moved away,
They settled down and had kids without delay.
When Doo bought her a guitar,
Who would guess she’d be a star?
Soon she could play it well and sing all day.
 
When her husband urged her on to singing fame,
They both traveled ‘cross the land to earn acclaim.
Her first song climbed up the charts,
And she moved the minds and hearts
Of country fans that made her a household name.
 
Yeah, she soon was best of friends with Patsy Cline,
But Doo was growing jealous all the time.
While she was off on tour,
He raised their kids and more;
They stayed together ever since that coal mine.
 
Though the touring took its slow, exhausting toll,
She bounced right back and sang straight from her soul.
With Doo there by her side,
She sang out countrywide,
This star once born as a coal miner’s daughter.
________________
 

There’s no shortage of musical biopics; the lives of Ritchie Valens, Buddy Holly, Johnny Cash, Jerry Lee Lewis, and (most recently) Frankie Valli and James Brown have all gotten the Hollywood treatment. In many ways, Coal Miner’s Daughter follows the same formula as many of these, depicting Loretta Lynn’s early poverty, her rise from obscurity, and her marriage and drug issues that luckily did not destroy her like so many others. The script even features a number of lines that could apply to other biopics, such as “Getting’ here’s one thing. Bein’ here’s another” and “If you slow down, they forget about you.” Despite the danger of falling into the not-yet-established clichés, the film succeeds mainly due to the pitch-perfect acting and the endearing way of life shown with both bad and good alike.

After playing a telekinetic misfit in Carrie and a country friend of John-Boy’s on two episodes of The Waltons, Sissy Spacek found her most acclaimed, Oscar-winning role as Loretta Lynn and was specifically chosen for the film by Lynn herself. The fact that Spacek sang all of her songs (as did Beverly D’Angelo as Patsy Cline) raises the film above dubbed biopics and makes it more fascinating to watch. Other films like The Buddy Holly Story and Walk the Line have done the same, but Spacek has a heart and an unaffected earnestness that sets her apart. Tommy Lee Jones as Doo portrays both his faults and his unabashed confidence in his wife with likable pushiness, particularly when he irritably growls “like a big ol’ bar.” Though his attraction to a young teenager is potentially creepy, their relationship is sympathetic and affectionate enough to make them a realistic married couple. The other actors, including Levon Helm as Loretta’s father, are all well-cast, but the leading pair is the heart of the film.

There aren’t many biopics on my list, but Coal Miner’s Daughter is one of my favorites. With its classic country soundtrack and a realistic rise to fame (with only a minor fall), it’s an endearing and straightforward look at a down-to-earth legend.

Best line: (Doo, after complaining about Loretta’s uselessness) “What are you doin’ in this bottom, anyway?”
(Loretta) “I came to see the doctor.”
(Doo) “What for, you sick?”
(Loretta) “Yeah, I’m sick all right; I’m goin’ to have a baby.”
(Doo, laughing) “You know, Loretta, we may have found something you know how to do!”

 

Artistry: 9
Characters/Actors: 10
Entertainment: 9
Visual Effects: N/A
Originality: 8
Watchability: 9
Other (country soundtrack and Spacek’s actual singing): +6
Other (language): -1
 
TOTAL: 50 out of 60
 

Next: #118 – E.T.: The Extra-Terrestrial

© 2014 S. G. Liput

209 Followers and Counting

 

#120: Jesus Christ Superstar (1973)

16 Tuesday Sep 2014

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(Can be sung to the tune used in “The Temple” and “The Arrest”)
 
Hippies drive to a desert land,
A raucous, happy, and long-haired band,
To recreate Jesus Christ’s last days,
The most musical of all passion plays.
 
Jesus has followers galore,
But Judas fears there is pain in store.
The high priests plot to cause Jesus’ fall
Before His actions destroy them all.
 
He enters into Jerusalem,
Hosannas ring out to welcome Him.
By cleansing temples and man’s disease,
He keeps on gathering enemies.
 
Judas feels a relentless pull,
Although he fears it is damnable,
To give the Christ to His rivals’ hands
And be the traitor the tale demands.
 
While Jesus begs in His garden prayer,
The soldiers come to arrest Him there.
The high priests stir up the hateful mob,
And Pilate gives in to save his job.
 
Judas hangs himself in shame
But sings one last song all the same.
When Jesus Christ is crucified,
The actors leave, one less to ride.
______________
 

Andrew Lloyd Webber has created some of the best stage musicals ever produced. Joseph and the Amazing Technicolor Dreamcoat was a worthy early effort, but Jesus Christ Superstar was his first real triumph. Webber exhibits a tremendous capacity for hummable tunes, some full songs (the lovely radio hit “I Don’t Know How to Love Him”), others short character motifs (“What’s the Buzz?” and “Always Knew That I’d Be an Apostle”). The Passion Week wouldn’t have been my initial idea for a rock opera, but it works, thanks largely to the plethora of memorable music and Tim Rice’s lyrics, which take the place of spoken dialogue.

As a Christian, I must point out that the musical is not always biblical, focusing on Christ’s humanity much more than His merely implied divinity. Some almost harem-like scenes suggest a physical relationship with Mary Magdalene, and the wording for the Last Supper is strangely twisted, as is Jesus’ fatigue from the incessant crowds. (I don’t believe He would ever have said “Leave me alone,” or “Heal yourselves” as in the stage version.) Plus, the film ends abruptly with the crucifixion, but without the resurrection denouement of The Passion of the Christ; instead, it borrows from Ben-Hur to show an obscure shepherd leading his sheep before the sun-circled cross. Aside from these religious issues, Jesus Christ Superstar also makes some odd artistic choices. While there is much symbolism and natural rock formations are favored over extravagant sets, the filmmakers throw in tanks and jet planes and hard hats, things that make no sense in this kind of movie.

It’s not above criticism, but Jesus Christ Superstar boasts a number of Broadway hits, sung by rocker Ted Neeley, Carl Anderson, Yvonne Elliman, and a host of less famous vocalists. One scene in particular is incredibly effective, the scene from the Bible that best displays Jesus’ humanity. His song in the Garden of Gethsemane may not be the catchiest, but it builds to a poignant series of painted crucifixion scenes that makes Jesus’ anxiety completely understandable. My VC even credits the song with deepening her Christian life. The song sung by “Simon Zealotes” is her favorite, though, and “This Jesus Must Die” and “Superstar” are mine. Almost every song is perfect, though Herod’s is uncomfortably derisive, if true to the character. Jesus Christ Superstar is neither the most faithful nor the most blasphemous of Jesus movies, but it’s one of the most watchable, as well as listenable.

Best line: (Jesus to the priests, in one of the few lines bespeaking His divinity) “Why waste your breath moaning at the crowd? Nothing can be done to stop the shouting! If every tongue were stilled, the noise would still continue! The rocks and stones themselves would start to sing!”

 
Artistry: 8
Characters/Actors: 8
Entertainment: 10
Visual Effects: 5
Originality: 8
Watchability: 10
Other (great music): +4
Other (aforementioned issues): -3
 
TOTAL: 50 out of 60
 

Next: #119 – Coal Miner’s Daughter

© 2014 S. G. Liput

207 Followers and Counting

 

The King’s Speech (2010)

14 Sunday Sep 2014

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Prince Albert is ruing the monarchy’s glamour
Because of his hated, embarrassing stammer.
He’s tried all the doctors to polish his speech,
But still a clear voice remains out of his reach.
 
His wife finds a therapist, Lionel Logue,
Who’s unorthodox, writing off what’s in vogue.
Though “Bertie” is skeptical right from the start,
He wants to see what lessons Logue can impart.
 
Logue helps with mechanics, as Bertie insists,
But knows that a much deeper problem exists.
When George V dies, next in line for the throne
Is Bertie’s own brother, who’s impudence-prone.
 
When Edward VII defies church and state
To wed Wallis Simpson, he must abdicate,
And, though his speech problem still can’t help but sting,
It’s now Bertie’s turn to become England’s king.
 
Before coronation, he worries that Logue
Is merely an actor, a doctoring rogue,
But Logue has experience learned over years
And passion to help Bertie overcome fears.
 
When ’39 heralds a Second World War
And his royal voice must now come to the fore,
He worries and practices what Logue has shown
Until he must speak to the dread microphone.
 
Deliberate and solemn, he sounds out each word,
And all through the nation his message is heard.
Though war is upon them, the king swells with pride,
For he has a voice now and Logue by his side.
_________________
 

The Best Picture winner of 2010, The King’s Speech is among the most visually compelling period dramas ever filmed. It frames its characters in unique ways, and the lighting alternates between stark intimidation and familial warmth depending on where the prince/king is. Some scenes even have the faded, stage-like appearance of a Wes Anderson film. Director Tom Hooper, who went on to film 2012’s Les Miserables, undoubtedly deserved his Oscar.

Indeed, so did Colin Firth (who had earlier played one of the traumatized, stuttering World War I veterans mentioned by Logue in 1987’s A Month in the Country). His hesitant speech and unconscious stammer, which he later had difficulty purging himself of, are masterfully employed, yet they don’t define his character, whose fear of embarrassment and obvious love for his young daughters are expressed with equal talent. All the other actors are likewise exquisite, from Guy Pearce as Bertie’s irresponsible brother David to Helena Bonham Carter as his supportive wife Elizabeth. Having mainly seen him as Captain Barbossa in The Pirates of the Caribbean films, I was astonished by Geoffrey Rush’s performance as well, again capturing both Logue’s quirks and his humanity. I was also gratified to see Helena Bonham Carter in a serious and sympathetic film without any bizarre, deformed, or homicidal characters. (Side note: My grandmother loved the 1995 miniseries Pride and Prejudice, which starred Firth and Jennifer Ehle, who interestingly played Logue’s wife in this film.)

The film could have been G-rated, had it not been for two brief scenes in which Bertie deals with his stammer with a number of expletives in quick succession. While I appreciate that these parts serve a purpose, unlike in most films, they depreciate the otherwise refined production. In this case, such language in an otherwise splendid film bothers me more than if it otherwise deserved the R rating.

Notwithstanding, The King’s Speech is an elegant historical drama that puts a human face on the names in the history book, complete with stellar production values and an Oscar-worthy cast. Alexandre Desplat’s classical score also complements the dignified drama; though it seems like I’ve heard it countless times in other films and their trailers, the second movement of Beethoven’s 7th Symphony was an inspired choice to enhance the gravity of the climactic speech. Though it ends with feel-good smiles just as a war is starting, it’s clear that the king’s personal triumph will get the nation through it.

Best line: (Logue, as Bertie is lighting a cigarette) “Please don’t do that.”
(Bertie) “I’m sorry?”
(Logue) “I believe sucking smoke into your lungs, well, it will kill you.”
(Bertie) “My physicians say it relaxes the … the throat.”
(Logue) “They’re idiots.”
(Bertie) “They’ve all been knighted.”
(Logue) “Makes it official, then.”

 

Artistry: 10
Characters/Actors: 10
Entertainment: 9
Visual Effects: N/A
Originality: 9
Watchability: 9
Other (music and stunning production values): +4
Other (language): -1
 
TOTAL: 50 out of 60
 

Next: #121 – Shrek

© 2014 S. G. Liput

206 Followers and Counting

 

Yentl (1983)

13 Saturday Sep 2014

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(Best sung to “Papa, Can You Hear Me?”)
 
Yentl yearns to study,
Which to most is nutty;
She lives in a man’s world, no mistake.
Still her father taught her;
When he dies, his daughter
Leaves to start a new life full of faking.
 
Dressing as a man, she starts an ill-considered plan
To learn some more,
And soon she finds a yeshiva and finds a friend in Avigdor.
She deals with an attraction,
And all their interaction
Is focused on debating and the studies they adore.
 
Avigdor is smitten
Not with what is written
But with dear Hadass, yet he’s denied.
This is detrimental,
So he pressures Yentl
Into taking his place as the bridegroom.
 
Marriage to Hadass becomes a nightly albatross
She must beware,
Yet she encourages Hadass to learn and never fear to dare.
Hadass’s love is growing;
To Avigdor, it’s showing.
At long last, Yentl chooses
To admit her whole charade.
 
Avigdor is shaken
By the road she’s taken.
He stays with Hadass while
Yentl’s dreams won’t fade.
______________
 

Yentl is an outlier among musicals, possessing neither a Broadway counterpart nor a Golden Age of Hollywood predecessor. Barbra Streisand directed and starred in this Mulan-style drama and was the lone singer, though it’s a shame Mandy Patinkin as Avigdor didn’t get to prove his own musical talent, having originated the role of Ché in Evita. There are no show-stopping numbers or much of a “wow” factor for the most part; instead, the songs are written as Yentl’s internal monologues, sometimes sung outright, sometimes in voiceover, frequently featuring melodies inspired by Jewish chants.

Many may have felt the film was self-indulgent on Streisand’s part, including Isaac Bashevis Singer, the author of the short story on which it is based, but Streisand proves her skill both in front of and behind the camera. The cinematography is top-notch, particularly the use of lighting in various montage scenes. Streisand’s singing is unmatched, and she successfully displays a range of emotions, from mournful trepidation in “Papa, Can You Hear Me?” (which brings a tear to my VC’s eye) to impossible, unrequited love in “No Wonder.” Her main weakness is that she doesn’t try to deepen her voice or anything to make her sound more masculine, making her disguise and everyone’s acceptance of it rather unconvincing.

While the film departs from its source material by depicting Yentl’s subterfuge for the sake of Talmudic study in a positive light, I found the film satisfying overall. Aside from one scene of rear male nudity, it is entirely clean and concludes on an uplifting note, in sharp contrast to another Eastern European-set musical Fiddler on the Roof. The Oscar-winning score and songs by Michel Legrand (The Thomas Crown Affair, Wuthering Heights) have an often haunting quality to them, but they lack the catchiness and the hummability of other musicals. Still, as a poet, I have to admire the fluent, contemplative lyrics by Alan and Marilyn Bergman. I especially like “This Is One of Those Moments.”

Yentl is one of those films my VC would have even higher on her list. Those who dislike Barbra Streisand probably won’t like this Golden Globe-winning turn as both director and actress, but I enjoy almost any well-done musical, and Yentl is just that.

Best line: (Yentl) “If we don’t have to hide my studying from God, then why from the neighbors?”   (her father) “Why? Because I trust God will understand. I’m not so sure about the neighbors.”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 9
Visual Effects: N/A
Originality: 7
Watchability: 9
Other (authentic period setting, music, and Streisand’s singing): +7
 
TOTAL: 50 out of 60
 

Next: #122 – The King’s Speech

© 2014 S. G. Liput

206 Followers and Counting

 

Ghost (1990)

12 Friday Sep 2014

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Sam and Molly love each other;
Carl Bruner’s like a brother.
This young pair can’t get much hotter
When they start to play the potter.
Out of nowhere, Sam is slaughtered.
 
On this earth, his ghost remains
And watches Molly’s grieving pains.
He’s shocked that this is now a thriller
When his unrepentant killer
Sneaks in, possibly to kill her.
 
Sam is even more surprised
When a psychic advertised
Turns out capable of hearing
Sam, who gets her volunteering
To keep Moll from disappearing.
 
Molly doubts this Oda Mae,
But it’s hard to turn away.
Carl’s quick to sweep aside
Warnings; he has much to hide.
It was due to him Sam died.
 
Being reimbursed for fraud,
His plan to steal from Sam was flawed.
Sam, through spying, knows Carl’s lying
And continues in his trying
To keep Molly too from dying.
 
Also, Oda Mae’s in danger
When she poses as a stranger
To take Carl’s laundered riches,
Thanks to Sam’s own vengeance, which is
Not without some minor glitches.
 
Carl’s quickly put on edge
When he cannot make his pledge.
After Sam enjoys some passion,
He defends in ghostly fashion
From his “friend,” now scared and ashen.
 
After Carl’s quite unnerved,
Some bloody just desserts are served.
Though their hearts again are breaking,
Sam accepts his own leave-taking
For a heaven of his making.
_________________
 

Ghost is one of those few films that tries to span multiple genres and does so with surprising success. It’s a sensual romance, a supernatural comedy, and a nerve-racking thriller all in one, with some touches of horror thrown in for good measure. The film has special meaning for my family, since its main theme “Unchained Melody” was my parents’ song while dating (you know, “their” song) and the first dance at their wedding reception. Acting as a star vehicle for all three of its headliners, Ghost gained Whoopi Goldberg her lone Oscar win and gave Patrick Swayze and Demi Moore arguably their most popular roles.

To be honest, Goldberg really makes the film. The romance and thriller aspects would probably have been enough to gain it some Oscar nominations and the associated notoriety, but her comedic presence is so spot-on that every one of her scenes makes Ghost that much better. Her awkward reactions to Sam’s invisible voice and his musical method of coercing her (however reluctantly) are simply hilarious, yet they somehow fit in with the otherwise serious film.

Directed by Jerry Zucker of Airplane! fame, Ghost goes back and forth—though not often enough—between Sam’s perspective (with him fully visible) and that of everyone else, who only see Oda Mae arguing with herself. This also allows for a tender reunion scene with Sam and Molly that would look pretty weird from the other perspective. The special effects, including Sam’s intangibility and the glimpses of heaven and hell, are admittedly dated by today’s standards, but they serve the story well enough to not be distracting.

On the down side, the famous potter’s wheel scene gets a little overly explicit, foul mouths abound, and Tony Goldwyn’s death scene is like something out of Final Destination. Aside from the characters speaking of marriage like it’s some radical idea, the film also presents a clearly Hollywood-inspired version of heaven. Not to be judgmental, but Sam doesn’t seem particularly deserving of heaven; in fact, the only thing that seems to warrant hell is intent to kill. No mention is made of God either. It’s not that ghost movies necessarily need clear references to the Lord, but for one that shows an obvious vision of the pearly gates, something is definitely lacking.

Despite these quibbles, Ghost excels in all three of its chosen genres and inverts horror conventions by making the vengeful spirit the protagonist. While not necessarily the best film of 1990, Ghost remains an entertaining and hopelessly romantic foray into the supernatural. Can I get a “Ditto”?

Best line: (Oda Mae Brown, while yelling up at Molly’s apartment) “I’m not gonna stand out here forever!”  (a workman, higher up) “Thank God!”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 9
Visual Effects: 7
Originality: 9
Watchability: 9
Other (successful genre fusion): +2
Other (language, violence, sex): -4
 
TOTAL: 50 out of 60
 

Next: #123 – Yentl

© 2014 S. G. Liput

205 Followers and Counting

 

Men in Black Trilogy (1997, 2002, 2012)

10 Wednesday Sep 2014

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(Spoilers ahead)
 
The Men in Black are men with knacks
For stopping alien attacks.
Unknown to all, unseen, unheeded,
Wiping memories when needed,
They guard the earth from cosmic slime,
Quite often in the nick of time.
 
When Agent K hears tell one day
How one cop kept up with his prey,
He gives this James a valued chance
To prove his monster-fighting stance.
Though James is different from the rest,
He outshines all the best of the best.
 
A bug from space then steals a face
To blend in with the human race.
He seeks a galaxy to spoil
And kills an otherworldly royal.
 
The new recruit, who wants to shoot,
Investigates this “Edgar suit.”
A visit to the morgue presents
A corpse’s worrying contents.
 
Then, tit for tat, they all learn that
The galaxy is on a cat.
The bug takes it with hostage too
And plans to bid the earth adieu.
 
But J and K force him to stay
And make him angry, by the way.
K has to dig down deep inside
To leave the insect liquefied.
 
They’ve saved the earth, for what it’s worth,
But no one knows to offer mirth.
J now can face this world so vast,
And K can now retire at last.
_______________
 
The Men in Black are back in black
To stop another space attack.
A worm in supermodel guise
Desires a Light that’s cloaked in lies.
 
When Agent J is told that K
Alone knows details few can say,
He jogs K’s memory with haste,
Which earlier had been erased.
 
Serleena, who a young K knew,
Ensnares the MIB HQ,
And J and K must follow clues
To find the Light that she pursues.
 
It is opined a girl they find
Is not in fact of humankind.
The two must fight Serleena’s might
To rescue Laura, who’s the Light.
 
She must depart but waits to start,
And her migration breaks J’s heart.
They blow Serleena from the air
And get back to Earth’s watchful care.
__________________
 
The Men in Black again are back
To keep the timeline on its track.
When Boris gets some help to break
From lunar jail (don’t trust the cake),
He tries to kill K in the past,
Which changes history quite fast.
 
Since somehow J remembers K
And Boglodites are on their way,
J time-leaps with a strange device
Which proves surprisingly precise.
The ‘60s K considers him,
Although J’s evidence is slim.
 
They’re soon aware of when and where
Their foe will strike before he’s there.
They meet one Griffin, who can see
Each future possibility.
 
From him they get the prized ArcNet
To save Earth from invasion’s threat,
But now it must get into space
To activate and save our race.
 
The moon launch grants the perfect chance;
To Cape Canaveral they advance.
Both past and future Boris try
To stop the duo once they’re high.
 
The black-clad men from now and then
Succeed in saving Earth again;
The Borises and Boglodites
Fortuitously lose their fights.
 
A tragedy J gets to see
Confirms K’s latent sympathy.
Returning home, J’s glad to find
The friend with whom he saved mankind.
_________________
 

What can I say about the Men in Black films? They’re funny, weird, frequently gross, action-packed, mind-blowing, occasionally touching, and overall the best sci-fi/comedy/buddy movie mash-up I’ve seen. Tommy Lee Jones and Will Smith make a perfect straight-man/funny-man team, and their differing reactions to all the bizarreness they encounter are priceless.

The first film was a huge success, both critically and commercially. Contributing a lighter tone to the Marvel/Malibu-published comic book on which it was based, the film lets its two leads bounce off each other effortlessly, fueled by a golden script. Their odd-couple chemistry is matched only by the amazing special effects and Oscar-winning make-up from Rick Baker. The first Men in Black is the most difficult to critique because it’s the closest to being downright perfect. The performances are infectiously fun, the villain (Vincent D’Onofrio) is brilliantly wicked and disgusting, the comic one-liners and hilarious situations are now classics (that rocket car scene with Elvis especially), and the whole film is simply inspired, from the way Siobhan Hogan pronounces “Eggar suit” to the straightforward method K uses to retrieve his swallowed gun. It’s also intermittently shocking in its gooey violence, particularly with Tony Shalhoub’s head-shooting scenes. (By the way, minor Lost alert: Fredric Lehne, the INS agent whom Mikey the alien charges at the beginning, played U.S. Marshall Edward Mars on my favorite show.)

The second film, released on the heels of the animated television show’s cancellation, is sorely lacking in several regards. The villainess is an alien-turned-lingerie model, whose gross scenes are more squirm-inducing than intimidating, and K’s supposed happy ending is dissolved by the lazy explanation that his wife left him. Likewise, there is more of a focus on the worm guys and Frank the pug, potentially irritating characters that are better taken in small doses, as the first film did. Beyond that, many of K’s clues to himself seem rather arbitrary, and by the end, when the fate of the world depends on Laura launching away, both J and K can do nothing but stare regretfully at her. All that’s not to say that the second one is without redeeming value. I loved the scenes with Jeff the giant subway worm and Agent M’s cameo, and Rosario Dawson is naively beautiful as Laura, though it’s unclear what her ultimate fate is when she returns to the home planet she’s never visited. Overall, Men in Black II felt like a direct-to-video-quality effort that didn’t need to be made.

Still, without MIIB, we would never have gotten MIB3, which breathed some new life into the franchise, though whether it paved the way for another sequel or served as an agreeable conclusion is still undecided. I’ve made no secret about my love for time travel, and throwing this device into the plot was genius. Though I once thought that no one could fill the shoes of Smith or Jones, Josh Brolin is incredible as a younger version of K and smoothly inhabits the stoic persona Jones wore so well. It’s not quite as funny as the first film, but Jemaine Clement’s Boris the Animal is a worthily nasty MIB villain, and the finale that works in the 1969 moon launch is outstanding, as is the emotional twist absent from the other two films. As with any time travel story, there are details to quibble over, but that’s for another post maybe. (Though I do wonder why they needed to use Apollo 11 to get the ArcNet into space. With all the aliens already on Earth, did the MIB really not have access to a spaceship of some kind? Also, the question of what made K “this way” is never fully answered, but it seems obvious from the second film. He became grumpy and emotionless most likely because Serleena killed the alien monarch he loved, but maybe that’s too obvious.)

Men in Black didn’t need to be a trilogy, but despite the weaknesses of the second, I’m glad it was, if only for the timey-wimey third film. The original movie remains a high point in modern science fiction, and a lesser staple of pop culture.

Best line from MIB: (Beatrice, Edgar’s wife, when two FBI agents come calling) “You here to make fun of me too?”
(deadpan K) “No, ma’am. We at the FBI do not have a sense of humor we’re aware of. May we come in?”
 
Best line from MIIB: (Laura, after a fight) “Half the time you were on your back!”
(J) “That’s how I fight.”
 
Best line from MIB3: (Griffin, played by Michael Stuhlbarg) “A miracle is something that seems impossible but happens anyway.”

 

Artistry: 7
Characters/Actors: 9
Entertainment: 10
Visual Effects: 10
Originality: 9
Watchability: 10
Other (language, violence, sexual dialogue): -5
 
TOTAL: 50 out of 60
 

Next: #124 – Ghost

© 2014 S. G. Liput

203 Followers and Counting!

 

The Music Man (1962)

08 Monday Sep 2014

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(Best sung to “Seventy-six Trombones”)
 
Traveling salesmen’s livings are hard enough
Without the bad name con men imply,
Such as a boy’s band shill named Professor Harold Hill,
Who gives River City, Iowa, a try.
 
Most of the townsfolk fall for his big charade,
But a couple of holdouts hold on to doubt,
Such as the rumored shrew named Miss Marian Paroo,
The librarian that Harold must check out.
 
Hill begins to woo Miss Marion and all the town,
Finagling, inveigling, every chance he gets.
Instruments and uniforms turn every frown
Upside down, banishing all regrets.
 
Though she tries to fight his magnetism all the way,
Still he tries family ties to convince the lass.
Generating hopeful trends and turning enemies to friends,
He signs up young boys to join his class.
 
When he at last has romanced Miss Marion,
Harold sees he’s been romanced as well.
As he has second thoughts, a rival foe connects the dots
And reveals that Hill has naught to sell.
 
Conquered by love, Hill’s caught by an angry mob,
And he must face the music he’s made.
As the kids poorly play, parental pleasure saves the day,
And they all proceed in a parade!
_________________
 

The Music Man is one of the great musicals of the stage and screen, and it happens to be one of my dad’s favorite movies. Seriously, he gets oddly gleeful at random little details, such as the smitten sighs of Marion and her mother. While that’s a little overboard, The Music Man is indeed a fine example of a faithful musical film adaptation.

Very few actors completely own their roles (Rex Harrison in My Fair Lady, Yul Brynner in The King and I), but Robert Preston originated the role of Professor Harold Hill and brings such incomparable charisma that no one can touch him. (Sorry, Matthew Broderick, your remake just can’t compare.) Likewise, Shirley Jones is impeccable as the gradually converted Marian the librarian, as are all the actors, including Paul Ford as the tongue-tied Mayor Shinn, Hermione Gingold as his priggish wife, Buddy Hackett as Hill’s accomplice Marcellus, Pert Kelton as Marion’s extremely Irish mother, the play’s Buffalo Bills as a barbershop quartet Hill forms, and little Andy–Griffith-aged Ronny Howard as Marion’s young lisping brother. Many characters possess a distinct song or background theme that punctuates their scenes; no wonder the film won the Oscar for best adapted score. (Side note: Shirley Jones was pregnant for much of the film shoot, which is skillfully hidden throughout the film. When she and Preston shared their kiss at the foot bridge, he actually felt the unborn Patrick Cassidy kick. Ironically, that same Patrick Cassidy will soon play Professor Harold Hill in a seven-state tour alongside his mother, now playing Marion’s mother.)

A few songs are less-than-memorable, such as “The Sadder but Wiser Girl” and “Being in Love,” but for the most part the film is practically one inspired hit after another. The songs by former John Philip Sousa bandmember Meredith Willson rely less on rhyme and more on rhythm, best demonstrated in the opening salesman song “Rock Island,” which perfectly matches the cadence of a locomotive. The soundtrack is replete with subsequent classics, from “Iowa Stubborn” to “Gary, Indiana” to “The Wells Fargo Wagon” to Buddy Hackett’s nonsensically titled showstopper “Shipoopi.” The best have got to be Preston’s slickly articulate “Ya Got Trouble,” his captivating dance number “Marian the Librarian,” and of course the Sousa-esque “Seventy-six Trombones.” The astounding, Tony-winning choreography by Onna White (Oliver!, Mame, 1776) is matched by some dynamic camerawork that follows the dancers in wide circles (along with some novel overhead shots) and captures the extended cavorting that must have taken much work to accomplish so seamlessly.

While slow in a few parts, The Music Man is a joy to watch, a testament to how mesmerizing swindlers can be and how satisfying it is when someone places enough belief and love in them to make them want to mend their ways. It may not be as high on my list as my dad would like, but I certainly see why it makes him so giddy—for the most part.

Best line: (Harold Hill, after Marion tries putting off his advances) “Oh, my dear little librarian, you pile up enough tomorrows, and you’ll find you’ve collected nothing but a lot of empty yesterdays. I don’t know about you, but I’d like to make today worth remembering.”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 9
Visual Effects: 6
Originality: 8
Watchability: 9
 
TOTAL: 50 out of 60
 

Next: #125 – Men in Black trilogy

© 2014 S. G. Liput

201 Followers and Counting!

 

The Autobiography of Miss Jane Pittman (1974)

06 Saturday Sep 2014

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Miss Jane is one hundred and ten years old,
And one writer asks for her story untold.
As Civil Rights tensions are rising nearby,
She tells of her life with a glistening eye.
 
She grew up a slave and remembered the day
When freedom was hers once the Blue beat the Gray.
She tried heading north amid unfriendliness
And gained a young boy but made little progress.
 
Adopting this Ned as her own, they both grew,
And Ned dreamed of teaching, displeasing a slew
Of dangerous Kluxes. Not wanting to grieve,
His mother convinced him to finally leave.
 
As further years passed, Jane found romance with Joe,
A horse trainer killed when he would not lie low.
When Ned returned home with a family as well,
He would not mince words, and by shotgun he fell.
 
Some decades went by, which she does recollect,
And Jane’s age and wisdom demanded respect.
The spellbound reporter can’t help but admire
This well-seasoned woman and her life entire.
 
When she hears of close violence, wholly improper,
She goes into town, and no one can stop her.
She drinks from the fountain reserved just for whites,
Achieving a final stand for civil rights.
__________________
 

The Autobiography of Miss Jane Pittman is a landmark film, one of the first television movies to focus on history from the perspective of black Americans, coming three years before the more well-known miniseries Roots. Cicely Tyson gives a double-Emmy-winning performance as Miss Jane, both as a young woman and a scratchy-voiced 110-year-old elder, and the scenes involving the departure and return of her son are especially touching. Stan Winston and Rick Baker, known for creature effects in Star Wars and Men in Black, created the Emmy-winning make-up, which convincingly transforms the 40-year-old Tyson into a believable relic of a bygone century. (Interesting fact: Thalmus Rasulala plays the older version of Tyson’s adoptive son Ned, but, when both of them starred in Roots three years later, they were married, playing Kunta Kinte’s African parents.)

The film is somewhat similar to another meet-‘em-and-move-on film, 1970’s Little Big Man, in detailing the extended, frequently sad life story of a make-up-laden interviewee, but it depicts the struggles of postbellum African-Americans rather than Native Americans. Jane meets a number of influential people, a kind Union soldier who bestows on her a freed name, a difficult plantation owner bent on keeping her husband close by, an accented acquaintance willing to murder anyone. These rather short character moments heighten the sense of realism since life is so much more than just the big connections (parent, husband, child, etc.) Sadly, all of these relationships end in heartache, since Jane foresees the arrival of grief but is powerless to stop it, lamely pleading for her loved ones to listen without giving any explanation why.

The highlight of the film that makes everything before worthwhile is the final and most famous scene at the water fountain. Miss Jane makes a wordless demonstration, and even if the officers glaring at her are probably unaware of the full extent of her sorrows, it’s clear that her long life had earned her this one boon, this one silent and peaceful protest, this one chance to lead, however brief. It’s a small but extraordinarily triumphant moment.

Between Cicely Tyson’s emotional performance and the realistic make-up, The Autobiography of Miss Jane Pittman is a sometimes mournful, sometimes inspiring meet-‘em-and-move-on that proves the power made-for-television films can carry.

Best line: (the aged Miss Jane, to the reporter, perhaps comparing herself to the tree) “But an old oak like this one here, that’s been here all these years and knows more than you’ll ever know, it ain’t craziness, son; it’s just the nobility you respects.”

 
Artistry: 8
Characters/Actors: 10
Entertainment: 7
Visual Effects: 10
Originality: 8
Watchability: 6
 
TOTAL: 49 out of 60
 

Next: #127 – Ghostbusters

© 2014 S. G. Liput

197 Followers and Counting

 

Regarding Henry (1991)

05 Friday Sep 2014

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A lawyer focused on his work,
Henry Turner is a jerk.
His daughter’s mishaps only irk,
For he cannot relate.
While out one evening, Henry’s shot;
His damaged brain must be retaught
The simple tasks that it forgot,
For he’s a now blank slate.
 
A therapist named Bradley stays
With Henry through his hardest days,
Encouraging with jolly praise
When Henry makes progress.
Recovery’s a distant hope,
And his wife Sarah has to cope
And manage the financial slope
Since they’re now earning less.
 
Though Henry ends up walking tall,
He can’t remember much at all,
And though at first he wants to stall,
He goes back home at last.
Soon back at work out of respect,
He’s like a child, which they suspect.
With Ritz his favorite art subject,
He’s not like in the past.
 
But with his daughter Rachel, he
Connects again, which helps him be
A friend and dad with courtesy,
Which she had always lacked.
Since Henry cannot just ignore
His former dealings, he learns more
And doesn’t like himself before
Or what he did, in fact.
 
Though home life’s happy, it is there
He learns of Sarah’s past affair.
He’s more perturbed when others share
That he had secrets too.
To move on from regret and spite,
He quits and tries to set things right.
The Turner family’s seen the light
And will start over new.
__________________
 

This is a film to which my VC introduced me, and over time I’ve begun liking it even more than she does. While he will always be best-known for his crowd-pleasing action roles, I can honestly say that this is Harrison Ford’s best dramatic performance. Directed by Mike Nichols, Regarding Henry is one of a hard-to-define subgenre that I can only call a “quiet movie,” a “sleeper” devoid of explosions or extreme dramatic tension but rife with endearing characterization that leaves me with that coveted I-enjoyed-that-movie reaction.

The beginning is a bit slow and doesn’t quite give a full picture of Henry’s relationships with his wife and daughter, but ultimately his past self is less important than who he becomes. Once the attack occurs (he’s shot by John Leguizamo), the film becomes a fond testimonial for the role physical therapists play in the shattered lives of the injured. Bradley, played by Bill Nunn of Sister Act, displays a saintly patience and love for his job and those he assists, and it’s no wonder that Henry didn’t want to leave him at first.

Harrison Ford’s acting extends from the usual businessman role he’s done before to natural childish fear and wonder during the hard road of recovery. He relearns walking, talking, eating, and all the things we take for granted. While he brings these struggles to life, Annette Bening also excels at illustrating the overwhelming distress at seeing her ever-professional husband reduced to a drooling invalid.

Ford’s hesitant, nuanced performance, sometimes funny, often poignant, is the heart of the film, and by the time he reconnects with his family, we’re meant to regard his trauma as an unexpected improvement in their lives. A twist near the end clarifying some obvious product placement was not well-received by some critics, who considered it almost comical, but Henry’s reaction to it is ultimately satisfying, ending the film on a singularly feel-good note.

Praise was reserved and accolades were few, but Regarding Henry remains my favorite non-action Harrison Ford film. Perhaps my partiality is due to a major but hidden Lost alert: the great J. J. Abrams himself wrote the screenplay (one of his first, credited as Jeffrey Abrams) and even appears briefly as a delivery boy when Henry wanders out of his apartment. While some may consider Regarding Henry overly sentimental and I’ve heard it described as “get shot in the head and become a better person,” it’s a sensitive, well-acted drama that I sincerely hope will not be forgotten.

Best line: (Henry, explaining why he quit his job and echoing an earlier exchange) “Well, I had enough, so I said, ‘When.’”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 9
Visual Effects: 6 (just the shooting scene)
Originality: 8
Watchability: 9
Other (language): -1
 
TOTAL: 49 out of 60
 

Next: #128 – The Autobiography of Miss Jane Pittman

© 2014 S. G. Liput

197 Followers and Counting

 

National Treasure: Book of Secrets (2007)

03 Wednesday Sep 2014

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Benjamin Gates, the renowned treasure hunter,
Must rescue his family from shame.
One Mitch Wilkinson, who could not have been blunter,
Has soiled his ancestor’s name.
 
While solving some puzzles and locating clues,
Ben travels from nation to nation
Along with his girlfriend, who helps with a ruse,
And Riley, who seeks commendation.
 
But Mitch has his eye on an Indian treasure,
Which Ben feels he has to unearth,
A city of gold with a price beyond measure,
Yet Mitch believes fame has more worth.
 
Two Resolute desks contain planks, or they should,
Which hold the most vital of clues,
But since one is missing this requisite wood,
Ben now has a hard path to choose.
 
The crucial info’s in the President’s book,
Which none but the President knows,
So Ben kidnaps him to solicit a look
To see where the rabbit hole goes.
 
He gets what he needs to continue the quest,
And trickery gains Mitch the same.
They meet at Mount Rushmore, where nobody’s guessed
A treasure lies under its frame.
 
Through dark, ancient tunnels and booby-trapped halls,
They journey where few men have been
To find the gold city before waterfalls
Start flooding the chamber they’re in.
 
Not everyone makes it, but when they emerge
And Ben is then cleared of his crime,
The new treasure offers an artifact surge,
The second best find of all time.
_________________
 

I loved the first National Treasure, which is essentially a more history-focused, clean, and modern version of Indiana Jones, with Nicholas Cage in one of his best roles as living encyclopedia Benjamin Gates. I was eager to see the sequel, and, for all intents and purposes, it delivered everything I was hoping for: historical insight, conspiracy theories no one takes seriously, Bruckheimer-esque action sequences, plainspoken humor, and an all-around enjoyable film experience. Almost everything that made the first film great and immensely watchable is present in Book of Secrets…almost.

The one thing that National Treasure 2 lacks is a good reason for the treasure hunt. The filmmakers needed to have a cause for Ben to begin his risky profession again, and they made some unfortunate leaps in logic to make it all work. I understand Ben’s desire to clear his great-great-grandfather’s name, but how exactly does finding the treasure do that? Likewise, after he’s kidnapped the President, he is told that he must uncover the treasure to clear his own name, but, as stated by Sadusky (still a laid-back Harvey Keitel), how does that erase his federal crime? If the President could just wipe his slate clean with his revised story at the end, why didn’t he just do that to begin with instead of pinning everything on the treasure? The actual treasure hunt is educational and riveting, but the setup that keeps urging its importance is full of holes. Also, Ed Harris as Mitch is a lesser villain, compared with the first film’s Ian, played by Sean Bean; whereas Ian wanted the hoard itself and was actually smart enough to find clues and possibly the treasure on his own, Mitch lets Ben do all the work and desires merely the credit for finding the trove.

Like with Home Alone 2, it sounds like all I’m doing is criticizing this sequel, but I really do enjoy it. The familiar actors, including Diane Kruger, Justin Bartha, and Jon Voight, plus new addition Helen Mirren, seem to be having fun right along with their characters, such as during a psych-out reminiscent of the electric fence scene in Jurassic Park. The action is expertly done, including a rather drawn-out car chase, another farewell-to-bumpers chase scene, and an astounding balancing set piece that reminded me of the Oscar-winning German animated short film Balance from 1989. I also enjoy the historical locations, including the Library of Congress and Mount Rushmore; I’ve visited the latter myself, as well as Sylvan Lake, and I always smile when the film indicates the lake is behind Mount Rushmore. (It’s nearby, but not that close.)

Overall, National Treasure 2 is another entertaining history lesson. Whether or not we ever find out what was on page 47 in a hoped-for third National Treasure, at least the existing two will continue to entertain history geeks like me.

Best line: (Ben, answering why the President should help him) “And because you’re the President of the United States, sir. Whether by innate character or the oath you took to defend the Constitution or the weight of history that falls upon you, I believe you to be an honorable man, sir.”
(The President, played by Bruce Greenwood) “Gates, people don’t believe that stuff anymore.”
(Ben) “They want to believe it.”

 

Artistry: 6
Characters/Actors: 7
Entertainment: 10
Visual Effects: 9
Originality: 7
Watchability: 10
 
TOTAL: 49 out of 60
 

Next: #130 – Alien

© 2014 S. G. Liput

195 Followers and Counting