Tag Archives: Drama

Superman (1978)

18 Wednesday Jun 2014

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The distant planet Krypton, after stopping an attack
By Ursa, Non, and Zod, confines all three (but they’ll be back).
But scientist Jor-El still feels that Krypton’s on the brink
Of imminent destruction, which nobody else will think.
 
As Krypton starts to crumble, he sends out his infant son,
And once the world explodes, the young Kal-El’s the only one.
He flies throughout the stars before crash landing on our sphere
And is adopted by the Kents, who know he’s not from here.
 
“Clark” grows and calls the earth his home, the Kents his mom and dad,
But tries to hide the speed and strength that he has always had.
When Jonathan, his wise old father, passes from this earth,
Clark finds the hidden secret of his otherworldly birth.
 
He leaves with one green crystal for the Arctic, strangely led,
And throws it to create a giant fortress there instead.
Recordings of Jor-El reveal the secrets he will master,
The reason for his powers which he’ll use to stop disaster.
 
Years later, at the Daily Planet Clark Kent is employed,
Now acting timid; any danger he’s quick to avoid.
Though he’s a hero, strong reporter Lois Lane can’t tell
And thinks him geeky when he faints and says the old word “swell.”
 
A helicopter accident puts Lois Lane in danger
Until she then is rescued by a blue-and-red-clad stranger.
He flies around Metropolis, performing decent deeds,
Preventing crimes and helping citizens with all their needs.
 
Intent on learning more of him, Lane gets an interview
With enigmatic Superman, and one free night flight too.
Her articles and news reports attract the veiled attention
Of evil mastermind Lex Luthor, who drips condescension.
 
He formulates a wicked scheme to redirect two bombs
And sink the California coast without the slightest qualms.
He steals a foreign meteor that glows with greenish light,
Attracting Superman to cripple him with Kryptonite.
 
Though Superman is rescued and stops one bomb, he’s too late;
The other causes earthquakes, sealing California’s fate.
Our hero still saves buses, towns, and fault lines too, although
He cannot save poor Lois Lane from landslides even so.
 
Heartsick with grief, he breaks a rule, reversing our Earth’s time,
To bring back Lois and prevent the worst of Luthor’s crime.
He drops off Luthor at a jail, and flies ‘twixt Earth and space,
The ever-faithful guardian of all the human race.
_____________________
 

The first modern superhero movie, Superman was a really big deal when it was released in 1978, pulling out big name stars like Marlon Brando and Gene Hackman and charging big bucks for product placement. (I hope it was worth it, Cheerios.) Watching it thirty-six years later, the special effects are still effective, quite deserving of the Special Achievement Award they received, and John Williams’ magnificent score remains as iconic as it was then. Anyone who can compose for Jane Eyre and Superman and make them both synonymous with the film is a master composer.

As I said in my Superman II post, Christopher Reeve is Superman, and I have yet to see anyone who can wear the red cape as well as he could. Gene Hackman introduces Lex Luthor with the perfect blend of villainy and charisma. (Villains are always more menacing when you see their hands first, right?) Margot Kidder also does well as Lois Lane, and I like the little quirks the filmmakers added to her character, like her constantly misspelling of words. Embracing the role of Daily Planet chief Perry White, Jackie Cooper acts as an entertaining forerunner to J. Jonah Jameson of the Spider-Man films.

The film does have some faults other than the San Andreas one. Some scenes go on much too long, such as the rather boring opening credits, the construction of his Fortress of Solitude, and his flight with Lois Lane. Since they still had Williams’ memorable score, it’s not as bad as Star Trek: The Motion Picture in that regard, but these scenes make the film longer than it needed to be. Also, Lex Luthor makes some astounding leaps of reasoning to deduce that a particular meteorite in Africa came from Superman’s home planet, and “it stands to reason” that it must be deadly for the man of steel. It’s a good hypothesis, but there’s nothing to back it up. Likewise, the final scene where Superman reverses Earth’s rotation to reverse time is perhaps the least scientific portrayal of time travel ever put on film. Again, I don’t see how he knew his actions would have the desired effect when they could just as easily have caused more earthquakes or something worse.

It’s not a perfect superhero film, but as one of the first comic book blockbusters, it’s an incredibly influential one for the genre, aiming for gravitas while also retaining some campy charm. The recent Man of Steel had plenty of the gravitas and much more eye-popping effects, but it lacked the charm. Superman Returns was unsuccessful at both for me.Though Marvel has taken over superhero films for the most part, DC had a strong start with Superman, and it still makes audiences “believe a man can fly.”

Best line: (Superman, during his interview with Lois) “I’m here to fight for truth, and justice, and the American way.” [I didn’t like how Superman Returns ruined that line.]   (Lois) “You’re gonna end up fighting every elected official in this country!”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 7
Visual Effects: 5
Originality: 9
Watchability: 7
 
TOTAL: 41 out of 60
 

Next: #204 – Peter Pan (to complete my trilogy of films with people flying around)

© 2014 S. G. Liput

133 Followers and Counting

 

Crouching Tiger, Hidden Dragon (2000)

17 Tuesday Jun 2014

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Wudan swordsman Li Mu Bai
Meditates but goes too high.
He resolves to now retire
But must still avenge his sire,
For his master was brought low
By the Jade Fox long ago.
Mu Bai has a deep connection
With Shu Lien but curbs affection.
 
When Shu Lien goes to Beijing
With Li’s sword for safekeeping,
She meets young patrician Jen,
Who befriends the strong Shu Lien.
Mu Bai’s sword Green Destiny
Soon is stolen suddenly
By a figure in the night,
Matching Shu Lien in a fight.
 
Shu Lien knows that it is Jen,
Who is stronger than most men.
One policeman wants things solved,
For the Jade Fox is involved.
In a courtyard fight, Jen shocks
Her own teacher, the Jade Fox,
As Jen proves how sharp and skilled
She can be, and so strong-willed.
 
Ere Jen’s marriage brings her woe,
She is visited by Lo,
Desert bandit and her swain,
Who insists she not remain.
Mu Bai sends him safe away,
Jen then flees and goes astray.
With the great Green Destiny,
She flaunts her ability,
Beating fighters left and right
With no end or goal in sight.
 
When she goes to see Shu Lien,
This wise woman angers Jen.
Though Jen barely wins their duel,
Li Mu Bai is much too cool.
He just wants to teach the lass,
But it seems she’d rather pass.
Jade Fox comes to “save” her pupil
But has neither love nor scruple.
 
Jen is drugged and meant to die
But rescued by Li Mu Bai.
Jade Fox dies but her foul art
Strikes him with a poison dart.
Passing while he loves Shu Lien,
Mu Bai can’t be saved by Jen.
Wishing all but love denied,
Jen leaps off the mountainside.
_______________
 

There is not an abundance of foreign-language films on my list, nor of martial arts movies, but Crouching Tiger, Hidden Dragon is something unique. There are some moments that seem pulled from a comic book, like when Li Mu Bai says something like “We meet again, my old foe,” and there are other scenes of sheer beauty. The Oscar-winning cinematography is outstanding, showcasing the Chinese landscape from deserts to bamboo forests to towering misty mountains.

The other big draw is the bravura fight scenes, choreographed by Yuen Wo Ping of The Matrix fame. It’s staggering to imagine how much work went into staging the long, exciting martial arts duels, which are spaced periodically throughout the film. The actors leap and kick and defy gravity like Jedi knights, and, though some scenes of them running through the air look rather unrealistic, the wire work is seamless and extraordinary. The exchange with Li Mu Bai and Jen in the treetops and Jen’s awesome smackdown in a crowded restaurant are highlights of the whole genre, and the actors did most of their own stunts.

For all its visual splendor, I do wish the characters themselves were a bit more developed. Li Mu Bai, Shu Lien, and Jen are well-drawn, but most of the secondary characters aren’t given enough to do to distinguish one from another. While Ang Lee’s direction is excellent for the most part, the way he starts the film without much prologue or explanation doesn’t help the fact that I, as an American, don’t understand all of the Chinese culture he presents. As for the ending, it’s beautiful and mysterious, but it does leave the viewer scratching his head.

While most of the fighting is bloodless, there is at least one violent death, as well as a brief but steamy love scene. Despite this, the film is mostly clean and successfully portrays two distinct romances, the more mature, restrained love of Mu Bai and Shu Lien and the younger passionate love of Jen and Lo. Crouching Tiger, Hidden Dragon merges transcendent conversations, epic action, exotic locales, vengeful villainy, and forbidden passion into an entertaining film worthy of both Oscars and awe.

Best line: (Sir Te to Shu Lien, speaking of Li Mu Bai) “When it comes to emotions, even great heroes can be idiots.”

 
Artistry: 10
Characters/Actors: 6
Entertainment: 7
Visual Effects: 9
Originality: 6
Watchability: 7
Other (brief violence/sex and weak secondary characters): -4
 
TOTAL: 41 out of 60
 

Next: #205 – Superman

© 2014 S. G. Liput

132 Followers and Counting

 

Jane Eyre (1970)

16 Monday Jun 2014

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Into Lowood Institution
Comes Jane Eyre, and persecution
Plagues her and her resolution,
Helped by Helen, her one friend.
Helen dies from dereliction;
After years of cruel affliction,
Jane leaves Lowood with conviction,
Glad to flee it in the end.
 
Jane’s job ad meets with success:
She becomes with eagerness
Thornfield Hall’s new governess
To teach the young Adele.
Midway through her first semester,
She runs into one Rochester,
Who is quick to try and test her,
Since Thornfield’s his as well.
 
Strange events begin occurring,
Manic laughing, nightly stirring,
Things Rochester is preferring
To not publish or relate.
As she proves she’s sly and witty,
If not the most fair or pretty,
Jane earns sympathy and pity
When Rochester’s on a date.
 
But, upon a conversation,
Jane can’t hide infatuation,
So Rochester gives salvation,
Offering to share his life.
Just before their matrimony,
One man halts the ceremony
To contribute testimony
That Rochester has a wife.
 
She went mad and is restricted.
Though Jane’s saddened and conflicted,
She leaves Rochester afflicted
With no lover to refresh.
On the moors, enduring shivers,
Jane is saved by St. John Rivers,
A firm cleric who delivers
Sermons that condemn the flesh.
 
Sure to be a missionary,
He proposes that they marry,
But Jane can’t help but feel wary,
Since true love they do not share.
She seeks Thornfield Hall instead,
And learns Rochester’s wife is dead.
Though he’s blind, she comes to wed
He who loves the plain Jane Eyre.
_______________
 

While Emily Bronte’s Wuthering Heights started off with fairly happy childhoods that went horribly awry, Charlotte Bronte’s Jane Eyre begins with pure misery and progresses to a satisfying conclusion. Thus, since I prefer happy endings, it is higher on my list. Also, whereas Wuthering Heights held heartbreaking romance alone, Jane Eyre manages the same while including some Gothic mystery as well.

Charlotte Bronte’s classic novel has seen plenty of film adaptations, but my preferred version is the 1970 television film with George C. Scott as Mr. Rochester and Susannah York as the titular heroine. Having just won an Oscar for his star turn in Patton, Scott creates the most compelling depiction of Rochester, and his hooked nose, jutting chin, and familiar gruff manner help him fit the role like a glove. Orson Welles and Michael Fassbender did all right, but Scott’s is the best Rochester performance I’ve seen. Likewise, Susannah York has the right balance of plainness and subtle beauty for the role of Jane, and her acting better evokes her internal emotions than that of Joan Fontaine or Mia Wasikowska.

Though the opening scenes at Lowood are hard to watch for their harsh cruelty to young girls, I appreciate that the film left out the part involving Jane’s equally cruel aunt so as not to extend the heartlessness. On the other hand, the section featuring St. John Rivers is actually closer to the novel than most other versions, though I personally consider that whole part as filler to give Jane something to do until Rochester’s crazy wife dies.

The end may not be quite as happy as in the book, but it has a bittersweet satisfaction that usually makes my VC start tearing up. This particular version may look dated with its Masterpiece Theatre style, but the fine acting and John Williams’ wistful Emmy-winning score makes it the quintessential Jane Eyre for me. (Interesting Wikipedia note: Apparently, it’s also the most popular version in China, having been translated into Mandarin back in the 1980s.)

Best line: (Jane, as she thinks Rochester is talking about marrying a rich lady) “Why do you confide in me like this? What are you and she to me? Do you think that because I am poor and plain, I have no feelings? I promise you, if God had gifted me with wealth and beauty, I should make it as hard for you to leave me now as it is for me to leave you. But He did not. Yet, my spirit can address yours as if both had passed through the grave and stood before Him equal.”

 
Artistry: 9
Characters/Actors: 10
Entertainment: 7
Visual Effects: N/A
Originality: 8
Watchability: 7
 
TOTAL: 41 out of 60
 

Next: #206 – Crouching Tiger, Hidden Dragon

© 2014 S. G. Liput

131 Followers and Counting

 

Casablanca (1942)

15 Sunday Jun 2014

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As the war is raging still,
Casablanca has its fill
Of refugees who fit the bill
Of somebody who’d want to kill
Two German couriers and steal
Some travel papers and conceal
Their one-way ticket out until
The government, a Nazi shill,
Rounds up suspects against their will.
 
The gin-joint owner Richard Blaine
Is cynical and makes it plain
He cares for naught but his own gain
And treats the world with cool disdain.
One night, he’s given at his party
Documents by one Ugarte.
Soon, Renault, the city’s main
Police chief, sees Ugarte slain
By Major Strasser, who’s a pain.
 
Strasser wants those papers quick
Lest Victor Laszlo take his pick,
But Victor has a cause to stick:
His young wife Ilsa, who knows Rick.
Though Laszlo’s part of the resistance,
Rick refuses him assistance.
Ilsa’s presence makes him sick,
For they were lovers until Rick
Was dumped and felt she’d played a trick.
 
As Laszlo makes his presence known
And shows Strasser he’s not alone,
Rick’s bar is closed because, it’s shown,
The fear of uprising has grown.
Rick’s mad, but gives Ilsa the chance
To say why she left him in France.
She thought Laszlo was dead as stone;
She loved Rick but she soon had flown
When Victor’s whereabouts were known.
 
Though Rick is sore from that affair,
He aids them and can’t help but care.
He holds Renault at gunpoint there
And of his fate is well aware.
Rick sees beloved Ilsa strain
And leave him on the Lisbon plane.
When Strasser comes to cause a scare,
Rick shoots him to protect the pair
But gets off free; Renault and he
Have more adventures yet to share.
_________________
 

Here is yet another critically lauded cinematic masterpiece that doesn’t even reach my top 200. Let me be clear: Casablanca is a classic of classics, with likable characters, witty dialogue, and a host of iconic scenes and lines. Who hasn’t heard immortal utterances like “Here’s looking at you, kid,” “We’ll always have Paris,” “Of all the gin joints in all the towns in all the world, she walks into mine,” and “Louis, I think this is the beginning of a beautiful friendship,” said as only Humphrey Bogart can? The gorgeous Ingrid Bergman positively glows as Ilsa, and Claude Rains gives one of his best and funniest performances as the mercurial French Captain Renault.

For all its timeless appeal, I didn’t like it the first time I saw it. Granted, I was much younger, and since most of the film relies on its dialogue to propel the plot, much of it went over my head. Having seen it several times since, my esteem for it has grown, but I suppose it’s just not my kind of classic. I’m all for romance and a dose of melodrama, but Casablanca is the kind of film I have to be in the right mood to see. While Rick and Ilsa are well-written human characters, Paul Henreid is dull in comparison as Ilsa’s husband Victor Laszlo, and I can’t help but wonder why he didn’t travel under a pseudonym considering he was being hunted by the Nazis. It might have helped him get an exit visa more easily. The initially fast-moving plot also slows down a bit too much in the middle when Ilsa and Rick are discussing their relationship at night.

This and Laszlo’s weak character are the best reasons I can come up with to explain why it’s so low on my list. These are most likely grievances that very few possess so it’s probably just me. Still, I admire Casablanca for its enduring story of love and colorful script and characters, and it certainly deserved its three Oscar wins, including Best Picture. It may not always be my cup of tea, but it’s a film that still inspires countless viewers to say “Play it again, Sam.” (And yes, I know that’s not the exact line.)

Best line (avoiding the obvious): (Rick, as Renault is being forced to close the bar) “How can you close me up? On what grounds?”
(Renault) “I’m shocked, shocked to find that gambling is going on in here!”
(an employee, handing Renault some cash) “Your winnings, sir.”
(Renault) “Oh, thank you very much…. Everybody out at once!”
 
VC’s best line: (Ilsa to Rick) “I love you so much, and I hate this war so much. Oh, it’s a crazy world; anything can happen. If you shouldn’t get away, I mean, if…if something should keep us apart…. Wherever they put you and wherever I’ll be, I want you to know…. [they kiss] Kiss me. Kiss me as if it were the last time.”

 

Artistry: 10
Characters/Actors: 9
Entertainment: 8
Visual Effects: N/A
Originality: 9
Watchability: 5
 
TOTAL: 41 out of 60
 

Next: #207 – Jane Eyre (1971)

© 2014 S. G. Liput

130 Followers and Counting

 

#210: The Poseidon Adventure (1972)

13 Friday Jun 2014

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The ocean liner named Poseidon cruises from New York to Greece.
Although he’s overruled, the captain says their ballast must increase.
As New Year’s Eve is wrapping up, with partying and ecstasy,
An underwater earthquake strikes, creating a catastrophe.
A towering wave, a great tsunami, makes the giant ship capsize.
Everything’s turned upside down to cries of terror and surprise.
 
At last, the vessel settles down, and partyers are grievers now,
But soon it strikes the Reverend Scott that they must all climb up somehow.
The bow is sinking so they must try climbing toward the skyward hull;
Poseidon’s purser thinks him foolish and exerts a halting pull.
However, Scott succeeds in swaying nine brave souls to join his hope,
But everyone else stays behind to wait or help the others cope.
 
The gruff policeman Rogo comes because of Linda, his loud wife,
And Belle and Manny Rosen want to be part of their grandson’s life.
The careful haberdasher Martin, who is single, tags along
And brings with him the grieving Nonnie, singer of the party’s song.
Then there’s the wounded waiter Acres, who does know the ship a lot,
And smart lad Robin and his sister Susan, who likes Reverend Scott.
 
They scale the party’s Christmas tree and get up higher just in time;
Explosions cause the party room to flood, and it’s too late to climb.
Throughout the topsy-turvy ship, the band of passengers ascends.
Although Scott acts so self-assured, they don’t know where their journey ends.
With water closing on their heels, they climb into a lofty shaft,
And while they rise, poor Acres then falls victim to the deadly craft.
 
Since Rogo hates Scott’s domineering, he insists they join a crowd,
But Scott is sure that they are wrong and tells them so and very loud.
He goes alone to find the wanted engine room that’s toward the stern.
Once he succeeds in finding it, he leads the small group to return.
The path’s already flooded, though, so they must swim to stay on track,
And Mrs. Rosen proves her worth but passes from a heart attack.
 
Though Mr. Rosen mourns his wife, her dying words help urge him on.
They find the target engine room and scaffolding to climb upon.
A sudden blast blocks their escape, and Mrs. Rogo falls as well.
To get them through, Scott turns a searing wheel while giving God a yell.
He clears the way and then lets go, compelling them before his fall;
The final six are rescued through Scott’s sacrifice to save them all.
_____________________
 

The Poseidon Adventure is one of those classic star-studded disaster movies of the 1970s and is easily the best, as far as I’m concerned. Boasting a number of Oscar winners, including Red Buttons (Mr. Martin), Jack Albertson of Willy Wonka fame (Mr. Rosen), Shelley Winters (Mrs. Rosen), and Ernest Borgnine (Mr. Rogo), it’s a film that doesn’t just display them for the sake of bragging but puts each of them to good use, and no one is put to better use than Gene Hackman as Reverend Scott. The first time she saw it, Hackman’s assured and intense performance made my VC admire him as much as Susan in the film. My favorite, though, is the Oscar-nominated Winters as Mrs. Rosen, a likable grandmotherly type whose death was the saddest for me.

Coming years before the likes of Titanic, the disaster scenes of the ship being overturned are fairly impressive for the time and garnered the first Special Achievement Academy Award at a time when there was no category for Special Effects. The film also offers some very unique visuals, showing entire rooms, stairways, and corridors upside down and sometimes underwater.

Considering that the violence was not graphic, it’s a shame that the filmmakers included several profanities. Also, I know he’s proud to be considered unorthodox, but Scott’s view of God seems rather contradictory. On the one hand, he talks about how God doesn’t concern himself with the individual (a clearly collectivist view) but mentions “that part of God within you” that will help you if you help yourself. Assuming he’s talking about the Holy Spirit, that’s God, indicating He does assist individuals. While Scott is certainly noble in his quest and sacrifice, I think his understanding of God and His role in the world and people’s lives is rather two-dimensional. Still, I do agree with part of the sermon he gives, as reflected in my Best Line.

The Poseidon Adventure was Irwin Allen’s crowning achievement and one of the best disaster films ever, putting focus on the characters as well as the terrible things happening to them. I’ll admit that I have not seen the 2006 remake Poseidon, but when the film is already this good, why redo it just for the sake of better effects?

Best line: (Reverend Scott, in his sermon) “God wants brave souls. He wants winners, not quitters. If you can’t win, at least try to win. God loves tryers…. So what resolution should we make for the New Year? Resolve to let God know that you have the guts and the will to do it alone. Resolve to fight for yourselves, and for others, for those you love. And that part of God within you will be fighting with you all the way.”

 
Artistry: 7
Characters/Actors: 8
Entertainment: 8
Visual Effects: 7
Originality: 9
Watchability: 8
Other (language): -6
 
TOTAL: 41 out of 60
 

Next: #209 – Phineas and Ferb: Across the 2nd Dimension (please don’t laugh)

© 2014 S. G. Liput

128 Followers and Counting

 

The Elephant Man (1980)

12 Thursday Jun 2014

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While searching the carnival’s freakish sideshows,
Sir Frederick Treves finds one display that must close:
The Elephant Man, made grotesque, he hears tell,
When elephants struck his poor mother, who fell.
 
So hideous is this strange creature, Sir Treves
Must pay for a private exhibit and grieves,
But Treves, a rich surgeon, as well sees his chance
To show fellow doctors this medical glance.
 
He pays for John Merrick, the Elephant Man,
To come to the hospital, soon as he can.
He holds his own sideshow so doctors can gawk
And thinks John is stupid because he won’t talk.
 
When Merrick returns to his “owner” of sorts,
This drunken Bytes beats him so hard, he reports
To Treves that John fell and needs medical care.
Treves takes Merrick back, of his pains quite aware.
 
While Frederick takes custody of injured John,
He gets him to talk for his boss, one Carr Gomm.
Although John’s appearance is shocking at first,
He proves himself gentle and kind and well-versed.
 
By day, he gets visits from London elite,
Who drink tea with him while they cringe in their seat.
By night, a cruel worker intrudes on his stay
And lets people mock him as long as they pay.
 
One night, Mr. Bytes spirits John from this shore
And makes him a sideshow attraction once more.
Bytes beats John near death, treating him like an ape,
But John’s fellow freaks help their comrade escape.
 
John makes it to England (disguised, I should mention)
But causes a scene that attracts Treves’ attention.
John’s back home in comfort but dying he knows,
And since he has not seen a real play, he goes.
 
The theatre welcomes him with an ovation,
And John stands aghast at their kind commendation.
This happy night ends and so John Merrick lies
Like normal men do in their beds, and he dies.
_____________________
 

The Elephant Man is a deeply somber film based on the life of the 19th-century British man Joseph Merrick, who was not born deformed as the film implies. It earned eight Oscar nominations, including Best Picture and Best Actor, and was the main reason for the creation of an Oscar category for Best Make-Up and Hairstyling. John Hurt is unrecognizable as the title character, with loads of make-up and authentic prosthetics transforming him into what many in the film consider a freak and a monster. Yet his acting shines through it all and complements that of Anthony Hopkins as Sir Frederick Treves. In contrast to Hurt’s ugliness, my VC commented that Hopkins “never looked so good” with that beard and mustache. Other skilled thespians round out the cast, including John Gielgud as Carr Gomm, Wendy Hiller as the head nurse Mothershead, and Freddie Jones as the despicable Bytes.

It’s a very emotional film, meant to provoke emotions in its audience: anger at Bytes and the mocking crowds; sympathy for Treves, who questions his motives for helping John but ultimately embraces him as a friend; and especially pity, sorrow, and admiration for Merrick himself. Some have accused the film of being overtly sentimental; I don’t disagree, but that’s not necessarily a bad thing.

Mel Brooks definitely went against type to executive produce such a serious film, but I recognized director David Lynch’s fingerprints. I don’t care for most of his films because of their frequent weirdness, and the beginning and end are certainly strange. The first scenes involving overlong shots of elephants and John’s mother screaming silently were unnecessary, and, while John’s death scene with Barber’s “Adagio for Strings” playing is certainly affecting, the following celestial imagery and the final line “Nothing will die” just left me scratching my head.

Still, The Elephant Man is a well-acted period drama, which is enhanced by its black-and-white cinematography and a haunting score that I can best describe as melancholy carnie music. To be honest, it’s a real downer, but with enough moments of kindness and light to make it worth watching, at least once.

Best line: (John to Treves, before his night at the theatre) “I am happy every hour of the day. My life is full because I know that I am loved. I have gained myself. I could not say that…were it not for you.”

 
Artistry: 9
Characters/Actors: 10
Entertainment: 3
Visual Effects: 8
Originality: 8
Watchability: 2
 
TOTAL: 40 out of 60
 

Next: #211 – Annie

© 2014 S. G. Liput

126 Followers and Counting

 

Memphis Belle (1990)

09 Monday Jun 2014

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The Allies fought hard in the Second World War
From beaches to fields everywhere,
But hundreds of thousands were chosen to soar
And battle the foes from the air.
 
One crew of such men who attacked from the sky
Was those on the plane Memphis Belle.
Twenty-four missions they managed to fly,
Surviving the aerial hell.
 
The twenty-fifth outing, their last for the war,
Both thrills and unnerves them at once.
They all celebrate at a party before
The mission that nobody wants.
 
There’s Dennis, the pilot, who rigidly reigns,
And Luke, the co-pilot, who’s brash
And wants just one chance to shoot down German planes
And gets it and causes a crash.
 
There’s Phil, who is nervous and fears he will die,
And Virge, who has restaurant ambitions,
And Jack, who likes teasing poor Gene, a young guy
Who prays and brings medals on missions.
 
There’s Rascal, the ladies’ man who almost falls when
His ball turret’s shot in midair,
And Clay, the tail gunner, who usually stalls when
He’s asked for his crooning to share.
 
There’s bombardier Val, who lets drop their payload,
Despite a blurred target at first.
He claims he’s a doctor who’ll soon hit the road,
But proves he knows naught when coerced.
 
For Danny, a young Irish poet who’s kind,
Is injured while they’re flying back.
Val faces a choice that perplexes his mind
But keeps Dan from fading to black.
 
Within sight of base, they are nearly home free,
But one of their landing gear’s stuck.
They quickly descend the wheel manually,
And everyone cheers at their pluck.
 
They get Danny quickly to medical care,
And all of the heroes exult.
They each did their duty and fought from the air,
And home awaits as a result.
_______________
 

War movies often focus on different aspects of a conflict in order to stay fresh and avoid copying another film that’s already been done. Lawrence of Arabia focused on the war in the Middle East; The Great Escape presented POWs in Europe; The Bridge on the River Kwai had POWs in the South Pacific; War Horse was from a faithful steed’s perspective; and Patton centered on a single general of World War II. Memphis Belle chooses to shine a spotlight on the WWII bombers in the air. It doesn’t so much focus on aerial dogfights as on a group of barrack buddies who are given a task and simply try to survive so they can go home. It isn’t historically accurate when it comes to the real Memphis Belle and its missions and crew, but this is a realistic war film that gives an authentic sense of actually being on a dangerous bombing run.

The best war films manage to create characters that viewers can care about in the midst of peril, and Memphis Belle certainly succeeds in this regard. Each of the young men on the plane has unique personalities and traits that make them into real people. Even if their names don’t stick, one can remember the religious gunner (Courtney Gains), the cocky co-pilot (Tate Donovan), the careful pilot (Matthew Modine), the lecherous gunner (Sean Astin), the nervous navigator (D. B. Sweeney), the calm crooner (Harry Connick, Jr.), and the doubtful doctor (Billy Zane), among others. The initial voiceover introductions don’t help all that much in distinguishing the characters, but by the end each has a moment, an act of kindness, a moral quandary, a fateful decision, that helped me know and appreciate each one. That being said, I do have trouble telling the actors apart at times. I can easily recognize Sean Astin and Billy Zane from their other films I’ve seen, but I’m not as familiar with the others so most of them look the same to me. Even so, David Strathairn offers John Lithgow’s character (and the audience) a heart-tugging glimpse at the war’s losses and the difficult job faced by officers as well.

During the mission, almost everything goes wrong, from cloud cover over the target to engine fires to lost comrades on nearby planes to the landing gear not lowering properly. The excitement and entertainment also come from how the men deal with these issues and the general stress of the mission. One gets drunk, one prays, one whittles, one does magic tricks, and one writes poetry (yeah, I like Danny [Eric Stoltz]). Though there’s some unfortunate language, the violence is restrained, and the very human characters and engagingly episodic plot make up for it. You won’t find too many war films on my list, but Memphis Belle definitely deserves a spot.

Best line: (Gene, searching through the barracks) “Has anyone seen my St. Anthony’s medal?”
(Danny) “Isn’t he the patron saint of lost things?”
(Gene) “Yeah, I can’t find it.”

 

Artistry: 7
Characters/Actors: 8
Entertainment: 8
Visual Effects: 6
Originality: 8
Watchability: 7
Other (language): -4
 
TOTAL: 40 out of 60
 

Next: #213 – Anastasia (1997)

© 2014 S. G. Liput

126 Followers and Counting

 

Dances with Wolves (1990)

08 Sunday Jun 2014

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Wounded in battle, John Dunbar decides
That suicide will be his lot.
He’s unsuccessful as blindly he rides,
Somehow inspiring both of the sides,
Till the Union has captured the spot.
 
Dunbar, a hero, is given his pick
Of posts stationed far off or near.
Choosing a place where the gunfire’s not thick,
A place where a lifestyle is vanishing quick,
He goes to the western frontier.
 
Reaching his post, he is just on his own,
And nobody knows he is there.
Writing his journal and cleaning his zone,
Having no clue how long he’ll be alone,
He simply must wait and prepare.
 
Soon John encounters the curious Sioux,
A neighboring Indian tribe.
Tentatively, they communicate through
Gifts and hand motions, and friendships ensue,
Which John is intent to describe.
 
Hand motions only can get them so far,
So Kicking Bird, one holy man,
Brings out a girl who is less like they are,
White, and who has an emotional scar.
They saved and raised her in their clan.
 
English comes slowly as Stands with a Fist,
The girl, tries to speak for her friends.
Though she at first tried to stall and resist,
Slowly she bridges the gaps that exist,
And each of them soon comprehends.
 
Coveted buffalo enter their lands,
And John assists as the tribe hunts.
Dunbar soon falls for the beautiful Stands.
Feeling this country is yet in good hands,
He lives with the Sioux as he wants.
 
Dances with Wolves is what Dunbar is named
Because of a wolf he befriends.
Soon Dunbar’s marriage to Stands is proclaimed;
John is a Sioux now and stands unashamed;
His new family he defends.
 
Winter approaches, and John will leave too,
But after retrieving his journal.
John finds the fort full of his soldiers, who
Capture him, thinking that he is a Sioux.
The good life proves far from eternal.
 
Charged as a traitor, he’ll soon meet the noose
From soldiers both callous and crass.
After he suffers their constant abuse,
John’s fellow Indians set their friend loose
And flee to a safe mountain pass.
 
John and his wife choose in sorrow to leave
To save his Sioux friends, who move on.
Dances with Wolves and his confidants grieve,
For he is sure there will be no reprieve
Till Indian ways are all gone.
_______________________
 

As Kevin Costner’s directorial debut, Dances with Wolves is an accomplishment of the highest order. It earned seven Academy Awards, including Best Picture, Director, Score, Cinematography, Adapted Screenplay, Sound, and Film Editing. Though Costner fell from Hollywood’s good graces for a time since then, Dances with Wolves stands as a triumph of which he can always be proud. That being said, the end of this film irritates me.

I could claim that I don’t have a problem with a film being realistic, but I suppose I do, at least when it’s done as this film was. It presents a unique lifestyle that has almost completely disappeared and remains fascinating even when the pace may seem slow. Yet it goes beyond this to make you genuinely care for various things (John’s journal, his horse Cisco, his lupine pal Two Socks), only to jerk the rug out from under you, to desecrate these elements for the sake of proving how bad the white man was. I’m not going to argue with history; I am sympathetic to the fact that the Native Americans suffered much over the years, including the loss of their way of life, but this film seems so one-sided that it feels emotionally manipulative by the end.

On the other hand, I can pick up on a number of latent issues that the film doesn’t address directly. For instance, Dunbar technically did desert his post at the fort; however good his reasons were, he was a deserter, certainly at fault in that regard.

Though the film has more obvious intentions (Sioux good, Pawnee and white man bad except for John), the main message I choose to take from the film and its historical context is the importance of prudence and an open mind. One thing that bothers me is how the soldiers shot John at first sight, not even thinking to assess his intentions. They no doubt had only heard tales of the atrocities committed by hostile Indians, which, to be fair, are also presented in the film, though not by the Sioux. Likewise, the Sioux warrior Wind In His Hair’s first reaction to John’s presence is to kill him, but Kicking Bird was wise enough to attempt diplomacy, as John was too. Attacking and asking questions later (if at all) only produced pain and heartache, but both sides’ willingness to come to a mutual understanding sparked friendship and respect.

All this discussion could have been avoided if the filmmakers had left out about twenty minutes of the soldiers’ cruelty, as well as some crude and weird elements at the beginning. The middle of the film, in which John learns the ways of the Sioux, is a pleasure to watch, even with most of the dialogue in the Lakota language. I liked the scene in which Kicking Bird is surprised when he looks through John’s telescope, since it was recycled a year later in Robin Hood: Prince of Thieves with Costner switching roles as the one looking shocked at this strange invention. The magnificent buffalo hunt (featuring a real buffalo herd) and the battle between the Sioux and Pawnee are wonders to behold and were both difficult and dangerous to film. Kevin Costner as Dunbar doesn’t have that much of a personality, but that’s all right since he acts as a decent everyman character through whom the audience is also exposed to the Sioux camp. Mary McDonnell is quite believable as Stands with a Fist, and Graham Greene is also excellent as the reasonable medicine man Kicking Bird.

I’ve visited Rapid City, South Dakota, where part of the film was shot, including the set for Fort Hays, and having actually seen the outdated buildings and the rolling, wide-open prairies helped me appreciate the film and its setting even more.  It may frustrate me that the soldiers in the film defile what it urges viewers to cherish, but Dances with Wolves is still a film of great historical significance that ought to be seen. Its acting, score, and historical importance make it a classic of the western genre, focusing more on the Indians than on the cowboys.

Best line: (Wind In His Hair, as Dunbar acts like a buffalo to get his point across) “His mind is gone.”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 7
Visual Effects: 8
Originality: 8
Watchability: 5
Other (language and aforementioned issues): -6
 
TOTAL: 40 out of 60
 

Next: #214 – Memphis Belle

© 2014 S. G. Liput

125 Followers and Counting

 

The Terminator (1984)

06 Friday Jun 2014

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The future is dismal and vast:
Machines conquered Earth very fast.
The humans impede
On the bots and succeed,
But one cyborg goes to the past.
 
This buff, human-like Terminator
Is out for the blood of a waiter.
He wants Sarah Connor,
Is almost upon her,
But fails when he tries to negate her.
 
A human came too, Kyle Reese,
To not let this woman decease.
He gets her away,
But they both cause a fray,
And are captured by L.A. police.
 
The cyborg of termination
Just massacres all at the station.
Both Sarah and Reese
Seize this chance for release
And flee from the sheer devastation.
 
They go to a hotel and kiss,
Conceiving the cause of all this.
For Sarah’s son John
Will lead rebellion,
Which all the machines want to miss.
 
The cyborg finds them and gives chase,
And they run all over the place.
They blow up the bot;
It’s dead now…or not.
It now has a scarier face.
 
They take a dark factory tour
And then blow it up like before.
Reese dies from the blast,
But it’s over at last.
No, wait, half its body wants more!
 
When Sarah is done panicking,
She finally crushes the thing.
No more Terminator,
She then drives south later
And fears what the future will bring.
___________________
 

James Cameron has directed a number of great feature films and some less than great, but it all started with this one (if you ignore Piranha II). The plot combines traditional horror hunts with a surprisingly well-thought-out dystopian future and time travel to create something at once scary, thrilling, and unique, especially for 1984.

I think the main reason for its success was not Linda Hamilton as Sarah or Michael Biehn as Reese (though both do an excellent job) but Arnold Schwarzenegger, who will forever be the Terminator. If great acting involves simply being steely enough to intimidate both the characters and the audience, then the former governor of California is a master. Many critics said the role was perfect for him because he didn’t have to speak much. He’s so integral to the franchise that he’ll even be in the reboot next year.

The film itself is a thrill ride with great focus put on the car chases. My VC, who likes the film too, actually thought the chase scenes ran on rather long. The part involving Reese and Sarah’s romance in the hotel room slowed it down a bit too much, in addition to throwing in unnecessary nudity.

Overall, it is certainly an R-rated movie. There’s profanity, tons of shooting and deaths (though Cameron could have made it worse), the nudity, and that icky scene with the Terminator’s eye, which is mitigated by the fact that it’s obviously an animatronic. Yet The Terminator is also a gold standard for sci-fi fans with cool effects and some truly awesome explosions and is a definite part of popular culture. I’ve already reviewed the third one and this is the first, so all I can say for the Terminator is that he’ll “be back.”

Best line: (you guessed it; the Terminator) “I’ll be back.”

 
Artistry: 7
Characters/Actors: 8
Entertainment: 8
Visual effects: 6
Originality: 10
Watchability: 7
Other (violence, language, nudity, etc.) -6
 
TOTAL: 40 out of 60
 

Next: #216 – Spy Kids 2: The Island of Lost Dreams

© 2014 S. G. Liput

122 Followers and Counting

 

City Slickers (1991)

02 Monday Jun 2014

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When Ed has ideas for insane daring-do,
He gets his two pals Mitch and Phil to come too.
Mitch feels somehow trapped in his unfulfilled life,
And often complains to his kids and his wife.
They all soon are sick of his cynical view.
 
Phil also has problems; he’s scared of his spouse.
He’s hesitant, timid, and scared as a mouse.
His wife comes to learn that he had an affair,
Since frankly their marriage did not have a prayer;
He loses his job and is kicked from the house.
 
Ed has issues too with commitment and such,
But he has a plan for a surefire crutch:
A real cattle drive with real cattle to drive
To help them be cowboys, austere and alive.
Mitch goes, but he isn’t excited too much.
 
They meet other city folk, bound for the trail,
And Curly the trail boss, who’s tough as a nail.
They transport the herd, starting off with “Yaw hoos,”
To New Mexico with a chorus of moos.
They hope to revitalize life through travail.
 
When Mitch, making coffee, provokes a stampede,
He’s taken by Curly to find cows in need.
He’s scared of the cowboy but proves his own worth
By helping a cow have an impromptu birth.
He looks up to Curly, a now dying breed.
 
The cowpoke tells Mitch he must find his one thing
That makes life worthwhile and keeps it in swing.
Not long after that, Curly suddenly dies.
They must do without him, so rugged and wise.
The trip goes awry without his guiding wing.
 
At last, their friends scattered, it’s Mitch, Ed, and Phil
Who keep the cows moving with moxie and will.
They help cross a river, where Mitch nearly sinks
But saves the young calf he delivered (he thinks).
They all prove themselves by surviving the thrill.
 
They save the cows, but, after crossing the water,
They learn all the cattle are destined for slaughter.
So Mitch takes the calf and his old smile back.
Withstanding their crises, they’re all back on track,
And Mitch found his one thing: his wife, son, and daughter.
_______________________
 

City Slickers is yet another Billy Crystal classic with a winning mix of comedy and drama. The midlife crises of the three friends are all pretty realistic, even when handled comically, and their conversations, such as describing their best and worst days, provide welcome depth to their characters and motivations. Crystal’s typically clever banter again steals the show, and, though the film isn’t a laugh riot all the way through, it has periodic lines and moments of hilarity that make it very entertaining.

Billy Crystal and his When Harry Met Sally… co-star Bruno Kirby are always an amusing pair (Kirby hid his horse allergy very well), and Daniel Stern is equally well-cast as the adulterous Phil, who mourns how his life has gone down the tubes. But the one who earned the most critical praise and an Academy Award for Best Supporting Actor was Jack Palance as the gravelly-voiced Curly, who evokes leathery toughness and rustic sagacity with his impressive if too brief performance. Also, I was surprised to see that this movie was Jake Gyllenhaal’s film debut as Mitch’s 10-year-old son.

There is some unfortunate and unnecessary profanity and sexual dialogue, but City Slickers is still a rousing and enjoyable western comedy. Plus, that calf sure is adorable!

Best line: (Curly, as Mitch is reaching into a cow to help it give birth) “What’s taking so long? Do you see the head?”
(Mitch) “Ew. I only see a tail.”
(Curly) “Oh, s***. It’s turned the wrong way. Get it out.”
(Mitch) “Uh, oh. My watch came off.”
 
VC’s best line: (Mitch, to Ed) “Ed, have you noticed that the older you get, the younger your girlfriends get? Soon you’ll be dating sperm.”

 

Artistry: 7
Characters/Actors: 8
Entertainment: 9
Visual Effects: 5
Originality: 7
Watchability: 8
Other (language and sexual dialogue): -5
 
TOTAL: 39 out of 60
 

Next: #220 – Pinocchio

© 2014 S. G. Liput

117 Followers and Counting