Tag Archives: History

#77: 1776 (1972)

07 Friday Nov 2014

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(Can be sung to “But, Mr. Adams,” minus the repetition)
 
In the summer of a year remembered,
As a turning point of history and rights,
Mr. Adams is imploring,
With controversies boring,
All the Congressmen to listen as he fights.
 
Independence, their independence,
Is a subject few are willing to discuss aloud,
Till Virginia’s Lee declares a resolution proud,
Which brings out the strong opinions of the noble crowd.
 
Since the foes to independence are mounting
And unanimous the final vote must be,
Mr. Adams stalls frustration:
They need a declaration
To announce the reasons why they must be free.
 
Mr. Adams tells Mr. Jefferson
That he must write the declaration they’re requiring.
Adams brings in Tom’s young wife to start inspiring,
And soon his aptitude for eloquence is firing.
 
Though the written declaration seems perfect,
Everybody finds a quibble or a flaw.
Words are altered or ejected;
Since slaves were interjected,
All the Southern states take issue and withdraw.
 
Mr. Adams, moved by Mrs. Adams,
Will not let his dream of independence meet an end.
He bites the needed bullets to convert each friend,
And the U.S.A. is born when signatures are penned.
_________________
 

Some of my favorite musicals are related to history, and, though the Second Continental Congress may not have been an obvious choice, 1776 brought this important time in history to life with the entertaining power of show tunes. I’m a big fan of putting the spotlight on minor players in history, people whose names are glossed over in history books. Giving them a name and voice and image only seems right, since unknowns can shape history just as much as presidents and kings. Though this film leaves out several members of the Congress in order to achieve a more manageable cast, it characterizes an amazing number of signers, including John Dickinson (Pennsylvania’s opponent to independence), James Wilson (a weak judge given a final choice), Samuel Chase (a rotund Marylander), Lewis Morris (an ever-abstaining New Yorker) Stephen Hopkins (a Rhode Island drunk), Richard Henry Lee (the Virginian resolution maker and relative of Robert E. Lee), Caesar Rodney (a Delaware patriot stricken by cancer), Dr. Lyman Hall (a Georgian physician), Colonel Thomas McKean (a Delaware Scotsman), and John Hancock (President of the Congress and first signer).

Of course, there are also the more obvious players as well. Though “obnoxious and disliked,” William Daniels as John Adams finds the same balance of likable and insufferable that he delivered as Dr. Mark Craig on St. Elsewhere. Howard da Silva is the spitting image of Benjamin Franklin and obviously enjoys spouting the wit for which Franklin was famous. Likewise, Ken Howard and Blythe Danner (aka Gwyneth Paltrow’s mother) are ideal as Thomas and Martha Jefferson, the former of whom struggles between patriotism and romance and chooses both, of course.

The film takes considerable liberties with its historical basis, including motivations (Dickinson himself posed some of the grievances put forward by Adams; his insulting Adams as a “lawyer” is ironic considering Dickinson was really a lawyer too) and dramatic details (Martha Jefferson never came to visit her husband in Philadelphia and had actually suffered a miscarriage around the time of the signing). While these aberrations can irritate history buffs, none are so glaring as to undermine the film as a whole. Indeed, 1776 depicts the tensions of the period with insight and humor. Small details, such as Franklin’s strained relationship with his son, are included as fascinating bits of trivia, while debates with the South foreshadow the objections that led to the Civil War. The dialogue, much of it derived from letters of the real people involved, carries a unique wit and intelligence of conversation that has been lost over time.

The film is also full of underrated musical gems, usually humorous, such as the opening “Sit Down, John,” the lighthearted “The Lees of Old Virginia,” and my personal favorite, the pen-passing “But, Mr. Adams.” The one song sung by defender of slavery Edward Rutledge, “Molasses to Rum,” goes a bit too far with its portrait of the slave trade, but most of the tunes are buoyant numbers, like Mrs. Jefferson’s “He Plays the Violin.” One brief scene also taps into contemporary Vietnam War sentiments about Congress blithely sending young men to war, ending with the poignant elegy “Mama, Look Sharp.”

1776 does occasionally drag with long stretches of dialogue that could bore those not actively interested in the debate, yet its music and recreation of history have always appealed to me. Though historians believe that the Declaration itself was not signed on July 4, 1776, the final scene that depicts this becomes more and more powerful as it continues, as if a window in time were opened allowing us to witness one of history’s pivotal moments.

Best line: (Congressional secretary Charles Thomson, calling for a vote) “Where’s Rhode Island?”
(McNair, the custodian) “Rhode Island’s out visiting the necessary.”
(Hancock) “Well, after what Rhode Island has consumed, I can’t say I’m surprised. We’ll come back to him, Mr. Thomson.”
(Thomson) “Rhode Island passes.” [everyone laughs]

 

Rank: 55 out of 60
 

© 2014 S. G. Liput

243 Followers and Counting

 

#83: Saints and Soldiers (2003)

01 Saturday Nov 2014

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At Malmedy, the prisoners
Were massacred among the firs.
Survivors fled, though only four,
Content to hide and nothing more
Behind the German lines adverse,
 
Until a Brit convinces all
To risk their lives through snowy pall,
More lives to save from waning war
In snowy squall.
 
Camaraderie begins to grow
Among the outfit, lying low.
Through losses testing faith and nerve,
They carry on, like all who serve,
And gain perspective on the foe
From those who fall.
_______________
 

Who knew that a war movie made by Mormons would become one of my favorites of the whole genre? I watched Saints and Soldiers with low, if any, expectations and was completely enthralled by its powerful story. Set around real-life events, like the Malmedy massacre and the Battle of the Bulge, the film incorporates several true anecdotes into its tale of five soldiers behind enemy lines.

Though none of the actors are well-known stars, the entire film centers on its character development and excels at it: faithful but traumatized Deacon, coolheaded Gunderson, cigarette-craving Kendrick, suspicious doctor Gould, and swaggering Brit Winley. Every exchange provides either insights into their characters or humorous incidents that endear them to the audience and to each other. The writers throw in deftly written dialogue cues about each character’s “secret” and backstory that work even better than flashbacks would. By the time some of them give “their last full measure of devotion,” we feel as if we know most of them and are shaken by the loss as much as their fellow soldiers. Many movies have attempted such emotional direction, but Saints and Soldiers succeeds, at least for me.

For a low-budget production, the film boasts surprisingly genuine performances; stunning winter cinematography; a stirring, patriotic score; and a number of period details, from military costumes to antique vehicles, which add to its overall authenticity. One well-handled aspect is its Christian message; yes, it features somewhat of an evangelistic subplot, but it is never preachy and could have indeed happened out on the battlefield. Deacon is written as a Mormon from Snowflake, Arizona (“Doesn’t drink. Doesn’t smoke. He doesn’t even like coffee.”), but the only explicit elements of his faith are his reading of a small book (probably a Bible) and a brief, interrupted prayer. His faith acts as a complement to the story rather than the main focus and in the end is affirmed in a satisfying and realistic way.

Of course, there are also the usual explosions and battle scenes necessary in a war movie, and though many die and it is certainly intense, the violence is brief and restrained. Modern war films too often delve into the overly gritty, gory details that make war hell, claiming truthfully that it is “realistic,” but Saints and Soldiers achieves the same impact and emotion without profanity and without depicting heads blown off and blood spurting.

A lesser-known classic, Saints and Soldiers is a powerful, character-driven fight for survival that doesn’t demonize the enemy nor idealize the heroes and ought to be a model for other war films.

 
Rank: 54 out of 60
 

© 2014 S. G. Liput

237 Followers and Counting

 

#92: Saving Mr. Banks (2013)

22 Wednesday Oct 2014

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Before Mary Poppins
Met cinema screens,
The gruff P. L. Travers
Kept her by all means.
 
The magical nanny
Was family to her,
And Disney would never
Take her, she was sure.
 
But life’s money troubles
Convinced her at last
To see what the mouse king
Was planning so fast.
 
Disappointments built up,
And her fears were confirmed:
The script and song writers
Explained as she squirmed.
 
Their Poppins too frivolous,
Songs too carefree,
They just could not please her,
Nor could Walt Disney.
 
Their cruel Mr. Banks
Brought back pained memories
Of her drunken father
Who tried so to please.
 
Despite a stern aunt
Whipping all into shape,
The cares of this world
Travers could not escape.
 
It took some script changes
For her to begin
To see the film project
As more than a sin.
 
But when animation,
Which she could not stand,
Was still to be present,
She left for England.
 
When Disney himself
Made a sudden house call,
He calmly assured her
He would not appall;
 
He’d bring Mr. Banks
To life, a road paved
By all of her stories,
And he would be saved.
 
Her father was dead,
But there on the screen,
Both perfect and flawed,
His salvation was seen.
_______________
 

The most recent of my top 100 films, Saving Mr. Banks is not even a year old at the time of this post, yet its acting and insightful peek at a laborious creative process marked it as an instant classic. More and more films are resorting to the depiction of creating other films (think Hugo, The Artist, Hitchcock), yet such films continue to offer compelling stories and fascinating details that haven’t gotten old yet, and Saving Mr. Banks is no exception.

The Academy of Motion Picture Arts and Sciences is known for infamous snubs, yet the fact that Saving Mr. Banks did not receive one acting nomination is unforgivable (Thomas Newman’s score was nominated—that’s it). Tom Hanks and Emma Thompson contribute astounding performances to their already distinguished careers; Walt Disney and P. L. Travers come to life in a powerful, character-driven way that spans every emotion, from joy to disgust to sorrow to utter frustration. Yet despite some weighty backstories for both, the entire film has the light, optimistic ambience of Disney World (the Disney World that kids see, minus all the lines and headaches). Thompson’s pomposity and rudeness don’t fit in this land where cartoons and songs are the norm, but every minute of her gradual easing into something like fulfillment (and I do mean gradual) is a pleasure to watch. Likewise, Hanks’s Disney is con man, big cheese, and lovable uncle all rolled into one familiar package, yet with astute glimpses into previously unseen aspects of the master entertainer.

I applaud films that bring little-known players to the fore, such as Mary Poppins co-scriptwriter Don DaGradi (Bradley Whitford) and the talented Sherman Brothers musical team (B. J. Novak and Jason Schwartzman), not to mention Paul Giamatti’s genial turn as Travers’s fictionalized chauffeur. Lovers of the Mary Poppins film are sure to enjoy the details that seem to be directly inspired by Travers and the development of a childhood classic. Like in Holes, flashbacks are woven through the narrative, revealing additional inspirations for the Mary Poppins characters and providing Colin Farrell a heart-breaking role as the author’s good-natured but alcoholic father.

Considering that Saving Mr. Banks was released at the height of the Christmas season, it was obvious Oscar fodder, and it deserved so many more accolades than it received. Was it because it was too clean? Was it because Tom Hanks’s performance, coupled with the one in Captain Phillips that year, was somehow overlooked in favor of non-Oscar winners? I don’t know, but Saving Mr. Banks is a worthy behind-the-scenes look at the beloved Mary Poppins, even if it Disney-fies proceedings that were even more problematic than the film depicts. Regardless of how much was fictionalized, it was one of the best films of 2013.

Best line: (Walt Disney, reassuring Travers toward the end) “George Banks and all he stands for will be saved. Maybe not in life, but in imagination. Because that’s what we storytellers do. We restore order with imagination. We instill hope again and again and again.”

 
Rank: 54 out of 60
 

© 2014 S. G. Liput

231 Followers and Counting

 

The Right Stuff (1983)

26 Friday Sep 2014

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Test pilots were the fastest men alive,
And Chuck Yeager was famous as the best.
But soon man found a new frontier—to strive
Toward space, and certain valiant men impressed.
Shepard, Grissom, Slayton, Cooper, Glenn,
Carpenter, Schirra—these were their names.
America was smitten with these men,
Who dared for fame which could well end in flames.
When countless tests had readied them for flight,
They blasted skyward. Shepard was the first;
The next was Grissom and his slip and slight;
And then Glenn and the orbits he traversed.
These seven proved ideas are not enough;
Achieving dreams requires the right stuff.
_______________
 

I believe The Right Stuff should have won Best Picture for 1983 (over Terms of Endearment, a VC favorite). No other film that year and few films since have provided such a sweeping, mostly accurate, and entertaining view of turning points in history. It also boasts an ensemble of ‘80s heavyweights, including Dennis Quaid as Gordon Cooper, Ed Harris as John Glenn, Scott Glenn as Alan Shepard, Fred Ward as Gus Grissom, and Sam Shepard as Chuck Yeager, plus smaller roles for Barbara Hershey, Veronica Cartwright, Harry Shearer, and Jeff Goldblum (who also appeared in The Big Chill that year).

As I stated in my Apollo 13 review, my grandfather was directly involved with the space program and was present for many of the sometimes humorously unsuccessful rocket tests shown in a montage halfway through. Though the film doesn’t celebrate the men behind the scenes, as Apollo 13 did, it pays homage not only to the seven initial astronauts who braved the unknowns of the Mercury program but also the test pilots who paved the way by risking their lives to break down barriers, as Yeager did on October 14, 1947, when he hit Mach 1.

Yet The Right Stuff isn’t just an affectionate tribute to the early space program. It also testifies to the fortitude of pilots’ long-suffering wives; to the camaraderie of men daring to face a challenge together; to the ridiculous chutzpah of the media and how they whitewashed anything unsavory or unfavorable; to the wonders and thrills that drive men to risk life and limb, push envelopes, and go where no one has gone before (yes, I like Star Trek).

Beyond that, it’s also great fun to watch, particularly the rigorous testing the would-be astronauts endured. The beginning with Yeager is a tad slow and Levon Helm’s drawling narration a bit discordant, but once Shearer and Goldblum’s bumbling recruiters step in, the over-three-hour film passes quickly. A few scenes were unnecessary, such as the fan dance toward the end, and an unscientific and rather silly “explanation” for the fireflies John Glenn witnessed, but overall the film rarely misses a beat. Each game-changing event is given ample attention, with both humor and grief involved, such that one feels uniquely educated by the film’s end. The Oscar-winning score by Rocky’s Bill Conti matches the subject matter beautifully, aided by Handel’s “Hallelujah Chorus” and Holst’s The Planets. Though lesser-known players, such as Lance Henriksen’s Wally Schirra, are not given much screen time, The Right Stuff recreates the original real-life “star voyagers” who captured America’s collective imagination and prepared the way for future leaps for mankind.

Best line: (Jack Ridley, after Gus Grissom’s perceived fault with the second Mercury splashdown) “Nothing these guys do is gonna be called a failure… But you’d think the public’d know that they’re just doing what monkeys have done….”   (Yeager) “Monkeys? You think a monkey knows he’s sittin’ on top of a rocket that might explode? These astronaut boys, they know that, see? Well, I’ll tell you something, it takes a special kind of man to volunteer for a suicide mission, especially one that’s on TV. Ol’ Gus, he did all right.”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 9
Visual Effects: 7
Originality: 9
Watchability: 8
Other (language): -1
 
TOTAL: 50 out of 60
 

Next: #113 – The Untouchables

© 2014 S. G. Liput

211 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

 

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

 

Pocahontas (1995)

22 Tuesday Jul 2014

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(Can be sung to “Colors of the Wind”)
 
A voyage starts in 1600s England
To journey to the New World for its gold,
But John Smith only searches for adventure
And knows that there’s one waiting to unfold.
 
This New World boasts the lovely Pocahontas,
The daughter of the reigning Indian chief.
He offers sober Kokoum for marriage,
But the maiden seeks a spirit for relief.
 
The path for her is hidden and uncertain,
But then the ship appears against the sky.
As greedy Ratcliffe starts his people digging,
Smith departs to scout the countryside nearby.
 
The Indian and Englishman make contact,
And neither’s like the other thought they’d be.
He tells her of his homeland, and the maiden
Shows the sailor things he’d never tried to see.
 
A skirmish sows distrust in both the factions,
And both believe the worst of their new foe.
They will not hear John Smith or Pocahontas,
But both unite, and love begins to grow.
 
When Kokoum decides to tail the couple,
His jealous rage just gets the warrior shot.
The tribe imprisons Smith to his friends’ horror
And plans to execute the man they’ve caught.
 
Since Ratcliffe thinks the foe is hoarding treasure,
And they think whites are savages as well,
Both sides prepare for battle at the sunrise,
Till Pocahontas chooses to rebel.
 
She saves the life of Smith at the last second
And turns her father’s warring mind to peace.
These “savages” are better than they’d reckoned,
And both sides (save for Ratcliffe) choose to cease.
 
Though Smith is saved, he still is sadly wounded,
So he departs for home to convalesce.
He bids goodbye to lovely Pocahontas,
Who will be with him forever nonetheless.
____________________
 

Don’t worry; I won’t exhaust the Disney Renaissance this low on the list, but like Mulan, Pocahontas is just not quite as absolutely stellar as the rest of those ‘90s classics. It still is a marvelous film, beautifully animated and drawing inspiration not from fairy tales or legends but from real American history. It bothers me a little that Disney rewrote history in adding much to the story of Pocahontas and John Smith while leaving out other elements, such as the Indian maiden’s conversion to Christianity. Still, it’s laudable that the filmmakers endeavored to bring history to family audiences in such an entertaining package, even if only some main events are retained from the true account (the saving of Smith’s life, his changed injury and return to England).

Mel Gibson makes John Smith quite the dreamboat, and David Ogden Stiers proves he can play a greedy Englishman with the same panache as he can a clock. As far as cute animal sidekicks go, Meeko the raccoon and Flit the hummingbird are two of the funniest and lend the otherwise serious tale some lighthearted comic relief.

One thing I’ve noticed after repeated viewings is that Pocahontas more than any other recent Disney film depends on its music for its success. All of the other Disney classics have memorable standout sequences independent of their music (the wildebeest stampede, the Cave of Wonders, Shan-Yu’s mountain charge, etc.), while Pocahontas doesn’t. Take away Alan Menken’s soundtrack, and you’ve got the familiar “noble savage” and “follow your heart” clichés and a romance that’s a tad rushed and a much less entertaining story.

Luckily, though, we do have Menken’s songs, and they are perfect. From the history-laced “The Virginia Company” to the exhilarating “Just around the Riverbend,” his music continues to amaze. Stephen Schwartz’s lyrics are also fantastic and eminently satisfying to me as a poet. “Colors of the Wind” is especially classic and earned an Academy Award for Best Song. Ratcliffe’s songs are also great, particularly the Broadway-quality “Mine, Mine, Mine.” Despite accusations of racist lyrics, I also love “Savages” and can step away enough to see that the hatred is that of the characters and not the filmmakers. I actually think the way that both sides accuse the other of being “savages” is the most nuanced element of the whole film.

Pocahontas may have turned a platonic historical account into a Romeo-and-Juliet story of warring factions, but its soundtrack makes it yet another Disney classic. I wonder if they’ll ever tackle another historical drama again.

Best line: (Powhatan, at the end) “My daughter speaks with the wisdom beyond her years. We’ve all come here with anger in our hearts, but she comes with courage and understanding. From this day forward, if there is to be more killing, it will not start with me.”

 
Artistry: 6
Characters/Actors: 6
Entertainment: 8
Visual Effects: 9
Originality: 5
Watchability: 9
Other (music): +2
 
TOTAL: 45 out of 60
 

Next: #170 – Foul Play

© 2014 S. G. Liput

159 Followers and Counting

 

Something the Lord Made (2004)

12 Saturday Jul 2014

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When Vivien Thomas was needing some work,
He found some with Alfred Blalock,
A pioneer surgeon experimenting
On dogs and the study of shock.
 
Though just an assistant, he learned very fast,
His hands and his memory deft.
He found that he loved seeing life at its source,
And he followed Blalock when he left.
 
They went to Johns Hopkins, a researching team
But odd because Thomas was black.
He raised many eyebrows among the white staff,
But Blalock defended his knack.
 
Blalock’s latest challenge was finding a cure
For sick babies who had turned blue.
Both Thomas and he labored tirelessly,
Though heart surgery was taboo.
 
When Thomas realized that he was a class 3,
Two grades below what he should be,
He made the fact known, and Blalock pulled some strings
And gave him the right guarantee.
 
They worked and they worked till the dogs were blue too,
As test cases for operation.
Through Vivien’s help, they obtained a solution,
Albeit with some complication.
 
The time at last came: the first heart surgery,
On a blue baby on her deathbed.
Blalock needed Vivien close by his side
And turned sickly blue to light red.
 
His wondrous success changed the medical world
And garnered him instant acclaim,
But Thomas was troubled and quit his job when
Blalock wouldn’t mention his name.
 
In time, he decided the work’s what he loved,
Returning to Johns Hopkins soon.
For decades he served as a faithful technician
With skills that no man could impugn.
 
Though Blalock passed on, a large portrait of him
Still hangs in the hall, not alone.
For next to his doctor is Vivien Thomas,
Who earned a portrait of his own.
_____________________
 

Something the Lord Made was an HBO film that I just happened to watch one day for the peculiarity of the very British Alan Rickman playing a southern doctor, and he skillfully pulled it off. Not only is his accent well-replaced, but he plays Dr. Alfred Blalock with just the right balance of compassion and egotism. Mos Def is even more remarkable as Vivien Thomas, the carpenter-turned-lab technician who helped to change the world of medicine without ever going to college. I noticed during this latest viewing that his facial expressions are not particularly varied, but he successfully evokes every emotion, from the focus and tension of the operations to the betrayal felt when he is ignored for his contributions to the quiet awe and gratitude when he is finally awarded such recognition.

The film is not for the very squeamish since there are some surgery scenes, though they’re not too graphic. Also, modern-day animal rights activists would probably have prevented Blalock’s breakthrough by taking away the dogs on which he experimented. The scenes of the surgeons cutting into upturned canines may displease some animal lovers, but it paved the way for modern heart surgery, saving millions of lives.

As usual, there is some completely unnecessary foul language, and the make-up to age the characters is non-existent (just grayed hair), but there are certainly more positives than negatives. It presents many racist period details, such as blacks’ sitting at the back of the bus and vacating sidewalks for whites, but mostly as details, facts of life for the characters. The sensitive relationship between Blalock and Thomas is the highlight of the film, a little-known piece of history that is truly amazing when you think about it. I don’t watch a lot of HBO films due to their content, but if there were more like this one, I would.

Best line: (Vivien Thomas) “The dead are with us all the time, I believe. Can’t separate the past from the future any more than you can your right arm and your left arm.
(Dr. Blalock) “Ah, but, you see, they are separated by this, by the heart.”
(Thomas) “Or connected.”
(Blalock) “Or connected.”

 

Artistry: 9
Characters/Actors: 10
Entertainment: 8
Visual Effects: N/A
Originality: 8
Watchability: 8
 
TOTAL: 43 out of 60

 

Next: #180 – The Curious Case of Benjamin Button

© 2014 S. G. Liput

155 Followers and Counting

 

 

Joyeux Noël (2005)

02 Wednesday Jul 2014

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In 1914, war began,
Embraced by most, except a few.
As nations called on every man,
The horror of it came in view.
 
The Scots, the Germans, and the French
Were fortified on Christmas Eve.
Each army huddled in its trench,
No reinforcements to relieve.
 
Then, lo, there rose a single voice,
A tenor on the German side,
Reminding them to still rejoice,
For Christ was born for all worldwide.
 
The Scots employed their instrument
To complement the brave recruit,
And everybody was content
To lend an ear instead of shoot.
 
The three commanders met that night,
To call a temporary truce,
To share champagne instead of fight,
To put their time to better use.
 
A Scottish priest performed a Mass
For every soldier, friend or foe,
And one attending German lass
Performed soprano in the snow.
 
Although the night soon ran its course,
The morning saw increased rapport.
They could not dole out death and force
On those they met the night before.
 
Instead, they gathered hand in hand,
The dead of every camp to bury,
And they transformed no man’s land
Into one large cemetery.
 
When shelling was to be dispersed,
The Germans warned their rival friend,
And when their places were reversed,
The Scots let courtesy extend.
 
Yet friendship was not meant to last,
For when superiors heard tell
Of what occurred, they were aghast
And punished all such personnel.
 
Though others thought their acts a shame,
The men who lived that silent night
Were proud to greet their foe by name
And share in peace on earth outright.
________________
 

Time to kick off Christmas in July with Joyeux Noël, which is French for Merry Christmas.There aren’t many foreign-language films on my list, but this one has a unique blend of languages, since it presents an amazing event during World War I from the point of view of German, Scottish, and French soldiers. All three languages are spoken side by side, not only heightening the film’s realism but also allowing English, French, and German-speaking viewers to hear their own language a third of the time.

The film wonderfully humanizes its characters and doesn’t set out to cast any side as the villain. True, Austria-Hungary and Germany were the aggressors, but, unlike the Second World War, I don’t believe there was true evil fueling the conflict. World War I was mainly fought over border disputes and entangling alliances, and the soldiers in the trenches were present only out of duty to their nations, not malice toward the opposing side. Of course, war forces countries to inevitably demonize their enemies in order to give their troops the drive to fight (as is hauntingly illustrated by the film’s opening poem, as well as the bishop’s sermon at the end), but most of those on the ground on both sides were ordinary people, real people, family men.

The film doesn’t provide as much characterization for the soldiers as I would have liked, but perhaps that was intentional. The war had just begun and the men were just getting to know each other, whether as friends, as enemies, or as something in between. Benno Fürmann stands out the most as the German tenor Sprink, along with his lover Anna, played by Diane Kruger of National Treasure fame. Guillaume Canet, Gary Lewis, and Daniel Brühl are also marvelous as the French lieutenant, a Scottish priest, and the German lieutenant, respectively.

The film is replete with moments of touching beauty, of enemies slowly coming together to exchange gifts, of a lovely operatic rendition of Ave Maria that leaves the troops spellbound, of kindness being shown even when they know it should be forbidden. It speaks strongly of the unifying power of music, religion, uncommon decency, and coffee/tea. Little details, such as a Frenchman’s clock-related habits or the back-and-forth claiming of an itinerant cat, help bring the story to life. (By the way, much of this story was previously featured in the music video for Paul McCartney’s “Pipes of Peace” back in 1983. Here’s the link: http://www.youtube.com/watch?v=J7ErrZ-ipoE)

There are several profanities and a brief but unnecessary sex scene, but, as far as violence, the film is thankfully restrained enough to be realistic without being gory. Overall, Joyeux Noël is one of the most inspiring Christmas films I’ve seen, even if the ending is less than happy. As the 100th anniversary of these events approaches at the end of this year, the film remains a timely illustration of Thomas Hardy’s poem “The Man He Killed,” which ends with “Yes; quaint and curious war is!/You shoot a fellow down/You’d treat, if met where any bar is,/Or help to half a crown.”

Best line: (Scottish Father Palmer) “Tonight, these men were drawn to that altar like it was a fire in the middle of winter. Even those who aren’t devout came to warm themselves.”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 7
Visual Effects: 7
Originality: 8
Watchability: 6
Other (language, sex): -4
 
TOTAL: 42 out of 60
 

Next: #190 – Hello, Dolly

© 2014 S. G. Liput

146 Followers and Counting

 

The Great Escape (1963)

26 Thursday Jun 2014

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

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

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

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

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

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

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

Next: #196 – Swiss Family Robinson

© 2014 S. G. Liput

140 Followers and Counting