Change Your Image
starnightwhole
Reviews
Eyes Wide Shut (1999)
Eyes Wide Shut - a life-like feeling portrayl into the upper class world of psycho-sexual bondage. Spoiler material.
I saw Eyes Wide Shut when it first came out on video, in 1999. I liked it, but I felt somewhat removed from the underbelly of the high class social world. But the second time around, the whole film reached out, grabbed me, sucked me in, and then spit me out, sort of like Bill Harford (Tom Cruise) getting the boot from the scary, deep voiced, masked man, at the mansion. Like Bill, I felt overwhelmed by the whole `show' of psycho-sexual displays among multiple party after party, at the mansion, where men roamed around masked and caped, and women, all with hour glass figures, glided topless, with faces concealed by feathered masks. This incredible screen play written by Stanley Kubrick and Frederic Raphael is adapted from Arthur Schnitzler's novel. The film is superbly executed by Tom Cruise and Nicole Kidman, who play the two main characters.
Tom Cruise so convincingly plays Bill Harford, a young, but mature New York doctor. With his wife, Alice Harford (Nicole Kidman), they have a seven year old girl. Every year the two attend Victor Ziegler's (Sydney Pollack) annual holiday black tie dinner dance, held at a hotel. That night Bill and Alice innocently separate, only to find themselves in the arms of another. Alice warmed and mellowed from the champagne, dances the night away with a matured Hungarian gigolo. Meanwhile, Bill recognizes Nick Nightingale (Todd Field), the piano player, who is a former medical student friend of Bill's. Nick, married, a father of four, from Seattle, is now playing New York gigs to support his family, back home, in Seattle. Not soon later, two models are thoroughly enjoying their flirtatious moment with Bill. But the session is soon interrupted, when Bill is asked to meet Victor in an upstairs room. Mandy (Julienne Davis), a prostitute and Victor's playmate, is lying naked and drugged out, in a chair. Upon bringing her conscious, Bill confirms that she will be alright. Victor is eager to extinguish Mandy from his room immediately, but Bill insists that Victor let her rest for an hour. Bottom line, at this moment, Bill is smart, professional, and sensitive, and Victor is completely not.
That night, Alice and Bill suffer post party blues, in their bedroom together. They smoke a joint and begin to talk about their sexual thoughts. When Alice tells of her wanderings to another man, I had problems hearing the audio. It appears that she is not completely sure if she slept with another man or not. Needless to say, Bill is stunned. His naiveté about his wife's carnal desires is surprising, but this aspect is all part of the story. On the other hand, Alice accuses Bill of having sexual thoughts during his patient exams. Bill defends that sex is the last thing on his or the patient's mind, during that time. We believe Bill's claim. It is valid and makes complete common sense. Back at work, Bill begins dreaming of Alice having passionate sex with another man. Of course, the dream is like a black and white film, which is appropriate coming from Bill's thoughts. These thoughts of her infidelity eat away at his sense of security and trust.
At night, a prostitute picks up Bill, where else but on a street corner! When his wife calls on the cell phone, just before he is about to have sex with the hooker, he changes his mind about having sex. He pays the woman and walks away. Late that night, he stops by a night club, where Nick happens to be playing a gig. The two sit down and talk. Nick tells Bill of his next job at a mansion, where he is required to play blindfolded. Bill wants to find his `other desire,' just as his wife has admitted to her own. He wants to attend the mansion soirée. Nick gives Bill the password, `Fedaglio,' in which to enter the estate.
But before Bill attends the party, he must have the proper attire: a black tuxedo, a mask, and a cape. Purchasing the goods from `Over the Rainbow,' costume shop, in the middle of the night, with tux, cape, and gold decorated mask, he attends this dark, ritualistic, and cult-like party, full of topless women, with feathered masks and tasteful (are there any other kind among the high class?) sexual orgies in every room. Once at the party via taxi, a masked woman tells Bill that his life could be in grave danger and that he should leave. Bill stays, until that is, a clan leader asks him to repeat the house password, not the password to get into the house. Victor will later tell Bill that there is no other password. Once again, the masked woman comes to Bill's rescue sparing him full nudity in front of all and who knows what else. He leaves as he came, by taxi.
Now is it 4:00 a.m. when he arrives at home, and Alice admits that she was dreaming of f***ing so many men, that she could no longer keep track. She is in tears and Bill is disturbed by, what I will refer to as, his Fedaglio experience. The two turn in after their tumultuous experiences.
The next night, Bill brings a gift to the prostitute, with whom he was going to have sex. He learns from the roommate, that she has just been diagnosed with AIDS. This is the second wave of naiveté for Bill. He is completely stunned and glazed by the news. Gathering his senses in a coffee shop, he reads an article in the paper, that Amanda Curren has died from drug overdose. He views the body and recognizes it as `Mandy,' Victor's sex mate. Was Mandy a drug and sex addict? Victor confesses that she willingly took drugs on her own volition. Therefore, one would conclude no foul play. Nevertheless, Bill is neither pleased nor satisfied. Victor says to Bill, something to the effect, `Bill, you were never really invited to the party, and as a result, the guests put on a show for you, to shock you.' Bill replies with command, `no show should end up with a woman being murdered, Victor!'
Bill and Alice, now strolling through FAO Schwarz, with their little seven year old daughter, realize they both need to strengthen their relationship. They realize future adult temptations are in front of them. The film ends with our minds left to wonder how they will handle their own and surrounding relationships. I would definitely love to see an Eyes Wide Shut, Volume II. If the script worked, it would have to fit Cruise and Kidman in the present. I am sure the writers would have plenty of material with which to work. Eyes Wide Shut is a great spectacle of sexual tribalism, at its pinnacle. It reflects communal sexual ownership or bondage, in contrast to the struggles of monogamy and privacy, in a marriage, as depicted by Bill and Alice. Looking back, as to when it came out, it was highly underrated and valued, as to its importance and relevance of contemporary thought provoking issues. Possibly, at that time, mass culture was not in tune to the nature of this subject matter. If you have not seen this film, I highly recommend that you do. You will not be disappointed in the very life-like interpretative mood to this subject matter.
House of Sand and Fog (2003)
A Drama of desperate lives.
House of Sand and Fog is just as good as the book, by Andre Dubus. Dubus's writing is really so visual, that the movie just happens to be a nice compliment.
Jennifer Connelly, as Kathy Nicolo, a young recovering alcoholic, whose husband has left her, has lived in her Pacific County, California home for eight months, one that she inherited from her father. Emotionally and physically, she is on the fragile edge of losing her stability. Kathy is put over the edge when county officials and a deputy sheriff, Lester Burdon (Ron Eldard) arrive at her home, informing her that she owes $500 in back business taxes, on the property. She knows that the county has made a technical error. Before she can blink an eye or puff completion on a cigarette, she is penniless and homeless, living out of her car.
But this story is not solely about Kathy. It is also about an Iranian Colonel and his family, who have fled Iran, looking for a brighter and safer start, in America. Ben Kingsley plays a brilliantly obstinate, determined, and prideful Mr. Berhrani. He has just spent more than he can afford on his daughters, Soraya's (Navi Rawat) wedding. Also, he has little time for his Iranian wife, Nadi (Shorhreh Aghdashloo), who speaks little English, and his quiet, confused, and intelligent teenage son, Esmail (Jonathan Ahdoubt) Mr. Berhani takes on two jobs, one as a roadside construction worker and the other as a convenience gas station attendant. Their current apartment is above their means. He saves an article from the newspaper, indicating that a home at 34 Bisgrove Street is up for auction. It is Kathy's home. Meanwhile Kathy is seeking legal help from Connie Walsh (Frances Fisher), a smart and practical woman.
Berhani purchases the home from the county, for his family, at a price of only $45,000.00 He immediately wants to make a profit and puts it up for sale at its appraisal value of $174,000.00. Walsh explains to Berhani that the county made a technical error on Nicolo's record, and asks that if he would do the right action, and kindly sell back the home to the county, for the price at which it was sold to him. At this point, he has no intention to do so. He wants more for his family. He wants to live in the higher lifestyle he was accustomed to in Iran.
Deputy Lester Burdon begins to plead Kathy's cause in a slowly unorthodox manner. Additionally, what law enforcement official does not have love problems? Lester admits to Kathy that he has long been out of love with his wife, Carol (Kim Dickens) and begins to fall for Kathy.
As Kathy and the Berhanis defend their own causes, it is evident that emotions run high above the ability for more reliable negotiations. Each party has its flaws. Berhani is too obstinate holding onto only his one view, and Kathy is too weak and desperate to think of other logical short term resolutions, for maintaining her life. Regardless of their personality flaws, no one is able to reasonably massage these parties, into a more mutually satisfactory agreement.
Tragedy will impact all of their lives to the fullest extent. It is a fabulous film that reminds us of the importance of self-empowerment and independence, as well as negotiation and deal making skills. House of Sand and Fog is also a stark reminder how vulnerable a life is when one is faced with such extreme financial limitations.
Lost in Translation (2003)
Feeling lost never felt so good, for a change.
I loved Lost in Translation, winner of this year's Academy Awards, for best original screenplay, written by Sophia Coppola. It is full of that longing and lost mood. It is a film based upon that feeling of wanting to cry, when life just doesn't seem right, and searching for a true reason, giving way to tears. It is the story of two strangers, in Tokyo, Japan, who form a friendship and eventually a crush for one another, within the limited amount of time they have to spend, before returning to their different lives, in the United States.
Bill Murray plays Bob Harris, a middle aged actor on hiatus, who accepts an offer to do a `Suntory' whisky commercial, in Tokyo, for two million dollars. Even though all of the Japanese greet him excitedly, he cannot see their reason for all of the fanfare. He is polite but never enthusiastic about the people, the work, or the money. It's just another paycheck for him to support his wife and children. It is evident that he is either suffering the short term blues or the longer term depression. His wife keeps in contact with him by phone and fax. The movie's other main character, Scarlett Johansson, plays Charlotte, a young woman of her twenties, struggling to find her own identity, in her second year of marriage to John (Giovanni Ribisi), an L.A. photographer, on assignment, in Tokyo.
One night Scarlett catches the eyes of Bob, who is drinking alone at the bar, while her tablemate is talking of her healthy eating habits, and her father's battle with anorexia, induced by forced starvation, during the Vietnam War. Although Bob and Charlotte are years apart, with very different lives, they still have something in common, the identity blues. Charlotte has no career or responsibility other than befriending her husband. John unfortunately never takes the time to identify with Charlotte and her crisis. As for Bob, he is just feeling lifeless and lackluster with himself, his job, and his marriage.
When the two meet, they are listening to one another's conversation, with a simple and shared realization, of the other's situation. Neither one has immediate answers for the other. They may still be lost with their problems, but at least they will be a little less lonely, in the interim.
The Tokyo hotel bedrooms are an influential visual mood. The beds are always dressed in stark with sheets, white down comforters, and white fluffy pillows. The tones amidst the room, at their most daring, are beige, dove grey, and the palest of blue. On the one hand, the rooms can be seen as modern, cool, crisp, quiet and uncluttered, enhancing one's sense of mental calm. Yet, on the other hand, one may see the faint tones and stream lined accents to the rooms, as lacking any emotion. Both of these bedroom views parallel Bob's and Charlotte's state of mind. Charlotte, partly out of boredom, decorates her bedroom lighting with Japanese flowers. Her clothes are strewn about the floor, for she might hope that if her husband does not notice her, maybe he will notice the mess. She transforms the orderly room, to one of confusion, representing a piece of her mind. On the other hand, Bob is usually enveloped in his cocoon like white comforter and fluffy pillows as a source of protection from having to feel his doldrums, upon twenty-five years of marriage. In contrast to their safe beds, they are constantly reminded of the big city that lies before them, through a wall of complete window, looking out upon the huge city of Tokyo. It never overwhelms them but rather envelopes them into some heavier state.
This film brings two different people together in an innocently flirtatious way. The movie is subtle, charming, warm, grey, and blue. Murray and Johansson bring out these wandering characters incredibly well. We experience everything through their lost minds, and find much of the surrounding words and actions, out of place and seeming insignificant, which is humorous, in its own way. The audience will feel the significance in these two people, as being lost never felt so good, for a change.
Twisted (2004)
Twisted in more ways than one. An excellent psychological murder mystery thriller.
Andy Garcia, as homicide detective Michael Delmarco puts the calm in crime. Ashley Judd, as Jessica Shepard, homicide partner with Delmarco, puts the controversy in crime, and Samuel L. Jackson, as John Mills, Chief of Homicide, puts the claim into conviction.
Twisted is a completely thrilling thriller, and I can almost guarantee that you will not suspect who the killer is, until the last five minutes of the movie. Just imagine Tom Cruise, dressed in black, suspended in air by wires, in the highest of security room, in Mission Impossible, likewise, your imagination will be suspended, until your seeming deceived intellect receives the truth, at the very end. Mission completed. This twisted tale begins as Jessica Shepard is saving herself at knife point, from a man who thinks that he can get just a little more sex out of her, than she actually intends to give. Not only does she save herself from getting her throat slit, but she never hesitates to give a man a little extra of her mind through force of fist or foot. Upon this event, her Supervisor John Mills promotes her to homicide detective. Mills is proud and protective of her. He also happened to be the partner to Shepard's father, a deceased former cop. Her parents are both dead. Jessica feels the shame from her father breaking out on a killing spree, killing her mother, the men with whom she was intimately associated, and then himself. To keep her career on its professional track forthcoming, Jessica sees a psychiatrist regularly.
In her first assignment, there are a series of four brutal murders, all of them men, with whom she has slept. The main reason she can stay on the case without conflict is the fact that her supervisor is confident that she is not a suspect. Nevertheless, she has two other bad habits. One is nursing the cabernet sauvignon nightly. The second is engaging in one night stands with acquaintances. These men, either aggressively or suggestively, want more than one sexual encounter with her. She sets herself up for being used as a sexual object, a whore without a price, except the price of her dignity and almost her life. She argues that she is only acting out of the same nature as the men with whom she surrounds herself. Without an invitation, these men make their own. But, she does not offer second helpings, and when these men demand it, she fights back to the most aggressive extent, under the law. She is a tough woman who has grown up in a rough man's world, so we do not expect anything less. Despite her poor personal choices, she is an incredibly strong, viable, and smart detective, with a keen photographic memory for her immediate surroundings. For her, it's all in a day's work. And quite frankly, it's hard to be the epitome of a lady, in the surrounds of her demanding job. Probably, her first case will turn out to be the most difficult of her life. But from it, she is learning of her personal and professional mistakes, right from the start. One cannot deny that her personal decisions are simply stupid and very dangerous.
Thankfully, a personality will bring a sense of balance to Shepard's seeming out of control world. Michael Delmarco is assigned to be Jessica's partner to solve the serial murder cases. Much of Andy is reflected in Delmarco, and to his advantage, it is one of my favorite compliments. We know that Delmarco is disappointed in her quick sexual encounters, but the fact never stops him from deeply caring about her well being and pursuing the murderer. Andy says that he prefers not to do love scenes on screen. For him, it is an appropriate choice. Women need to feel that sense of mystery, male protection, as displayed in this film, and that ultimate sense of proximity, which he is so artfully able to capture among us, yes surprisingly, with his clothes on his body. If he ever decides to show skin on screen, it should be one that he believes is a necessary validation of him and the character.
When Jessica is arrested and jailed for suspicion to these murders, her supervisor Mills releases her from jail, with evidence proving her innocence. Many twisted elements may be identified in this film. It is smoothly written for its audience, and never congested with overly technical jargon, drawing us away from the soul of matters. I think Camryn Manheim, as Lisa, the medical examiner, has the most technical talk of the film, but she presents it in such an interested manner, that we are drawn to her enthusiasm. Finally, all of the actors' adaptation of their characters is so well grounded, that they just immediately take us into their seedier world of homicide. By the way, Michael's final line in the movie and to Jessica, sums up his optimistic nature and faith in another, as we are left with a glimmer of light, after just having experienced all of this darkness, `I'll see you later sunshine.'
The Cooler (2003)
The Cooler - common themes found in a very uncommon place.
I missed the first few minutes of The Cooler. My plan was to see Lord of the Rings, Return of the King, but when the showing was switched to a regular seated room versus the room with the oversize plush seats, with glossy wood paneling cup holders, I decided to see The Cooler, instead. I will see LOTR-Return of the King when it shows in the oversized seated room, so that I can really experience the feel of its grandness.
As I sat down to watch The Cooler, right away, I noticed its starkness and lack of soft screen enhancements. The crisp picture added to the gritty, dark and severe nature surrounding the two main characters, Bernie Lootz (William H. Macy) and Natalie Belisario (Maria Bello), who live in Las Vegas and work at the seedy Shangri-La gambling casino. Bernie might sum up this movie by saying, `A lot-a stuff goes down, down the hard way, and it ain't pretty and it ain't legal.' Alec Baldwin plays Shelly Kaplow, the violently psychotic casino manager. Larry Sokolov (Ron Livingston) is the young, savvy, and yes heartless, new business man in town, who determinedly plans on convincing Shelly, to make a deal to tear down the old, and build a new palatial casino. Shelly says he does not want his casino, one he perceives, with charm and character, turned into `some Epcot center.' Shelly has hired Bernie to be the casino's cooler. A cooler is a person who magically turns a gambler's good luck into bad. Bernie quietly and dutifully does his job, with a limp in his step, given to him years back, from Shelly. Shelly relishes in verbally and physically abusing people. Sadly, he even supplies what appears to be heroin, to his casino entertainment, singer, Buddy Stafford (Paul Sorvino). What Buddy really needs is a psychiatrist, dietician, and personal trainer. To keep Bernie content at work, Shelly, without informing Bernie, hires Natalie to be Bernie's friend and bed companion. For Natalie, it begins as a simple way to make a buck, but after her first night of having sex with him, she tells him that she honestly loves him. To his surprise, he feels the same way.
Woven into the main story, is Bernie's wreck loose son, Mikey (Shawn Hatosy), who makes a surprise visit to Dad, whom he calls Bernie. Mikey pleads that he needs money for Charlene (Estella Warren), his wife's, nourishment, during her last few days of her pregnancy. He probably plans to refurbish his drug supply, as we see Charlene walk out of the bathroom, wiping the white powder from her nose. Shortly thereafter, Mikey is gambling with Dad's money to win more. He wins $150,000. When Shelly learns the news, it's the match that sets fire to another ballistic tirade. Shelly demands that Bernie be good for $150,000. Bernie agrees with it, and pretty much anything that will appease Shelly's violent fits.
Suddenly, after falling in love, Bernie's `cooler' nature turns warm, meaning he seems to be bringing people luck, rather than stealing it away from them. Again, it is the perfect time to see Shelly in a fanatical fit, over all the money his casino is losing. It is a rough and life threatening road Bernie and Natalie pave, to freeing themselves from the evil spell, of their wicked employer, Shelly Kaplow.
For the first quarter of this movie, I really could not identify with any of these characters, but half way through the film, I really began to feel the emotion expressed between Bernie and Natalie. They bring us into a dark life, fraught with scams, threats, physical and verbal abuse. Love is found in a most unsuspecting place. Likewise, Baldwin really becomes a vicious small time casino operator, the kind of guy, who you hope to never encounter, in a life time. This sinister, sexual, and bleak movie shapes up into a substantially solid film for two reasons. First, its plot centers around a universal theme, falling in love, played so well in the script's context, by Macy and Bello, and second, there is a frighteningly evil villain, allowing us to root for good over evil. See The Cooler, and experience common themes, found in a very uncommon place.
Nicholas Nickleby (2002)
A story of tragedy, battle for honor and survival, and the triumph of love over evil. note: added spoiler material in synopsis.
Nicholas Nickleby is a 19th century Charles Dicken's tale, adapted for the screen by Douglas McGrath, that plays out to a similarly constructed film, `Cold Mountain,' an American Civil War piece, starring Nicole Kidman, as Ada Monroe, and Jude Law, as Inman. Granted there is no civil war, but Nicholas, (Charlie Hunnam) like Inman, must battle to defend a sense of honor, for Nicholas, it is his family's, and for Inman, it his homeland's. Each film has a woman waiting to be rescued and loved by her lead man. Each man is exposed to horrific acts, by excessively cruel people, and responds accordingly. Both films are adapted from books. In each story there is tragedy, a fight for honor, and love prevailing over evil. These are just a few comparisons to name a few.
This cast is a great blend of lesser known and well known actors who act cohesively. Christopher Plummer is an excellent hard headed and cold hearted villain. We love to see his character change into a vulnerable and wounded man. We will never forget when Captain Von Trap finds his stern heart completely surrendering to love for Maria. No other film, that I know, has ever emulated such commanding dualities of man, his need for control and order, and his self-evident need for love and laughter. But, the `Sound of Music,' is an entirely different topic.
As for other cast members, such as Hunnam, he seems slightly mis-cast, only for the fact that he come across as slightly overwhelmed, at the task of playing lead in so many scenes, and it comes through, in his character. For example, he seems to lose his character's identity, in scenes with Crummel's theatre group. Sometimes, his emotions are fuzzy, when they need to be clear, and weak when they need to be strong. With a little more directional push, he can let go of any unfocused weakness, by grabbing stronger hold to the heart of the character. But at moments, he is right on target, like when he has to defend Smike against the wretched Mr. Squeers. Anne Hathaway, from `The Princess Diaries,' has been fortunate to act, with both Christopher Plummer and Julie Andrews! She is lovely and delightful. Although I have never seen Romola Garai, she is a wonderful and full bodied Kate. I just saw Juliet Stevenson, in `Mona Lisa Smile,' as nurse Armstrong, and she is a fabulous actress, as she plays characters so decisively. She portrays a convincingly vicious Mrs. Squeers. Jim Broadbent, has a hugely impressive resume. His range is strong and I remember him from `Bridget Jones's Diary.' Nathan Lane, as Crummel, is comic and grounded in this role. He nicely wraps up the movie's theme to the audience.
This Dicken's tale, adapted into film, reminds me of the 2003 film,` Cold Mountain.' It is not one of my favorite story lines, but it is a necessary one, reminding us that when life gets tough, the tough get going.
Nicholas, his sister, Kate (Romola Garai), and mother (Stella Gonet) and father, (Andrew Havill) are a reasonably well off family, living in charming Devonshire, England. But their life takes a turn for the worse, when Mr. Nickleby loses all of his money, in poor stock market investments. Hoping to make himself rich like his successful brother Ralph (Christopher Plummer), he dreadfully fails. Mrs. Nickleby tells his brother that he has died of a broken heart. It is left to our imagination as to how he dies - possibly a heart attack or suicide.
Nevertheless, the Nickleby family is left penniless and no one will buy their home, (thankfully) their only remaining asset. Nicholas, at age 19, has to support his sister and mother. The three travel to London, hoping that their father's brother, Uncle Ralph, a successful investment banker will be able to help them gain a financial footing. Ralph certainly sees them as only intruders to his life. Yet, he quickly devises his plan, to use them to his monetary advantage. Nicholas is sent away to teach at the Dotheboy's, all boys, boarding school. Ralph uses Kate, as form of social pleasure, to keep the interests of his tasteless and crass business associates.
Nicholas arrives at the school, only to be disturbed by the Headmaster's (Jim Broadbent) cruel and excessive use of caning students. Mrs. Squeers, (Juliet Stevenson) the Headmaster's wife, does a wonderful job at promoting her husband's corrupt behavior. Nicholas saves Smike (Jamie Bell), an orphan student from Mr. Squeers cane, and in turn, Nicholas canes Mr. Squeers, in front of the neglected and abused student body. The two run away and soon find themselves making a living in Vincent Crummel's (Nathan Lane) traveling theatre group. Crummel is the classic big hearted, clown like fellow, ready to help a kind hearted soul, such as Nicholas'.
Suddenly, Nicholas receives word from his sister, Kate, that she is in danger from Uncle Ralph. Upon his return, he finds that the majority Uncle Ralph's business associates, have been taunting Kate, one even trying to physically seduce her, against her will.
Again, Nicholas has to find a way to feed the family. He obtains a job from two twins (audio was a bit difficult from these two gentlemen) who represent Madeline Bray (Anne Hathaway), a young, beautiful and blossoming painter. Nicholas acts as her agent to sell her paintings. Like Nicholas, she has lost a parent, her mother. Her father is a wretched ill man. For the two, it is love at first sight, just like Ada and Inman, in `Cold Mountain.'
Nicholas confronts Ralph with the news that Smike is his long lost son, who was made an orphan boy, when his mother quickly divorced Ralph, running off with another man, leaving Smike to be orphaned, to the Dotheboys school. It is the first sign that we see Ralph breaking down at the news. His son, at a tender young age, has passed of consumption, but spends his final days happily, at the Nickleby, Devonshire home. When Ralph processes all of this news, he hangs himself from the attic door, leading to the room, where his son was imprisoned away, as a little boy.
Like Inman, in `Cold Mountain,' Nicholas reunites with his love Madeline. A double wedding takes place. Both Nicholas and Kate marry. Entertainment is provided by Crummel's theatre group. Crummel concludes to the viewers by declaring family is not solely formed from blood ties, but by those for whom we are willing to give our blood. He tells the newly wed couples that happiness is a gift and the trick is not to expect it, but to delight in it, when it arrives.
A Dangerous Man: Lawrence After Arabia (1992)
Offers a mature and meticulous portrayal by Ralph Fiennes - some integral spoiler material.
I viewed this DVD on my computer, and did have some difficulty understanding the audio, that came across as sometimes faint or fuzzy, but I shall comment on this well acted film nonetheless. Lawrence After Arabia is an interesting film for the psychological dimension portrayed in the main character, T.E. Lawrence, (Ralph Fiennes) an archeologist and Colonel, in the British forces, during World War I, at the time of the Paris Peace Conference, in 1919. Sometime during the war, Lawrence forms a rather close friendship with Prince Feisel,(Alexander Siddig) of the Arab lands. At the start of peace negotiations, Lawrence wants to be perceived as nothing more, than as a mere interpreter for the Prince's cause, which is to keep the Arab nations, under Arab rule. But underlying this simple role, he truly desires to be a hero among mankind, one responsible for settling the Middle East, post war. Lawrence's goal is to ensure that the Prince receives rule over Syria. But the French want Syria, and the British want the Persian Gulf, ultimately as a means to acquiring oil.
In the film's introduction, we are taken into a movie theatre, where a documentary is being shown of Lawrence and Feisel's camel journey, in the desert. From that point, we are taken back to the point where Lawrence and Feisel have agreed that Lawrence will represent Feisel and his country, as a spokesperson leading up to and during the peace conferences. As a part of the plan, Lawrence has Feisel pretend not to speak or understand any other language than his own, even when he is fluent in English. Lawrence, with all of his heart, pleads Feisel's cause to many, but primarily the British, French, and Australians. A subtle turn of events occurs when Lawrence communicates with leaders of participating nations. He begins to let the importance, romanticism, and glamour of it all, inflate his ego. We see a noticeable change, when he begins to proudly wear the colorful and silky Arab head pieces. At the time, reporters cover a story on the relationship between the Prince and Lawrence. Lawrence lavishes in all the attention, while the Prince is completely ignored by all. The Prince is utterly upset at Lawrence's display of egoism and disregard for inclusiveness.
But not soon later, leaders begin to view Lawrence as a traitor to his country. He is scorned, and instructed to return to Oxford, in England, where he is to continue his studies. Even Feisel now realizes that he, himself, is capable of communicating his own cause, without the help of Lawrence. Feisel declares himself ruler of Syria. The French protest. Britain along with Lawrence's influence, will assign Feisel, as ruler of Iraq. The film's conclusion will shortly follow.
What makes this story interesting is Lawrence's dare to live his day dreams, by day. In his introductory monologue to the film, he claims himself to be a dangerous man for it. But really, we find it is only dangerous when the dream inflates or deflates the ego. In this case, his dreams do both. On further thought, he is really dangerous to himself more than to anyone else. We sense that Lawrence dreams of being a great negotiator among influential men. He succeeds at times, but when he does not, he has a difficult time coping with failure and lack of recognition. He wants to be everyone's hero and we see this when he eloquently and impeccably pleads Feisel's cause, both in English and in French, to a commission of nation's leaders.
Ralph opens himself up well to playing this unique lead, characterized as one who is never quite satisfied with himself or the situation, and one who is, at times, plagued by weakness and defeat. The magnetic vulnerability and weakness that Ralph can create does not come from self-deprecation, but from a more unconscious and organic feel. The character's weakness, in this instance, appears to originate from an unstable ego, one possibly marred by lack of firm and stable support, but from whom? The answer could rest in many, including his family, his community, or at the present time, leaders of nations. It is evident that his ego is wired for peace and not war. Additionally, Lawrence is a private man. His sensitive nature slowly surfaces when a strikingly beautiful woman, named Mme. Dumont (Polly Walker) makes an advance for sex, in his bedroom. At that moment, he is at first sickened, and then roused to a slight form of hysterical laughter. It is not the sort of affirmation he is seeking, presently. He leaves the woman untouched, as he is honest to his emotion.
At times, Lawrence is clever, quick, and smart, but at other times, he is too restrained and controlled. Yet, he is treading in sensitive waters, as he must show a sense of respect, even subservience to his elders, in higher command. If he looses control and composure, he will loose his credibility and other's attention. Then, he will be perceived as someone who is unable to negotiate. Hence, in terms of composure, Lawrence masters this art. Still, ultimately, he cannot persuade leaders to believe his cause. The higher powers are looking to bargain for a key natural resource, oil. Ideally, the goal is two fold: settle the land and negotiate an oil deal. Lawrence is a smaller fish swimming in a much larger sea. Nevertheless, we admire his interesting, yet still underdeveloped alliance, with Prince Feisel. Although one might desire more dialogue to play up the depth of each character, we are captured by Lawrence's sensitive ego and vulnerable spirit. Ralph delivers this role in the meticulous fashion it requires.
Cold Mountain (2003)
a gruesome civil war time experience. Integral spoiler material.
Note: Some spoiler material but integral to the review. Cold Mountain starring Nicole Kidman, Jude Law, and Renee Zellweger is a scene by scene brutal depiction of the civil war experienced by Inman, a young Confederate soldier, played by Jude, and those people living in Cold Mountain, North Carolina. Nicole plays Ada, the minister's daughter, from Charleston. Inman is a carpenter farm hand, who sets his heart to capturing Ada. Renee plays Ruby Thewes, a poor mountain girl, but a strong farm hand, who will save Ada from starvation and helplessness. All three actors do a wonderful job at acting their roles, but to me the script was immediately down graded, when I realized the constant contrivances displayed in almost each new segment. Each scene really displays nothing more than the sole purpose of shocking the audience. It depleted any stream of emotional depth, which is a total shame, as I just adore Nicole Kidman. But maybe we are only supposed to feel like we are to be given the run down list of civil war time gruesome dilemmas. There is much more meat to the film, Gone With the Wind, probably the most famous civil war epic film. For example, Ada's father, Reverend Monroe (Donald Sutherland) passes away seamlessly, while sitting in his backyard listening to Ada's piano playing from inside the house. She runs to his side when she discovers that he is not coming inside, during a sudden rain shower. On the other hand, Scarlett has to cope with her father losing his sanity, bit by bit, every day, as they struggle to grow food, on the very barren land of Tara. In a delusional state, he saddles himself upon a horse, and I am almost sure that he dies being thrown from the horse. We feel Scarlett's complete devastation at her loss. But my intention is not to point out that one film is better than the other. My intention is to notice that shocking incidents compete too much with the emotional interplay among characters. In other words, the display of one shocking incident after another, only detracts from character development, rather than build it. On a positive note, I did like the portrayal of not being able to trust an apparent ally, as war transforms even the seeming apparent strongest soles, into ones of desperation, to capture or kill a fellow man, one in his alliance.
The movie begins in Petersburg, Virginia, 1864, where the Yankees are setting a huge line of explosives under the southern defense. Inman is recruited as a Confederate soldier. He survives the blast. Then we are taken back three years prior to the war, where we see a glimpse of Ada's and Inman's more at ease natures, prior to the implications of war. Ada is very close to her father and his ministry. The remainder of the story jumps forward to show Inman's, many times debilitating journey home to his barely acquainted love, Ada. He leaves for war, only briefly conversing and kissing her. On his treacherous journey home, he encounters endless threats to his life. Even a high ranking Confederate, Inman's alleged ally, will heartlessly chain him to form a make- shift group of soldiers. Teague (Ray Winstone) is another Cold Mountain character, who will ruthlessly turn upon his neighbors, killing innocent families, including children, just for their live stock. It is rather odd, since Ada, in all probability having never used a rifle, in one shot kills a turkey, in the mountains, for sustenance. If she can accomplish this task, it makes Teague look like a total buffoon.
Phillip Seymour Hoffman plays Reverend Veasy, a perfectly crooked minister, who is ready to drown a black slave woman, whom he has drugged and impregnated, in hopes to save his reputation, that is, until Inman stops him. The minister thanks Inman from preventing a most heinous crime. Other cruel incidents transpire in and around Inman. And soon enough, Ada and helpmate Ruby, find themselves in the thick of war, in their own back yard, defending their lives, others in need, and Ada's property. In this war, the motto is `trust no one.' But when Inman finally makes his way back to Ada, looking down into a rifle barrelhead she holds steadily at him, which I thought so perfect, she soon lets down her guard, to learn that this is a person whom she can trust. During this year, both have changed since living through a terrible chain of events. Their faith in humanity has crumbled before their eyes, and they both see that in the soul of the other. Ada invites Inman to her sparse living quarters, and she opens the door to having sex with him, as she has feelings for him from the past, seeming also to symbolize that she has not given up on the human spirit, which is lovely. By now, 2 ½ hours have passed unsuspectingly, and I must leave the movie to return to my housemate, Lilly, my dog. If anyone will reply with the ending scenes, I would really appreciate it. Do Inman and Ada marry and settle in Cold Mountain? Does she buy a new piano and start a family? What about Ruby? Does she find a love or at least a friend, after her losing her Dad in the horrid injustices of war?
Mona Lisa Smile (2003)
A new kind of chic flick - Spoiler material, but integral.
Note: Some spoiler material but integral to the review.
Mona Lisa Smile redefines the meaning of chic flick, in the 21st century. This film brings honesty and reality to us in a very non-Hollywood glamour kind of way. The story line is a simple reminder, that whether in 1953, or today, that the `right girl,' or socially well reared girl, shall desire to marry and settle down, regardless of her equally strong prepped intellect, subdued by her classic style imagination. And, the `other girl,' that would be Wellesley College's, Art History teacher, Katherine Watson (Julia Roberts) shall desire her intellectual and emotional independence, regardless of a marriage proposal by Paul Moore (John Slattery), her California sweetheart, or a promise for a monogamous relationship with Bill Dunbar (Dominic West), fellow Wellesley Italian professor. Ultimately, we find so many different women with different sets of problems, and contrastingly, different sets of attributes, that really, they all make up a world that could never be massed produced, in a paint-by- numbers production. And, that is what would make Katherine or Mona Lisa, as she is called by Bill, smile.
Katherine, a USC Berkley graduate, from Oakland, California does not have quite the traditional pedigree of the ladies, with whom she surrounds herself, among the old ivy covered brick buildings, at Wellesley, an all female college, in Wellesley, Massachusetts. Although Ms. Watson's students are brightly prepared for class consistently, even these Wellesley pedigreed young women are not fully matured to make choices, not taught so crisply and cleanly, as in a textbook. In each class, Watson must challenge these girls to think about art on their own terms and not the critics. Every Art History class is an analogy for a real world lesson. Hence, Katherine wants her classroom of girls to be creative in making life choices. Simply, marriage after or even before graduating is not the only selection from the menu. She wants the girls to feel that they do not have to live by an assumed code of tradition, when they truly have interesting choices. On another day, she takes the girls to see an original modern abstract painting by Jackson Pollack. It is yet another analogous attempt by Katherine to have the girls think beyond a text book and into their own more modern interpretation.
The caste around Roberts is strong and entirely credible. When Katherine arrives to her living quarters on campus, she is greeted by the somewhat smothering, Nancy Abbey (Marcia Gay Harden), the college's etiquette instructor. Nancy is the epitome of the dreamy eyed girl who only let's herself down in life, by admiration of appearances, her seeming sole source of enjoyment. At Betty's wedding, one of her students, she sorrowfully sips her drink alone, yet in the company of the young bartender, who she proclaims, `looks just like my Len,' her long lost love. Then, later she angrily pouts, as her mind turns to reality, saying to the bartender, `you look nothing like Len!' Another time, she is watching an evening game show and she pleasingly comments of the contestant, `what a handsome man.' Katherine cannot pull Nancy away from her comfortable chair of happy game show appearances. But who can blame her, really. She works so hard teaching the girls how to compose a perfect dinner party for the husband and boss, that she is only let down to learn of disheartening matters. Giselle, a student, whispers to a fellow classmate, something to the effect, `do not seat the boss's wife next to your husband, since she is sleeping with him.'
In contrast, school nurse, Amanda Armstrong (Juliet Stevenson) is a woman of strong conviction, but unlike Katherine, as I recall she is willing to sacrifice her conviction to stay employed at Wellesley. She is an advocate of birth control contraception. Apparently, at the time, birth control is illegal. But, Wellesley fires Armstrong for prescribing the pills to students and does not give her the option to conform, like she might have opted.
As for the young girls, they are spirited, soulful, and diverse. In short, Joan Brandwyn (Julia Stiles) is many times indecisive, but loveable, and still quite pleasingly level headed. Betty Warren (Kirsten Dunst) is a highly charged sassy brat, who ends up finally understanding Katherine's teachings, both of art and life. Too see her evolve as a woman is moving. Giselle Levy, (Maggie Gyllenhaal) who nurses the bottle and cigarettes, just wants to be loved, by really anyone, whether it is a girlfriend, her professor, or a much older married man. She is still surprisingly smart and forgiving, as she feels all sides to a situation. Finally, Connie Baker (Ginnifer Goodwin) is the cute, stocky, and very musically inclined girl, who falls for the geek, losing him, and then again, finding him. She is honest about herself, but underestimates her ability to attract a man. We love her candid, open, and still vulnerable heart.
Unfortunately, the Wellesley President, Jocelyn Carr (Marian Seldes) does not support Ms. Watson's more modern tactics to teaching. The Board restricts her next year's contract, which includes no dating employees. Her relationship with Bill (although sometimes sounding like Phil), will have to end, should she choose to stay.
By the year's end, Katherine has exemplified her honest teaching practices. She asked that her girls look beyond appearances in art and life, so that each could more personally define her meaning of the two. Before she parts, each of the girls has painted for their insightful teacher, her own interpretation of a Vincent Van Gogh painting, not a paint by numbers commercial formulaic one. Katherine is touched, and knows now, that she has reached the minds and hearts of her students.
Mona Lisa Smile is an endearing film. It reminds us that any life choice we make will have its share of problems. But, if we choose with an open mind from all the possibilities, we are fortunate to have, we should live it completely. Then, we can feel life from beyond appearance and into the heart, one that may be broken, time and time again, but one that renews itself in a new honest decision.
The Last Samurai (2003)
Samurai - "To serve." Note: Spoiler material
Audiences world wide will find, The Last Samurai, to be one of the most finely executed epic films. In Japanese, Samurai means `to serve,' and that is exactly what each person a part of this film does, making it Oscar worthy, in so many capacities.
Tom Cruise is flawless, as he so skillfully plays Nathan Algren, a captain in the American army, in 1876. His supporting caste, to name a few, Billy Connolly, as Zebulon Gant, and Timothy Spall, as Simon Graham, is superb. Unfortunately, Tony Goldwyn's portrayal of American Colonel Bagley is disappointingly off key, as he is a little less engaging and credible, than the other core group of actors. Overall, the emotional depth of characters and inter-relatedness among them is like a highly stylized, yet, easily comprehensible violin piece. The local color of the Japanese country side, at every season, is breathtakingly beautiful. Every battle scene is so heart-wrenchingly executed, with such a show of physical stamina, that we are completely awed by it. The film is masterfully crafted, from writing, by John Logan, Marshall Herskovitz and Ed Zwick, to directing by Ed Zwick, to cinematography by John Toll, and finally, to all of the actors, who contribute to creating such a magnificent film. At the conclusion, I found myself in a wondrous, emotional, and reflective euphoria.
The film begins at a San Francisco Fair, in 1876, where Captain Algren, of the U.S. army, while under the influence of a little alcohol, is now undesirably promoting the sale of rifles to the American consumer. We see a young man full of regret for having served his country with orders to kill innocent Indian women and children. Soon enough, his past war efforts will pale in comparison, for the challenge that lies ahead.
American, Colonel Bagley (Tony Goldwyn) is in the midst of negotiating an arms agreement with Japan's wealthy army leader, Mr. Omura (Masato Harada). Nathan's assignment is to train and refine the Japanese army, bringing this country into its modern age. In turn, Mr. Omura promises to buy arms from America. In Mr. Omura's vexation, he thinks that Japan can only come into its modernization, if the long lived traditional tribal group, known as the Samurai are once and for all defeated. This group of people is steeped in a more ancient Japanese tradition of living. Every day they awake to executing daily tasks with pride, care, and excellence of execution. They will die by their own sword to defend the life they know best.
Unfortunately, the country's Emperor Meiji (Shichinosuke Nakamura) is all of about sixteen. As a result, he simply fears for his life and the country's, to speak out in defense of the Samurai. In not speaking up, he spurns the exact war, he is so quietly trying to avoid.
Nathan, the dutiful soldier takes on his task at training the Japanese army. But, once the Samurai, unsuspectingly take him captive, he becomes intimately involved and greatly attached to their way of life. The Samurai are proud, tough, yet, still humble servants among their community. Taka (Koyuki) now a widow Samurai, whose husband is killed by Nathan's hand, must now welcome Nathan into her home, and mend his physical and psychological war wounds. At first, she is reluctant, but her brother, Katsumoto, (Ken Watanabe) the Samurai leader, reminds her of her duty to serve.
From the start, Nathan is rather ignored by the community. A silent elder Samurai, who Nathan names `Bob,' follows Nathan everywhere, to be sure that Nathan does not rebel or attempt to escape. Ironically, Bob will serve as a protector to Nathan in battle. Slowly, the group takes an interest and liking to the able bodied Captain. Likewise, he takes to them, their ways, and their beautiful territory. To a degree, Nathan even becomes self taught in their language. The local men teach him, most importantly, how to defend himself with the Samurai sword. Probably, equally as important, is the close rapport Nathan develops with the highly disciplined, yet, warm hearted Katsumoto. They become really like brothers. Tom, so truly engaged as Nathan, has such a natural way of relating to all of the other actors. In some moments, I felt as if I was watching a Julia Roberts documentary. I know that sounds funny, but I mean it as a sincere compliment. These moments are just so human, lovely, and touching.
Unfortunately, war awaits Nathan and the Samurai people. Nathan has now decided to help defend the Samurai against Japan's newly trained modern army. A heart-wrenching and intensely physical battle scene transpires. Nathan's roused soul, shines in his eyes, like that of an anguished and angry tiger. The Samurai are warriors who live and die by their own sword. It is their code of honor.
After so much blood shed, the young introspective Emperor finally speaks his words, supporting the tradition of the Samurai. With honor, the young boy Emperor accepts Katsumoto's sword, as a symbol to accepting their tradition, from a war worn Nathan. Having defended a tradition based upon honor, loyalty, and service, Nathan feels a greater sense of resolve.
Cruise and this caste take us on a sacred journey, to another world, in another time. Tom's utmost respect for a tradition and culture is clearly visible on screen. His sense of commitment to playing Nathan Algren comes from somewhere special inside himself. He is completely wrapped up in the character, yet, he is not detrimentally all consuming, on screen either. His inter-relatedness to his fellow actors is clearly visible and critical to this successful portrayal. As Nathan, Tom deeply shares himself with others, and they in turn, share with him. Tom Cruise, in The Last Samurai is bound to move you in a way that you have never see before, on the big screen.