"Les Miserables" (2012) is certainly the most musical of musicals I've ever experienced. This famous Victor Hugo story has been adapted countless times. This ambitious film version features a wide range of characters and the story is told almost entirely through song. I did not have a problem with the highly active cinematography and film editing. Some have criticized the film for excessive camera movement and film editing. "Les Miserables" has a large scope with many characters. The camera is always moving in for close ups of characters singing. It's an entirely different experience than a stage musical version, where an audience views the story on a large scale. I agreed with the active camera work of the film, to emphasize the emotions of all the characters. There are a couple of comical characters, which I felt weakened the impact of the film. "Les Miserables" is very much a drama, one about love, honor and redemption. For those who dislike musicals or admire stage musicals, this film version of the famous Victor Hugo story might seem overly long and excessive with emotion and song. I had no problem with it's 157 minute running time. It's a big story that requires significant length to best be told. What's unusual about the making of this film is all the actors are singing live on camera, without post dubbing. Anne Hathaway's strong performance is certainly one of the highlights of the film, in addition to the directing, music score, art direction, costumes and makeup.
Reviews
94 Reviews
King Kong
(2005)
A surprisingly good remake of the classic 1933 film.
7 April 2013
Peter Jackson's ambitious, 3+ hour long and hugely expensive film, pales a bit in comparison to the original 1933 classic, however, it does expand and improve upon the original film in certain ways, most notably, the love story and overall sense of adventure. Notably, Jackson remains faithful and respectful to the original film. Cinematography, art direction and visual effects are very good. Naomi Watts, is the heroine and acting highlight in this 2nd remake of the original, providing a solid and convincing performance. Academy Award winner Adrien Brody is the hero, but his role pales somewhat along side heroine Naomi Watts. The relationship between the heroine and King Kong are more important than the special effects in this film. I did not find the journey to the island overlong, as some other critics perceived. Though the film looks great and is gripping, it does have it's corny and dumb moments. Overall, this 2005 remake is definitely better than the mediocre 1976 remake.
Drive
(I) (2011)
An action film for those who usually don't like action films
22 June 2012
Warning: Spoilers
"Drive " is a film, very much about mood and style, that exceeds the usual genre expectations for action films. It's an action / art film.. Ryan Gosling plays a quiet, loner, movie stunt driver and mechanic, simply known as driver. He occasionally works as a getaway driver for robberies. He meets and begins to fall for his attractive female neighbor, who's husband is in prison. Driver befriends this woman's son. Her husband shortly returns home from prison and driver decides to help him out with his problem. Unfortunately, this problem involves gangsters.
I'm not a fan of the action genre, but this film set in LA, impressed me with it's style, mood and use of music. The cinematography is very creative an effective. I found myself absorbed from beginning to end. The opening robbery is definitely an adrenalin rush. "Drive" works as action, drama, thriller and mystery. Driver portrays the loner protagonist character, as Clint Eastwood was in the Sergio Leone spaghetti westerns of the 1960's. As characters, driver and his female neighbor have little dialogue, which lends itself to building mood. The minimalist music score is very effective to enhance mood.
Overall, "Drive" is a film that pays homage to noir mythology and combines it with modern day extreme violence, which some may not find a likable combination. I was a little shocked by the brutal scenes of violence, but these served for character.
"Drive" was nominated for the Palm De Or and Best Director at The Cannes Film Festival, winning for Best Director.
I'm not a fan of the action genre, but this film set in LA, impressed me with it's style, mood and use of music. The cinematography is very creative an effective. I found myself absorbed from beginning to end. The opening robbery is definitely an adrenalin rush. "Drive" works as action, drama, thriller and mystery. Driver portrays the loner protagonist character, as Clint Eastwood was in the Sergio Leone spaghetti westerns of the 1960's. As characters, driver and his female neighbor have little dialogue, which lends itself to building mood. The minimalist music score is very effective to enhance mood.
Overall, "Drive" is a film that pays homage to noir mythology and combines it with modern day extreme violence, which some may not find a likable combination. I was a little shocked by the brutal scenes of violence, but these served for character.
"Drive" was nominated for the Palm De Or and Best Director at The Cannes Film Festival, winning for Best Director.
Dark Shadows
(2012)
Meets expectations from Tim Burton
18 May 2012
Warning: Spoilers
"Dark Shadows" is based on the 1966-1971 television series that director Tim Burton was a fan of. Here it becomes a mildly amusing mix of horror, fantasy and comedy. Barnabus Collins becomes a vampire under the spell of a witch and is buried for 200 years. He's accidentally set free and returns to his ancestral family home. Following the dramatic prologue, the film becomes a comedy set in 1972, one year after the television series ended. The Collins family is dysfunctional, which makes for some good comic moments. I've never seen any episodes of the original television series, however, I feel the film would have worked more effectively with a darker, more serious tone. Burton is likely going for popular appeal here. Introducing an old television series to a new generation. Worth a look for Tim Burton fans.
Diabolique
(1955)
A highly absorbing, intelligent and suspenseful psychological thriller
26 October 2011
Warning: Spoilers
"Les Diaboliques" (1955) ranks as one of the most intelligently written and directed psychological thrillers I've ever seen. It's a film for enthusiasts and one that requires patience, as it slowly adds layers to it's story, builds suspense and ends with a surprise double twist. It's all very interesting and absorbing.
Two women conspire to murder a man. One is the wife and the other is the mistress. Things appear successful, until strange things begin to happen, challenging the sanity of one of the women.
The opening credits appear with some surreal imagery and a haunting little music score, the only music of the film. Best enjoyed by serious film goers. Highly recommended.
Two women conspire to murder a man. One is the wife and the other is the mistress. Things appear successful, until strange things begin to happen, challenging the sanity of one of the women.
The opening credits appear with some surreal imagery and a haunting little music score, the only music of the film. Best enjoyed by serious film goers. Highly recommended.
The Nutty Professor
(1963)
A definitive Jerry Lewis film
19 September 2011
I saw this film for the first time this month. I was impressed by Jerry Lewis's acting performances and the range between his two characters of nerdy, clumsy professor Klump and his alter ego, suave, obnoxious playboy Buddy Love.
Jerry Lewis directed and co-wrote the screenplay for this film. Along with acting the dual lead role, this is very much a definitive Jerry Lewis film.
This is the character Lewis is best remembered for and now I understand why, after all these years. This film was released the year I was born. "The Nutty Professor", 1963 is better than usual for a Hollywood comedy, so I'm a little surprised it's lowly rated here at IMDb.com, only a 6.7 score. Memory weakening over time? It might be because of the age of the film. I saw this film for the very first time last week and consider this a classic and masterful comic acting performance by Jerry Lewis. If I saw this film years ago as a child, I would have been a long time admirer of Mr. Lewis.
The writing has a little more breadth and depth than usual for a comedy film. This is an obvious Dr. Jeckyl and Mr. Hyde story, updated for it's time. There's the rich, vivid colors of the art direction, a good script and good acting overall. I usually set my expectations low for comedy films. The obvious highlight and a reason to see the film all by itself, is Lewis's dual role performance. He plays them both very well and the contrast is always entertaining.
An odd thing about the story is it's supposed to be set in a university, yet there is a prom at the end of the film. Proms are a high school, not a college tradition. This would also alter the love interest story of the professor and a female student, Stella. Professor Klump appears age 30 - 35, Stella is either 18 or 22. It's important to note that a large age difference between a man and a woman, in a romantic relationship, was more socially acceptable, at the time of this film.
The actors portraying the students all appear older than high school and typical college age. The supporting actor casting is a weakness of the film, but one easily forgiven. It's the story, direction and acting that matter most.
Jerry Lewis was part of the very popular and highly successful comedy team along with Dean Martin. Martin and Lewis worked together from 1949 to 1956. By the time of this film, Lewis had considerable experience playing his original goofy sidekick character and decided to also do the Dean Martin suave playboy character.
I recommend this film to those interested in experiencing an inspired and classic comic acting performance.
Jerry Lewis directed and co-wrote the screenplay for this film. Along with acting the dual lead role, this is very much a definitive Jerry Lewis film.
This is the character Lewis is best remembered for and now I understand why, after all these years. This film was released the year I was born. "The Nutty Professor", 1963 is better than usual for a Hollywood comedy, so I'm a little surprised it's lowly rated here at IMDb.com, only a 6.7 score. Memory weakening over time? It might be because of the age of the film. I saw this film for the very first time last week and consider this a classic and masterful comic acting performance by Jerry Lewis. If I saw this film years ago as a child, I would have been a long time admirer of Mr. Lewis.
The writing has a little more breadth and depth than usual for a comedy film. This is an obvious Dr. Jeckyl and Mr. Hyde story, updated for it's time. There's the rich, vivid colors of the art direction, a good script and good acting overall. I usually set my expectations low for comedy films. The obvious highlight and a reason to see the film all by itself, is Lewis's dual role performance. He plays them both very well and the contrast is always entertaining.
An odd thing about the story is it's supposed to be set in a university, yet there is a prom at the end of the film. Proms are a high school, not a college tradition. This would also alter the love interest story of the professor and a female student, Stella. Professor Klump appears age 30 - 35, Stella is either 18 or 22. It's important to note that a large age difference between a man and a woman, in a romantic relationship, was more socially acceptable, at the time of this film.
The actors portraying the students all appear older than high school and typical college age. The supporting actor casting is a weakness of the film, but one easily forgiven. It's the story, direction and acting that matter most.
Jerry Lewis was part of the very popular and highly successful comedy team along with Dean Martin. Martin and Lewis worked together from 1949 to 1956. By the time of this film, Lewis had considerable experience playing his original goofy sidekick character and decided to also do the Dean Martin suave playboy character.
I recommend this film to those interested in experiencing an inspired and classic comic acting performance.
All About My Mother
(1999)
Interesting, colorful and imaginative storytelling
10 March 2011
Almodovar's films come across as soap operas. In his case, they are usually very well written, directed and believable soap operas. There's a lot of insight shown about the female mind and female-female relationships, in "All About My Mother".
Colorful here, refers to three things: the warm colors of the art direction, photography and the colorful characters of the story. "Volver" (2006) was my first Almodovar film and it made an impression upon me. "All About My Mother" approaches the storytelling excellence of "Volver".
In a way, Almodovar style and insight is very similar to Joseph L. Mankiewicz, part of whose famous awarded film "All About Eve", is used in this film. There's also references to stage acting and the famous play: "A Streetcar Named Desire". There is also inspiration taken from the title of "All About Eve" itself.
What's best about the film is it's about human relationships and done with honesty and sensitivity.
Colorful here, refers to three things: the warm colors of the art direction, photography and the colorful characters of the story. "Volver" (2006) was my first Almodovar film and it made an impression upon me. "All About My Mother" approaches the storytelling excellence of "Volver".
In a way, Almodovar style and insight is very similar to Joseph L. Mankiewicz, part of whose famous awarded film "All About Eve", is used in this film. There's also references to stage acting and the famous play: "A Streetcar Named Desire". There is also inspiration taken from the title of "All About Eve" itself.
What's best about the film is it's about human relationships and done with honesty and sensitivity.
Forbidden Games
(1952)
A unique and great film
23 January 2011
Warning: Spoilers
Forbidden Games / Directed by: Rene Clement / France/ 1952 / BW
* * * *
Wow. That's a word I rarely use in reaction to a film. I'm a highly selective film enthusiast and not easy to impress. This is a truly unique, profound, powerful and impressive film, which exceeded my expectations. "Forbidden Games" is a masterpiece. Definitely a rare and special film, one that literally blew me away. I've never seen anything quite like it before. I'm referring to it's remarkable combination of inspired direction, unusual story, universal themes, story telling style and technique.
A young girl in 1940 France becomes orphaned, when both her parents are shot and killed in a countryside, during a Nazi air raid. As vividly depicted in the film, the girl's sudden loss of her parents is shocking. She then suffers the loss of her beloved pet dog. The girl is rescued and adopted by a rural family passing by and taken into their home for care and protection. The young girl befriends an older boy of the family. They begin collecting crosses and create a secret animal cemetery, following the adult lead of using the healing power of religion and ritual to help cope with death. A tender and respectful friendship and bond of love eventually develops between them.
An unusual, intense, realistic, heart wrenching opening sequence and a near perfect ending are the bookends of this great film. The opening sequence of the film qualifies as one of the greats in the history of cinema. Of special note, the film features very natural and believable acting performances from the two children in lead roles. This is a big credit to the talent of director Clement. At the time, both children were completely non-professional first time actors.
This film won me over emotionally, by the end of it's first third. The second third of the film, earned my complete admiration and respect in a big way. It's unusual for a film to achieve so much, one third of the way in and not depend on the usual traditional storytelling climax, resolution and closed ending.
This is definitely not a film for young children, due to mature, adult themes about dying, death, loss, anguish and grief. 18+ recommended. The opening sequence is graphic, violent and most of all, intensely emotional, way too much information for any child to process, without being traumatized. After this powerful story and character setup, the remainder of the film is more acceptable for a combined child and parent viewing experience. Adolescents might be able to handle/process some of the mature themes of the film. It's really a film best appreciated by mature adults, hence my 18+ recommendation.
The photographic style and director's technique are convincingly realistic. The black and white photography is quite beautiful, rich in shades of gray, contrast and creative lighting, to convincingly evoke mood. Of special note is the careful, economical use of classical music throughout the film, especially during emotional scenes. Very much a director's film and done with great style and technique. The opening sequence is especially brave and confident. Basically, an intelligent, perceptive screenplay combines with expert inspired direction to create a film masterpiece.
This powerful and memorable film shows how these two children, especially the girl, react to war, process loss, grief and attempt to cope with all the death and destruction going on around them, in a manner fitting to their age. There's scenes of great sorrow, beauty, honesty and tenderness all throughout the film.
Director Clement shows remarkable sensitivity and awareness, a father like dedication, sincerity of purpose, emotional motivation and support to his two child lead actors. The acting performances of the children Georges Poujouly and Brigitte Fossey are truly remarkable and impressive. Considering Fossey was only five years old at the time, her performance in particular, is amazing. Clement established a rare and great connection of mutual artistic benefit with both children.
This film quickly entered my short list of personal favorite/best ever films. That's the thing about a masterpiece: it strikes a universal nerve immediately, by the sheer power of it's artistry and technique. Winner of the Venice Film Festival Golden Lion Award and Best Foreign Language film Oscar. Very highly recommended.
* * * *
Wow. That's a word I rarely use in reaction to a film. I'm a highly selective film enthusiast and not easy to impress. This is a truly unique, profound, powerful and impressive film, which exceeded my expectations. "Forbidden Games" is a masterpiece. Definitely a rare and special film, one that literally blew me away. I've never seen anything quite like it before. I'm referring to it's remarkable combination of inspired direction, unusual story, universal themes, story telling style and technique.
A young girl in 1940 France becomes orphaned, when both her parents are shot and killed in a countryside, during a Nazi air raid. As vividly depicted in the film, the girl's sudden loss of her parents is shocking. She then suffers the loss of her beloved pet dog. The girl is rescued and adopted by a rural family passing by and taken into their home for care and protection. The young girl befriends an older boy of the family. They begin collecting crosses and create a secret animal cemetery, following the adult lead of using the healing power of religion and ritual to help cope with death. A tender and respectful friendship and bond of love eventually develops between them.
An unusual, intense, realistic, heart wrenching opening sequence and a near perfect ending are the bookends of this great film. The opening sequence of the film qualifies as one of the greats in the history of cinema. Of special note, the film features very natural and believable acting performances from the two children in lead roles. This is a big credit to the talent of director Clement. At the time, both children were completely non-professional first time actors.
This film won me over emotionally, by the end of it's first third. The second third of the film, earned my complete admiration and respect in a big way. It's unusual for a film to achieve so much, one third of the way in and not depend on the usual traditional storytelling climax, resolution and closed ending.
This is definitely not a film for young children, due to mature, adult themes about dying, death, loss, anguish and grief. 18+ recommended. The opening sequence is graphic, violent and most of all, intensely emotional, way too much information for any child to process, without being traumatized. After this powerful story and character setup, the remainder of the film is more acceptable for a combined child and parent viewing experience. Adolescents might be able to handle/process some of the mature themes of the film. It's really a film best appreciated by mature adults, hence my 18+ recommendation.
The photographic style and director's technique are convincingly realistic. The black and white photography is quite beautiful, rich in shades of gray, contrast and creative lighting, to convincingly evoke mood. Of special note is the careful, economical use of classical music throughout the film, especially during emotional scenes. Very much a director's film and done with great style and technique. The opening sequence is especially brave and confident. Basically, an intelligent, perceptive screenplay combines with expert inspired direction to create a film masterpiece.
This powerful and memorable film shows how these two children, especially the girl, react to war, process loss, grief and attempt to cope with all the death and destruction going on around them, in a manner fitting to their age. There's scenes of great sorrow, beauty, honesty and tenderness all throughout the film.
Director Clement shows remarkable sensitivity and awareness, a father like dedication, sincerity of purpose, emotional motivation and support to his two child lead actors. The acting performances of the children Georges Poujouly and Brigitte Fossey are truly remarkable and impressive. Considering Fossey was only five years old at the time, her performance in particular, is amazing. Clement established a rare and great connection of mutual artistic benefit with both children.
This film quickly entered my short list of personal favorite/best ever films. That's the thing about a masterpiece: it strikes a universal nerve immediately, by the sheer power of it's artistry and technique. Winner of the Venice Film Festival Golden Lion Award and Best Foreign Language film Oscar. Very highly recommended.
River of No Return
(1954)
Moderately entertaining action-adventure
8 January 2011
Directed by: Otto Preminger
Screenplay by: Frank Fenton
Based on a story by: Louis Lantz
75 out of 100
Filmed on location in scenic Canada, Preminger's "River of No Return", follows some of the conservative story telling conventions of it's time, while managing to be a occasionally bold, with strong characters in difficult situations. It's a cowboy kind of story, a mix of several genres: action, adventure, drama and musical.
Marilyn Monroe portrays a tough minded character, a less common, non-glamor role, of her acting career. She's a saloon singer, accompanying her boyfriend on a journey to legally secure a new gold claim and change their lives. On their wilderness journey, they meet up by chance, with a farmer (Robert Mitchum) and his son. Soon, all their lives and problems become intertwined. Mitchum's character proves to be a good match to Monroe's character: both tough minded, survivalists.
The film features, a number of songs well performed, as usual, by Marilyn Monroe (sentimental and sad). Marilyn is famous for singing in many of her films, notably less famous for being in an action role. Overall, nothing special or memorable here, just a reasonably satisfying movie.
Screenplay by: Frank Fenton
Based on a story by: Louis Lantz
75 out of 100
Filmed on location in scenic Canada, Preminger's "River of No Return", follows some of the conservative story telling conventions of it's time, while managing to be a occasionally bold, with strong characters in difficult situations. It's a cowboy kind of story, a mix of several genres: action, adventure, drama and musical.
Marilyn Monroe portrays a tough minded character, a less common, non-glamor role, of her acting career. She's a saloon singer, accompanying her boyfriend on a journey to legally secure a new gold claim and change their lives. On their wilderness journey, they meet up by chance, with a farmer (Robert Mitchum) and his son. Soon, all their lives and problems become intertwined. Mitchum's character proves to be a good match to Monroe's character: both tough minded, survivalists.
The film features, a number of songs well performed, as usual, by Marilyn Monroe (sentimental and sad). Marilyn is famous for singing in many of her films, notably less famous for being in an action role. Overall, nothing special or memorable here, just a reasonably satisfying movie.
The Underneath
(1995)
Interesting and absorbing film noir style thriller
8 January 2011
Warning: Spoilers
Viewed: January 7, 2010
I disagree with the mediocre reviews of this film here. People are over analyzing and unhappy with it's unconventional open ending.
"The Underneath", is a kind of film that separates the popcorn entertainment crowd from the serious and studied film enthusiasts. A story does not always need to have a neat and tidy ending, wrapping all plot points up, to be good. This is an art film, about character, circumstance and mood, not a popcorn entertainment movie for the masses.
A charming drifter with a gambling problem returns to what he feels is home, for the occasion of his mother's second wedding and attempts to reunite with an old girlfriend. He becomes involved in a love triangle, then a crime, to help rescue his old girlfriend from a seemingly bad new marriage. The film is about a present day armored truck robbery and told entirely in flashback: all the people and circumstances that lead up to it.
Daniel Fuchs and director Soderbough, under the ghost writer name (Sam Lowry), wrote the screenplay to the film. It's a well observed, insightful character and relationship study, of people mixing together in bad circumstances and the inevitable and inescapable outcome that results.
This is very much a director and writers film. Both are very good. Director Soderbergh, "Sex, Lies and Videotape", 1989, is well in command most of the time, effectively setting up and executing scenes of mood and uncertainty. Creative cinematography, involving unusual camera angles, framing and color are frequently used in the film, for a film noir (mystery) look.
The sequence in the hospital near the end is especially effective, creating a sense of fear, worry, uncertainty and dread. The most interesting and engaging aspect of the film is, the audience is never certain who can be trusted and for how long, in this complex web of human desire and fear.
I haven't seen this film since it was first released theatrically in 1995. My favorable impression still holds after a long delayed second viewing.
I disagree with the mediocre reviews of this film here. People are over analyzing and unhappy with it's unconventional open ending.
"The Underneath", is a kind of film that separates the popcorn entertainment crowd from the serious and studied film enthusiasts. A story does not always need to have a neat and tidy ending, wrapping all plot points up, to be good. This is an art film, about character, circumstance and mood, not a popcorn entertainment movie for the masses.
A charming drifter with a gambling problem returns to what he feels is home, for the occasion of his mother's second wedding and attempts to reunite with an old girlfriend. He becomes involved in a love triangle, then a crime, to help rescue his old girlfriend from a seemingly bad new marriage. The film is about a present day armored truck robbery and told entirely in flashback: all the people and circumstances that lead up to it.
Daniel Fuchs and director Soderbough, under the ghost writer name (Sam Lowry), wrote the screenplay to the film. It's a well observed, insightful character and relationship study, of people mixing together in bad circumstances and the inevitable and inescapable outcome that results.
This is very much a director and writers film. Both are very good. Director Soderbergh, "Sex, Lies and Videotape", 1989, is well in command most of the time, effectively setting up and executing scenes of mood and uncertainty. Creative cinematography, involving unusual camera angles, framing and color are frequently used in the film, for a film noir (mystery) look.
The sequence in the hospital near the end is especially effective, creating a sense of fear, worry, uncertainty and dread. The most interesting and engaging aspect of the film is, the audience is never certain who can be trusted and for how long, in this complex web of human desire and fear.
I haven't seen this film since it was first released theatrically in 1995. My favorable impression still holds after a long delayed second viewing.
The Prince and the Showgirl
(1957)
Entertaining and pleasant light romantic comedy
26 December 2010
* * * Good
Directed and Produced by: Laurence Olivier
Marilyn Monroe displays her usual charms and livens things up each time she's on screen. She actually steals most every scene she shares with the awarded and much admired Laurence Olivier. This was the second film to be made under the recently formed Marilyn Monroe Productions (MMP) company. The first film was "Bus Stop", 1956, which contains Monroe's best acting performance.
Monroe portrays Elsie, a showgirl in England, who has a chance encounter meeting with a visiting Duke (Olivier), from the fictional country of Carpatha (obviously based on Carpathia, Romania). By surprise, Elsie is invited to what turns out to be a private dinner at the embassy residence of the visiting duke and unexpectedly falls in love with him. Elsie overhears some top secret information and becomes a temporary political pawn between the duke and his son, about to become king.
Olivier does a good job portraying his comic character, with appropriate accent, however, he's usually out shined by Monroe. Monroe's role as Elsie is limiting, but she makes the most of it, bringing spontaneity, improvisation, good comic timing, playfulness and charm to her lightweight role. It's one of Monroe's best acting performances, comparable to her Golden Globe Award winning role as Sugar Cane, in the classic Billy Wilder comedy "Some Like it Hot", 1959.
This romantic comedy about royalty and proper etiquette drags a little at times, but there are always special "Marilyn Moments" to come along and liven things up.
Directed and Produced by: Laurence Olivier
Marilyn Monroe displays her usual charms and livens things up each time she's on screen. She actually steals most every scene she shares with the awarded and much admired Laurence Olivier. This was the second film to be made under the recently formed Marilyn Monroe Productions (MMP) company. The first film was "Bus Stop", 1956, which contains Monroe's best acting performance.
Monroe portrays Elsie, a showgirl in England, who has a chance encounter meeting with a visiting Duke (Olivier), from the fictional country of Carpatha (obviously based on Carpathia, Romania). By surprise, Elsie is invited to what turns out to be a private dinner at the embassy residence of the visiting duke and unexpectedly falls in love with him. Elsie overhears some top secret information and becomes a temporary political pawn between the duke and his son, about to become king.
Olivier does a good job portraying his comic character, with appropriate accent, however, he's usually out shined by Monroe. Monroe's role as Elsie is limiting, but she makes the most of it, bringing spontaneity, improvisation, good comic timing, playfulness and charm to her lightweight role. It's one of Monroe's best acting performances, comparable to her Golden Globe Award winning role as Sugar Cane, in the classic Billy Wilder comedy "Some Like it Hot", 1959.
This romantic comedy about royalty and proper etiquette drags a little at times, but there are always special "Marilyn Moments" to come along and liven things up.
Black Swan
(2010)
An exciting and engaging psychological thriller
25 December 2010
* * * 1/2 Very Good
Effective, lively, hand-held camera technique, creative writing, spirited direction and Natalie Portman's passionate performance, all come together beautifully, in this impressive psychological thriller-drama. Portman portrays a New York City ballerina in heated competition for the lead role in a local production of the famous "Swan Lake" ballet.
It's a compelling portrait of an artist driving herself too hard and mentally falling apart, in order to achieve perfection in playing a role. Portman's character (Nina), lacks the good/bad duality required to most effectively play the role of this version of the Swan Queen of the ballet. Nina has excellent technique and is naturally good portraying the White Swan, but lacks the passion and raw emotion required of the Black Swan character.
Nina slowly undergoes a dark, violent, psychological, hallucinatory transformation, where the boundaries of reality, fantasy and dreams become blurred and begin blending together. Winona Ryder, in her 2nd comeback film of the year, does well in a dark and disturbed supporting role.
Portman dominates her role and the film. Physically, she fits the role perfectly. Portman is definitely more than just a pretty face and has shown signs of serious acting ability (emotional depth) before, since her 1994 feature film debut in "The Professional".
Portman was nominated for an Academy Award for acting in 2005 and I believe she is deserving of being nominated again, for her lead acting role in "Black Swan".
Effective, lively, hand-held camera technique, creative writing, spirited direction and Natalie Portman's passionate performance, all come together beautifully, in this impressive psychological thriller-drama. Portman portrays a New York City ballerina in heated competition for the lead role in a local production of the famous "Swan Lake" ballet.
It's a compelling portrait of an artist driving herself too hard and mentally falling apart, in order to achieve perfection in playing a role. Portman's character (Nina), lacks the good/bad duality required to most effectively play the role of this version of the Swan Queen of the ballet. Nina has excellent technique and is naturally good portraying the White Swan, but lacks the passion and raw emotion required of the Black Swan character.
Nina slowly undergoes a dark, violent, psychological, hallucinatory transformation, where the boundaries of reality, fantasy and dreams become blurred and begin blending together. Winona Ryder, in her 2nd comeback film of the year, does well in a dark and disturbed supporting role.
Portman dominates her role and the film. Physically, she fits the role perfectly. Portman is definitely more than just a pretty face and has shown signs of serious acting ability (emotional depth) before, since her 1994 feature film debut in "The Professional".
Portman was nominated for an Academy Award for acting in 2005 and I believe she is deserving of being nominated again, for her lead acting role in "Black Swan".
How to Marry a Millionaire
(1953)
Good lead casting makes this lightweight romantic comedy worth a watch
24 December 2010
HOW TO MARRY A MILLIONAIRE 1953
* * 1/2
This is one of three popular movies of 1953 that launched Marilyn Monroe as a movie star. The other two films were: "Niagra" and "Gentlemen Prefer Blondes". 1953 proved to be a very good year for Marilyn Monroe, establishing her as a very likable and popular Hollywood movie star of the 1950's.
Three gold digging women, portrayed by (Bacall, Grable and Monroe) move in together, sharing a large, upscale New York City apartment and agree on a plan to attract and marry men who are millionaires. It's a very simple story setup, with a few laughs along the way. For Bacall, she must have considered this a very lightweight role, done just for fun.
Here in "How to Marry a Millionaire", Marilyn, as myopic (Pola), joins established stars Betty Grable as Loco and Lauren Bacall as Schatze. I liked the running gag of (Pola's) nearsighted character, avoiding wearing her glasses. Marilyn was myopic in real life. There used to be an old expression: "men don't make passes at girls who wear glasses". Well, Marilyn Monroe was definitely an exception to this expression! Here she shares screen time with two famous Hollywood icons and holds her own quite well.
The star power of Bacall and Grable helped bolster Marilyn's public image. In "Gentleman Prefer Blonds", the well matched pairing of Jane Russell with Marilyn, also bolstered Marilyn's image with the public. In Niagra, Marilyn played a dark character: a troubled woman out for revenge, which showed Marilyn had an interesting dual nature to her personality. "Niagra" helped get Marilyn noticed in an unusual dark role, while "Gentleman Prefer Blondes" and "How to Marry a Milionaire" showcased her natural charm, humor and likability.
The highlights of the film are the art direction and lead acting casting. This film would be of more interest to serious, rather than casual Marilyn Monroe fans. Marilyn always came across as soft, gentle and charming, in all her comedy-musical films. This film provides a small glimpse at some of her unique charms.
* * 1/2
This is one of three popular movies of 1953 that launched Marilyn Monroe as a movie star. The other two films were: "Niagra" and "Gentlemen Prefer Blondes". 1953 proved to be a very good year for Marilyn Monroe, establishing her as a very likable and popular Hollywood movie star of the 1950's.
Three gold digging women, portrayed by (Bacall, Grable and Monroe) move in together, sharing a large, upscale New York City apartment and agree on a plan to attract and marry men who are millionaires. It's a very simple story setup, with a few laughs along the way. For Bacall, she must have considered this a very lightweight role, done just for fun.
Here in "How to Marry a Millionaire", Marilyn, as myopic (Pola), joins established stars Betty Grable as Loco and Lauren Bacall as Schatze. I liked the running gag of (Pola's) nearsighted character, avoiding wearing her glasses. Marilyn was myopic in real life. There used to be an old expression: "men don't make passes at girls who wear glasses". Well, Marilyn Monroe was definitely an exception to this expression! Here she shares screen time with two famous Hollywood icons and holds her own quite well.
The star power of Bacall and Grable helped bolster Marilyn's public image. In "Gentleman Prefer Blonds", the well matched pairing of Jane Russell with Marilyn, also bolstered Marilyn's image with the public. In Niagra, Marilyn played a dark character: a troubled woman out for revenge, which showed Marilyn had an interesting dual nature to her personality. "Niagra" helped get Marilyn noticed in an unusual dark role, while "Gentleman Prefer Blondes" and "How to Marry a Milionaire" showcased her natural charm, humor and likability.
The highlights of the film are the art direction and lead acting casting. This film would be of more interest to serious, rather than casual Marilyn Monroe fans. Marilyn always came across as soft, gentle and charming, in all her comedy-musical films. This film provides a small glimpse at some of her unique charms.
Super Size Me
(2004)
Interesting, accurate and timely documentary makes a convincing case
15 December 2010
Finally, six years later I see this infamous reality movie of the last decade. I'm older than it's star and co-writer, so I've been around to notice the slow decline in the quality of American eating habits, as our serving size increased. Like many Americans, I grew up with McD's and other fast food restaurant chains.
Most of the facts presented in the film were already known to me, with two exceptions. I didn't know the liver could be impacted in such a dramatic negative way by a high fat, cholesterol and sodium diet in just 30 days. Also, the fact physical education is no longer mandatory in public schools. This obviously created an additional factor, helping the USA achieve a pandemic of overweight citizens.
Since the popularity of fast food began to take hold back in the 1960's, the diet industry in our fat country has grown to a $30+ billion a year industry. The power and influence of the fast food companies (including their familiarity), our daily portion sizes of food slowly increasing and the lack of exercise in public schools, have all become factors to make us a fat nation.
The approach used in the documentary was a bit extreme. Instead of three McDonald meals per day for 30 days, one McD meal per day for 90 days would have showed the same effects, just more slowly, making things less dramatic and scary.
McDonald's denied their dropping the super size option had nothing to do with the release of the film. I highly doubt that. They have made their nutrition information more readily available in their restaurants since this 2004 documentary was released. I looked at their complete nutrition information sheet a few years ago and it strongly speaks for itself, for how unhealthy their food really is.
The question is how many people addicted to McD food and fast food in general, will pause to actually look at one of these nutritional information sheets? The things all bad habits have in common is, they tend to catch up with most people, given enough time. An ounce of prevention is worth a pound of cure.
Most of the facts presented in the film were already known to me, with two exceptions. I didn't know the liver could be impacted in such a dramatic negative way by a high fat, cholesterol and sodium diet in just 30 days. Also, the fact physical education is no longer mandatory in public schools. This obviously created an additional factor, helping the USA achieve a pandemic of overweight citizens.
Since the popularity of fast food began to take hold back in the 1960's, the diet industry in our fat country has grown to a $30+ billion a year industry. The power and influence of the fast food companies (including their familiarity), our daily portion sizes of food slowly increasing and the lack of exercise in public schools, have all become factors to make us a fat nation.
The approach used in the documentary was a bit extreme. Instead of three McDonald meals per day for 30 days, one McD meal per day for 90 days would have showed the same effects, just more slowly, making things less dramatic and scary.
McDonald's denied their dropping the super size option had nothing to do with the release of the film. I highly doubt that. They have made their nutrition information more readily available in their restaurants since this 2004 documentary was released. I looked at their complete nutrition information sheet a few years ago and it strongly speaks for itself, for how unhealthy their food really is.
The question is how many people addicted to McD food and fast food in general, will pause to actually look at one of these nutritional information sheets? The things all bad habits have in common is, they tend to catch up with most people, given enough time. An ounce of prevention is worth a pound of cure.
Bus Stop
(1956)
A well written and acted comedy with heart
11 December 2010
Warning: Spoilers
"Bus Stop" (1956) / Cinemascope and Technicolor / Directed by: Joshua Logan / Written by: George Axelrod / Based on the 1954 Broadway play by: William Inge / First viewing 12/11/2010
* * * Film
* * * 1/2 Acting performance of Marilyn Monroe
Good writing, most of the way through, along with Marilyn Monroe and Don Murray's exceptionally fine acting performances, make this comedy-musical with heart, worth watching.
The story concerns a young cowboy named BoRegard (Murray), traveling from Montana with his father, to Arizona, to participate in a rodeo. When he first sees Cherie (Monroe), performing at a saloon in town, he's immediately smitten and begins his aggressive romantic pursuit of her. The chance encounter love story begins innocently and playfully enough, but slowly turns dark and frightening, as questions are raised about the character and true intentions of this wild, young, headstrong cowboy.
The film is entertaining and often heartfelt, but unfortunately, gives in to, what I felt was an artificial and unconvincing happy ending, that really didn't fit the tone and direction of the story or it's two main characters. Adding a happy ending was part of the movie production code of the time. On the other hand, the ending sequence, by itself, was done beautifully (heartfelt and redemptive) and contains Marilyn's best acting of the film, along her monologue on the bus scene. This beautiful romantic and redeeming ending did not really belong in this particular movie. On the whole, the ending sequence was a poor: choice, weak, too easy fit and a significant disappointment I had with the film.
Marilyn Monroe gives a genuinely sweet, sincere, sensitive, convincing and charming performance as Cherie, a young and naive saloon singer from Arkansas, complete with rural accent. Cherie, (pronounced Sherie), is literally on a "straight as an arrow" course from her home in Arkansas, westward towards Hollywood and Vine. Newcomer Don Murray is quite good as the wild, immature, young cocky cowboy from Montana. For the conservative standards of their time, the roles of Monroe and Murray were daring. For Marilyn Monroe fans, this film is a must see, to experience the quality of acting she was capable of achieving.
Director Logan was a supporter of the Lee Strasberg "method" style of acting and also respected and admired Monroe as an actress. He campaigned for Monroe to receive an Oscar nomination for her performance in "Bus Stop", which she did not receive. To me, Monroe's performance in this film was worthy of an Oscar nomination.
People who have seen the film usually mention the negative impression left by the young cowboy character. Today, the behavior of this young cowboy would very much be considered stalking. Also, the film version makes it clear he is kidnapping Cherie. The screenplay (sidesteps) and plays these two plot points down, which is a bit bewildering to a more modern audience. People's reactions of the time seemed ignorant or possibly naive, about how this cowboy was treating the saloon singer. One other weakness of the film was not giving more back story to the cowboy. The change of heart at the end, was too much, too fast.
BoRegard was written to be unlikable from the beginning (loud, aggressive, boisterous, without manners). Although he seemed to redeem himself a little at the end, I definitely had reservations remaining about this man. Cherie was, literally, swept off her feet by him in the end and we (the audience), can only hope she made a wise choice to go with him , would be able to escape or quickly end the relationship, if it became abusive or dangerous.
Monroe and Murray each have the best written characters in the film. This was Marilyn's first film made under her new production company: Marilyn Monroe Productions. Marilyn Monroe was nominated for a Golden Globe Award for her role as Cherie in "Bus Stop", but did not win. With the exception of the well written dark psychological drama "The Misfits" (1961), Marilyn's remaining films would be comedies and musicals.
Had she lived beyond 1962, I believe Monroe would have been able to shed the dumb blond persona placed upon her and finally gain some widespread respect and critical acclaim as a dramatic film actress, something she very much wanted. The big changes yet to come, of Hollywood movie making during the 1960's, would have definitely favored Monroe's professional dreams, goals and wishes.
Monroe was naturally intelligent, inquisitive, sensitive, vulnerable and charming. A natural born actress. She had a surprisingly good sense of humor, including the ability to laugh at herself. She had serious interest to become a respected dramatic actress and studied at the prestigious Lee Strasberg school of method acting in New York City, during the 1950's.
"Bus Stop" clearly shows Marilyn learned and benefited, from studying the method style of acting with Strasberg. In "Bus Stop", Marilyn shows a new maturity as a dramatic actress.
Marilyn was a pioneer, pushing the limits of her time and demanded better compensation and more respect for young, unestablished, but financially successful film actors. She had plenty of determination to succeed and be respected in her acting career. Unfortunately, Marilyn got stuck in dumb blond roles, not of her own choosing.
Film audiences were less sophisticated back then. Once Marilyn achieved legendary pop/sex icon status by 1953, the movie audiences of her time strongly favored and preferred seeing her in comedies and musicals only. Marilyn had to fit the persona cast upon her by Hollywood and the film going public of her time. During the 60's, the long reign of the mighty studio system, ruled by iron fisted production chiefs, finally came to an end, along with the end of the outdated, religious and conservative moral production code and "The Legion of Decency".
* * * Film
* * * 1/2 Acting performance of Marilyn Monroe
Good writing, most of the way through, along with Marilyn Monroe and Don Murray's exceptionally fine acting performances, make this comedy-musical with heart, worth watching.
The story concerns a young cowboy named BoRegard (Murray), traveling from Montana with his father, to Arizona, to participate in a rodeo. When he first sees Cherie (Monroe), performing at a saloon in town, he's immediately smitten and begins his aggressive romantic pursuit of her. The chance encounter love story begins innocently and playfully enough, but slowly turns dark and frightening, as questions are raised about the character and true intentions of this wild, young, headstrong cowboy.
The film is entertaining and often heartfelt, but unfortunately, gives in to, what I felt was an artificial and unconvincing happy ending, that really didn't fit the tone and direction of the story or it's two main characters. Adding a happy ending was part of the movie production code of the time. On the other hand, the ending sequence, by itself, was done beautifully (heartfelt and redemptive) and contains Marilyn's best acting of the film, along her monologue on the bus scene. This beautiful romantic and redeeming ending did not really belong in this particular movie. On the whole, the ending sequence was a poor: choice, weak, too easy fit and a significant disappointment I had with the film.
Marilyn Monroe gives a genuinely sweet, sincere, sensitive, convincing and charming performance as Cherie, a young and naive saloon singer from Arkansas, complete with rural accent. Cherie, (pronounced Sherie), is literally on a "straight as an arrow" course from her home in Arkansas, westward towards Hollywood and Vine. Newcomer Don Murray is quite good as the wild, immature, young cocky cowboy from Montana. For the conservative standards of their time, the roles of Monroe and Murray were daring. For Marilyn Monroe fans, this film is a must see, to experience the quality of acting she was capable of achieving.
Director Logan was a supporter of the Lee Strasberg "method" style of acting and also respected and admired Monroe as an actress. He campaigned for Monroe to receive an Oscar nomination for her performance in "Bus Stop", which she did not receive. To me, Monroe's performance in this film was worthy of an Oscar nomination.
People who have seen the film usually mention the negative impression left by the young cowboy character. Today, the behavior of this young cowboy would very much be considered stalking. Also, the film version makes it clear he is kidnapping Cherie. The screenplay (sidesteps) and plays these two plot points down, which is a bit bewildering to a more modern audience. People's reactions of the time seemed ignorant or possibly naive, about how this cowboy was treating the saloon singer. One other weakness of the film was not giving more back story to the cowboy. The change of heart at the end, was too much, too fast.
BoRegard was written to be unlikable from the beginning (loud, aggressive, boisterous, without manners). Although he seemed to redeem himself a little at the end, I definitely had reservations remaining about this man. Cherie was, literally, swept off her feet by him in the end and we (the audience), can only hope she made a wise choice to go with him , would be able to escape or quickly end the relationship, if it became abusive or dangerous.
Monroe and Murray each have the best written characters in the film. This was Marilyn's first film made under her new production company: Marilyn Monroe Productions. Marilyn Monroe was nominated for a Golden Globe Award for her role as Cherie in "Bus Stop", but did not win. With the exception of the well written dark psychological drama "The Misfits" (1961), Marilyn's remaining films would be comedies and musicals.
Had she lived beyond 1962, I believe Monroe would have been able to shed the dumb blond persona placed upon her and finally gain some widespread respect and critical acclaim as a dramatic film actress, something she very much wanted. The big changes yet to come, of Hollywood movie making during the 1960's, would have definitely favored Monroe's professional dreams, goals and wishes.
Monroe was naturally intelligent, inquisitive, sensitive, vulnerable and charming. A natural born actress. She had a surprisingly good sense of humor, including the ability to laugh at herself. She had serious interest to become a respected dramatic actress and studied at the prestigious Lee Strasberg school of method acting in New York City, during the 1950's.
"Bus Stop" clearly shows Marilyn learned and benefited, from studying the method style of acting with Strasberg. In "Bus Stop", Marilyn shows a new maturity as a dramatic actress.
Marilyn was a pioneer, pushing the limits of her time and demanded better compensation and more respect for young, unestablished, but financially successful film actors. She had plenty of determination to succeed and be respected in her acting career. Unfortunately, Marilyn got stuck in dumb blond roles, not of her own choosing.
Film audiences were less sophisticated back then. Once Marilyn achieved legendary pop/sex icon status by 1953, the movie audiences of her time strongly favored and preferred seeing her in comedies and musicals only. Marilyn had to fit the persona cast upon her by Hollywood and the film going public of her time. During the 60's, the long reign of the mighty studio system, ruled by iron fisted production chiefs, finally came to an end, along with the end of the outdated, religious and conservative moral production code and "The Legion of Decency".
The Haunting
(1963)
An intelligent and highly effective psychological supernatural chiller
22 October 2010
Warning: Spoilers
The Haunting / 1963 / Directed by: Robert Wise / Based on the book: "The Haunting of Hill House", by Shirley Jackson
This was my first ever viewing of this film, which was released the year I was born. How I wish I had seen this film earlier. Well, better late, than never. As an intelligent, mature, film enthusiast, this film is a masterpiece of it's unfortunately and often under appreciated and confused genre. No, it's not really a horror film, in the truest sense of the word. There is a difference between horror and terror. Something most filmmakers to this day don't seem to understand or appreciate. Terror is the apprehension of something bad or frightening about to happen, horror is the actual realization of that imagined horror. Alfred Hitchcock understood this and used it very effectively throughout his long film career.
This exceptionally effective chiller relies on mystery, suspense and audience imagination. Bravo! Cheers! Kudos! How I wish this film making style could return. I'm not easily frightened nor easy to impress. This film had me tense and absorbed all the way through. There's definitely a feeling of tension lingering, after the end of the film. Since I know I'm hard to impress or frighten, I viewed this film for the first time, in a very suitable setting: home alone and late at night, for maximum effect.
It's quite an intelligent and psychologically interesting movie for its genre, one of the best I've ever seen. Haunted houses are a big part of folklore, all over the world for centuries, but not such a common genre for movies.
Four supernatural investigators spend several nights in a feared famous old haunted house with a bad history.The unusual and long prologue effectively sets up the bad history of the house. One supernatural visitor has a personal connection to Hill House.
Style, technique and writing are excellent (cinematography and art direction). The dominant character of this film is Hill House itself, secondly, Eleanor (one of the ghost hunters) and thirdly, the leader of the supernatural group. The impressive and convincing effects of the film are entirely physical and optical.
This film had me impressed from beginning to end. Compared to most other chillers or haunted house movies, "The Haunting" is definitely superior. Wise directs in the classic style of Hitchcock. Upon one viewing, I consider this film to be one of the best ever of it's genre.
The puzzle of this story is: were the prior residents of Hill House mentally ill, as well as Eleanor? The character of Eleanor is most interesting, as she is certainly a sympathetic, lonely and lost soul. She is often the narrator of the story, we often hear her thoughts. In a film with good, solid acting performances all around, the performance of Eleanor's character is most impressive. She certainly did her "homework" for the role and was very well cast.
The brilliance and power of "The Haunting", is that it explores the very nature of fear and relies on the audience to actively use their own imagination, experiencing the film. We humans fear the darkness. We fear the unknown. Fear what we don't understand. What's supernatural now may be explained in future generations and become the accepted normal, most people later will take for granted.
This imaginative, intelligent and suspenseful style of film making has sadly almost completely disappeared. Most horror/chiller/thriller films now rely heavily on graphically depicted violence, with little or nothing left to the imagination. Shock and repulsiveness have largely replaced true horror, mystery and suspense.
The great power of all storytelling is having the audience use its own imagination. Everyone has their own individual perception and meaning taken from the film. The art of mystery and suspense has mostly been lost since the 1960's. This film is a good example of what was lost.
This was my first ever viewing of this film, which was released the year I was born. How I wish I had seen this film earlier. Well, better late, than never. As an intelligent, mature, film enthusiast, this film is a masterpiece of it's unfortunately and often under appreciated and confused genre. No, it's not really a horror film, in the truest sense of the word. There is a difference between horror and terror. Something most filmmakers to this day don't seem to understand or appreciate. Terror is the apprehension of something bad or frightening about to happen, horror is the actual realization of that imagined horror. Alfred Hitchcock understood this and used it very effectively throughout his long film career.
This exceptionally effective chiller relies on mystery, suspense and audience imagination. Bravo! Cheers! Kudos! How I wish this film making style could return. I'm not easily frightened nor easy to impress. This film had me tense and absorbed all the way through. There's definitely a feeling of tension lingering, after the end of the film. Since I know I'm hard to impress or frighten, I viewed this film for the first time, in a very suitable setting: home alone and late at night, for maximum effect.
It's quite an intelligent and psychologically interesting movie for its genre, one of the best I've ever seen. Haunted houses are a big part of folklore, all over the world for centuries, but not such a common genre for movies.
Four supernatural investigators spend several nights in a feared famous old haunted house with a bad history.The unusual and long prologue effectively sets up the bad history of the house. One supernatural visitor has a personal connection to Hill House.
Style, technique and writing are excellent (cinematography and art direction). The dominant character of this film is Hill House itself, secondly, Eleanor (one of the ghost hunters) and thirdly, the leader of the supernatural group. The impressive and convincing effects of the film are entirely physical and optical.
This film had me impressed from beginning to end. Compared to most other chillers or haunted house movies, "The Haunting" is definitely superior. Wise directs in the classic style of Hitchcock. Upon one viewing, I consider this film to be one of the best ever of it's genre.
The puzzle of this story is: were the prior residents of Hill House mentally ill, as well as Eleanor? The character of Eleanor is most interesting, as she is certainly a sympathetic, lonely and lost soul. She is often the narrator of the story, we often hear her thoughts. In a film with good, solid acting performances all around, the performance of Eleanor's character is most impressive. She certainly did her "homework" for the role and was very well cast.
The brilliance and power of "The Haunting", is that it explores the very nature of fear and relies on the audience to actively use their own imagination, experiencing the film. We humans fear the darkness. We fear the unknown. Fear what we don't understand. What's supernatural now may be explained in future generations and become the accepted normal, most people later will take for granted.
This imaginative, intelligent and suspenseful style of film making has sadly almost completely disappeared. Most horror/chiller/thriller films now rely heavily on graphically depicted violence, with little or nothing left to the imagination. Shock and repulsiveness have largely replaced true horror, mystery and suspense.
The great power of all storytelling is having the audience use its own imagination. Everyone has their own individual perception and meaning taken from the film. The art of mystery and suspense has mostly been lost since the 1960's. This film is a good example of what was lost.
Bride of Frankenstein
(1935)
A sequel as excellent as it's famous predecessor
9 October 2010
The Bride of Frankenstein / 1935 / Directed by: James Whale / Written by: William Hurlbut
"The Bride of Frankenstein" certainly ranks as one of the greatest horror films ever made and is that very rare kind of film, as excellent as it's highly successful and acclaimed predecessor. The film continues the unfinished story of the first film, where Dr. Frankenstein is persuaded to create a mate for his monster. Director Whale decided to use the sequel to complete the telling of the original novel of 1818.
One difference, compared to it's predecessor, is the film has a music soundtrack. Frank Waxman's music score is majestic, dark and convincing. Sound quality is impressive for it's time and was nominated for an Oscar. Legendary makeup artist Frank Pierce delivers the same excellent style and technique with the monster, now with some added details. The monster speaks for the first time in this film. The monster's mate, or bride, is classically inspired by the Egyptian queen Nefertiti. The bride of the monster, masterfully created by Frank Pierce, has become as iconic as the monster and Boris Karloff's performance is again compassionate and sensitive, a portrayal of a man misunderstood and feared.
The prologue of the film is masterfully done. Mary Wollstonecraft Shelley, her husband and friend are together inside an elegant mansion at night while a thunderstorm rages outside. It's believed that Shelley, along with some literary friends, brainstormed the idea of "Frankenstein" during a thunderstorm one night. This circumstance and a dream resulted in the creation of one of the most famous and respected horror novels of all time.
Of special note are three acting performances. 19 year old Valerie Hobson, replacing the original actress portraying Dr. Baron Frankenstein's finance' gives a surprisingly mature performance. Ernest Thesinger and Uma O'Connor give impressive, memorable dark and comic performances, respectively.
The creation sequence of the monster's mate recreates the same majesty and power of the original 1931 film, this time with the help of Waxman's excellent music score. Though on screen for only about five minutes, the appearance of the monster's mate, as the bride of Frankenstein, near the end of the film, is especially powerful and memorable, becoming iconic over the years since the film's release. Along with the creation sequence, it adds up to roughly ten minutes of great cinema.
Besides the music score, what set's this film apart from it's predecessor is it's use of humor, effectively blended with horror. A difficult combination indeed, but Whale pulls it off masterfully here. Reluctant to direct a sequel, Whale approached making the film as a lark and created one of the best ever sequels in film history and in some ways, superior to it's excellent predecessor.
Whale did not return to direct the third film in the Frankenstein series. By the late 30's, the magic of the early 30's horror films had faded.
"The Bride of Frankenstein" certainly ranks as one of the greatest horror films ever made and is that very rare kind of film, as excellent as it's highly successful and acclaimed predecessor. The film continues the unfinished story of the first film, where Dr. Frankenstein is persuaded to create a mate for his monster. Director Whale decided to use the sequel to complete the telling of the original novel of 1818.
One difference, compared to it's predecessor, is the film has a music soundtrack. Frank Waxman's music score is majestic, dark and convincing. Sound quality is impressive for it's time and was nominated for an Oscar. Legendary makeup artist Frank Pierce delivers the same excellent style and technique with the monster, now with some added details. The monster speaks for the first time in this film. The monster's mate, or bride, is classically inspired by the Egyptian queen Nefertiti. The bride of the monster, masterfully created by Frank Pierce, has become as iconic as the monster and Boris Karloff's performance is again compassionate and sensitive, a portrayal of a man misunderstood and feared.
The prologue of the film is masterfully done. Mary Wollstonecraft Shelley, her husband and friend are together inside an elegant mansion at night while a thunderstorm rages outside. It's believed that Shelley, along with some literary friends, brainstormed the idea of "Frankenstein" during a thunderstorm one night. This circumstance and a dream resulted in the creation of one of the most famous and respected horror novels of all time.
Of special note are three acting performances. 19 year old Valerie Hobson, replacing the original actress portraying Dr. Baron Frankenstein's finance' gives a surprisingly mature performance. Ernest Thesinger and Uma O'Connor give impressive, memorable dark and comic performances, respectively.
The creation sequence of the monster's mate recreates the same majesty and power of the original 1931 film, this time with the help of Waxman's excellent music score. Though on screen for only about five minutes, the appearance of the monster's mate, as the bride of Frankenstein, near the end of the film, is especially powerful and memorable, becoming iconic over the years since the film's release. Along with the creation sequence, it adds up to roughly ten minutes of great cinema.
Besides the music score, what set's this film apart from it's predecessor is it's use of humor, effectively blended with horror. A difficult combination indeed, but Whale pulls it off masterfully here. Reluctant to direct a sequel, Whale approached making the film as a lark and created one of the best ever sequels in film history and in some ways, superior to it's excellent predecessor.
Whale did not return to direct the third film in the Frankenstein series. By the late 30's, the magic of the early 30's horror films had faded.
Frankenstein
(1931)
The definitive horror classic
9 October 2010
Frankenstein / 1931 / Directed by: James Whale / Written by: Garret Fort and Francis Edwards Faragoh / Adapted by: John Balderston (from the play by Peggy Webling).
James Whale's adaptation of the classic Mary Wollstonecraft Shelley novel of 1818, is nearly a masterpiece. This grand and imaginative film makes a profound moralistic statement about the consequences of tampering with nature. As to the source, this famous novel was inspired by a real life dream and created by Shelley at the surprisingly young age of 19. Though the film has no music soundtrack, it's works very effectively without one, due to it's excellent style and technique. Direction, cinematography, art design and makeup all come together to create this impressive film.
The film is based on part of the famous Shelley novel, in which an obsessed scientist creates life from the reassembled body parts of corpses.
Boris Karloff portrays the character with sensitivity, compassion, including childlike innocence and wonder. This became the most famous role of his career. Legendary makeup genius Frank Pierce created an inspired monster with attention to detail, definitely an important detail in the film's success.
One odd thing about the film, is that the village in the story appears to be Germany, though the original novel was written in England and director James Whale is English. The characters in the story are all recognizably English. Whale uses painted backgrounds along with imaginative sets to tell his version of Frankenstein. The castle tower and the laboratory sets are impressive. The famous creation sequence in the laboratory is majestic and ranks as one of the great set pieces in motion picture film history.
Made for $300,000 and grossing $12 million, the film was a smash success, that sent Universal Studios to make many more horror films during the 1930's. Now 69 years old, the film still retains it's power to impress new generations of film goers.
James Whale's adaptation of the classic Mary Wollstonecraft Shelley novel of 1818, is nearly a masterpiece. This grand and imaginative film makes a profound moralistic statement about the consequences of tampering with nature. As to the source, this famous novel was inspired by a real life dream and created by Shelley at the surprisingly young age of 19. Though the film has no music soundtrack, it's works very effectively without one, due to it's excellent style and technique. Direction, cinematography, art design and makeup all come together to create this impressive film.
The film is based on part of the famous Shelley novel, in which an obsessed scientist creates life from the reassembled body parts of corpses.
Boris Karloff portrays the character with sensitivity, compassion, including childlike innocence and wonder. This became the most famous role of his career. Legendary makeup genius Frank Pierce created an inspired monster with attention to detail, definitely an important detail in the film's success.
One odd thing about the film, is that the village in the story appears to be Germany, though the original novel was written in England and director James Whale is English. The characters in the story are all recognizably English. Whale uses painted backgrounds along with imaginative sets to tell his version of Frankenstein. The castle tower and the laboratory sets are impressive. The famous creation sequence in the laboratory is majestic and ranks as one of the great set pieces in motion picture film history.
Made for $300,000 and grossing $12 million, the film was a smash success, that sent Universal Studios to make many more horror films during the 1930's. Now 69 years old, the film still retains it's power to impress new generations of film goers.
The Mummy
(1932)
The original is always best
6 October 2010
The Mummy / 1933 / Directed by: Karl Freund / Written by: John Balderston
* * * * Excellent
Certainly, a masterpiece of the horror genre. Boris Karloff's performance as Im Ho Tep is impressive. He brings a sensitivity, directness and captivating seriousness to the role. The intelligent screenplay stays close to the known facts of ancient Egypt, as known in 1932, while the film showcases some impressive makeup, art direction and cinematography. Makeup is by the legendary genius Jack Pierce, who also did the famous Frankenstein monster makeup for the classic 1931 film.
It's really an epic romance, more than a horror film. The most memorable scene occurs near the beginning of the film. The young archaeologist who opens and reads the scroll bringing Im Ho Tep back to live and his response, is genuinely thrilling and frightening. The opening credits of the film indicate the year 1933.
* * * * Excellent
Certainly, a masterpiece of the horror genre. Boris Karloff's performance as Im Ho Tep is impressive. He brings a sensitivity, directness and captivating seriousness to the role. The intelligent screenplay stays close to the known facts of ancient Egypt, as known in 1932, while the film showcases some impressive makeup, art direction and cinematography. Makeup is by the legendary genius Jack Pierce, who also did the famous Frankenstein monster makeup for the classic 1931 film.
It's really an epic romance, more than a horror film. The most memorable scene occurs near the beginning of the film. The young archaeologist who opens and reads the scroll bringing Im Ho Tep back to live and his response, is genuinely thrilling and frightening. The opening credits of the film indicate the year 1933.
The 40-Year-Old Virgin
(2005)
A comedy done with charm and sweetness
5 October 2010
"The 40 Year Old Virgin" / 2005 / Directed by: Judd Apatow / Written by: Judd Apatow and Steve Carell
* * * Good
I like and admire Judd Apatow's story telling style. I was impressed, more than expected for this film. Most Hollywood comedies are "by the numbers", juvenile and predictable, best appreciated by adolescents or adolescent minded adults.
This sex comedy, would seem to be yet another mediocre and immature Hollywood comedy, however, director/co-writer Apatow, shows some honesty and insight into human nature and relationships between the sexes. Sometimes ordinary comedy, sometimes special, the film does have moments of genuine charm and sweetness.
This is only the 2nd Apatow film I've ever seen. first was: "Knocked Up, 2007". Both films share a lot in common, showing Apatow's signature style. Apatow is good at writing a variety of interesting and relate-able characters and being truthful about the insecurities of dating, sex and heterosexual relationships. Comedian and co-writer Steve Carell does a good job at portraying this sexually repressed, adolescent minded virgin middle aged man.
The story setup of the main character is a little overdone, attempting to show the nerdy life of a 40 year old man stuck in adolescence, with his collection of childhood toys and addiction to video games still with him. Overall, the film is a works, as it balances comedy, honesty, charm and sweetness, which are Apatow's talent and trademark.
* * * Good
I like and admire Judd Apatow's story telling style. I was impressed, more than expected for this film. Most Hollywood comedies are "by the numbers", juvenile and predictable, best appreciated by adolescents or adolescent minded adults.
This sex comedy, would seem to be yet another mediocre and immature Hollywood comedy, however, director/co-writer Apatow, shows some honesty and insight into human nature and relationships between the sexes. Sometimes ordinary comedy, sometimes special, the film does have moments of genuine charm and sweetness.
This is only the 2nd Apatow film I've ever seen. first was: "Knocked Up, 2007". Both films share a lot in common, showing Apatow's signature style. Apatow is good at writing a variety of interesting and relate-able characters and being truthful about the insecurities of dating, sex and heterosexual relationships. Comedian and co-writer Steve Carell does a good job at portraying this sexually repressed, adolescent minded virgin middle aged man.
The story setup of the main character is a little overdone, attempting to show the nerdy life of a 40 year old man stuck in adolescence, with his collection of childhood toys and addiction to video games still with him. Overall, the film is a works, as it balances comedy, honesty, charm and sweetness, which are Apatow's talent and trademark.
The Social Network
(2010)
An absorbing, intelligent and timely pop culture technology portrait of the last decade
1 October 2010
"The Social Network" / Directed by: David Fincher / Written by: Aaron Sorkin / Based on the book: "The Accidental Billionaires" by Ben Mezrich / Released September 2010 (Chicago) / Viewed October 1, 2010
* * * * Excellent
I liked this, almost masterpiece of a film, very much. Director David Fincher keeps things moving along at a lively pace and shows a refreshingly original style and mastery of how to best tell the story of the film. Due to the subject matter, this is a case where the product is much more famous than it's creators.
Based on the startup of facebook.com by Harvard student Mark Zuckerburg and friend/fellow student, beginning in 2003 on the campus of Harvard University. After telling the beginning/genesis of "the facebook", as it was known at Harvard at the time, the film then tells the remainder of it's story in flashback, during a double law suit deposition by four Harvard students, alleging Zuckerburg stole the idea of facebook from them.
Screenwriter Aaron Sorkin delivers an absorbing and intelligent screenplay with biting humor and wit. The film itself is part social commentary, with some thought provoking statements about the popular influence of social websites and the good and bad of the current Internet information age we live in. Accessing too much information, too quickly, easily and the ability to share it freely with the whole world, presents some problems. Without maturity, wisdom, good judgment and reasoning, harm can be easily done, intentionally or unintentionally. Things can be taken out of context and facts distorted easier than ever before.
The film looks and feels very authentic. I was impressed by the focused direction and the intelligent, witty and humorous writing style. The film begins with a good bang. The opening scene is set in a college bar. It's 2003. Mark Zuckerberg and a female friend are having a passionate discussion about many different topics. Zuckerberg is presented as riding a thin line between highly motivated and obsessed with ideas. He's a very intelligent young man and his brain is jam packed with many ideas swirling around at the same time. His female friend comments that, conversing with him, is like being on a stairmaster. It's simply too tiring and also a little confusing.
Fincher knows exactly the right pace and rhythm and exactly how to set up and execute each individual scene, while getting some excellent all around acting performances out of his mostly young cast. The first two things I noticed and was impressed by, early into the film, were Jesse Eisenburg's exceptional acting performance as facebook founder Mark Zuckerburg and the screenplay. The excellent direction of Fincher then becomes apparent.
Jesse Eisenburg nails his role, portraying facebook founder Mark Zuckerburg, convincingly, as a highly intelligent, introverted, slightly immature, social inept and nerdy 19 year old Harvard student, who entered Harvard with an impressive, perfect 1600 score on his SAT. He does a great, if unusual job at defending himself against his accusers during the deposition. Also, Justin Timberlake gives a convincing supporting role performance as slightly paranoid, but passionate and driven Napster founder Sean Parker and third startup partner of facebook.
"The Social Network" is definitely one of the most timely, intelligent and engaging films to come along in a while.
* * * * Excellent
I liked this, almost masterpiece of a film, very much. Director David Fincher keeps things moving along at a lively pace and shows a refreshingly original style and mastery of how to best tell the story of the film. Due to the subject matter, this is a case where the product is much more famous than it's creators.
Based on the startup of facebook.com by Harvard student Mark Zuckerburg and friend/fellow student, beginning in 2003 on the campus of Harvard University. After telling the beginning/genesis of "the facebook", as it was known at Harvard at the time, the film then tells the remainder of it's story in flashback, during a double law suit deposition by four Harvard students, alleging Zuckerburg stole the idea of facebook from them.
Screenwriter Aaron Sorkin delivers an absorbing and intelligent screenplay with biting humor and wit. The film itself is part social commentary, with some thought provoking statements about the popular influence of social websites and the good and bad of the current Internet information age we live in. Accessing too much information, too quickly, easily and the ability to share it freely with the whole world, presents some problems. Without maturity, wisdom, good judgment and reasoning, harm can be easily done, intentionally or unintentionally. Things can be taken out of context and facts distorted easier than ever before.
The film looks and feels very authentic. I was impressed by the focused direction and the intelligent, witty and humorous writing style. The film begins with a good bang. The opening scene is set in a college bar. It's 2003. Mark Zuckerberg and a female friend are having a passionate discussion about many different topics. Zuckerberg is presented as riding a thin line between highly motivated and obsessed with ideas. He's a very intelligent young man and his brain is jam packed with many ideas swirling around at the same time. His female friend comments that, conversing with him, is like being on a stairmaster. It's simply too tiring and also a little confusing.
Fincher knows exactly the right pace and rhythm and exactly how to set up and execute each individual scene, while getting some excellent all around acting performances out of his mostly young cast. The first two things I noticed and was impressed by, early into the film, were Jesse Eisenburg's exceptional acting performance as facebook founder Mark Zuckerburg and the screenplay. The excellent direction of Fincher then becomes apparent.
Jesse Eisenburg nails his role, portraying facebook founder Mark Zuckerburg, convincingly, as a highly intelligent, introverted, slightly immature, social inept and nerdy 19 year old Harvard student, who entered Harvard with an impressive, perfect 1600 score on his SAT. He does a great, if unusual job at defending himself against his accusers during the deposition. Also, Justin Timberlake gives a convincing supporting role performance as slightly paranoid, but passionate and driven Napster founder Sean Parker and third startup partner of facebook.
"The Social Network" is definitely one of the most timely, intelligent and engaging films to come along in a while.
An entertaining action-adventure
30 September 2010
"The Pirates of The Caribbean: Curse of the Black Pearl", 2003
Directed by: Gore Verbinski
* * *
Viewed: September 30, 2010
The first chapter of what was to be a successful trilogy, is an entertaining, big scale adventure film, loaded with action and visual effects. Johnny Depp as Captain Jack Sparrow, gives an impressive performance in the film, complete with accent, energy and mannerisms.
The film, at nearly 2 1/2 hours, is longer than usual, for it's genre of action/adventure. The film moves along at an energetic pace, and considering the scale of it's story, does not feel overly long.
The story concerns pirate Captain Jack Sparrow's return from exile and meeting up by chance, with the owner of a fabled pirate medallion, believed to have the power to help lift an old deadly "curse of the black pearl".
Technically, the film delivers, along with Johnny Depp's acting performance. One should not expect much from the story however, as it was inspired by a Disney Land theme park attraction. The story is a blend of action, adventure, fantasy and humor. I imagine, humor was added to lighten up the film as a whole and provide additional entertainment value, while not frightening it's targeted young audience too much. The somewhat solid story has some convenient plot points to move things along, but there is a large cast of characters: heroes and villains, to help keep things interesting. Keep watching until the end of the closing credits, for a sneak preview of the story set up, for the next film in the trilogy.
The real stars of this film: Director Gore Verbinski, Johnny Depp and the technical/effects crew.
Directed by: Gore Verbinski
* * *
Viewed: September 30, 2010
The first chapter of what was to be a successful trilogy, is an entertaining, big scale adventure film, loaded with action and visual effects. Johnny Depp as Captain Jack Sparrow, gives an impressive performance in the film, complete with accent, energy and mannerisms.
The film, at nearly 2 1/2 hours, is longer than usual, for it's genre of action/adventure. The film moves along at an energetic pace, and considering the scale of it's story, does not feel overly long.
The story concerns pirate Captain Jack Sparrow's return from exile and meeting up by chance, with the owner of a fabled pirate medallion, believed to have the power to help lift an old deadly "curse of the black pearl".
Technically, the film delivers, along with Johnny Depp's acting performance. One should not expect much from the story however, as it was inspired by a Disney Land theme park attraction. The story is a blend of action, adventure, fantasy and humor. I imagine, humor was added to lighten up the film as a whole and provide additional entertainment value, while not frightening it's targeted young audience too much. The somewhat solid story has some convenient plot points to move things along, but there is a large cast of characters: heroes and villains, to help keep things interesting. Keep watching until the end of the closing credits, for a sneak preview of the story set up, for the next film in the trilogy.
The real stars of this film: Director Gore Verbinski, Johnny Depp and the technical/effects crew.
Dreams
(1990)
An interesting and visually stunning personal film from an acclaimed master
28 September 2010
Warning: Spoilers
"Akira Kurosawa: Dreams"
Written and Directed by: Akira Kurosawa
Japan
1990
* * * 1/2
I haven't seen this film for many years. I saw it theatrically, during it's 1990 release and was impressed at the time.
I've seen a number of other significant Kurosawa films and am aware of his stature and influence in cinema history. This is a visually brilliant, imaginative and interesting film, a collection of eight dreams of Kurosawa. I found the film to be beautiful and meditative.
Critics were divided on this 28th and personal film, in the long and uneven career of acclaimed filmmaker Akira Kurosawa. All eight dreams are visually stunning and imaginatively created. The film as a whole, has been criticized by some critics as sentimental and preachy. The last three dreams concern the destruction of man and nature by human made nuclear radiation accidents and our over reliance on technology and convenience. Let's look at Kurosawa, when he made this film. This man is 80 year old and has made some very significant, well praised and influential films during his lifetime, such as "The Seven Samurai" and "Ran". "Dreams", was the next film, made by Kurosawa, five years after the highly acclaimed film "Ran". So it was obvious to make comparisons between the themes and styles of the two films. Kurosawa once tried to commit suicide, which, of course, is a classic tale of many of the great artists of human history, who sometimes bordered on insanity.
When I first saw this film. I was impressed by it's visual beauty and imagination. Some of the tone of some of the dreams of the film, some critics found reason to disfavor. The Japanese are known for being a spiritual and nature orientated culture and religion (Shinto and Buddhist). "The Tunnel", "Fuji in Red", "The Weeping Demon" and "Watermill Village" are the final four dreams of the film and the ones which show signs of being preachy. The earlier dreams, showing youth, can be called sentimental. The concept of the film was misunderstood and under-appreciated by some serious film critics, including Jonathan Rosenbaum of The Chicago Reader, a film critic I have held in high esteem for some years. Two of the dreams are about a classic and recurring Japanese theme since the 1950's: the dangers of man made nuclear radiation accidents. I especially liked the peaceful, nature, spiritual ending of the film. Kurosawa made two more films after this and died in 1997.
Overall, this visually brilliant and imaginative film, made by a legendary master influential filmmaker, does have some unfortunate weaknesses: The concept of portraying one's dreams, no matter how well visually realized, is a highly personal subject and makes for a slightly dull subject, for a two hour long feature film, critics included. It's a little sentimental and preachy, but in a manner, I didn't have a problem with. Great concepts, excellent technique and execution, by an acknowledged film making master, but a film entirely based on someone's dreams and from the perspective of an 80 year old filmmaker, is not really the best combination, in the end.
Written and Directed by: Akira Kurosawa
Japan
1990
* * * 1/2
I haven't seen this film for many years. I saw it theatrically, during it's 1990 release and was impressed at the time.
I've seen a number of other significant Kurosawa films and am aware of his stature and influence in cinema history. This is a visually brilliant, imaginative and interesting film, a collection of eight dreams of Kurosawa. I found the film to be beautiful and meditative.
Critics were divided on this 28th and personal film, in the long and uneven career of acclaimed filmmaker Akira Kurosawa. All eight dreams are visually stunning and imaginatively created. The film as a whole, has been criticized by some critics as sentimental and preachy. The last three dreams concern the destruction of man and nature by human made nuclear radiation accidents and our over reliance on technology and convenience. Let's look at Kurosawa, when he made this film. This man is 80 year old and has made some very significant, well praised and influential films during his lifetime, such as "The Seven Samurai" and "Ran". "Dreams", was the next film, made by Kurosawa, five years after the highly acclaimed film "Ran". So it was obvious to make comparisons between the themes and styles of the two films. Kurosawa once tried to commit suicide, which, of course, is a classic tale of many of the great artists of human history, who sometimes bordered on insanity.
When I first saw this film. I was impressed by it's visual beauty and imagination. Some of the tone of some of the dreams of the film, some critics found reason to disfavor. The Japanese are known for being a spiritual and nature orientated culture and religion (Shinto and Buddhist). "The Tunnel", "Fuji in Red", "The Weeping Demon" and "Watermill Village" are the final four dreams of the film and the ones which show signs of being preachy. The earlier dreams, showing youth, can be called sentimental. The concept of the film was misunderstood and under-appreciated by some serious film critics, including Jonathan Rosenbaum of The Chicago Reader, a film critic I have held in high esteem for some years. Two of the dreams are about a classic and recurring Japanese theme since the 1950's: the dangers of man made nuclear radiation accidents. I especially liked the peaceful, nature, spiritual ending of the film. Kurosawa made two more films after this and died in 1997.
Overall, this visually brilliant and imaginative film, made by a legendary master influential filmmaker, does have some unfortunate weaknesses: The concept of portraying one's dreams, no matter how well visually realized, is a highly personal subject and makes for a slightly dull subject, for a two hour long feature film, critics included. It's a little sentimental and preachy, but in a manner, I didn't have a problem with. Great concepts, excellent technique and execution, by an acknowledged film making master, but a film entirely based on someone's dreams and from the perspective of an 80 year old filmmaker, is not really the best combination, in the end.
A Fish Called Wanda
(1988)
An energetic, very funny comedy
23 September 2010
"A Fish Called Wanda", 1988 Directed by Charles Crichton Story by Charles Crichton and John Cleese Written by John Cleese
* * * 1/2 Very Good
Most comedy films are forgettable and very mediocre. This one's an exception, because of lively paced direction, good writing and Kevin Klein's acting performance. the story concerns a trio of English criminals, the jewel heist and trying to later locate the stolen jewels, hidden after the theft and take care of witnesses to the crime.
I saw this film when it was first released theatrically in 1988 and remembered it for being very funny. Kevin Klein won an Academy Award for Best Supporting Actor, a rare win for a comedy film. Klein plays the character with much enthusiasm, imagination, style, technique (including accents), energy and good timing. The characters and situations are well written (creative and insightful) for a comedy film. Klein's performance is classic. John Cleese wrote a large variety of jokes, delivered almost non-stop, for pretty much everything in the story.
I haven't seen this film for 22 years, the longest time until I saw a favorite film a second time. The title has always stayed in my mind, because it left an impression on me. Most comedies are forgettable. The film has some interesting, diverse characters, funny dialog and has an inspired comic energy that is engaging all the way through.
In a nutshell: three strong reasons to like the film: direction, screenplay and Kevin Klein's acting performance. As a comedy, this one's a big favorite of mine, a classic.
* * * 1/2 Very Good
Most comedy films are forgettable and very mediocre. This one's an exception, because of lively paced direction, good writing and Kevin Klein's acting performance. the story concerns a trio of English criminals, the jewel heist and trying to later locate the stolen jewels, hidden after the theft and take care of witnesses to the crime.
I saw this film when it was first released theatrically in 1988 and remembered it for being very funny. Kevin Klein won an Academy Award for Best Supporting Actor, a rare win for a comedy film. Klein plays the character with much enthusiasm, imagination, style, technique (including accents), energy and good timing. The characters and situations are well written (creative and insightful) for a comedy film. Klein's performance is classic. John Cleese wrote a large variety of jokes, delivered almost non-stop, for pretty much everything in the story.
I haven't seen this film for 22 years, the longest time until I saw a favorite film a second time. The title has always stayed in my mind, because it left an impression on me. Most comedies are forgettable. The film has some interesting, diverse characters, funny dialog and has an inspired comic energy that is engaging all the way through.
In a nutshell: three strong reasons to like the film: direction, screenplay and Kevin Klein's acting performance. As a comedy, this one's a big favorite of mine, a classic.
Little Miss Sunshine
(2006)
An unusually original, honest and funny film
23 September 2010
Warning: Spoilers
Hollywood comedies are usually boring, predictable (by the numbers) and mediocre. "Little Miss Sunshine", 2006, is a notable exception. Contrary to the title, there's not much happiness in the story, instead, there's a lot of originality, honesty, insight, charm, sly humor and a little darkness contained in the story of the film. Overall, the film is genuine, charming, spirited and funny. In one unusual scene, about two-thirds in, the film takes a sudden, bold and surprising leap with it's comedy, which is to be applauded. The screenplay itself is worthy of praise and applause.
First time screenwriter Michael Arndt delivers something rarely seen in Hollywood: a very original and honest story. "Little Miss Sunshine" is about the dysfunctional relationships of an American middle class family and their road trip to a girl's beauty pageant. Yes, it's a simple premise and the road trip sub-genre of movies has been done many times before. Going through the conventions of the sub-genre of road movies, the movie loses some of it's power for brief periods of time, notable in one specific and unnecessary scene.
Writing and acting make the big difference in this film, to set it above and beyond most other comedies. It's a film not afraid to go beyond the usual boundaries of comedies and be honest and realistic about human nature and human relationships. Actually, "Little Miss Sunshine" is more accurately described as a "dramedy" (comedy/drama). Writer Arndt based the screenplay on personal real life experiences and relationships. Arndt has created an interesting and wide variety of family member characters, which their own clearly defined problems, anxieties and goals.We're quickly introduced to all the characters of the ensemble cast at the beginning of the film. The family dinner scene works well to introduce the dynamics of the family and their relationships to each other. In other words, good exposition to open the film.
Abigail Breslin (just 10 years old) and Alan Arkin both deliver realistic and charming acting performances. There are two directors in this film, which is odd, considering it's a small scale, low budget film. I think having two directors did not really cancel each other out for a possible Academy Award nomination. This is clearly a writing and acting dominated film. Both directors are relatively unknown newcomers to film directing. Direction is good, nothing special.The film ends with an accurate statement about the absurdity and ridicules nature of girl beauty pageants.
First time screenwriter Michael Arndt delivers something rarely seen in Hollywood: a very original and honest story. "Little Miss Sunshine" is about the dysfunctional relationships of an American middle class family and their road trip to a girl's beauty pageant. Yes, it's a simple premise and the road trip sub-genre of movies has been done many times before. Going through the conventions of the sub-genre of road movies, the movie loses some of it's power for brief periods of time, notable in one specific and unnecessary scene.
Writing and acting make the big difference in this film, to set it above and beyond most other comedies. It's a film not afraid to go beyond the usual boundaries of comedies and be honest and realistic about human nature and human relationships. Actually, "Little Miss Sunshine" is more accurately described as a "dramedy" (comedy/drama). Writer Arndt based the screenplay on personal real life experiences and relationships. Arndt has created an interesting and wide variety of family member characters, which their own clearly defined problems, anxieties and goals.We're quickly introduced to all the characters of the ensemble cast at the beginning of the film. The family dinner scene works well to introduce the dynamics of the family and their relationships to each other. In other words, good exposition to open the film.
Abigail Breslin (just 10 years old) and Alan Arkin both deliver realistic and charming acting performances. There are two directors in this film, which is odd, considering it's a small scale, low budget film. I think having two directors did not really cancel each other out for a possible Academy Award nomination. This is clearly a writing and acting dominated film. Both directors are relatively unknown newcomers to film directing. Direction is good, nothing special.The film ends with an accurate statement about the absurdity and ridicules nature of girl beauty pageants.
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