Greetings again from the darkness. Can't help but be disappointed in what was to be the first of this year's Oscar contenders. Director and usually great screenwriter Steven Zaillian takes on a quasi-remake of the 1949 classic based on Robert Penn Warren's novel. Loosely based on Huey Long and Louisiana politics, this version is placed in a different era altogether, and because of that, loses some of its powerful message.
An incredible cast is assembled, though, most had me scratching my head by the mid-point. Rarely do you find so many Brits and Jersey boys faking a bayou accent. At least Sir Anthony Hopkins just muffles his normal speech pattern rather than go full out southern. Jude Law, on the other hand, just seems totally out of place in most every scene save those with Kate Winslet (who herself seems misplaced). The great Patricia Clarkson (actually from Louisiana) is totally underutilized as compared to Mercedes McCambridge's stellar performance in the original. The reduction of the role is evidently what led Meryl Streep to drop out. Mark Ruffalo, James Gandolfini and Kathy Baker are also given little to do, but don't miss Eileen Ryan (Sean Penn's real life mom) as Lily Littlepaugh and Jackie Earle Haley ("Bad News Bears") as Penn's bodyguard. Haley will also be seen in an upcoming fall release "Little Children". Nice to see him back on screen after 13 years! Of course, as with the original, the movie belongs to Willie Stark (Broderick Crawford in the 1949 version). Sean Penn, one of the top 3 American actors, dives full body and soul into this role, but it is not quite enough to save the film. His performance did keep me interested enough, but the change in era and lack of focus on Stark's grass roots efforts took some of the edge from the film. Penn's performance is over the top, but it must be in order to capture the fascination that is Willie Stark.
My guess is much of the film was left in the editing room as much of the story line regarding Winslet and Ruffalo made little sense and there was a tremendous amount of Clarkson's character that was reduced to a facial expression or knowing glance.
The sets and costumes are excellent and the score (James Horner) and music (TBone Burnett) are wonderful compliments, but the script and direction falls short and does not capture the power of the original and really is a bit of a mess as far as the story.
An incredible cast is assembled, though, most had me scratching my head by the mid-point. Rarely do you find so many Brits and Jersey boys faking a bayou accent. At least Sir Anthony Hopkins just muffles his normal speech pattern rather than go full out southern. Jude Law, on the other hand, just seems totally out of place in most every scene save those with Kate Winslet (who herself seems misplaced). The great Patricia Clarkson (actually from Louisiana) is totally underutilized as compared to Mercedes McCambridge's stellar performance in the original. The reduction of the role is evidently what led Meryl Streep to drop out. Mark Ruffalo, James Gandolfini and Kathy Baker are also given little to do, but don't miss Eileen Ryan (Sean Penn's real life mom) as Lily Littlepaugh and Jackie Earle Haley ("Bad News Bears") as Penn's bodyguard. Haley will also be seen in an upcoming fall release "Little Children". Nice to see him back on screen after 13 years! Of course, as with the original, the movie belongs to Willie Stark (Broderick Crawford in the 1949 version). Sean Penn, one of the top 3 American actors, dives full body and soul into this role, but it is not quite enough to save the film. His performance did keep me interested enough, but the change in era and lack of focus on Stark's grass roots efforts took some of the edge from the film. Penn's performance is over the top, but it must be in order to capture the fascination that is Willie Stark.
My guess is much of the film was left in the editing room as much of the story line regarding Winslet and Ruffalo made little sense and there was a tremendous amount of Clarkson's character that was reduced to a facial expression or knowing glance.
The sets and costumes are excellent and the score (James Horner) and music (TBone Burnett) are wonderful compliments, but the script and direction falls short and does not capture the power of the original and really is a bit of a mess as far as the story.