If any serious movie lover hasn't watched it, I suggest go watch it. A brilliant and thrilling movie. The stories are interconnected brilliantly and woven together to put together this masterpiece. Some people might find few scenes disturbing so viewer discretion is advised. For all its sensationalism, however, this is also a very moral film, with all its characters inexorably heading towards the fates they bring upon themselves - it's a brilliant portrait of the dog beneath the human skin. The movie is very well supported by all the actors be their role only be with out uttering a word. On the technical front the slick editing and the camera work is amazing. A must watch.
Reviews
28 Reviews
Million Dollar Baby
(2004)
Million Hearts Won
19 August 2009
To tell you the truth I'm not a big fan of boxing, in fact I think it is basically repugnant sport (if two people trying to brain each other can really be considered a sport). So for this film to win me over, it had to be really special. And it was. One of the reasons for this is that although the film does show the positive aspects of boxing, it doesn't glorify it. You see everything – the glory, the pain, the heartbreak, the feeling of belonging that is all some people have to hold on to. This film takes you on a real roller-coaster of emotion, taking you from the bottom to the top and back again.
Million Dollar Baby is the story of a female boxer Maggie Fitzgerald (Hilary Swank), her trainer Frankieie Dunn (Clint Eastwood), and his sidekick and business partner Eddie "Scrap-Iron" Dupris (Morgan Freeman). If anyone had doubts about the genius of Clint Eastwood, they should run, not walk to see "Million Dollar Baby", perhaps the best movie that came out of Hollywood about boxing after Raging Bulls. But mind you Million Dollar Baby is not a feminist version of Raging Bull, intent on bludgeoning the audience with gritty violence. Nor is it a maudlin rewrite of 'The Champ' or a woman's version of 'Rocky'. Million Dollar Baby is a rhapsody about life, using the harsh world of boxing as a metaphor.
In "Million Dollar Baby," Frankie is a trainer and manager who never seems to know when to make a move or throw in the towel. He is also the owner of the Hit Pit, a boxing gym where would-be contenders look to flourish under Frankie. The gym manager is one of his former boxers, Eddie "Scrap Iron" Dupris (Morgan Freeman). After Eddie's career ended, Frankie became less sure of himself as a manager. Eddie tells us, though, that Frankie is the best cut man he's ever seen. Frankie can prepare virtually anyone to get back into the ring between rounds.
Enter Maggie Fitzgerald, a woman who squeaks out a living by waiting tables at a local restaurant. She has some street smarts, and some talents using her fists. Her dream is to be a champion female boxer and she knows just the place to practice- the gymnasium operated by Frankie. Maggie wants Frankie to be her coach and her persistence pays off when he finally gives in and agrees to train her in the sport of boxing.
What makes this film so entertaining is its winning formula. On every level, this movie succeeds at captivating the audience and making them anticipate the next scene. Here story isn't as predictable as other sports films and many scenes will catch you off guard. A great movie does not need awesome special effects, loud musical scoring, fad or fashion. It just needs plain old-fashioned quality film making where talented people perform at the top of their craft.
'Millon Dollar Baby' strikes you when it's least expected. There are many points which leave you wonder: What do you live for? For basic survival or for reaching your goal, so you can be your true self? Are you willing to pay for it? No matter what? And what is life about? If you had seen the film, you would understand what I'm talking about.
Million Dollar Baby is the story of a female boxer Maggie Fitzgerald (Hilary Swank), her trainer Frankieie Dunn (Clint Eastwood), and his sidekick and business partner Eddie "Scrap-Iron" Dupris (Morgan Freeman). If anyone had doubts about the genius of Clint Eastwood, they should run, not walk to see "Million Dollar Baby", perhaps the best movie that came out of Hollywood about boxing after Raging Bulls. But mind you Million Dollar Baby is not a feminist version of Raging Bull, intent on bludgeoning the audience with gritty violence. Nor is it a maudlin rewrite of 'The Champ' or a woman's version of 'Rocky'. Million Dollar Baby is a rhapsody about life, using the harsh world of boxing as a metaphor.
In "Million Dollar Baby," Frankie is a trainer and manager who never seems to know when to make a move or throw in the towel. He is also the owner of the Hit Pit, a boxing gym where would-be contenders look to flourish under Frankie. The gym manager is one of his former boxers, Eddie "Scrap Iron" Dupris (Morgan Freeman). After Eddie's career ended, Frankie became less sure of himself as a manager. Eddie tells us, though, that Frankie is the best cut man he's ever seen. Frankie can prepare virtually anyone to get back into the ring between rounds.
Enter Maggie Fitzgerald, a woman who squeaks out a living by waiting tables at a local restaurant. She has some street smarts, and some talents using her fists. Her dream is to be a champion female boxer and she knows just the place to practice- the gymnasium operated by Frankie. Maggie wants Frankie to be her coach and her persistence pays off when he finally gives in and agrees to train her in the sport of boxing.
What makes this film so entertaining is its winning formula. On every level, this movie succeeds at captivating the audience and making them anticipate the next scene. Here story isn't as predictable as other sports films and many scenes will catch you off guard. A great movie does not need awesome special effects, loud musical scoring, fad or fashion. It just needs plain old-fashioned quality film making where talented people perform at the top of their craft.
'Millon Dollar Baby' strikes you when it's least expected. There are many points which leave you wonder: What do you live for? For basic survival or for reaching your goal, so you can be your true self? Are you willing to pay for it? No matter what? And what is life about? If you had seen the film, you would understand what I'm talking about.
Play Misty for Me
(1971)
What a movie!!!
17 May 2009
Clint Eastwood never fails to amaze me. I have not seen a resume like what he has for an actor, a producer, a composer, a screenplay writer and a director, considering the fact he started off as a mere extra. Made his debut in 1955 as an actor and later turned into a producer and a director and is still going strong and looks fit for his age (Million Dollar Baby).
The beginning of the 1970s found Clint Eastwood either at or near the front ranks of actors who were considered sure box office, right up there with actors as diverse as Paul Newman and John Wayne. What caught a lot of people off guard in 1971, however, was when Eastwood, armed with the expertise he had gained working with Sergio Leone and Don Siegel, got into the business of directing. No one could have predicted that the Man With No Name would soon become the Man With A Big Name behind the camera. But that is indeed what happened; and his first effort both in front of and behind the camera was a winner: PLAY MISTY FOR ME Filmed in Carmel, California, 'Play Misty For Me' features Eastwood as a DJ at a local jazz radio station taking all-night requests.On a particular night he gets a call from a mysterious woman to "Play 'Misty' for me", referring to a classic Errol Garner song "Misty". As it turns out, that woman (Jessica Walter) has something of a fixation on Eastwood. Furthermore, when Eastwood meets back up with an old flame of his (Donna Mills), Walter's fixation takes a turn towards the psychotic.
At this time if you are thinking this sounds like Fatal Attraction starring Michael Douglas, you would be right. The plot is same somewhat but personally I like 'Play Misty For Me' more cause me being a huge fan of Clint Eastwood.
'Play Misty For Me' was not a perfect movie when it was released. There are a couple of awkward sequences that simply don't work at all in the film, but Eastwood recovers from such scenes and makes some very good and mature directorial choices as the film progresses.
Featuring of a cameo role from Eastwood's mentor Don Siegel as his local bartender, 'Play Misty For Me', despite some slightly misogynistic overtones, is an incredibly suspenseful work of film-making and shows the first glimpse of just how good Clint Eastwood would become both in front of and behind the camera.
The beginning of the 1970s found Clint Eastwood either at or near the front ranks of actors who were considered sure box office, right up there with actors as diverse as Paul Newman and John Wayne. What caught a lot of people off guard in 1971, however, was when Eastwood, armed with the expertise he had gained working with Sergio Leone and Don Siegel, got into the business of directing. No one could have predicted that the Man With No Name would soon become the Man With A Big Name behind the camera. But that is indeed what happened; and his first effort both in front of and behind the camera was a winner: PLAY MISTY FOR ME Filmed in Carmel, California, 'Play Misty For Me' features Eastwood as a DJ at a local jazz radio station taking all-night requests.On a particular night he gets a call from a mysterious woman to "Play 'Misty' for me", referring to a classic Errol Garner song "Misty". As it turns out, that woman (Jessica Walter) has something of a fixation on Eastwood. Furthermore, when Eastwood meets back up with an old flame of his (Donna Mills), Walter's fixation takes a turn towards the psychotic.
At this time if you are thinking this sounds like Fatal Attraction starring Michael Douglas, you would be right. The plot is same somewhat but personally I like 'Play Misty For Me' more cause me being a huge fan of Clint Eastwood.
'Play Misty For Me' was not a perfect movie when it was released. There are a couple of awkward sequences that simply don't work at all in the film, but Eastwood recovers from such scenes and makes some very good and mature directorial choices as the film progresses.
Featuring of a cameo role from Eastwood's mentor Don Siegel as his local bartender, 'Play Misty For Me', despite some slightly misogynistic overtones, is an incredibly suspenseful work of film-making and shows the first glimpse of just how good Clint Eastwood would become both in front of and behind the camera.
Miller's Crossing
(1990)
One of best of Coen Brothers
20 March 2009
I'm talking' about friendship. I'm talking' about character. I'm talking' about
hell, Leo, I ain't embarrassed to use the word: I'm talking' about ethics."----Johnny Caspar in Miller's Crossing Miller's Crossing is one of those movies you may have to watch a few times to get the story straight. If you bother to do that, you will find it is a well plotted, well shot story that comes as close to a masterpiece as we are likely to get in this post modern age of instant gratification. It is a throwback to the film noir movies of the 1940s where everybody is guilty and there is no happy ending.
The plot deals with the war between Irish and Italian gangsters, caused by the Jewish crook Bernie. The crook's affectionate sister Verna is the mistress of Leo, who is the boss of the Irish gang, who consequently opposes to have him killed by the Italians. But Tom Reagan, the old mate of Leo, has different plans......
The story is extremely interesting, exciting, entertaining. There are no flaws in the development of the plot, despite its complications (a homage to the intricate classic film-noirs of the Golden Age). The script is sharp, cynical, sarcastic, full of memorable lines and of black sense of humor, with many delightful subtleties: the celebrated Coens wit at its best. The photography is magnificent and very original. The music is great. The action scenes are superbly filmed.Violence explodes suddenly and unexpectedly. The finale is perfect and splendidly crowns the movie.
In my modest opinion, this film is the Coen Brothers's greatest achievement to date, even greater than Fargo. Movie buffs are finally "discovering" Miller's Crossing, an underground masterpiece that has dwelt in obscurity for so many years.
The movie is probably not for those who want something with mile-a-minute pacing, crashes and explosions. I would say Miller's Crossing is the thinking person's gangster movie. It needs repeated viewing and you continue to find more in it the more you watch it. If that describes you, I think you'll like it.
Happy Weekend!!!
The plot deals with the war between Irish and Italian gangsters, caused by the Jewish crook Bernie. The crook's affectionate sister Verna is the mistress of Leo, who is the boss of the Irish gang, who consequently opposes to have him killed by the Italians. But Tom Reagan, the old mate of Leo, has different plans......
The story is extremely interesting, exciting, entertaining. There are no flaws in the development of the plot, despite its complications (a homage to the intricate classic film-noirs of the Golden Age). The script is sharp, cynical, sarcastic, full of memorable lines and of black sense of humor, with many delightful subtleties: the celebrated Coens wit at its best. The photography is magnificent and very original. The music is great. The action scenes are superbly filmed.Violence explodes suddenly and unexpectedly. The finale is perfect and splendidly crowns the movie.
In my modest opinion, this film is the Coen Brothers's greatest achievement to date, even greater than Fargo. Movie buffs are finally "discovering" Miller's Crossing, an underground masterpiece that has dwelt in obscurity for so many years.
The movie is probably not for those who want something with mile-a-minute pacing, crashes and explosions. I would say Miller's Crossing is the thinking person's gangster movie. It needs repeated viewing and you continue to find more in it the more you watch it. If that describes you, I think you'll like it.
Happy Weekend!!!
Double Indemnity
(1944)
Ture Noir Film
6 March 2009
Paramount Studio's 1944 release Double Indemnity is one of the best examples of true-to-form film noir. The plot of the film is straightforward. Fueled by greed, a wife decides to take out an insurance policy on her unsuspecting husband, with plans of murdering him for the proceeds. The policy contains a double indemnity clause, which will pay twice the policy amount in the event of death by accident. To make her plan succeed, she enlists the help of an accomplice to help murder her spouse and make it seem accidental.
Adapted from a novel by James M. Cain, Double Indemnity is loosely based on the real-life Snyder-Gray murder case of 1927, in which a New York housewife persuaded her young lover to commit murder. The woman had taken out a double indemnity life insurance policy on her husband without his knowledge. The murder succeeded but the killers were caught and executed the following year. Just as actual events influenced the making of this film, Double Indemnity has influenced numerous movies based on the same premise, the most notable of which are 1946's The Postman Always Rings Twice and 1981's Body Heat.
The film stars Fred MacMurray as Walter Neff, a fast-talking insurance salesman, attempting to pull the perfect fraud job. It is Fred MacMurray who is narratting the film. Of course he didn't start out with that idea - it all stated when he met, and immediately fell for, Phyllis Dietrichson (Barbara Stanwyck). From there the tale she spins of her unhappy marriage, complicated by a tempestuous relationship with stepdaughter Lola, takes him on the slippery slope to crime. With his extensive knowledge of the insurance business, nothing can stop Walter from covering his tracks ingeniously except the analytical skills of his friend, the fraud investigator Barton Keyes.
Frequently told in flashbacks, this movie is utterly compelling from the word go. It's interesting to ponder whether this film could have had the same impact if it had been shot in colour - but I don't think so. The filming is spot on, the camera angles, use of shadow and perspectives on the actors all add to the tension of the film. The screen does sometimes get so dark as to be impossible to tell what's going on in a couple of scenes, but this is done deliberately so as to add to the suspense.
The film is very wordy, as so many films of the era were and the dialogue is often brilliant. Billy Wilder's direction is another part of the key to this film's being in the IMDb Top 250 Movies of All Time list and also features in the Top 50 among the IMDb Film Noir list in fact at # 3 when I last saw it. There are moments of humour to lighten the mood and scenes of compelling drama / intrigue / emotion. With the excellent acting, awesome script and breathtaking art direction / cinematography it makes one of the best films of all time in a lot of peoples' list - including mine.
In case you didn't know (I didn't), the term "Double Indemnity" refers to an insurance clause where a double payment is handed out if someone whose life is insured dies in an unusual manner. Theoretically of course the chances of this happening are remote, meaning little danger of them ever having to pay it out and cases when someone has died in this manner shortly after taking out a life insurance policy would automatically be viewed as suspicious. The way Walter covers his tracks, and the way Barton uncovers them, are quite brilliant and show (to a layman at least) a deep knowledge of the insurance business.
Double Indemnity was nominated for no less that seven Oscars; sadly it didn't win a single one. But from 1944, it's popularity has increased year after year and when you talk of noir movies DOuble Indemnity instantly come to ones mind.
Adapted from a novel by James M. Cain, Double Indemnity is loosely based on the real-life Snyder-Gray murder case of 1927, in which a New York housewife persuaded her young lover to commit murder. The woman had taken out a double indemnity life insurance policy on her husband without his knowledge. The murder succeeded but the killers were caught and executed the following year. Just as actual events influenced the making of this film, Double Indemnity has influenced numerous movies based on the same premise, the most notable of which are 1946's The Postman Always Rings Twice and 1981's Body Heat.
The film stars Fred MacMurray as Walter Neff, a fast-talking insurance salesman, attempting to pull the perfect fraud job. It is Fred MacMurray who is narratting the film. Of course he didn't start out with that idea - it all stated when he met, and immediately fell for, Phyllis Dietrichson (Barbara Stanwyck). From there the tale she spins of her unhappy marriage, complicated by a tempestuous relationship with stepdaughter Lola, takes him on the slippery slope to crime. With his extensive knowledge of the insurance business, nothing can stop Walter from covering his tracks ingeniously except the analytical skills of his friend, the fraud investigator Barton Keyes.
Frequently told in flashbacks, this movie is utterly compelling from the word go. It's interesting to ponder whether this film could have had the same impact if it had been shot in colour - but I don't think so. The filming is spot on, the camera angles, use of shadow and perspectives on the actors all add to the tension of the film. The screen does sometimes get so dark as to be impossible to tell what's going on in a couple of scenes, but this is done deliberately so as to add to the suspense.
The film is very wordy, as so many films of the era were and the dialogue is often brilliant. Billy Wilder's direction is another part of the key to this film's being in the IMDb Top 250 Movies of All Time list and also features in the Top 50 among the IMDb Film Noir list in fact at # 3 when I last saw it. There are moments of humour to lighten the mood and scenes of compelling drama / intrigue / emotion. With the excellent acting, awesome script and breathtaking art direction / cinematography it makes one of the best films of all time in a lot of peoples' list - including mine.
In case you didn't know (I didn't), the term "Double Indemnity" refers to an insurance clause where a double payment is handed out if someone whose life is insured dies in an unusual manner. Theoretically of course the chances of this happening are remote, meaning little danger of them ever having to pay it out and cases when someone has died in this manner shortly after taking out a life insurance policy would automatically be viewed as suspicious. The way Walter covers his tracks, and the way Barton uncovers them, are quite brilliant and show (to a layman at least) a deep knowledge of the insurance business.
Double Indemnity was nominated for no less that seven Oscars; sadly it didn't win a single one. But from 1944, it's popularity has increased year after year and when you talk of noir movies DOuble Indemnity instantly come to ones mind.
Guide
(1965)
Best of Navketan Intl
16 December 2008
My all time fav movie. Reviewing a classic gives you a thrill and is an extremely challenging rather than reviewing some crap movie which are churned out today.
Navketan International have made some of the great movies like Jewel Thief,Jhonny Mera Naam, Hum Dono, Kala Bazar . But Guide is one of the biggest and most memorable movies under their banner. Based on R.K. Narayan's novel 'The Guide', the film is immortalized by director Vijay Anand's bold, unconventional strokes. Who would have dared to show a man and woman living together outside the sanctity of a marriage way back in the 1960s? The movie revolves round Raju (Dev Anand), once a successful tourist guide who hesitates to return to his hometown of Udaipur after his release from jail and decides to search for his fortunes elsewhere. He ends up in a remote village temple wearing over his threadbare clothes a saffron scarf which had once belonged to some passing mendicant and finds himself suddenly elevated to the position of a holy man. Raju's mother and Rosie reach there and watch helplessly as Raju slowly drifts towards death due to the fasting.
The film is enhanced richly by the two central performances. Dev Anand gives perhaps his best shaded performance in the title role, playing him perfectly with just the right amount of grey and his perfectly nuanced performance won him his second Filmfare Award for Best Actor. Good as Dev Anand is, however, the life and soul of Guide is undoubtedly Waheeda Rehman. It was a daring role to play in those times, of a woman who leaves her stifling impotent husband and lives with her lover, a guide who helps her in her ambitions to become a famous dancer. Waheeda was in fact told she was committing professional suicide taking on this role.
The other big star of Guide was its musical score by S.D. Burman. The film represents perhaps Burman Dada's greatest work and he is aided tremendously by Shailendra's lyrics and the flawless rendering of the songs by Mohd. Rafi, Lata Mangeshkar, Kishore Kumar and himself.
Initially Guide had a tough time being sold because of its so called bold theme but thanks to Production Controller Yash Johar's perseverance, the film was finally sold and released to great critical acclaim and was a big commercial success. R.K. Narayan was most unhappy with the final film as he felt it deviated too much from his novel. One of the major changes that Vijay Anand did was to change the setting of the film from Malgudi to Udaipur and while this did give the film an exotic, grand visual look, admittedly perhaps this took away from the ambiance of the small town of Narayan's novel. The ending too of the film was significantly different from that of the novel. But then Vijay Anand has always maintained that he was never interested in merely copying any work of art from one medium to another unless there was scope for value addition and to be fair to him, he has made Guide into a rich and unforgettable cinematic experience.
Guide was made in two versions simultaneously- an English version in collaboration with Pearl S Buck and directed by Ted Danielewski to introduce Dev Anand to western audiences and of course the Hindi version directed by Dev Anand's younger brother, Vijay Anand. The English version said to be closer to the novel and in spite of a nude scene using a duplicate instead of Waheeda Rehman, flopped miserably but the Hindi version remains a classic to this day.
Navketan International have made some of the great movies like Jewel Thief,Jhonny Mera Naam, Hum Dono, Kala Bazar . But Guide is one of the biggest and most memorable movies under their banner. Based on R.K. Narayan's novel 'The Guide', the film is immortalized by director Vijay Anand's bold, unconventional strokes. Who would have dared to show a man and woman living together outside the sanctity of a marriage way back in the 1960s? The movie revolves round Raju (Dev Anand), once a successful tourist guide who hesitates to return to his hometown of Udaipur after his release from jail and decides to search for his fortunes elsewhere. He ends up in a remote village temple wearing over his threadbare clothes a saffron scarf which had once belonged to some passing mendicant and finds himself suddenly elevated to the position of a holy man. Raju's mother and Rosie reach there and watch helplessly as Raju slowly drifts towards death due to the fasting.
The film is enhanced richly by the two central performances. Dev Anand gives perhaps his best shaded performance in the title role, playing him perfectly with just the right amount of grey and his perfectly nuanced performance won him his second Filmfare Award for Best Actor. Good as Dev Anand is, however, the life and soul of Guide is undoubtedly Waheeda Rehman. It was a daring role to play in those times, of a woman who leaves her stifling impotent husband and lives with her lover, a guide who helps her in her ambitions to become a famous dancer. Waheeda was in fact told she was committing professional suicide taking on this role.
The other big star of Guide was its musical score by S.D. Burman. The film represents perhaps Burman Dada's greatest work and he is aided tremendously by Shailendra's lyrics and the flawless rendering of the songs by Mohd. Rafi, Lata Mangeshkar, Kishore Kumar and himself.
Initially Guide had a tough time being sold because of its so called bold theme but thanks to Production Controller Yash Johar's perseverance, the film was finally sold and released to great critical acclaim and was a big commercial success. R.K. Narayan was most unhappy with the final film as he felt it deviated too much from his novel. One of the major changes that Vijay Anand did was to change the setting of the film from Malgudi to Udaipur and while this did give the film an exotic, grand visual look, admittedly perhaps this took away from the ambiance of the small town of Narayan's novel. The ending too of the film was significantly different from that of the novel. But then Vijay Anand has always maintained that he was never interested in merely copying any work of art from one medium to another unless there was scope for value addition and to be fair to him, he has made Guide into a rich and unforgettable cinematic experience.
Guide was made in two versions simultaneously- an English version in collaboration with Pearl S Buck and directed by Ted Danielewski to introduce Dev Anand to western audiences and of course the Hindi version directed by Dev Anand's younger brother, Vijay Anand. The English version said to be closer to the novel and in spite of a nude scene using a duplicate instead of Waheeda Rehman, flopped miserably but the Hindi version remains a classic to this day.
Ace in the Hole
(1951)
Wilder's Best after Sunset
2 November 2008
Ace in the Hole is a movie which has been made in 1951 but after watching the movie I firmly believe that the movie still holds valid in the current mad mad Fourth Estate race.
Ace in the Hole is directed by Billy Wilder and was a flop when it opened in 1951 that too one year after Wilder had provided a real treat in 'Sunset Blvd.' in 1950.
With all the venom that Wilder spewed at Hollywood in 'Sunset Blvd.', he outdoes himself here. His teeth are clenched, his fists are up and he's out for blood but this time his target is mass media as represented by newspaperman Chuck Tatum played by Kirk Douglas (Michael Douglas's dad). The film opens as he's driving through Albuquerque, New Mexico. Tatum stops by the local paper, The Sun-Bulletin, to ask for a job.
Kirk Douglas gives the fiercest performance of his career, an amoral newspaper reporter caught in dead end Albuquerque who happens upon the story of a lifetime, and will do anything to ensure he gets the scoop.
After months of living in a rut he finally stumbles upon the perfect story. Deep within some old Indian ruins, a treasure hunter has gotten himself stuck in a cave-in (Co-relate it with our own Prince story which bombarded our TVs couple of years back). Guy in a well. That'll sell papers, right? What follows is genius, as Tatum engineers the story to be far bigger than it really is. We watch as he manipulates the rescue engineers, the local sheriff, the victim's wife, all with the intent of prolonging the incident. He wants to keep the guy underground as long as possible. This gives Tatum time to write more stories, sell them at top dollar to other newspapers, become a major celebrity in his own right and land piles of cash When thousands gather outside the cave and a feverish media circus begins to grow, Tatum smells victory. But of course things go downhill from here.
Wilder has always been a master of tone and he continues that trend here. The film starts very funny in a dark, sadistic sort of way, but Wilder slowly lets the humor drain from the proceedings.Wilder often considered Ace in the Hole to be his greatest film and he'll get no argument from me. As of this writing, I can think of few films that are as timely and relevant as this one. It feels fresh and contemporary, and not dated in the least.
Ace in the Hole is directed by Billy Wilder and was a flop when it opened in 1951 that too one year after Wilder had provided a real treat in 'Sunset Blvd.' in 1950.
With all the venom that Wilder spewed at Hollywood in 'Sunset Blvd.', he outdoes himself here. His teeth are clenched, his fists are up and he's out for blood but this time his target is mass media as represented by newspaperman Chuck Tatum played by Kirk Douglas (Michael Douglas's dad). The film opens as he's driving through Albuquerque, New Mexico. Tatum stops by the local paper, The Sun-Bulletin, to ask for a job.
Kirk Douglas gives the fiercest performance of his career, an amoral newspaper reporter caught in dead end Albuquerque who happens upon the story of a lifetime, and will do anything to ensure he gets the scoop.
After months of living in a rut he finally stumbles upon the perfect story. Deep within some old Indian ruins, a treasure hunter has gotten himself stuck in a cave-in (Co-relate it with our own Prince story which bombarded our TVs couple of years back). Guy in a well. That'll sell papers, right? What follows is genius, as Tatum engineers the story to be far bigger than it really is. We watch as he manipulates the rescue engineers, the local sheriff, the victim's wife, all with the intent of prolonging the incident. He wants to keep the guy underground as long as possible. This gives Tatum time to write more stories, sell them at top dollar to other newspapers, become a major celebrity in his own right and land piles of cash When thousands gather outside the cave and a feverish media circus begins to grow, Tatum smells victory. But of course things go downhill from here.
Wilder has always been a master of tone and he continues that trend here. The film starts very funny in a dark, sadistic sort of way, but Wilder slowly lets the humor drain from the proceedings.Wilder often considered Ace in the Hole to be his greatest film and he'll get no argument from me. As of this writing, I can think of few films that are as timely and relevant as this one. It feels fresh and contemporary, and not dated in the least.
Kiss Me Deadly
(1955)
Perfect Noir--- Thumbs Up
26 October 2008
'Kiss Me Deadly'' was ignored when first released but now seems to be a touchstone, a sacred object in the film world. 'Kiss Me Deadly' is the definitive, apocalyptic, nihilistic, science fiction film noir of all time at the close of the classic noir period. Being a huge fan of film noir I bet that this movie is a perfect example of this genre.
People always talk about good endings in film and a lot of these films stick in the mind. By comparison, the beginning of a film is rarely talked about or remembered.
The film opens with a striking pre-credits sequence. A pair of naked feet stumbles and runs down the middle of a lonely highway at night. A near-hysterical, panting, barely-clothed woman with closely-cropped hair who wears only a white trenchcoat, rasps and breathes heavily on the highly-amplified soundtrack as she helplessly tries to flag down passing cars that flash by her. Desperate to get one of the cars to stop she strategically positions herself in the middle of the road by standing and holding her arms out in a V as a two-seated Jaguar sports car/convertible approaches and blinds her in its high-beamed headlights. The driver swerves to avoid the apparition while applying his screeching brakes. His tires squeal as he pulls sharply off the road into a swirling cloud of dust and barely misses running her down. I consider it a perfect opening and the opening which is still talked about in the film circuits even today.
Hard-hitting detective Mike Hammer (Ralph Meeker) takes on thugs and atomic secrets in Robert Aldrich's fast-paced thriller 'Kiss Me Deadly', an adaptation of the Mickey Spillane novel. The night goes awry for Hammer soon after he picks up a scantily clad hitchhiker (Cloris Leachman). The next thing he knows, he's assaulted by a couple of goons and the sultry drifter turns up dead. As Hammer tracks down the murderers, he realizes he is involved in an international conspiracy .'Kiss Me Deadly' boasts nightmarish imagery, a careening, sinuous plot and an unforgettable shock ending.
Filmed in a scant three weeks, 'Kiss Me Deadly' was a late entry into the film noir genre, but it turned out to be one of the most memorable.It's pretty doubtful that anyone at the time realized how important Kiss Me Deadly would loom in coming years. It was lionized by French critics, hailed by French New Wave directors and went on to influence everyone from Martin Scorsese to Quentin Tarantino, Steven Soderbergh to countless up-and-coming directors. I recommend it to anybody who wants to understand just what the whole noir craze is about.
People always talk about good endings in film and a lot of these films stick in the mind. By comparison, the beginning of a film is rarely talked about or remembered.
The film opens with a striking pre-credits sequence. A pair of naked feet stumbles and runs down the middle of a lonely highway at night. A near-hysterical, panting, barely-clothed woman with closely-cropped hair who wears only a white trenchcoat, rasps and breathes heavily on the highly-amplified soundtrack as she helplessly tries to flag down passing cars that flash by her. Desperate to get one of the cars to stop she strategically positions herself in the middle of the road by standing and holding her arms out in a V as a two-seated Jaguar sports car/convertible approaches and blinds her in its high-beamed headlights. The driver swerves to avoid the apparition while applying his screeching brakes. His tires squeal as he pulls sharply off the road into a swirling cloud of dust and barely misses running her down. I consider it a perfect opening and the opening which is still talked about in the film circuits even today.
Hard-hitting detective Mike Hammer (Ralph Meeker) takes on thugs and atomic secrets in Robert Aldrich's fast-paced thriller 'Kiss Me Deadly', an adaptation of the Mickey Spillane novel. The night goes awry for Hammer soon after he picks up a scantily clad hitchhiker (Cloris Leachman). The next thing he knows, he's assaulted by a couple of goons and the sultry drifter turns up dead. As Hammer tracks down the murderers, he realizes he is involved in an international conspiracy .'Kiss Me Deadly' boasts nightmarish imagery, a careening, sinuous plot and an unforgettable shock ending.
Filmed in a scant three weeks, 'Kiss Me Deadly' was a late entry into the film noir genre, but it turned out to be one of the most memorable.It's pretty doubtful that anyone at the time realized how important Kiss Me Deadly would loom in coming years. It was lionized by French critics, hailed by French New Wave directors and went on to influence everyone from Martin Scorsese to Quentin Tarantino, Steven Soderbergh to countless up-and-coming directors. I recommend it to anybody who wants to understand just what the whole noir craze is about.
The Basketball Diaries
(1995)
Basketball Rocks!!!!!!!
12 October 2008
I have this uncanny love for dark and disturbing movies and had my eye long on 'The Basketball Diaries'. So finally watched it last weekend. This is Leonardo Di Caprio's one of the early movie and the most under rated one in terms of the performance.
"The Basketball Diaries" is a lurid and uncompromising study of how drug addiction can destroy lives. The film has been ignored or underrated because many people would find it unwatchable. The protagonist's decline into the lowest of society could hardly be made more graphic. Leonardo DiCaprio stars as Jim Carroll, a Catholic high school student and basketball star. He is also a would-be poet, scribbling essays in a journal that he jealously guards. Jim's risk-taking, anti-social behavior and drug abuse soon leads to the destruction of his life. Quitting school and leaving home, he turns to hard-core criminal acts to get money for his next fix. He has little understanding of his situation, no desire to overcome his habits, and the only question is will he end up in prison or in a morgue.
Leonardo DiCaprio's performance is downright jaw-dropping. Words can really not do justice to the work that he does in this film. His tortured, honest and stunningly natural portrayal is in the same caliber as James Dean of yesteryears. He doesn't act according to the page. He pulls his deepest emotions out and spatters them across the screen, providing us with scenes that will shake us up and lead us to feel Jim's pain. Not only is the representation of drug addiction perfectly depicted, but the emotional complexity of the character as well. We see this young man for what he is tormented, hopelessly confused and fiercely searching for answers that he will never be given.
If you have the stomach for this sort of movie, you will be rewarded. There are many outstanding scenes, such as Jim attempting to cheer up friend and leukemia patient Bobby, and Jim trying to play basketball while on downers.
Perhaps the scene most difficult to get through has Jim pleading to his mother (Lorraine Bracco) to give him money for a fix. His mother has locked the door on him, unable to trust her own son, and sobs uncontrollably over what he has become.
An uncompromising script and a solid performance from Leonardo Di Caprio help make 'The Basketball Diaries' a powerful and memorable film experience
"The Basketball Diaries" is a lurid and uncompromising study of how drug addiction can destroy lives. The film has been ignored or underrated because many people would find it unwatchable. The protagonist's decline into the lowest of society could hardly be made more graphic. Leonardo DiCaprio stars as Jim Carroll, a Catholic high school student and basketball star. He is also a would-be poet, scribbling essays in a journal that he jealously guards. Jim's risk-taking, anti-social behavior and drug abuse soon leads to the destruction of his life. Quitting school and leaving home, he turns to hard-core criminal acts to get money for his next fix. He has little understanding of his situation, no desire to overcome his habits, and the only question is will he end up in prison or in a morgue.
Leonardo DiCaprio's performance is downright jaw-dropping. Words can really not do justice to the work that he does in this film. His tortured, honest and stunningly natural portrayal is in the same caliber as James Dean of yesteryears. He doesn't act according to the page. He pulls his deepest emotions out and spatters them across the screen, providing us with scenes that will shake us up and lead us to feel Jim's pain. Not only is the representation of drug addiction perfectly depicted, but the emotional complexity of the character as well. We see this young man for what he is tormented, hopelessly confused and fiercely searching for answers that he will never be given.
If you have the stomach for this sort of movie, you will be rewarded. There are many outstanding scenes, such as Jim attempting to cheer up friend and leukemia patient Bobby, and Jim trying to play basketball while on downers.
Perhaps the scene most difficult to get through has Jim pleading to his mother (Lorraine Bracco) to give him money for a fix. His mother has locked the door on him, unable to trust her own son, and sobs uncontrollably over what he has become.
An uncompromising script and a solid performance from Leonardo Di Caprio help make 'The Basketball Diaries' a powerful and memorable film experience
As Good as It Gets
(1997)
Jackson can't beat Udall
15 September 2008
Most films are weakened by questionable dialogue but redeemed by a great premise or resolution. James L. Brooks' 'As Good as It Gets' is quite the reverse: the dialogue is fantastic, but the audience can't buy into the premise for one second. I know, this has been reviewed to death, but I just saw it again when I was home last month and had to laugh all over. Nicholson should get an award for just standing still! His expressions in this movie are priceless. His interaction with Helen Hunt (who may well be one of the best actresses around) make this movie not only believable but also heart warming.
Jack Nicholson, in one of his career's best roles, plays Melvin Udall, an obsessive compulsive romance writer who is a regular at the restaurant where Carol Connelly (Helen Hunt) works. He insists that she always be his waitress, and she obliges-----not because she likes him, but because... well, the guy is crazy...
Throw in Greg Kinnear in an outstanding performance as a gay artist, living within an inch of poverty and Cuba Gooding, Jr., his promoter. And let's not forget his dog! Kinnear makes the mistake of picking the wrong person for a model and gets mugged - badly - is hospitalized, beaten, broken and penniless. While he is laid up in the hospital who gets stuck with the dog but Nicholson - the last person in the world you should ever give a dog to! Love prevails, the dog wins out in the end. Nicholson is hooked and not only that, finds the dog gets him some brownie points with the ladies.
1997 was a year that left film-goers a trifle loopy-headed-----Titanic was at the forefront of everybody's mind, and resultantly good art was washed out-----this is the only possible explanation for As Good as It Gets' snafuing Best Picture nomination. Nicholson and Hunt's Best Actor/Actress awards were, however, well-deserved. Despite Udall's snarky and bitter nature, Nicholson provides him with a humanity and resonance that few actors could. Greg Kinnear's prominence has risen since 1997, but his strengths still show here in his role as Simon the Gay Neighbor.
However critics panned this movie for being totally unbelievable. I would have to agree-why would Carol fall for Melvin? Why does Melvin change his ways after so many years of acid-tongued insults? I don't know. I know people who disliked the film because Melvin was such a you-know-what. Personally, I love the evil retorts he hurls at any innocent bystander. Maybe it's a sick pleasure, but Nicholson's delivery is perfect and I couldn't help but laugh as he takes on everyone.
The film does have its dull moments, but Jack's one-of-a-kind performance makes it all worthwhile. There is nobody, and I mean NOBODY, who could've played Melvin better than him.
Jack Nicholson, in one of his career's best roles, plays Melvin Udall, an obsessive compulsive romance writer who is a regular at the restaurant where Carol Connelly (Helen Hunt) works. He insists that she always be his waitress, and she obliges-----not because she likes him, but because... well, the guy is crazy...
Throw in Greg Kinnear in an outstanding performance as a gay artist, living within an inch of poverty and Cuba Gooding, Jr., his promoter. And let's not forget his dog! Kinnear makes the mistake of picking the wrong person for a model and gets mugged - badly - is hospitalized, beaten, broken and penniless. While he is laid up in the hospital who gets stuck with the dog but Nicholson - the last person in the world you should ever give a dog to! Love prevails, the dog wins out in the end. Nicholson is hooked and not only that, finds the dog gets him some brownie points with the ladies.
1997 was a year that left film-goers a trifle loopy-headed-----Titanic was at the forefront of everybody's mind, and resultantly good art was washed out-----this is the only possible explanation for As Good as It Gets' snafuing Best Picture nomination. Nicholson and Hunt's Best Actor/Actress awards were, however, well-deserved. Despite Udall's snarky and bitter nature, Nicholson provides him with a humanity and resonance that few actors could. Greg Kinnear's prominence has risen since 1997, but his strengths still show here in his role as Simon the Gay Neighbor.
However critics panned this movie for being totally unbelievable. I would have to agree-why would Carol fall for Melvin? Why does Melvin change his ways after so many years of acid-tongued insults? I don't know. I know people who disliked the film because Melvin was such a you-know-what. Personally, I love the evil retorts he hurls at any innocent bystander. Maybe it's a sick pleasure, but Nicholson's delivery is perfect and I couldn't help but laugh as he takes on everyone.
The film does have its dull moments, but Jack's one-of-a-kind performance makes it all worthwhile. There is nobody, and I mean NOBODY, who could've played Melvin better than him.
Where Eagles Dare
(1968)
"Major, you got me as confused as I'll ever be".
10 July 2008
Where Eagles Dare is a novel by Alistair MacLean a Scottish author who specialized in well-researched, suspenseful war novels. From opening scene to final scene Alistair MacLean's screenplay is a masterpiece of the action genre with a detailed and involving plot that unfolds in a very interesting manner.
Richard Burton and Clint Eastwood are in terrific form as leaders of a mission deep behind enemy lines. The mission for Richard Burton and Clint Eastwood is to infiltrate the most inaccessible castle in the world to rescue an important American general right from under the noses of the Germans. The only way to get into the castle is via a cable car. Dressed as German soldiers, they... well, I had better leave it at that, otherwise I will give the game away. What they and the audience don't suspect is the number of twists and turns this highly thrilling film will take. Also excellent performances from Michael Hordern as British Vice Adm. Rolland and Derren Nesbitt as Nazi Major von Harpen support the performances of Burton and Eastwood.
The cinematography is breathtaking, the snow capped Alps are all around the fortress. The sets are also well made and convincing. The characters are a little shallow, especially the credulity of the Germans, but that is what one would expect in such a far-fetched plot! This movie is about action and adventure! There's also a neat plot twist in store when the commandoes manage to reach the American general -- which leads to yet another twist. The vertigo-inducing climax has made Where Eagles Dare one of the most sought-after of "early" Eastwood starring features.
Where Eagles Dare is one of those war films which have a great deal going for it, although falling into some typical traps. Even so, I found it to be entertaining enough to have watched it on a number of occasions.
Some of the action sequences look a little ropey, but generally this is an impressive film of the type they don't make any more, unfortunately.
Richard Burton and Clint Eastwood are in terrific form as leaders of a mission deep behind enemy lines. The mission for Richard Burton and Clint Eastwood is to infiltrate the most inaccessible castle in the world to rescue an important American general right from under the noses of the Germans. The only way to get into the castle is via a cable car. Dressed as German soldiers, they... well, I had better leave it at that, otherwise I will give the game away. What they and the audience don't suspect is the number of twists and turns this highly thrilling film will take. Also excellent performances from Michael Hordern as British Vice Adm. Rolland and Derren Nesbitt as Nazi Major von Harpen support the performances of Burton and Eastwood.
The cinematography is breathtaking, the snow capped Alps are all around the fortress. The sets are also well made and convincing. The characters are a little shallow, especially the credulity of the Germans, but that is what one would expect in such a far-fetched plot! This movie is about action and adventure! There's also a neat plot twist in store when the commandoes manage to reach the American general -- which leads to yet another twist. The vertigo-inducing climax has made Where Eagles Dare one of the most sought-after of "early" Eastwood starring features.
Where Eagles Dare is one of those war films which have a great deal going for it, although falling into some typical traps. Even so, I found it to be entertaining enough to have watched it on a number of occasions.
Some of the action sequences look a little ropey, but generally this is an impressive film of the type they don't make any more, unfortunately.
Average....Could be improved in sequels
17 June 2008
Over the weekend I saw this movie after the impressive trailers I saw over the internet. But I can understand why most people particularly Mongolians are disappointed with this movie. The movie doesn't really do justice to the history of the Great Conqueror Genghis Khan. It is very difficult, to make movies about historically existed people, especially about the way of the warrior, like Genghis Khan had. Mongol is directed by Russian director Sergi Bodrov.
The film is set in 12th Century Mongolia. A 9-year-old Temudjin (played by the Japanese actor Tadanobu Asano),is being taken by his father, the leader or Khan, of a clan, to marry a girl from the Merkit tribe but on the way he meets 10-year-old Borte and decides he wants to marry her instead when they're old enough.
After his father is treacherously poisoned, the usurper Targutai takes control of the clan and vows to kill Temudjin when he comes of age.
Temudjin grows up and claims his bride Borte, but she is kidnapped by the Merkits soon afterwards and Temjudjin seeks the help of his blood brother Jamukha to defeat them and to get her back. They are successful, but eventually, Jamukha betrays Temjudjin. Bodrov follows his hero,Temudgin from boyhood to the eve of world conquest in 1206, when he would become the Genghis Khan known and feared by millions.
In terms of pacing, the film is a little off. It hurtles through Temudjin's childhood, lingers on his relationship with Borte and hurries the finale. All of a sudden, Temudjin becomes absolutely determined to unite his country and it's a bit puzzling as to where this priority comes from. That said, maybe this is a theme which will be explored in future films or parts which are yet to come. Although Bodrov is, in this part of the story at least, content to portray the fearsome warrior as a basically decent man of honour, there are hints of the ruthless conqueror to come, especially in the bloody battle that climaxes Part One of a promised trilogy. Parts two and three haven't yet been filmed let's hope they will be.
Problems aside, Mongol is worth recommending. It's great to see the story of Genghis Khan told without Western interference.
The film is set in 12th Century Mongolia. A 9-year-old Temudjin (played by the Japanese actor Tadanobu Asano),is being taken by his father, the leader or Khan, of a clan, to marry a girl from the Merkit tribe but on the way he meets 10-year-old Borte and decides he wants to marry her instead when they're old enough.
After his father is treacherously poisoned, the usurper Targutai takes control of the clan and vows to kill Temudjin when he comes of age.
Temudjin grows up and claims his bride Borte, but she is kidnapped by the Merkits soon afterwards and Temjudjin seeks the help of his blood brother Jamukha to defeat them and to get her back. They are successful, but eventually, Jamukha betrays Temjudjin. Bodrov follows his hero,Temudgin from boyhood to the eve of world conquest in 1206, when he would become the Genghis Khan known and feared by millions.
In terms of pacing, the film is a little off. It hurtles through Temudjin's childhood, lingers on his relationship with Borte and hurries the finale. All of a sudden, Temudjin becomes absolutely determined to unite his country and it's a bit puzzling as to where this priority comes from. That said, maybe this is a theme which will be explored in future films or parts which are yet to come. Although Bodrov is, in this part of the story at least, content to portray the fearsome warrior as a basically decent man of honour, there are hints of the ruthless conqueror to come, especially in the bloody battle that climaxes Part One of a promised trilogy. Parts two and three haven't yet been filmed let's hope they will be.
Problems aside, Mongol is worth recommending. It's great to see the story of Genghis Khan told without Western interference.
In the Name of God
(2007)
A Refreshing Movie- Great job!!!!!!
1 June 2008
Khuda Kay Liye is unlike anything that typical Pakistani cinema has come out with. It is a brave effort to be commended especially as it is Shoaib Mansoor's debut feature film but admittedly the film works more when one thinks how difficult this film must have been to make in Pakistan considering the sensitive issues the film has looked at - brainwashing of young modern Pakistanis into becoming hard-line fundamentalists, the erroneous interpretations of Islam, the differences between moderates and hard-liners, the plight of the forward thinking Muslim who is attacked by fundamentalists at home and by the Western world post 9/11 just for being Muslim. In terms of actual film-making, the film is so-so but yes, head and shoulders above the typical crass and loud Lollywood potboilers, the best of which look like Z-grade Bollywood films, but I'm sure Pakistani movie industry will learn the ropes faster now that Khuda Kay Liye is a runaway blockbuster.
The story is about two families - one in UK and other in Pakistan. In UK family, the father forcibly takes the daughter Mariyam (Iman Ali) to Pakistan to get married to a Pakistani Muslim boy. In the Pakistan family, from two singer brothers the younger brother Sarmad (Fawad Khan) is attracted to a Maulana Tahiri (Rasheed Naz) and joins the fundamentalist movement and marries the UK girl in a village near Afghanistan. The elder brother Mansoor (Shan) goes to US and is arrested by FBI as suspected terrorist. I love the scene where Mansoor is taken to an FBI cell in US and he write on the wall "I LOVE USA". But when the FBI guy torture him more and more finally broken and beaten Mansoor adds "MA" to his writing on the wall which now reads as "I LOVE USAMA".
Another thing which really interested me is the soundtrack of the movie. Just awesome!!!!!!!! Particularly the song 'Bandya' which has lyrics by Bhulle Shah (Bulle Nu Samjawan). This song is also sung by many great singers like Abida Parveen, Nusrat etc in classical format. But this rock version in movie is also well composed and sung. The remix version of the song is done by DJ Suketu and he has done a good job at it.
The dialogues are great and surely i'd love to watch this film again for the sake of dialogues alone. Urdu being my first language (Along with Kashmiri) and being a huge fan of chaste Urdu, I really enjoyed the weighty Urdu dialogues especially by Naseeruddin Shah in the court room scene.
The film has created quite a buzz at film festivals around the world over. Khdua Ke Liye received second place in the Cairo Film Festival which is one of the most prestigious film festivals in the world and received prestigious awards from the Italian film industry which is the world's fourth best film industry (Bollywood is not even in the top ten). It is heartening that Percept Picture Company has picked up the film for distribution in India and the film got a theatrical release here.
The story is about two families - one in UK and other in Pakistan. In UK family, the father forcibly takes the daughter Mariyam (Iman Ali) to Pakistan to get married to a Pakistani Muslim boy. In the Pakistan family, from two singer brothers the younger brother Sarmad (Fawad Khan) is attracted to a Maulana Tahiri (Rasheed Naz) and joins the fundamentalist movement and marries the UK girl in a village near Afghanistan. The elder brother Mansoor (Shan) goes to US and is arrested by FBI as suspected terrorist. I love the scene where Mansoor is taken to an FBI cell in US and he write on the wall "I LOVE USA". But when the FBI guy torture him more and more finally broken and beaten Mansoor adds "MA" to his writing on the wall which now reads as "I LOVE USAMA".
Another thing which really interested me is the soundtrack of the movie. Just awesome!!!!!!!! Particularly the song 'Bandya' which has lyrics by Bhulle Shah (Bulle Nu Samjawan). This song is also sung by many great singers like Abida Parveen, Nusrat etc in classical format. But this rock version in movie is also well composed and sung. The remix version of the song is done by DJ Suketu and he has done a good job at it.
The dialogues are great and surely i'd love to watch this film again for the sake of dialogues alone. Urdu being my first language (Along with Kashmiri) and being a huge fan of chaste Urdu, I really enjoyed the weighty Urdu dialogues especially by Naseeruddin Shah in the court room scene.
The film has created quite a buzz at film festivals around the world over. Khdua Ke Liye received second place in the Cairo Film Festival which is one of the most prestigious film festivals in the world and received prestigious awards from the Italian film industry which is the world's fourth best film industry (Bollywood is not even in the top ten). It is heartening that Percept Picture Company has picked up the film for distribution in India and the film got a theatrical release here.
Scarface
(1983)
Engrossing!!!!!!!!!!
21 May 2008
"Scarface" has a major cult following even now, 25 years after its release. In 1983, Director Brian De Palma set out to make a film about the rise and fall of an American gangster. He did it with the help of a terrific screenplay by Oliver Stone and some impeccable work by an outstanding cast. The result was 'Scarface,' starring Al Pacino in one of his most memorable roles.
The story is about an immigrant Tony Montana (Al Pacino) from Cuba who has come to live the American dream. He is a hard core criminal and starts by being in detention, where he plots a murder. Next, he moves in the Florida where he starts working as a dish washer on a road side joint. The attraction of money and power drives him into taking chance with one drug deal that goes miserably wrong where his friend is killed, and he in turn kills other gang members. With his daring, he starts climbing the ladder of drug dealers, and reaches the pinnacle of power and wealth and gets more and crazier (due to drug addiction). Finally he is shot by his own beloved sister before being brutally killed by invading gang in his own palatial home.
It's the one role which you can't imagine Al Pacino playing. This was his comeback film after a short break and what it comeback film it is. I think when Pacino leaves the ungodly earth and people talk about the role he will be remembered for, a lot will say Michael Corleone in The Godfather Trilogy but I will remember him as Tony Montana in Scarface.
"Scarface" is quite simply one hell of a movie, especially such an epic example of its genre. It is controversial among both movie fans and critics. The main reasons are because the film contains excessive violence and has become a sort of inspiration for "gangsters". I think both are wrong, because the miss the message that it tries to give out. If these people didn't just skip to the final 10 minute shootout, then they would realize what the film really says.
Some of the scenes, especially the infamous chainsaw scene, are disturbing. Scarface is as savage as they say and much more. I'll advice parental guidance while watching this movie in front of kids.
"Scarface" is rightly acclaimed throughout the film industry as a genre-defining classic, up there with the giants of crime-capers, worthy of an Oscar it never had.
The story is about an immigrant Tony Montana (Al Pacino) from Cuba who has come to live the American dream. He is a hard core criminal and starts by being in detention, where he plots a murder. Next, he moves in the Florida where he starts working as a dish washer on a road side joint. The attraction of money and power drives him into taking chance with one drug deal that goes miserably wrong where his friend is killed, and he in turn kills other gang members. With his daring, he starts climbing the ladder of drug dealers, and reaches the pinnacle of power and wealth and gets more and crazier (due to drug addiction). Finally he is shot by his own beloved sister before being brutally killed by invading gang in his own palatial home.
It's the one role which you can't imagine Al Pacino playing. This was his comeback film after a short break and what it comeback film it is. I think when Pacino leaves the ungodly earth and people talk about the role he will be remembered for, a lot will say Michael Corleone in The Godfather Trilogy but I will remember him as Tony Montana in Scarface.
"Scarface" is quite simply one hell of a movie, especially such an epic example of its genre. It is controversial among both movie fans and critics. The main reasons are because the film contains excessive violence and has become a sort of inspiration for "gangsters". I think both are wrong, because the miss the message that it tries to give out. If these people didn't just skip to the final 10 minute shootout, then they would realize what the film really says.
Some of the scenes, especially the infamous chainsaw scene, are disturbing. Scarface is as savage as they say and much more. I'll advice parental guidance while watching this movie in front of kids.
"Scarface" is rightly acclaimed throughout the film industry as a genre-defining classic, up there with the giants of crime-capers, worthy of an Oscar it never had.
Citizen Kane
(1941)
Brilliant....# 1 move of all times
25 April 2008
Citizen Kane is said to be the greatest film ever made. I haven't seen all of the films ever made in the world, therefore I couldn't make a decision but if the greatest film is out there and even slightly resembles Kane, it is nothing short of sheer brilliance. The intense Orson Welles, the mastermind of the film, was a perfectionist and it showed. He did not confine his film to the limits of the period it was made in and it helped to revolutionize the film industry with Kane. The lighting, editing and cinematography were all basically new to the world. Based on this, it shocked the film industry into being the greatest film ever created.
Charles Foster Kane played by Welles himself rose from humble beginnings to become one of the most famous and powerful people in America. At a very young age, Kane's mother inherits a gold mine and becomes suddenly wealthy, sending away her son to live with Walter Parks Thatcher (George Coulouris), his mother's banker. Proving something of a disappointment for Mr. Thatcher, Kane shows little aspirations for success until the age of twenty-six, when he decides to head the 'Inquirer,' because he "thinks it would be fun to run a newspaper." Kane eventually becomes rich and powerful through publishing "yellow journalism" which, though frowned upon by most critics, proved immensely profitable.
The most remarkable thing about 'Citizen Kane' is its narrative structure. The film opens with Kane's death. As the image fades into a large "NO TREPASSING" sign on the gate of Kane's "Xanadu" dwelling, we progressively cut to images closer and closer to his house, witnessing the vastness of Kane's wealth, and yet all his riches seem to be in disrepair. A lone lit window stands eerily amidst the snow, before the light inexplicably goes out, the figure hunched within suddenly plunged into darkness. We see Charles Foster Kane's withered hand clasping at a snow-globe, and his lips utter the mystifying words, "Rosebud." With a sudden crash, the snow-globe slips from Kane's hand and shatters on the floor. A maidservant enters the room and covers the dead man's body with a blanket. The remainder of the film is largely comprised of flashbacks.
Despite the film's pessimistic outlook, it is studded by moments of joy, beauty and emotional truth. The supporting cast of characters, most of them regulars from Wells' Mercury Theater are also superb. Joseph Cotton is memorable as Jed Leland Kane's close friend who believes in him more then he does. And Everet Slone is wonderful as Kane's would be mentor Mr. Bernstien.
There had never been a picture like "Citizen Kane." It openly satirized a wealthy and powerful living American, it deliberately antagonized Hollywood's ruling elite, and it bravely ignored conventional cinema technique Innovative, aggressive, and fascinating, "Citizen Kane" electrified a complacent industry Welles dominated Kane He had become, in a single stroke, the most admired, envied, praised and detested man in Hollywood Unhappily, the movie industry never learned to utilize Welles' quixotic genius, and his career never rescaled the heights it had reached in 1941.
Other than the acting and story part, what does it take to make a great movie, yup the cinematography and the editing. I consider the best filmmakers to be great cinematographers first. And yes Citizen Kane has it all great great photography and slick editing techniques used that too in those days. So is Citizen Kane the best film ever created? I am not the world's biggest film buff, but I do know that it is incomparable to anything that I have ever seen before. It is truly original and that is what makes it so incredibly brilliant.
Charles Foster Kane played by Welles himself rose from humble beginnings to become one of the most famous and powerful people in America. At a very young age, Kane's mother inherits a gold mine and becomes suddenly wealthy, sending away her son to live with Walter Parks Thatcher (George Coulouris), his mother's banker. Proving something of a disappointment for Mr. Thatcher, Kane shows little aspirations for success until the age of twenty-six, when he decides to head the 'Inquirer,' because he "thinks it would be fun to run a newspaper." Kane eventually becomes rich and powerful through publishing "yellow journalism" which, though frowned upon by most critics, proved immensely profitable.
The most remarkable thing about 'Citizen Kane' is its narrative structure. The film opens with Kane's death. As the image fades into a large "NO TREPASSING" sign on the gate of Kane's "Xanadu" dwelling, we progressively cut to images closer and closer to his house, witnessing the vastness of Kane's wealth, and yet all his riches seem to be in disrepair. A lone lit window stands eerily amidst the snow, before the light inexplicably goes out, the figure hunched within suddenly plunged into darkness. We see Charles Foster Kane's withered hand clasping at a snow-globe, and his lips utter the mystifying words, "Rosebud." With a sudden crash, the snow-globe slips from Kane's hand and shatters on the floor. A maidservant enters the room and covers the dead man's body with a blanket. The remainder of the film is largely comprised of flashbacks.
Despite the film's pessimistic outlook, it is studded by moments of joy, beauty and emotional truth. The supporting cast of characters, most of them regulars from Wells' Mercury Theater are also superb. Joseph Cotton is memorable as Jed Leland Kane's close friend who believes in him more then he does. And Everet Slone is wonderful as Kane's would be mentor Mr. Bernstien.
There had never been a picture like "Citizen Kane." It openly satirized a wealthy and powerful living American, it deliberately antagonized Hollywood's ruling elite, and it bravely ignored conventional cinema technique Innovative, aggressive, and fascinating, "Citizen Kane" electrified a complacent industry Welles dominated Kane He had become, in a single stroke, the most admired, envied, praised and detested man in Hollywood Unhappily, the movie industry never learned to utilize Welles' quixotic genius, and his career never rescaled the heights it had reached in 1941.
Other than the acting and story part, what does it take to make a great movie, yup the cinematography and the editing. I consider the best filmmakers to be great cinematographers first. And yes Citizen Kane has it all great great photography and slick editing techniques used that too in those days. So is Citizen Kane the best film ever created? I am not the world's biggest film buff, but I do know that it is incomparable to anything that I have ever seen before. It is truly original and that is what makes it so incredibly brilliant.
The Silence of the Lambs
(1991)
Silence!!!!!!!!!!!!!!!!!!!!!
21 March 2008
At times it seems that there aren't words to describe "The Silence of the Lambs", it truly is an endurance trial of the mind. The film is dark and psychologically disturbing throughout while also dealing with issues of sexism and strength. Director Jonathan Demme's adaptation of Thomas Harris' best-selling novel swept across the globe in 1991, eventually winning five Academy Awards and becoming a prestigious topic of discussion among critics.
Its moody influence crept across the popular 90s sub-genre of 'serial-thriller'. This lent The Silence of the Lambs a growing reputation for being an adult thriller of horror ike capabilities. The mythically monstrous and deliciously manipulative Hannibal Lecter became an immediate household name and now remains among the most popular fictitious villains in modern cinema. Such a figure could only be played by one man (has it become unimaginable to picture it any other way?) that man being Anthony Hopkins, who slipped himself into the role with matchless prestige, therefore giving birth to a cultural icon of both literature and cinema.
The movie starts with Agent Clarice Starling (Jodie Foster) who is an FBI trainee, being called up from her classes to acquire information from a serial killer, Dr.Hannibal Lecter (Anthony Hopkins), about a current killer known as Buffalo Bill. Bill is a man who wishes to be a transsexual but has been turned down for sex reassignment because of his volatility. Starling acquires a sort of cordial relationship with Lecter, who wishes her to divulge personal information about herself in return for his assistance with the case. The film is tense throughout. Scott Glenn turns in a pretty good performance as a director of the FBI division that Starling is entering. Lecter is chilling as he gives Starling information about Buffalo Bill and the Senator's daughter who has been kidnapped by Bill. The film is extremely suspenseful, I felt like yelling at the screen to tell me what was going to happen next. The suspense is most definitely on account of the film's taking you through out the twists and turns of your own psyche.
The acting is one of the most crucial aspects of the film. Since the film only revolves around a few characters a big cast of mixed stars in not necessary. Instead, the quality over quantity formula works exceptionally well. Anthony Hopkins got best actor award despite being confined to only seventeen minutes of screen time. He does his best in every scene and practically pours his heart as he makes such a realistic and haunting performance.
However Hannibal would obviously be a complete waste without Jodie Foster giving an equally impressive performance. She has a nice south American accent with a good amount of innocence to her. She is desperate to find Bill but has a weird relationship with Hannibal along the way. Ted Levine is the last major character in this film and probably the whole reason why everything happens. He doesn't have much screen time but still manages to put on a creepy and believable performance. He is somewhat humorous but still manages to remain sinister.
The Silence of the lambs works for a lot of factors. The cast plays a big part and so is the mood, setting, and cinematography. The movie is very dark most of the time and the cinematography complements this perfectly. The detail to the scenes works well as the setting is creepy and suspenseful. Hannibal's jail cells are nicely designed and contain a lot of aspects that show his character nicely. The movie keeps an excellent balance of suspense and drama. It is suspenseful throughout but has a nice dramatic element that is lacking in many films today. The climax is pulse pounding and the film has excellent closure that has it come full circle.
Even the DVD cover scares me. I would NOT recommend this for children obviously!!!!
Its moody influence crept across the popular 90s sub-genre of 'serial-thriller'. This lent The Silence of the Lambs a growing reputation for being an adult thriller of horror ike capabilities. The mythically monstrous and deliciously manipulative Hannibal Lecter became an immediate household name and now remains among the most popular fictitious villains in modern cinema. Such a figure could only be played by one man (has it become unimaginable to picture it any other way?) that man being Anthony Hopkins, who slipped himself into the role with matchless prestige, therefore giving birth to a cultural icon of both literature and cinema.
The movie starts with Agent Clarice Starling (Jodie Foster) who is an FBI trainee, being called up from her classes to acquire information from a serial killer, Dr.Hannibal Lecter (Anthony Hopkins), about a current killer known as Buffalo Bill. Bill is a man who wishes to be a transsexual but has been turned down for sex reassignment because of his volatility. Starling acquires a sort of cordial relationship with Lecter, who wishes her to divulge personal information about herself in return for his assistance with the case. The film is tense throughout. Scott Glenn turns in a pretty good performance as a director of the FBI division that Starling is entering. Lecter is chilling as he gives Starling information about Buffalo Bill and the Senator's daughter who has been kidnapped by Bill. The film is extremely suspenseful, I felt like yelling at the screen to tell me what was going to happen next. The suspense is most definitely on account of the film's taking you through out the twists and turns of your own psyche.
The acting is one of the most crucial aspects of the film. Since the film only revolves around a few characters a big cast of mixed stars in not necessary. Instead, the quality over quantity formula works exceptionally well. Anthony Hopkins got best actor award despite being confined to only seventeen minutes of screen time. He does his best in every scene and practically pours his heart as he makes such a realistic and haunting performance.
However Hannibal would obviously be a complete waste without Jodie Foster giving an equally impressive performance. She has a nice south American accent with a good amount of innocence to her. She is desperate to find Bill but has a weird relationship with Hannibal along the way. Ted Levine is the last major character in this film and probably the whole reason why everything happens. He doesn't have much screen time but still manages to put on a creepy and believable performance. He is somewhat humorous but still manages to remain sinister.
The Silence of the lambs works for a lot of factors. The cast plays a big part and so is the mood, setting, and cinematography. The movie is very dark most of the time and the cinematography complements this perfectly. The detail to the scenes works well as the setting is creepy and suspenseful. Hannibal's jail cells are nicely designed and contain a lot of aspects that show his character nicely. The movie keeps an excellent balance of suspense and drama. It is suspenseful throughout but has a nice dramatic element that is lacking in many films today. The climax is pulse pounding and the film has excellent closure that has it come full circle.
Even the DVD cover scares me. I would NOT recommend this for children obviously!!!!
Downfall
(2004)
Serious Movie making!!!
21 March 2008
I have seen quite many WW2 films in the past, yet very few of them managed to amaze and shock me as "Der Untergang" aka "The Downfall" did. Under Oliver Hirschbiegel's excellent direction, we watch the agonizing last hours inside Hitler's bunker, as accounted for by his young secretary Traudl Junge. We watch Hitler, in his peak of his insanity, as he awaits for imaginary troops to save him and his motherland, while his closest associates start to realize that the game is over and begin to desert him en masses. We watch Eva Braun (Juliane Kohler), who amidst the turmoil and destruction, her main preoccupation is to die looking beautiful, so she chooses the poison instead of the bullet.
Few films have dared to touch WW2 objectively from a German point of view; Most of the movies are shot and told from the Allied point of view. But this movie is shot completely from the German point of view.
"The Downfall" tells the story of Fuhrer's final hours, his last critical 12 days in a fortified bunker below the Reich Chancellery in Berlin, while the Soviet Army was slowly taking over Berlin and their artillery bombarding the whole city Based on the book "Inside Hitler's Bunker" by Joachim Fest. "The Downfall" is in a word, shocking. The last act in the great horrific play of the Third Reich plays out like that of a cult so many men and woman who swore allegiance to Hitler commit suicide by either shooting themselves in the head or by ingesting poison capsules. But the madness of Hitler himself is horrifically captivating. He changes his mind and opinion on a whim. One moment he advises his SS-Guards and Generals to leave the city after learning that he does not have enough troops to protect Berlin. A particular one named Gruppenführer Hermann Fegelein , who was Eva Braun's brother-in-law, takes the Fuhrer for his word and leaves Berlin. When Hitler realizes this, he denounces Fegelein and orders him executed. What is more, Hitler discusses the final demise of the German people. He explains that this failure is not only that of the military, but of the civilians themselves. As such, his soldiers do not protect the people from the coming onslaught of the Soviet Army. He advises, "In a war as such there are no civilians."
Hitler is recreated by the superlative performance of Bruno Ganz, who appeared in the 2004 remake of "The Manchurian Candidate." Ganz captures the movement, voice, even the involuntary shaking of Hitler's left hand so well, that the audience would feel as if they are watching the dictator himself. We are often left with shivers down our spine at how realistic Ganz's depiction is.
It is amazing to see how wonderful country like Germany survived to the chaos, destruction and lack of command, arrived from the ashes like Phoenix and sixty years later is again one of the greatest nations. And for those who love war, I really recommend to watch this magnificent anti-war movie, and see the behavior of the leaders and population when a war is lost.
"The Downfall" is an impressive and brilliant piece of film making and ingenuity. The film is completely in German so do not forget to get a DVD which has English sub titles unless of course you are well versed in German.
Few films have dared to touch WW2 objectively from a German point of view; Most of the movies are shot and told from the Allied point of view. But this movie is shot completely from the German point of view.
"The Downfall" tells the story of Fuhrer's final hours, his last critical 12 days in a fortified bunker below the Reich Chancellery in Berlin, while the Soviet Army was slowly taking over Berlin and their artillery bombarding the whole city Based on the book "Inside Hitler's Bunker" by Joachim Fest. "The Downfall" is in a word, shocking. The last act in the great horrific play of the Third Reich plays out like that of a cult so many men and woman who swore allegiance to Hitler commit suicide by either shooting themselves in the head or by ingesting poison capsules. But the madness of Hitler himself is horrifically captivating. He changes his mind and opinion on a whim. One moment he advises his SS-Guards and Generals to leave the city after learning that he does not have enough troops to protect Berlin. A particular one named Gruppenführer Hermann Fegelein , who was Eva Braun's brother-in-law, takes the Fuhrer for his word and leaves Berlin. When Hitler realizes this, he denounces Fegelein and orders him executed. What is more, Hitler discusses the final demise of the German people. He explains that this failure is not only that of the military, but of the civilians themselves. As such, his soldiers do not protect the people from the coming onslaught of the Soviet Army. He advises, "In a war as such there are no civilians."
Hitler is recreated by the superlative performance of Bruno Ganz, who appeared in the 2004 remake of "The Manchurian Candidate." Ganz captures the movement, voice, even the involuntary shaking of Hitler's left hand so well, that the audience would feel as if they are watching the dictator himself. We are often left with shivers down our spine at how realistic Ganz's depiction is.
It is amazing to see how wonderful country like Germany survived to the chaos, destruction and lack of command, arrived from the ashes like Phoenix and sixty years later is again one of the greatest nations. And for those who love war, I really recommend to watch this magnificent anti-war movie, and see the behavior of the leaders and population when a war is lost.
"The Downfall" is an impressive and brilliant piece of film making and ingenuity. The film is completely in German so do not forget to get a DVD which has English sub titles unless of course you are well versed in German.
Kingdom of Heaven
(2005)
Balanced Approach!!!! Just Short of being a masterpiece
19 March 2008
Jerusalem is a holy city for three major religions: Chirstianity, Islaam and Judism. For some two centuries, Christians and Muslims fought to lay exclusive claim to this holy land during the period known as the Crusades. Others looked at the bigger world picture and decided to defend the city for all. "Kingdom Of Heaven" is a look at a part of the battle for Jerusalem that is set about halfway through that historical conflict.
I liked the movie instantaneously partly because Ridley Scott (Gladiator/Black Hawk Down/Hannibal) being my one of the fav directors and partly because the movie showed a balanced approach when dealing with Muslim-Chirstian conflict, though there was a controversy regarding the movie in the western world regarding this. During a period when tensions are high (for obvious reasons) between Muslims and Christians, I'm surprised Ridley Scott ever got the backing to produce a film like this.
The film begins in France, where Balian (Orlando Bloom) has just buried his wife, a suicide who the local priests have conveniently condemned to an eternity in hell. One day, an old knight Godfrey (Liam Neeson) pays him a visit, explaining to him that he's his father and asks him to accompany him back to Palestine, promising wealth and religious glory. Balian is not exactly enthusiastic, but after a local priest explains to him that should he find glory as a crusader he can take his wife's place in hell, he decides to take up Godfrey's offer.
After a perilous journey, Balian discovers that Jerusalem is a city thriving under an uneasy peace. The Christian state promotes tolerance among the religious factions, Muslims and Jews. Ruling over the peace is the prodigious King Baldwin (Edward Norton), vital but slowly dying of leprosy. Enforcing his will is the deeply pragmatic Tiberias (Jeremy Irons), a politician interested in maintaining the peace in Jerusalem, even if it means hanging unruly Christian knights who routinely harass the Muslim caravans. Standing against the court's wishes are the Knights Templar, led by the arrogant Guy de Lusignan (Marton Csokas) and the murderous religious fanatic, Reynald (Brendan Gleeson), hungry to expand their feudal holdings and itching for a war against the Muslims.
The Kingdom is now threatened by the powerful, ambitious and brilliant ruler of Egypt, Salahuddin al-Ayubi or often spelled as Saladin, played by Syrian actor Ghassan Masood. Now what I find most striking about the film is that it portrays the Muslims, especially Salahuddin, as more of the good guy. It should also be pointed out that there's a rather politically correct feel to the story with neither Christians or Muslims being portrayed as out and out villains with only the Knight templars being portrayed as evil. Jerusalem was always a much more tolerant city of all faiths when in Muslim control, at least before the events that take place in this film. If you are even slightly a history buff, it'll make you want to go read up on the Crusades and Salahuddin.
Near the conclusion of KINGDOM OF HEAVEN, Balian concedes Jerusalem to Salahuddin after days of relentless attack and Salahuddin gave a safe passage to all Chirstians who wanted to leave. "What is Jerusalem worth?" Balian asks his Muslim vanquisher. "Nothing," Salahuddin replies first. Walking away and then turning back to Balian and pointing towards himself he says: "Everything." Such an ambiguous response cuts to the heart of the futility of war Ridley Scott has crafted so expertly, with the safe, liberal hindsight of bygone centuries regrettably returning to a modern Holy Land still under siege.
Kingdom of Heaven doesn't quite have the power of Gladiator but I still think that Ridley's done a bang up job on this movie. In short this is a film that is sometimes beautiful and stunning but often irritating , confused and plodding . It is well directed and acted (except Orlando Bloom as Balian) but you often get the impression that it tries too hard and this works against it.
I liked the movie instantaneously partly because Ridley Scott (Gladiator/Black Hawk Down/Hannibal) being my one of the fav directors and partly because the movie showed a balanced approach when dealing with Muslim-Chirstian conflict, though there was a controversy regarding the movie in the western world regarding this. During a period when tensions are high (for obvious reasons) between Muslims and Christians, I'm surprised Ridley Scott ever got the backing to produce a film like this.
The film begins in France, where Balian (Orlando Bloom) has just buried his wife, a suicide who the local priests have conveniently condemned to an eternity in hell. One day, an old knight Godfrey (Liam Neeson) pays him a visit, explaining to him that he's his father and asks him to accompany him back to Palestine, promising wealth and religious glory. Balian is not exactly enthusiastic, but after a local priest explains to him that should he find glory as a crusader he can take his wife's place in hell, he decides to take up Godfrey's offer.
After a perilous journey, Balian discovers that Jerusalem is a city thriving under an uneasy peace. The Christian state promotes tolerance among the religious factions, Muslims and Jews. Ruling over the peace is the prodigious King Baldwin (Edward Norton), vital but slowly dying of leprosy. Enforcing his will is the deeply pragmatic Tiberias (Jeremy Irons), a politician interested in maintaining the peace in Jerusalem, even if it means hanging unruly Christian knights who routinely harass the Muslim caravans. Standing against the court's wishes are the Knights Templar, led by the arrogant Guy de Lusignan (Marton Csokas) and the murderous religious fanatic, Reynald (Brendan Gleeson), hungry to expand their feudal holdings and itching for a war against the Muslims.
The Kingdom is now threatened by the powerful, ambitious and brilliant ruler of Egypt, Salahuddin al-Ayubi or often spelled as Saladin, played by Syrian actor Ghassan Masood. Now what I find most striking about the film is that it portrays the Muslims, especially Salahuddin, as more of the good guy. It should also be pointed out that there's a rather politically correct feel to the story with neither Christians or Muslims being portrayed as out and out villains with only the Knight templars being portrayed as evil. Jerusalem was always a much more tolerant city of all faiths when in Muslim control, at least before the events that take place in this film. If you are even slightly a history buff, it'll make you want to go read up on the Crusades and Salahuddin.
Near the conclusion of KINGDOM OF HEAVEN, Balian concedes Jerusalem to Salahuddin after days of relentless attack and Salahuddin gave a safe passage to all Chirstians who wanted to leave. "What is Jerusalem worth?" Balian asks his Muslim vanquisher. "Nothing," Salahuddin replies first. Walking away and then turning back to Balian and pointing towards himself he says: "Everything." Such an ambiguous response cuts to the heart of the futility of war Ridley Scott has crafted so expertly, with the safe, liberal hindsight of bygone centuries regrettably returning to a modern Holy Land still under siege.
Kingdom of Heaven doesn't quite have the power of Gladiator but I still think that Ridley's done a bang up job on this movie. In short this is a film that is sometimes beautiful and stunning but often irritating , confused and plodding . It is well directed and acted (except Orlando Bloom as Balian) but you often get the impression that it tries too hard and this works against it.
Fargo
(1996)
Compelling!!!!!!!!! Cannot avoid it.........
12 March 2008
How do I even begin to review a film that has been in my personal Top 20 of all time. 'Fargo' is like many Coen brothers films: the story of a stupid crime gone horribly wrong. You can relate it to their Oscar winning film this year 'No COuntry for Old Men' in some ways.
Fargo is arguably the Coen Brother's best movie (though personally I think it's their second-best, after No Country For Old Men). I was pleasantly surprised by the simplicity of the storyline, as many movies concerning crime are often too fast paced and reliant on plot twists. Instead, Fargo's plot develops more through the characters than through what is actually occurring on the screen. The characters themselves, especially Jerry Lundegard, are very well thought out and work in perfect unison with the simplicity of the story. There are no hard-boiled, cynical detectives here, just a simple policewoman who uses basic techniques to outwit her inexperienced counterparts.
Jerry Lundegaard (William H. Macy) is in deep debt after committing some major fraud at his father-in-law's car dealership, so he comes up with a scheme to have his wife kidnapped in order for his wealthy father-in-law to pay the ransom. Unfortunately, the men he hires (Peter Stormare and Steve Buscemi) are not only completely unstable and scary but share a half a brain among them. What was supposed to be a simple kidnapping culminates in the murder of three innocent bystanders. Enter Marge Gunderson (Frances McDormand) a small-town sheriff, who also happens to be seven months pregnant, who steps in to try to solve the case.
'Fargo' has so many things going for it: Phenomenal acting (McDormand won a well-deserved Oscar for her role) by all players, supporting and lead and a brilliant script that is part mystery, part thriller and part drama and all layered in a thin veneer of some of the darkest comedy seen in recent years, are just two of the outstanding elements. The cinematography of 'Fargo' however is absolutely beautiful. The snow white landscape is so stark and vast; yet suddenly you realize that you are watching a tiny figure in the distance, trudging through the snow; and it's one of the main characters. One shot in particular is so unbelievably framed, that for a good ten seconds, the viewer isn't entirely sure what they are looking at, until it becomes obvious that it is a deserted parking lot with one car parked in the middle of it. Scenes like these are literally breath-taking and hearkens back to some of the beautiful cinematography in one of their earlier films, 'Millers Crossing'.
'Fargo' is one of those movies you watch a dozen times a month then forget about it for a few months. After the few months, you pop it in again and the whole movie is brand new again. I recommend everyone watch this movie even if you are not a Cohen Brothers fan. The great thing about the brothers movies is that even if you don't share their same sense of humor and don't laugh once, the movies they make still hold up with their great stories. But if you do share the same sense of humor, the comedy is just another layer of greatness. Fargo has everything; suspense, a good story, humor, brilliant acting and a score that accompanies the visuals perfectly. Out of my 200+ DVD movies collection, Fargo is one of my most watched (along side my Martin Scorsese collection).
Fargo is arguably the Coen Brother's best movie (though personally I think it's their second-best, after No Country For Old Men). I was pleasantly surprised by the simplicity of the storyline, as many movies concerning crime are often too fast paced and reliant on plot twists. Instead, Fargo's plot develops more through the characters than through what is actually occurring on the screen. The characters themselves, especially Jerry Lundegard, are very well thought out and work in perfect unison with the simplicity of the story. There are no hard-boiled, cynical detectives here, just a simple policewoman who uses basic techniques to outwit her inexperienced counterparts.
Jerry Lundegaard (William H. Macy) is in deep debt after committing some major fraud at his father-in-law's car dealership, so he comes up with a scheme to have his wife kidnapped in order for his wealthy father-in-law to pay the ransom. Unfortunately, the men he hires (Peter Stormare and Steve Buscemi) are not only completely unstable and scary but share a half a brain among them. What was supposed to be a simple kidnapping culminates in the murder of three innocent bystanders. Enter Marge Gunderson (Frances McDormand) a small-town sheriff, who also happens to be seven months pregnant, who steps in to try to solve the case.
'Fargo' has so many things going for it: Phenomenal acting (McDormand won a well-deserved Oscar for her role) by all players, supporting and lead and a brilliant script that is part mystery, part thriller and part drama and all layered in a thin veneer of some of the darkest comedy seen in recent years, are just two of the outstanding elements. The cinematography of 'Fargo' however is absolutely beautiful. The snow white landscape is so stark and vast; yet suddenly you realize that you are watching a tiny figure in the distance, trudging through the snow; and it's one of the main characters. One shot in particular is so unbelievably framed, that for a good ten seconds, the viewer isn't entirely sure what they are looking at, until it becomes obvious that it is a deserted parking lot with one car parked in the middle of it. Scenes like these are literally breath-taking and hearkens back to some of the beautiful cinematography in one of their earlier films, 'Millers Crossing'.
'Fargo' is one of those movies you watch a dozen times a month then forget about it for a few months. After the few months, you pop it in again and the whole movie is brand new again. I recommend everyone watch this movie even if you are not a Cohen Brothers fan. The great thing about the brothers movies is that even if you don't share their same sense of humor and don't laugh once, the movies they make still hold up with their great stories. But if you do share the same sense of humor, the comedy is just another layer of greatness. Fargo has everything; suspense, a good story, humor, brilliant acting and a score that accompanies the visuals perfectly. Out of my 200+ DVD movies collection, Fargo is one of my most watched (along side my Martin Scorsese collection).
Rebecca
(1940)
Rebecca Rebecca......Nice one
12 March 2008
Long discussed as the first film Alfred Hitchcock made in Hollywood as well as the beginning of the legendary conflict between Selznick and Hitchcock. Producer David Selznick had just had a great movie the previous year (Gone with the Wind, 1939) and signed on Alfred Hitchcock for the first Hollywood movie by Hitchcock (his earlier movies were all British). What is less known is that in the entire fabulous career of Alfred Hitchcock, Rebecca was the only movie that won him a Best Picture award. And that too in the year 1940, when competition was fierce with the movie, 'Grapes of Wrath', 'The Great Dictator', and 'The Philadelphia Story'.
With an outstanding cast and perfect control of the actors, Hitchcock, who resisted the domination of Selznick in his projects, manages to weave out of Daphne Du Maurier's novel, a Hitchcock psychological thriller. Somewhat against Hitchcock's intent, the story indeed is fairly true to the novel, with a few exceptions necessary to satisfy American censor boards.
The movie opens with waves crashing against rocks and a narrative by the protagonist, who will never be given a first name, only Mrs De Winter as the plot unfolds. We meet for the first time the silent but dominant character of the estate of Manderley, the ancestral home of Mr. DeWinter. It is a stunning edifice and more than a little imposing.
Flashback to the beginning of the story, to Monte Carlo. A young woman who is a paid companion to an overbearing pompous society matron sees a man brooding, overlooking the cliff. She yells 'stop' thinking him about to jump. Irritably he sends her off.....How the movie unfolds you got to see that yourself. The movie was a great success both critically and financially. It got a total of 11 nominations and won 2 awards: Best Picture and Best Cinematography.
As a Hitchcock flick, it shows what the master could do with a few extra bucks in his pocket. With a budget that Hitchcock could only dream about in England, the production values show an exponential improvement which include stage sets, lighting conditions, extensive screen tests, and costuming, to create an environment where the film will live.
For Selznick, it was the second monumentally successful film in a row. For Hitchcock, it was the beginning of the love affair that American audiences have for Hitchcock films.
With an outstanding cast and perfect control of the actors, Hitchcock, who resisted the domination of Selznick in his projects, manages to weave out of Daphne Du Maurier's novel, a Hitchcock psychological thriller. Somewhat against Hitchcock's intent, the story indeed is fairly true to the novel, with a few exceptions necessary to satisfy American censor boards.
The movie opens with waves crashing against rocks and a narrative by the protagonist, who will never be given a first name, only Mrs De Winter as the plot unfolds. We meet for the first time the silent but dominant character of the estate of Manderley, the ancestral home of Mr. DeWinter. It is a stunning edifice and more than a little imposing.
Flashback to the beginning of the story, to Monte Carlo. A young woman who is a paid companion to an overbearing pompous society matron sees a man brooding, overlooking the cliff. She yells 'stop' thinking him about to jump. Irritably he sends her off.....How the movie unfolds you got to see that yourself. The movie was a great success both critically and financially. It got a total of 11 nominations and won 2 awards: Best Picture and Best Cinematography.
As a Hitchcock flick, it shows what the master could do with a few extra bucks in his pocket. With a budget that Hitchcock could only dream about in England, the production values show an exponential improvement which include stage sets, lighting conditions, extensive screen tests, and costuming, to create an environment where the film will live.
For Selznick, it was the second monumentally successful film in a row. For Hitchcock, it was the beginning of the love affair that American audiences have for Hitchcock films.
No Country for Old Men
(2007)
Coen Brothers at their best!!!!!
28 February 2008
Bleak drama "No Country For Old Men" won four Oscars on Sunday, more than any other film, including best movie, director and adapted screenplay for brothers Joel and Ethan Coen.
I'm giving this film 9 out of 10 stars, because all the knowledgeable critics say this is a masterpiece, and I am an amateur reviewer with too much time on my hands, so what do I know? I may even post a second review once the dust in my brain settles...No Country lived up to the accolades for the majority of the film, with an unexpected ending that needs some in-depth examination to appropriately digest and appreciate. I intend to watch the film a second time to both enjoy the beautiful west Texas cinematography, top notch acting of Bardem, Jones, and Brolin, as well as concentrate on the implications of the ending.
I don't think No Country for Old Men has been released in India. Seems strange ehh? Or have I missed it, I m not quite sure but I managed to download it over the last weekend and see it :-) There is too much happening,a man finds 2 million dollars in the desert, after a drug deal goes wrong. He makes the mistake of going back, and is soon chased by other men who knew about the deal. Now it's a game of cat and mouse between him and a hit-man hired to take him out. Then there is the sheriff who is on their tails. I don't want to give too much away...
The Coen Brothers (Ethan Coen & Joel Coen) are back after a long time to the big screen in this intense blood soaked thriller starring Josh Brolin and Javier Bardem in the lead roles and Tommy Lee Jones plays the Sheriff who's seen too much blood shed in his time. All three give stellar performances, but it's Javier who stands out, as the heartless psycho killer on the lose. The intensity in his voice is enough to make you squirm. His portrayal of the assassin looking for the money is frightening and along with Bill from the Kill Bill films, one of the best villains of the past decade. Tommy Lee Jones is perfectly cast, be it seems like no stretch for him.
There are bits and pieces of dark humour throughout the film, which is a great way to let you relax after the intense moments that are everything else. Even with the bits of comedy here and there, No Country For Old Men is the most mature piece of work from the Coen Brothers. So confidently directed there is no musical score throughout the film. Instead, we are taken directly into this world. We are no longer watching a film, we are apart of the cat and mouse game. Right from the squeaking of shoes on a tile floor of a man being strangled to the beeping of a transmitter signifying impending doom. There is no need for music, the performance speak for themselves.
The Coen Brothers had previously reached a creative peak with Fargo, but No Country for Old Men serves as a new high for the directorial duo, and if Michelangelo can have both the Sistine Chapel and his statue of David, then surely the Coens are entitled to their two masterpieces; the classic Fargo and the modern No Country for Old Men.
Other recommended Coen brother movies: Fargo Blood Simple Burn After Reading
I'm giving this film 9 out of 10 stars, because all the knowledgeable critics say this is a masterpiece, and I am an amateur reviewer with too much time on my hands, so what do I know? I may even post a second review once the dust in my brain settles...No Country lived up to the accolades for the majority of the film, with an unexpected ending that needs some in-depth examination to appropriately digest and appreciate. I intend to watch the film a second time to both enjoy the beautiful west Texas cinematography, top notch acting of Bardem, Jones, and Brolin, as well as concentrate on the implications of the ending.
I don't think No Country for Old Men has been released in India. Seems strange ehh? Or have I missed it, I m not quite sure but I managed to download it over the last weekend and see it :-) There is too much happening,a man finds 2 million dollars in the desert, after a drug deal goes wrong. He makes the mistake of going back, and is soon chased by other men who knew about the deal. Now it's a game of cat and mouse between him and a hit-man hired to take him out. Then there is the sheriff who is on their tails. I don't want to give too much away...
The Coen Brothers (Ethan Coen & Joel Coen) are back after a long time to the big screen in this intense blood soaked thriller starring Josh Brolin and Javier Bardem in the lead roles and Tommy Lee Jones plays the Sheriff who's seen too much blood shed in his time. All three give stellar performances, but it's Javier who stands out, as the heartless psycho killer on the lose. The intensity in his voice is enough to make you squirm. His portrayal of the assassin looking for the money is frightening and along with Bill from the Kill Bill films, one of the best villains of the past decade. Tommy Lee Jones is perfectly cast, be it seems like no stretch for him.
There are bits and pieces of dark humour throughout the film, which is a great way to let you relax after the intense moments that are everything else. Even with the bits of comedy here and there, No Country For Old Men is the most mature piece of work from the Coen Brothers. So confidently directed there is no musical score throughout the film. Instead, we are taken directly into this world. We are no longer watching a film, we are apart of the cat and mouse game. Right from the squeaking of shoes on a tile floor of a man being strangled to the beeping of a transmitter signifying impending doom. There is no need for music, the performance speak for themselves.
The Coen Brothers had previously reached a creative peak with Fargo, but No Country for Old Men serves as a new high for the directorial duo, and if Michelangelo can have both the Sistine Chapel and his statue of David, then surely the Coens are entitled to their two masterpieces; the classic Fargo and the modern No Country for Old Men.
Other recommended Coen brother movies: Fargo Blood Simple Burn After Reading
Saving Private Ryan
(1998)
Best War Movie Ever!!!!!!!!!
28 February 2008
"Sometimes I wonder if I've changed so much, my wife is even gonna recognize me whenever it is I get back to her, and how I'll ever be able to, tell about days like today. Ahh, Ryan. I don't know anything about Ryan, I don't care. The man means nothing to me; he's just a name. But if, you know, if going to finding him so he can go home, if that earns me the right to get back to my wife, well then, then that's my mission"
I am sure other reviewers who have reviewed 'Saving Private Ryan' (SPR) have rated it as the "Best War Movie Ever Made"" and I agree. To think that this movie did not win Best Picture is a crime. Director Steven Spielberg used all of his talent and resources to give to the world the greatest war film ever made.
Greatest things about SPR are first of all the sensational, highly awarded and celebrated camera work that actually gives audience the feeling of being in the battlefield too. That's what makes the film such a thrilling, vivid and incredible experience.It puts the the viewer from the comfortable living room chair to "out there" and puts him/her go through this hell and every nightmarish detail that's part of it. Other marvelous thing is a good story, little extraordinary and different from what the usual war films normally have. That's what keeps the movie interesting all the way.
SPR is just outstanding. Spielberg thrusts the viewer into the Normandy campaign and you need a strong stomach to endure this. The film's opening scene has been billed as the best D-Day scene of all time and it rightly deserves that. The attack on Dog Green Sector, Omaha Beach is arguably the most realistic movie portrayal of battle (notwithstanding that breakthrough actually took over three hours).
Also one of the things that stand out most in this film is the effects.You experience the sound of bullet whizzes,explosions,and the eerie sound of approaching tanks on a quiet little bombed out town. A brilliant innovation is the color reduction (over 50%) which makes you really believe it is 1944. Music is used to great effect in moments of calm. The brutality of battle is clearly demonstrated as is the sadness of loss of life, yet the campaign is necessary to end the tyranny of Hitler and Nazi ideology.
The storyline is a real strength and the characters & acting are superb. Captain Miller (Tom Hanks) carries out his mission hoping to return to his wife; only his shaking right hand alludes to the inner turmoil he struggles with from soldiers dying under his command. He is well supported by Sergeant Horvath (Tom Sizemore), who maintains discipline within the squad. But some cannot contain their doubts and even anger that eight lives should be risked to save one life. Though every man has a mother, you cannot help feel that Ryan (Matt Damon) must be saved out of decency. Ryan himself selflessly stays to defend his outnumbered "brothers" in spite of the disaster to befall his family. Finally, "Steamboat Willie" humanizes the Germans when pleading for his life. Befriended by Upham, he is released, yet returns to battle. His death shows that men who could otherwise be friends will kill each other in war.
Only a few historical inaccuracies detract from the brilliance of SPR. Often outnumbered, the Germans conquered most of Europe by 1942 through tactical skill in battle, something missing in their clumsy attack on Ramelle. And tanks had bulletproof glass over vision ports, so driver and radio operator could not be killed so easily. A role for the British was lacking; sadly a Hawker Typhoon could not be used to bomb the Tiger tank. Another historical inaccuracy people have noticed is the Church tower in Ramelle which, according to German tactics,would of have been destroyed as it would give an advantage to the enemy but I don't think it will detract from the film. In fact, a good knowledge of WW2 history is important in order to place this film in context. Overall, this tactical and human story within the carnage of WW2 is a must see for anyone who watches war movies. And don't miss the message in Captain Miller's last words: "James... earn this. Earn it."
The question this film poses is: Is it truly worth it to sacrifice the lives of many for one person???? This is the same question which Private Reiben asks to Hanks. The whole dialog go like this:
Pvt.Reiben: "You want to explain the math of this to me? I mean, where's the sense in risking the lives of the eight of us to save one guy?"
Capt.Miller: "Anyone wanna answer that?"
Medic Wade: "Hey, Reiben think about the poor bas***d's mother."
Pvt. Reiben: "Hey, Wade, I got a mother, you got a mother, the sarge has got a mother. S**t, I'll bet that even the Captain's got a mother........ Well, maybe not the Captain, but the rest of us have got mothers"
You have a great weekend!!!!!!!
I am sure other reviewers who have reviewed 'Saving Private Ryan' (SPR) have rated it as the "Best War Movie Ever Made"" and I agree. To think that this movie did not win Best Picture is a crime. Director Steven Spielberg used all of his talent and resources to give to the world the greatest war film ever made.
Greatest things about SPR are first of all the sensational, highly awarded and celebrated camera work that actually gives audience the feeling of being in the battlefield too. That's what makes the film such a thrilling, vivid and incredible experience.It puts the the viewer from the comfortable living room chair to "out there" and puts him/her go through this hell and every nightmarish detail that's part of it. Other marvelous thing is a good story, little extraordinary and different from what the usual war films normally have. That's what keeps the movie interesting all the way.
SPR is just outstanding. Spielberg thrusts the viewer into the Normandy campaign and you need a strong stomach to endure this. The film's opening scene has been billed as the best D-Day scene of all time and it rightly deserves that. The attack on Dog Green Sector, Omaha Beach is arguably the most realistic movie portrayal of battle (notwithstanding that breakthrough actually took over three hours).
Also one of the things that stand out most in this film is the effects.You experience the sound of bullet whizzes,explosions,and the eerie sound of approaching tanks on a quiet little bombed out town. A brilliant innovation is the color reduction (over 50%) which makes you really believe it is 1944. Music is used to great effect in moments of calm. The brutality of battle is clearly demonstrated as is the sadness of loss of life, yet the campaign is necessary to end the tyranny of Hitler and Nazi ideology.
The storyline is a real strength and the characters & acting are superb. Captain Miller (Tom Hanks) carries out his mission hoping to return to his wife; only his shaking right hand alludes to the inner turmoil he struggles with from soldiers dying under his command. He is well supported by Sergeant Horvath (Tom Sizemore), who maintains discipline within the squad. But some cannot contain their doubts and even anger that eight lives should be risked to save one life. Though every man has a mother, you cannot help feel that Ryan (Matt Damon) must be saved out of decency. Ryan himself selflessly stays to defend his outnumbered "brothers" in spite of the disaster to befall his family. Finally, "Steamboat Willie" humanizes the Germans when pleading for his life. Befriended by Upham, he is released, yet returns to battle. His death shows that men who could otherwise be friends will kill each other in war.
Only a few historical inaccuracies detract from the brilliance of SPR. Often outnumbered, the Germans conquered most of Europe by 1942 through tactical skill in battle, something missing in their clumsy attack on Ramelle. And tanks had bulletproof glass over vision ports, so driver and radio operator could not be killed so easily. A role for the British was lacking; sadly a Hawker Typhoon could not be used to bomb the Tiger tank. Another historical inaccuracy people have noticed is the Church tower in Ramelle which, according to German tactics,would of have been destroyed as it would give an advantage to the enemy but I don't think it will detract from the film. In fact, a good knowledge of WW2 history is important in order to place this film in context. Overall, this tactical and human story within the carnage of WW2 is a must see for anyone who watches war movies. And don't miss the message in Captain Miller's last words: "James... earn this. Earn it."
The question this film poses is: Is it truly worth it to sacrifice the lives of many for one person???? This is the same question which Private Reiben asks to Hanks. The whole dialog go like this:
Pvt.Reiben: "You want to explain the math of this to me? I mean, where's the sense in risking the lives of the eight of us to save one guy?"
Capt.Miller: "Anyone wanna answer that?"
Medic Wade: "Hey, Reiben think about the poor bas***d's mother."
Pvt. Reiben: "Hey, Wade, I got a mother, you got a mother, the sarge has got a mother. S**t, I'll bet that even the Captain's got a mother........ Well, maybe not the Captain, but the rest of us have got mothers"
You have a great weekend!!!!!!!
The Green Mile
(1999)
Miles to go Before Hanks Sleep
28 February 2008
"When I stand before God awaiting judgment and he asks me why I let one of His greatest miracles die, what am I gonna say???? that it was my job?" The Green Mile is not a movie for those looking to fill a couple of hours in meaningless, mindless entertainment. The fireworks and special effects here are scene enhancing, and not the main attraction.
The movie is based on a novel by Stephen King (Who also wrote The Shawshank Redemption). While I have not read the novel by King, the movie introduces a fantastical element that ordinarily we wouldn't believe. I believe this film is not a study into miracles, although they occur. It is a study into the meaning of capital punishment and what it means to face death and life with complete knowledge. Choices must be made, sometimes, that stay with us for the rest of our lives. This film leads us through our own experiences and feelings on our own choices.
The film appears to begin at the end. Death row, the green mile, Old Smokey, cells filled with men who have been convicted of horrible crimes and are confined here waiting the unavoidable conclusion. It is quite clear that some are guilty and they inspire our feelings of justice. It is clear as well. However, that others may or may not be guilty and inspire in us only pity or sorrow or compassion. It is human, all of it. Sick, well, giant, mousey. Good and evil. If you let it, it will make you think and it may even change your life.
Tom Hanks shows once again why he is arguably the most celebrated actor of all times. Hanks tells his saga as an old man. Hanks plays Paul Edgecomb who is the chief guard in Louisiana State Prison's death row. Part of his job is to supervise the executions of the prisoners waiting to walk "the last mile", in this case called the "green mile" because of the lime green tiles that cover the floor of the prison. I hate people who give away too much of a movie in reviews so I never do that in my reviews and in this case I am tempted to tell you more but I feel those of you who haven't seen it I'll be spoiling it all for you....
I have been inspired by movies in my life, but this is the first movie that I have watched where when the credits rolled I had an immediate insight into my own spiritual existence. This movie will make viewers think about their attitudes, spiritual integrity, and overall meaning for existence.
Also be prepared for graphic death scenes, racial hate, moderate depictions of violence against children, slight foul language and no "everybody lives happily ever after" ending. Some do, some don't. That's life.
The movie is based on a novel by Stephen King (Who also wrote The Shawshank Redemption). While I have not read the novel by King, the movie introduces a fantastical element that ordinarily we wouldn't believe. I believe this film is not a study into miracles, although they occur. It is a study into the meaning of capital punishment and what it means to face death and life with complete knowledge. Choices must be made, sometimes, that stay with us for the rest of our lives. This film leads us through our own experiences and feelings on our own choices.
The film appears to begin at the end. Death row, the green mile, Old Smokey, cells filled with men who have been convicted of horrible crimes and are confined here waiting the unavoidable conclusion. It is quite clear that some are guilty and they inspire our feelings of justice. It is clear as well. However, that others may or may not be guilty and inspire in us only pity or sorrow or compassion. It is human, all of it. Sick, well, giant, mousey. Good and evil. If you let it, it will make you think and it may even change your life.
Tom Hanks shows once again why he is arguably the most celebrated actor of all times. Hanks tells his saga as an old man. Hanks plays Paul Edgecomb who is the chief guard in Louisiana State Prison's death row. Part of his job is to supervise the executions of the prisoners waiting to walk "the last mile", in this case called the "green mile" because of the lime green tiles that cover the floor of the prison. I hate people who give away too much of a movie in reviews so I never do that in my reviews and in this case I am tempted to tell you more but I feel those of you who haven't seen it I'll be spoiling it all for you....
I have been inspired by movies in my life, but this is the first movie that I have watched where when the credits rolled I had an immediate insight into my own spiritual existence. This movie will make viewers think about their attitudes, spiritual integrity, and overall meaning for existence.
Also be prepared for graphic death scenes, racial hate, moderate depictions of violence against children, slight foul language and no "everybody lives happily ever after" ending. Some do, some don't. That's life.
A Scanner Darkly
(2006)
Too good!!
15 February 2008
The plot involves Robert Arctor (Keanu Reeves) investigating a group of known drug addicts, to see which one of them is the most addicted to Substance D. Here's the hook, though Robert Arctor is, in fact, investigating himself for he has gone undercover into this drug addict group and become the "kingpin" addict himself. Very confusing, I know. Suffice it to say that it makes for a very interesting storyline, with plenty of twists and turns along the way.
Character development is negligible. Acting is first rate all around with Reeves trademark self-parodic dumb manner shining forth to fit his role perfectly. Woody Harrellson as Arctor's druggie friend is clever, witty, and funny. Winona Ryder as Arctor's incredibly drug-addicted girlfriend falls the slightest bit short, and we don't get to really see her shine until the end of the movie. On the whole the cast was perfectly chosen, and it fits the movie quite well.
A Scanner Darkly is, in one word: WEIRD!!!!!!! If you don't like weird movies, you will most likely hate A Scanner Darkly. Richard Linklater creates a perfect futuristic world that is easy to dip into. If we are confused by the plot (which you often will be), all you need to do is take a second glance at the environment Linklater has created, and you'll stop scaring. Weaknesses, such as the confusion, slightly sub-par acting from Keanu, and an at-times primitive plot line, do little to minimize this film's mesmerizing effect. Most everything about it works together to create one of the most creative and most original movies I've seen in a long time.
Now for the surprise. Yes the entire movie was done in vector animation!!And the result is amazing!! So is it an animation movie????....yeah kind of. The technique is called as Rotoscoping which is a process by which actors are filmed and then each individual frame is taken and layered over with animation. This is the technique by which Richard Linklater's A Scanner Darkly was brought to life. And what a weird and wonderful life it is. Scanner takes us and Keanu Reeves on mind-boggling trip down a different kind of rabbit hole, as we enter the life of Robert Arctor, an undercover cop who is addicted the most illegal substance on the planet - a drug known as Substance D.
Scanner's greatest strength is its visual style. Sounds kinda lame, right? Wrong. With this technique of animation, you never know what's going to come on screen next, or in what way. The characters are all human, yet you never now what this weird technique of film is gonna do to them next. Everything about the film is conducive to put us directly into the mind of a druggie, in a way. We are seeing the world in weird, wild, and funky ways, ways that work perfectly to warp and wrap themselves in a dozen different confusing ways in and around our brain.
Like most mind-twisters, the movie itself is organised chaos, but the movie will become clear towards the end. In conclusion: a different movie, confusing, strange, all-in-all it breaks the habit of simple movies, worth the watch.
Have a great weekend!!!!!!!!!!!!!
Character development is negligible. Acting is first rate all around with Reeves trademark self-parodic dumb manner shining forth to fit his role perfectly. Woody Harrellson as Arctor's druggie friend is clever, witty, and funny. Winona Ryder as Arctor's incredibly drug-addicted girlfriend falls the slightest bit short, and we don't get to really see her shine until the end of the movie. On the whole the cast was perfectly chosen, and it fits the movie quite well.
A Scanner Darkly is, in one word: WEIRD!!!!!!! If you don't like weird movies, you will most likely hate A Scanner Darkly. Richard Linklater creates a perfect futuristic world that is easy to dip into. If we are confused by the plot (which you often will be), all you need to do is take a second glance at the environment Linklater has created, and you'll stop scaring. Weaknesses, such as the confusion, slightly sub-par acting from Keanu, and an at-times primitive plot line, do little to minimize this film's mesmerizing effect. Most everything about it works together to create one of the most creative and most original movies I've seen in a long time.
Now for the surprise. Yes the entire movie was done in vector animation!!And the result is amazing!! So is it an animation movie????....yeah kind of. The technique is called as Rotoscoping which is a process by which actors are filmed and then each individual frame is taken and layered over with animation. This is the technique by which Richard Linklater's A Scanner Darkly was brought to life. And what a weird and wonderful life it is. Scanner takes us and Keanu Reeves on mind-boggling trip down a different kind of rabbit hole, as we enter the life of Robert Arctor, an undercover cop who is addicted the most illegal substance on the planet - a drug known as Substance D.
Scanner's greatest strength is its visual style. Sounds kinda lame, right? Wrong. With this technique of animation, you never know what's going to come on screen next, or in what way. The characters are all human, yet you never now what this weird technique of film is gonna do to them next. Everything about the film is conducive to put us directly into the mind of a druggie, in a way. We are seeing the world in weird, wild, and funky ways, ways that work perfectly to warp and wrap themselves in a dozen different confusing ways in and around our brain.
Like most mind-twisters, the movie itself is organised chaos, but the movie will become clear towards the end. In conclusion: a different movie, confusing, strange, all-in-all it breaks the habit of simple movies, worth the watch.
Have a great weekend!!!!!!!!!!!!!
Chinatown
(1974)
Enter the Chinatown!!!!!!!!!!
15 February 2008
This is Roman Polanski at his best. I had seen Roman Polanski's The Pianist before I watched Chinatown. I won't bother attempting to summarize this masterpiece. It would be an exercise in futility and would only detract from the genius of the film. Suffice it to say, the plot is complicated and watching this intricate and deadly web unfold is a source of joy that bears many repeated viewings.
This is the film credited with creating the mythic figure that we know as Jack Nicholson. His portrayal of a private detective caught in a conspiracy much greater than he can handle is the maypole that the other characters, both naughty and nice, skip around. His charm and his vulnerability keep the viewer interested in the increasingly complex course of events.
And the other characters, while not as prominent, are searingly memorable. John Huston's turn as a man wealthy enough to have a different set of laws apply is frighteningly understated with his power. Faye Dunaway manically switches from serenely confident to skittishly fragile as each layer of protective secrets is peeled away.
You need to watch CHinatown many times. Many subtle plot points won't be caught on a single viewing. Also the hypnotic pace that is maintained is all the more powerful when you already know what is going to happen. After repeated viewings the ending in particular seems painfully inevitable and as a result all the more tragic. The cynicism of the climax is not terribly surprising when you come to know that Polanski's wife was brutally murdered by some gang several years earlier.
Not long after the success of Chinatown, Roman Polanski fled to Europe avoiding a conviction for consensual sex with a thirteen year old girl. Chinatown is likely to remain the pinnacle of his work and a watershed in American cinema.
This is the film credited with creating the mythic figure that we know as Jack Nicholson. His portrayal of a private detective caught in a conspiracy much greater than he can handle is the maypole that the other characters, both naughty and nice, skip around. His charm and his vulnerability keep the viewer interested in the increasingly complex course of events.
And the other characters, while not as prominent, are searingly memorable. John Huston's turn as a man wealthy enough to have a different set of laws apply is frighteningly understated with his power. Faye Dunaway manically switches from serenely confident to skittishly fragile as each layer of protective secrets is peeled away.
You need to watch CHinatown many times. Many subtle plot points won't be caught on a single viewing. Also the hypnotic pace that is maintained is all the more powerful when you already know what is going to happen. After repeated viewings the ending in particular seems painfully inevitable and as a result all the more tragic. The cynicism of the climax is not terribly surprising when you come to know that Polanski's wife was brutally murdered by some gang several years earlier.
Not long after the success of Chinatown, Roman Polanski fled to Europe avoiding a conviction for consensual sex with a thirteen year old girl. Chinatown is likely to remain the pinnacle of his work and a watershed in American cinema.
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