Directed by Abel Ferrara and written by Nicholas St. John, King of New York is the story of a drug lord who has returned from prison to wipe out all of his competitors and become a modern-day Robin Hood of sorts much to the dismay of his competitors and the NYPD. The film is about a man who saw what his empire has become as he decides to make some changes but also take in some new extremes to get rid of his competitors. Starring Christopher Walken, Laurence Fishburne, David Caruso, Wesley Snipes, Victor Argo, Steve Buscemi, and Giancarlo Esposito. King of New York is an evocative and intense film from Abel Ferrara.
The film revolves around a drug lord who has just been released from prison to find that the drug trade and its culture has gotten ugly forcing him to get rid of other dealers and use the money he makes from selling drugs to help the poor in New York City. It’s a simple scenario that definitely recalls the idea of Robin Hood yet the character of Frank White (Christopher Walken) is not really a Robin Hood character. He kills people and he does what he can to ensure that New York City can prosper and give hope to people in the ghettos and other poor areas so they can live good and decent lives. Nicholas St. John’s screenplay opens with White in his prison cell walking out as he is ready to be released while a couple of dealers are being killed with one of them from White’s henchman Jimmy Jump (Laurence Fishburne) doing the job as he hadn’t seen White in years. Though White doesn’t reveal his intentions as it relates to crime lords and such, he does see what New York City has become and realizes that so much can be done without trying to destroy things and act as a businessman by making money off of drugs to fund things such as children’s hospitals and to help the poor.
By getting rid of his competitors including those who have done more harm than good to those in their home turf, White does believe he is trying to do good though some of his actions through murder and intimidation says otherwise. Most notably the NYPD who still hold a grudge towards White as they see him as a criminal as they try to go after his associates. Yet, it is two of the cops in Dennis Gilley (David Caruso) and Thomas Flanigan (Wesley Snipes) who believe that they should take the law into their own hands much to the dismay of Roy Bishop (Victor Argo) who thinks they’re getting themselves into some serious trouble.
Abel Ferrara’s direction is stylish in some of the compositions he creates yet he also would use New York City and its various locations as characters in the film including the Plaza Hotel where White and his gang would stay. While there are some unique wide and medium shots to get a scope of the locations including some key suspenseful moments late in the film, much of Ferrara’s direction emphasizes more on characters and their settings. Even in the usage of medium shots and close-ups with some shots that involve multiple characters as it play into a world that is unruly and in total despair. Ferrara’s direction for the dramatic moments are simple as it include some long gazing shots of White looking at his city and hoping to make some changes along with a visit to a children’s hospital that is in dire need of repairs where he hopes to help that place and ensure that those kids will be fine. It’s among these small moments in the film that showcase White’s intentions despite his methods where he does kill off some rivals and such in very violent means.
The violence is intense as well as some confrontational scenes where a notable one where a few thugs try to rob White and end up working for him as they would prove their loyalty to him. While what White and his crew do other gang members were violent, it is nothing compared to what Gilley and Flanigan would do to try and stop him as they would prove to be even worse than what White did. Even in the film’s third act where the two cops would show how extreme they can be yet it would come at a great price where Ferrara shows the fallacy of not just White’s intentions but also the police and their inability to see the world and what it was becoming. Even as it play into White seeing that the idea of change is much harder to do when those in power try to be involved and not get any reward. Overall, Ferrara crafts an intoxicating yet intense film about a drug lord who uses his power to try and help the unfortunate in New York City.
Cinematographer Bojan Bazelli does brilliant work with the film’s cinematography with its usage of dreamy and low-key lights for many of the exterior scenes at night as well as a low-key yet sunny look for some of the daytime exterior scenes. Editor Anthony Redman does excellent work with the editing as it has some stylish rhythmic cuts to play into the action and some of the dark humor while much of it is straightforward. Production designer Alex Tavoularis, with set decorator Sonja Roth and art director Stephanie Ziemer, does fantastic work with the look of some of the interiors in the places including a few interiors in some of the places in the city.
Costume designer Carol Ramsey does terrific work with the costumes from the stylish black suit that White wears along with the street clothes that Jump wears. Sound editor Greg Sheldon does superb work with the sound in the way gunfire is presented as well as the sound of a few parties and other places in the city. The film’s music by Joe Delia is wonderful for its somber ambient-based synthesizer score that play into some of the film’s melancholic moments while the music soundtrack mainly features hip-hop tracks featuring cuts from Schooly-D and Party Posse as well as a jazz cut from Freddy Jackson.
The casting by Randy Sabusawa is terrific as it feature some notable small roles from Harold Perrineau as a young thug who robs White only to end up working for him, Frank Gio as the Italian crime boss Arty Clay, Ernest Abuba as a dealer named King Tito, Gerard Murphy as a young cop named Mulligan, Alonna Shaw as Mulligan’s bride, Ariane and Pete Hamill as themselves who are dinner guests at a restaurant where White visits them, Joey Chin as a triad leader in Larry Wong, Carrie Nygren as a lover of White in Melanie, Roger Guenveur Smith as a local politician, Theresa Randle as one of White’s female companions/henchwomen in Raye, Steve Buscemi as a drug tester in Test Tube, Freddy Jackson as himself performing for a benefit dinner, Giancarlo Esposito as a henchman in Lance, Janet Julian as White’s attorney/former lover in Jennifer, and Paul Calderon as a handler of White in Joey Dalesio who serves as a mediator between White and other dealers only to later put White into trouble.
Wesley Snipes and David Caruso are fantastic in their respective roles as the detectives Thomas Flanigan and Dennis Gilley as two young detectives who decide to take the law into their own hands with Flanigan having issues with White’s henchman Jump and Gilley taking the lead believing that White is disrespecting the law. Victor Argo is brilliant as Roy Bishop as a detective who is a more by-the-book figure that wants to bring White down the right way while trying to understand what White is trying to do as he would eventually face him in a way that he feels is ideal to him. Laurence Fishburne is excellent as White’s henchman Jimmy Jump as a man who does a lot of the killing but is also someone who understands what White is trying to do where he also wants to help out other people where Fishburne displays a lot of charm and energy into his performance. Finally, there’s Christopher Walken in a magnificent performance as Frank White as a drug lord who has been released from prison as he sees what his city has become as it’s a performance that has elements of charisma but also in some restraint as he tries to change the city and do good as it’s one of Walken’s great performances.
King of New York is a phenomenal film from Abel Ferrara that features a tremendous performance from Christopher Walken. Along with its ensemble cast, eerie visuals, study of law and order, and an exhilarating music soundtrack. It’s a film that doesn’t play into the many tropes expected in a crime drama as it’s more of a study of a man trying to use his knowledge of the criminal underworld and to create change in the hope that he can help the unfortunate in New York City. In the end, King of New York is a spectacular film from Abel Ferrara.
Abel Ferrara Films: (9 Lives of a Wet Pussy) – (The Driller Killer) – (Ms. 45) – (Fear City) – (The Gladiator (1986 TV film)) – (China Girl) – (The Loner) – (Cat Chaser) – (Bad Lieutenant) – (Body Snatchers (1993 film)) – (Dangerous Game) – (The Addiction (1995 film)) – (The Funeral (1996 film)) – (The Blackout (1997 film)) – (New Rose Hotel) – (‘R Xmas) – (Mary (2005 film)) – (Go Go Tales) – (Chelsea on the Rocks) – (Napoli, Napoli, Napoli) – (4:44 Last Day on Earth) – (Welcome to New York) – (Pasolini) – (Tomasso)
© thevoid99 2019
Directed by Dexter Fletcher and screenplay by Sean Macaulay and Simon Kelton from a story by Kelton, Eddie the Eagle is the real-life story of British Olympian Eddie Edwards who aspires to make it as an Olympian by being the first British to represent in the ski jump despite many obstacles including his lack of athletic gifts. The film is a simple story that plays into Edwards’ determination despite looking like a geek and teaming up with a former ski jump champion who sees his determination as Edwards is played by Taron Egerton. Also starring Hugh Jackman, Mark Benton, Keith Allen, Jo Hartley, Jim Broadbent, and Christopher Walken. Eddie the Eagle is a delightful yet winning film from Dexter Fletcher.
Set largely in late 1980s Britain, the film is the real life story of Eddie Edwards who is this young man that doesn’t look like an Olympian nor is someone that has the skills to be one yet somehow manages to become a hero for his home country. It’s a film that is typical of the underdog story yet it involves someone who dreamed about being an Olympian since he was a kid yet for all of his failures, bruises, broken bones, and such. Eddie Edwards for some reason just wouldn’t quit no matter how hard the obstacles are or the sense of indifference he endures from the British Olympic committee who sees him as a joke. The film’s script doesn’t just explore Edwards’ sense of determination but also in how he would try to find the sport that would give him the chance to be in the Olympics. Even as he’s given the chance to go to Germany to train without any sufficient funds where former U.S. ski champion Bronson Peary (Hugh Jackman) would watch and later train him by showing him the basics.
The script also explores the relationship between Edwards and Peary as the latter is someone that was seen as a gifted athlete who has become a washed-up alcoholic as he realizes that there’s something about Edwards that fascinates him. Even as Peary is a man that is still haunted by his own failures and the coach he had let down as he sees Edwards as a chance of redemption. By the time the film reaches the third act where Edwards goes to Calgary for the 1988 Winter Olympics despite the fact that he had to pay for his own trip and is being treated as a joke by officials and other athletes. He would some how manage to win the heart of the people who are baffled by his sense of heart and determination.
Dexter Fletcher’s direction is quite simple in terms of the compositions and the sense of excitement that looms throughout the film. Though he doesn’t really go for anything new while finding a nice balance of humor, drama, and exuberance. Fletcher does manage to find ways to keep the story engaging while not being afraid to by-the-books in terms of what is expected in the underdog scenario as it includes some unique training montages but also emphasize what makes ski jumping so unique in its simplicity. Shot in both Britain and in locations in Germany for the ski jump scenes including the film’s climax set in Calgary, Fletcher manages to create a world where things were simpler but also changing as it relates to Edwards where the Olympic officials see him as someone that they believe has no chance to represent Britain properly. Yet, Fletcher realizes that it’s not about someone winning a medal but rather someone who can make it to the Olympics whether he wins a medal or not but do it in a way that proves that anyone could do if they have heart, the determination, and some sheer balls. Overall, Fletcher crafts a very exhilarating film about a young man who determines to become an Olympian and prove that it could be done.
Cinematographer George Richmond does excellent work with the cinematography from the more low-key look of scenes set in Britain to the usage of lights for some of the scenes set at night during the mountains and ski training fields. Editor Martin Walsh does nice work with the editing as it is quite conventional with its montages and intense sports moments with the usage of slow-motion and some jump-cuts. Production designer Mike Gunn, with set decorator Naomi Moore and art directors Tim Blake and Astrid Poeschke, does amazing work with the look of Edwards‘ family home and the van that is owned by his father to the training facility in Germany as well as the look of the Olympic villages. Hair/makeup designer Nadia Stacey does terrific work with the look of Edwards from his terrible haircut as well as his imperfect teeth to create the look of someone who doesn‘t look like an Olympian.
Visual effects supervisor Matt Kasmir do brilliant work with some of the visual effects for scenes that is essentially set-dressing to recreate the look of 1988 Calgary for the film‘s climax. Sound editor Danny Sheehan does superb work with the sound in the way a jump sounds as well as the sounds of the crowd for the scenes at the Olympics. The film’s music by Matthew Margeson is wonderful for its mixture of low-key orchestral textures for the dramatic moments along with the usage of 80s-inspired synth-pop music to play into the feel of the 80s. The film’s soundtrack that is supervised by Gary Barlow of Take That provides a lot of music from the 80s from Frankie Goes to Hollywood, Thin Lizzy, Hall & Oates, and Van Halen along with new music from Frankie Goes to Hollywood vocalist Holly Johnson, Marc Almond of Soft Cell, Tony Hadley of Spandau Ballet, Howard Jones, and Orchestral Manoeuvres in the Dark.
The casting by Reg Poerscout-Edgerton is phenomenal as it features from notable small roles from Tom Costello Jr. & Jack Costello as young versions of Edwards, Iris Berben as the German training camp bar mistress Petra, Rune Temte as the Norwegian coach, Mads Sjogard Pettersen and Marc Benjamin as couple of Norwegian ski jumpers, and Edvin Endre as the famed Finnish ski-jumping champion Matti “The Flyin’ Finn” Nykanen. Mark Benton and Tim McInnerny are terrific as the British Olympic officials with the former being someone skeptical of Edwards’ skills while the latter is a more old-school figure who believes Edwards is a total embarrassment. Jim Broadbent is fantastic in a small but fun role as the BBC commentator who becomes one of Edwards’ supporters. Christopher Walken is superb in his brief role as Peary’s old coach in Warren Sharpe whom Edwards would read about as well as learn the ideas of ski jumping where Peary would find the book and try to make amends with his old mentor.
Keith Allen and Jo Hartley are amazing as Edwards’ parents with the former as a stern father who is aghast at his son’s determination believing he’s become reckless while the latter is someone who believes in her son’s work while being the only person that is willing to give him the money to travel and train. Hugh Jackman is brilliant as Bronson Peary as a former ski jump champion who has become a washed-up snow groomer who takes a liking to Edwards as he decides to help him through some unconventional training as well as simplify things that can make Edwards a good ski jumper. Finally, there’s Taron Egerton in a remarkable role as Eddie “The Eagle” Edwards as this gangly, nerdy young man who is the opposite of what an Olympian looks yet has a sense of heart and determination that is so engaging while Egerton displays a physicality that adds a lot more to the character without the need to ham it up as it’s a really a performance deserving of someone to root for.
Eddie the Eagle is a wonderful film from Dexter Fletcher. While it is a very conventional film that does play into the underdog film formula. It is a film that manages to hit the right notes as well as display fantastic performances from Hugh Jackman and Taron Egerton as well as a fun soundtrack. In the end, Eddie the Eagle is a stellar film from Dexter Fletcher.
© thevoid99 2016
Based on the book by Frank Abagnale and Stan Redding, Catch Me If You Can is the story about a young Abagnale who manages to concoct several successful cons before the age of 19 as he’s often in pursuit by a FBI agent. Directed by Steven Spielberg and screenplay by Jeff Nathanson, the film is a quirky comedy of sorts where a young man forges checks to create elaborate cons as he deals with being pursued by a FBI agent who refuses to give up as Leonardo diCaprio plays Frank Abagnale and Tom Hanks in the role of FBI agent Carl Hanratty. Also starring Nathalie Baye, Martin Sheen, Amy Adams, Jennifer Garner, James Brolin, and Christopher Walken. Catch Me If You Can is a witty yet adventurous film from Steven Spielberg.
The film revolves around the life of a young man who decides to forge checks in order to con banks out of their money as his actions get the attention of a FBI agent who would chase him for several years. It’s a film that plays into two men involved in this cat-and-mouse game where there is a bit of mutual respect between the two even though Frank Abagnale is a criminal and Carl Hanratty is a FBI agent. Though Hanratty’s motivations is to capture Abagnale and retrieve all of the money that was stolen, it is Abagnale’s motivation that is clearly far more interesting. Especially as he is doing these schemes on banks as an act of revenge when his father Frank Sr. (Christopher Walken) was turned down by banks for a loan due to various things involving the IRS. By pretending to be a Pan Am pilot, a doctor, and a lawyer, Abagnale does whatever it takes to survive but things eventually get out of control which forces Abagnale to get more desperate in order to evade the FBI.
Jeff Nathanson’s screenplay does have a unique narrative as it’s told in a reflective style where Abagnale is returning to the U.S. from France as he’s accompanied by Hanratty. While the film does have a traditional structure, it is more about Abagnale’s motivations as he once lived a good life with his parents until money issues and his French mother Paula (Nathalie Baye) having an affair with a friend of his father in Jack Barnes (James Brolin) which lead to the end of the life that Abagnale had. The divorce of his parents would lead Abagnale to run away and use his mastery to con people would provide him as a means of survival where he would live well and woo women. All of this gets the attention of authorities where Carl Hanratty would be the one chasing him throughout the years as it’s all set during the 1960s while the scenes of Abagnale and Hanratty coming home to the U.S. is set in the 1970s.
While the presentation of the story is comical as the chases does have Hanratty in a series of humiliating moments. It is still a drama at heart where there’s these conversations from a pay phone that Abagnale would have with Hanratty on Christmas Day where it is about these two men getting to know each other as an act of respect between two opponents. Even as Abagnale would have thoughts of giving up his criminal schemes where an encounter with a young pregnant nurse named Brenda (Amy Adams) would raise those thoughts. While it’s third act plays more into what Abagnale would endure as a captured criminal and what he would have to do to avoid spending more time in prison where the roles of Abagnale and Hanratty would sort of change in terms of who gets humiliated. Still, it is about a sense of one-upmanship as well as how Abagnale would use his skills into this new life and find some fulfillment in his life.
Steven Spielberg’s direction is very stylish as it plays up this vibrant world of the 1960s as well as creating something that feels upbeat and lively. Especially in the way he definitely mimics films of those time while creating something that feels intimate with the compositions he creates. Some that intimacy with its use of close-ups and medium shots play into the life that the young Abagnale had with his family including the scenes between Abagnale and his father which expresses Abagnale’s desire and loyalty to his father. It’s among these smaller moments that Spielberg creates that is quite magical while having airs of sentimentality since it showcases Abagnale’s willingness to make his father proud. The direction also has Spielberg use some unique compositions to play into the phone conversations between Abagnale and Hanratty where Spielberg uses a few wide shots to play into the loneliness that looms in Hanratty as he is never seen not working.
The scenes where Spielberg plays into the chase scenes have these intricate steadicam shots play into the frenzy of Hanratty’s desperation to capture Abagnale. Even as Spielberg infuses some style with some tracking shots as well as scenes that play into some of the chases along with an extravagant scene where Abagnale hires women to pretend to be stewardesses. There is a sense of extravagance in these moments but it plays to how elaborate Abagnale’s schemes are as things do slow down in the third act. Yet, Spielberg does manage infuse some style in his compositions as well as in creating the conflicts in Abagnale in what he has to do in the third act. Overall, Spielberg creates a very compelling yet whimsical film about a cat-and-mouse game between a FBI agent and a young con artist.
Cinematographer Janusz Kaminski does brilliant work with the film‘s photography with its array of stylish approach to interior lightings for the scenes set in the bars and restaurants as well as some of its nighttime exteriors in the U.S. and parts of France. Editor Michael Kahn does fantastic work with the editing with its rhythmic approach to humor that includes the chase scenes along with some straightforward cuts to play into the drama. Production designer Jeannine Oppewall, with art director Sarah Knowles and set decorators Claudette Didul and Leslie A. Pope, does amazing work with the set design from the look of the hotel rooms and places that Abagnale stayed in to the FBI office building where Hanratty is at in his job.
Costume designer Mary Zophres does excellent work with the design of the Pan Am pilot uniforms and stewardess costumes as well as some of the clothes Abagnale wears to play into the sunny world of the 1960s. Visual effects supervisors Nathan McGuinness and Patrice Mugnier do nice work with some of the minimal visual effects which plays more as set-dressing in some sequences in the film. Sound editors Charles L. Campbell and John A. Larsen do terrific work with the sound to play into some of the machines that Abagnale would use later in his cons as well as the planes and location scenes to play into the world that the characters are in. The film’s music by John Williams is incredible as it is this nice mix of jazz textures and lush orchestral music to play into the humor and drama as the soundtrack features music from Frank Sinatra, Judy Garland, Nat King Cole, Dusty Springfield, and the trio of Antonio Carlos Jobim, Stan Getz, and Joao Gilberto.
The casting by Debra Zane is phenomenal as it features some notable small roles from Elizabeth Banks and Ellen Pompeo as women that Abagnale would woo in his adventures, Brian Howe, Chris Ellis, and Frank John Hughes as a trio of FBI agents who work with Hanratty as they’re often seen as bumbling fools, the real Frank Abagnale as a French policeman who would arrest Abagnale in France, Jennifer Garner as a call girl Abagnale would woo during one of his schemes, and Nancy Lenehan as Brenda’s mother who definitely takes a liking to Frank as she is excited that Brenda found a good man. James Brolin is terrific as Jack Barnes as a man who was a friend of Abagnale’s father who would betray him by sleeping with Abagnale’s mother and later marry her. Martin Sheen is excellent as Brenda’s father Roger Strong who is a bit suspicious of Abagnale yet takes him under his wing when Abagnale thinks about becoming a lawyer.
Amy Adams is fantastic as Brenda Strong as this young nurse who falls for Frank as she comes to him thinking he’s a doctor about having an abortion as the two fall in love where Adams exudes a sense of innocence to her role. Nathalie Baye is superb as Abagnale’s French mother who met Abagnale’s father when she was 18 and would marry him as she is really an interesting character as a woman that wanted a different life as she has no clue into how bad she hurt her son. Christopher Walken is brilliant as Frank Abagnale Sr. as the man that the young Frank idolizes as Walken has this sense of charm and warmth into his role as a man who wants to do what is best for his family while he would learn exactly what his son has been doing.
Tom Hanks is amazing as Carl Hanratty as the FBI agent who would be chasing Abagnale for several years as he tries to figure out how he does his schemes and such where there’s a bit of admiration in the character as well as some humor as Hanks manages to create a character that is fun to watch despite some shaky moments in his New English accent. Finally, there’s Leonardo diCaprio in a remarkable performance as Frank Abagnale as this young man who would start his cons at the age of 16 in an act of rebellion against the banks that cheated his father as diCaprio brings a lot of charm and wit to his role as well an energy and anguish into someone that wants to make his father proud as it’s one of diCaprio’s finest performances.
Catch Me If You Can is a sensational and fun film from Steven Spielberg. Armed with a great cast led by Leonardo diCaprio and Tom Hanks as well as very exciting premise that is told with such style. The film is definitely one of Spielberg’s most entertaining films as well as one of his funniest. In the end, Catch Me If You Can is a marvelous film from Steven Spielberg.
Steven Spielberg Films: (Duel (1971 film)) - (The Sugarland Express) - (Jaws) - (Close Encounters of the Third Kind) - (1941) - (Raiders of the Lost Ark) - (E.T. the Extraterrestrial) - (Twilight Zone: the Movie-Kick the Can) - (Indiana Jones and the Temple of Doom) - (The Color Purple) - (Empire of the Sun) - (Always) - (Indiana Jones and the Last Crusade) - (Hook) - (Jurassic Park) - Schindler’s List - (The Lost World: Jurassic Park) - (Amistad) - Saving Private Ryan - (A.I. Artificial Intelligence) - (Minority Report) - (The Terminal) - (War of the Worlds (2005 film)) - (Munich) - (Indiana Jones and the Kingdom of the Crystal Skull) - (The Adventures of Tintin: The Secret of the Unicorn) - (War Horse) - (Lincoln) - (Bridge of Spies) - (The BFG)
© thevoid99 2014
Written and directed by Julian Schnabel from various stories by Michael Thomas Holman, Lech J. Majewski and John F. Bowe, Basquiat is the story on the life of the famed post-modernist painter Jean-Michel Basquiat who rose to fame in the 1980s with his take on painting and art. The film is an exploration into Basquiat’s desire to make art as well as growing disdain towards the middle class as he is played by Jeffrey Wright. Also starring Dennis Hopper, Claire Forlani, Gary Oldman, Benicio del Toro, Michael Wincott, Parker Posey, and David Bowie as Andy Warhol. Basquiat is a mesmerizing yet exhilarating film from Julian Schnabel.
The film is a bio-pic of sorts about the famed street artist Jean-Michel Basquiat who came from the world of graffiti art in the late 1970s to become one of the most revered post-modernist painters of the 1980s New York City art scene until his death at the age of 27 of a drug overdose in 1988. Yet, what writer/director Julian Schnabel does is create a film where a young man rises up from the streets to the get attention of many only to struggle with fame as well as the need to rise above many including the middle class who saw him as a sellout. It’s a film that does play into that rise and fall scenario but it’s more about the idea of being an artist and having to struggle with all of the temptations of fame.
Even as there are those who are exploiting him while there are others who are just drawn to him like Andy Warhol who becomes a mentor of sorts for Basquiat. While the script does use that scenario, it is also a character study of sorts in how Basquiat does things as an artist as an act of rebellion only to lose himself in a world of commerce and admiration. It all plays into this high-octane world of art as everyone wants a piece of him yet there are those like the esteemed art critic Rene Ricard (Michael Wincott) who felt betrayed by Basquiat as well as old friends of him who aren’t interested in that high-class world of New York City art.
Schnabel’s direction is quite simple in terms of compositions but it has elements of style in the way it plays into the world of New York City art with its galleries and presentation which is exciting at times but also has this air of elitism. There are elements of styles that includes footage of a surfer on a wave that Basquiat often sees in the sky as it plays into Ricard’s article as he talks about Van Gogh and how a new generation of art enthusiasts must not have another one since Van Gogh in his lifetime only sold one painting. Yet, what would happen if Van Gogh was discovered in his prime and would gain fame as these are some of the questions that Schnabel asks. Even as he uses art to help tell the story where it would emphasize many of Basquiat’s struggles with it as he isn’t just seen as a major African-American who breaks into the art world but someone who is redefining the idea of what art is.
While the film doesn’t feature any actual art of Basquiat due to rights issues, Schnabel and artist Greg Bogin do create paintings and such that play into the style that Basquiat would define. Since the film is shot on location in New York City, it does play as a character in the film where it has this mixture of high-society and high culture where everyone who is anyone can participate but there’s also an element of street culture that Basquiat is from. It adds to the dramatic conflict that is prevalent in the film as it’s third act plays into Basquiat’s own descent as he tries to find answers through many including Warhol who is convinced that Basquiat is a much better artist. Yet, it’s not enough to help the young artist who would cope with drug addiction as Schnabel brings in elements of surrealism as well as a story that plays into everything that Basquiat would endure as a famous artist. Overall, Schnabel creates a very stylish yet captivating film about the young life of Jean-Michel Basquiat.
Cinematographer Ron Fortunato does excellent work with the film‘s very naturalistic photography for the exterior scenes in New York as well as some unique lighting for some interior scenes as well as scenes set at night. Editor Michael Berenbaum does brilliant work with the editing with its stylish usages of dissolves and jump-cuts to play into Basquiat‘s unconventional approach towards art. Production designer Dan Leigh, set decorator Susan Bode and art director C.J. Simpson, do superb work with the look of the apartments and studios that Basquiat would live and work at as well as the galleries where his art is often in display.
Costume John A. Dunn does nice work with the costumes from the posh clothes of some of the people in the world of art to the dresses that some of the women wear. Sound editor Ira Spiegel does terrific work with the sound as it‘s mostly low-key to play into the sense of silence in how some create paintings as well as scenes where Basquiat tries to play music with his band. The film’s music by John Cale and Julian Schnabel is wonderful as it‘s very low-key with its emphasis on piano and guitar-based music while music supervisor Susan Jacobs creates a dazzling soundtrack that features music by the Rolling Stones, Public Image Ltd., David Bowie, Tom Waits, the Pogues, Bill Laswell, Them, Iggy Pop, Charlie Parker, Miles Davis, Grandmaster Flash & the Furious Five, and many others.
The casting by Sheila Jaffe and Georgianna Walken is fantastic as it features some notable appearances from Vincent Gallo as an artist, Sam Rockwell as a street thug, Michael Badalucco as a deli counterman, Willem Dafoe as an electrician early in the film, Courtney Love as a woman Basquiat would have a tryst with, Tatum O’Neal as a rich woman looking to buy one of Basquiat’s paintings, and Christopher Walken as a journalist who interviews Basquiat as he tries to understand the meaning of his work. Elina Lowensohn is terrific as the art enthusiast Annina Nosei who wants to expose Basquiat to the art world while Parker Posey is wonderful as the art gallery director who would help expose Basquiat to the public. Dennis Hopper is excellent as the art dealer Bruno Bischofberger who would become the agent that would make Basquiat rich as he is also friend of Andy Warhol. Benicio del Toro is amazing as Basquiat’s friend Benny who is part of Basquiat’s circle early on as he tries to cope with his friend’s success and how it’s changed him.
Gary Oldman is superb as the artist Milo who is a friend of Basquiat as he tries to help him cope with fame. Claire Forlani is brilliant as Gina as Basquiat’s girlfriend from the early 80s who also desires to be an artist as she also tries to cope with his sudden fame and changing attitude. Michael Wincott is incredible as Rene Ricard as the famed art critic/poet who discovers Basquiat as he presents him to the world only to feel betrayed. David Bowie is phenomenal as Andy Warhol as Bowie manages to convey many of the quirks and voice mannerisms of the famed pop artist as it is definitely Warhol coming back to life. Finally, there’s Jeffrey Wright in a remarkable performance as Jean-Michel Basquiat as this brilliant artist who would change the landscape of art as he copes with fame and later being admired as Wright bring a charisma and energy to the character.
Basquiat is a tremendously rich film from Julian Schnabel that features a marvelous performance from Jeffrey Wright as the late street artist. Featuring a brilliant soundtrack, compelling ideas on art and commerce, and a supporting cast that includes David Bowie as Andy Warhol. It’s a film that explores the life of one of the finest artists of the 20th Century and the dichotomy he would fact that became the source of his work as an artist. In the end, Basquiat is a majestic and evocative film from Julian Schnabel.
Julian Schnabel Films: Before Night Falls - The Diving Bell and the Butterfly - Berlin: Live at St. Ann’s Warehouse - Miral - At Eternity's Gate - The Auteurs #43: Julian Schnabel
© thevoid99 2014
Written and directed by Michael Cimino, Heaven’s Gate is the story of a Harvard-educated marshal who finds himself in the middle of a conflict between rich and established cattle barons who wage war on a group of poor, European-based immigrants over claims of stealing cattle. A fictional account of the Johnson County War of 1892, the film is scathing look into the world of American Imperialism and the myth of the American dream as a man finds himself battling a friend as they’re both in love with a prostitute who is among the many that cattle barons want killed. Starring Kris Kristofferson, Christopher Walken, Isabelle Huppert, Sam Waterston, John Hurt, Jeff Bridges, Brad Dourif, and Joseph Cotten. Heaven’s Gate is a visually-stunning and enthralling film from Michael Cimino.
Based on the real-life events of the Johnson County War in 1892, the film explores a piece of American history where a group of established cattle barons battled against small settling ranchers where these more established men hired killers with the backing of the American government. Yet, the film is a re-interpretation about these events as the cattle barons are portrayed as rich men who want to kill these poor European immigrants for stealing their cattle as they think of them as thieves and anarchists. On the other side is a group of European immigrants who only steal because they’re hungry as they just want to live in America and live the American dream. In the middle of this is the marshal of Johnson County in James Averill (Kris Kristofferson) who wants to smooth out the conflict before it gets more troubling yet he is a man full of complications and contradictions. Especially as he’s in a love-triangle with a bordello madam in Ella Watson (Isabelle Huppert) who is in love with an enforcer in Nate Champion (Christopher Walken) who is a friend of Averill.
The film’s screenplay is quite vast as it starts in 1870 where Averill graduates from Harvard with his friend William Irvine (John Hurt) and ends with an epilogue set in 1903 in Newport, Rhode Island. Yet, much of the story is set in 1890 Wyoming where Averill tries to use his wealth and education to help the people of Johnson County that is full of European immigrants that is this mix of German, Russian, Slavic, Dutch, and other ethnicities who are just trying to live good lives. Averill is inspired by the ideas that is instilled upon him from his Harvard graduation when its speaker the Reverend Doctor (Joseph Cotten) urges the graduates to use their knowledge to help those in need. That moment is mocked by Irvine who later finds himself as a man lost in his role as he becomes a rambling, poetic drunk who has no clue on what to do as he would regret those actions. Irvine is part of this faction known as the Stock Growers Association led by Frank Canton (Sam Waterston) who is a rich cattle baron that has a lot of government connections while being very arrogant about what he does.
It is all part of something that is very complex as well as containing lots of ambiguities as Champion is an enforcer of the Association as he just enforces the law where he does kill an immigrant and later threatening another from stealing as he is just a lawman. He’s also in love with Ella who doesn’t mind being paid either in cash or cattle for prostitution as she is this woman who is in love with both Champion and Averill. Averill wants to take her out of the world of prostitution and protect her from what is coming once he learns about what is going to happen. Yet, she prefers a life that is simpler which is something Champion is offering as he would later question what Canton and the Stock Growers Association is doing. Especially when Ella’s name is in a death list that features many immigrants where Averill tries to figure out what to do as he becomes troubled by his own personal issues and the longing for a life that isn’t complicated. It’s part of that sense of conflict he’s in because of Ella where he would eventually take part in this brutal battle between the Stock Growers Association and the immigrants with very bloody results.
The script does have flaws in some of the characterization as the William Irvine character is an ambiguous figure as he is this rambling, poetic drunk that had the power to make a difference with his wealth and education. Yet, he’s a lost figure who has no clue what he’s doing or why he’s still in the Stock Growers Association as there’s a scene where a character asks why is he even here. Another flaw is its politics where it’s clear that it is one-sided in the way Canton is portrayed as this snobbish and arrogant antagonist while the poor is treated more fairly though there’s aspects of them that are just as flawed where one of them would try to make a bargain only to get his ear shot off. Still, it is a commentary on the idea of American Imperialism where Americans try to infuse their own ideas and such all for something as childish as money.
Michael Cimino’s direction definitely recalls a lot of the visual traits of the western as well as his own fascination with American landscapes as he shoots with such a wide canvas that covers so much of the landscape as it’s largely shot in Montana. There are aspects of the film where Cimino definitely wants to create something that has the attribute of an epic with these massive wide shots that includes this terrifying shot of a large group of horsemen on top of a mountain about to kill someone. Cimino’s approach to the widescreen in its 2:40:1 aspect ratio would showcase some of the lavishness of the film such as the Harvard dance sequence where Averill and Irvine waltz around a tree with a bevy of beautiful women. The Harvard prologue serves as a place where Averill and Irvine are being tasked as men who have the power to make change and help those who are less fortunate. It’s something that would drive Averill to do what is right in Johnson County as he feels the need to do with the power and responsibility he’s given.
The direction is also quite excessive in terms of its attention to detail in the way 1890s Wyoming is portrayed in its buildings and such that would also include this beautiful sequence of people in a roller skating rink to showcase what it was like to have fun in those times. It is in contrast to the sense of terror that would happen as much of the violence is quite graphic and bloody where it would culminate into this very spectacular battle scene that is frenetic at times but also very direct with the cameras being on wagons and such as well as shooting it from multiple perspectives. There’s also some unique ideas in camera angles and crane shots that Cimino uses while he also creates some intimate moments that plays into this love triangle where there’s some humor but also a sense of longing as both Averill and Champion want to have a better future with Ella. Its climax in the battle and its aftermath would lead to not just this understanding over how things are but also the question into what difference Averill made. Especially as he tries to come to terms with his own identity and the responsibilities he has as the film ends with this somber epilogue in 1903 Rhode Island. Overall, Cimino has created a grand yet very visceral film about a dark piece of American history seen through the eyes of a marshal trying to make some kind of difference.
Cinematographer Vilmos Zsigmond does absolutely incredible work with the film‘s rich and evocative cinematography with its approach to sepia lighting for some of the film‘s interiors with its shading and such as well as the colorful exterior settings of Montana in the day time as well as some low-key yet beautiful lighting for some of the film‘s interior scenes. Editors Tom Rolf, William Reynolds, Lisa Fruchtman, and Gerald Greenberg do brilliant work with the editing with its unique approach to rhythms in some of the film‘s dramatic moments along with its frenetic cutting in the battle scenes. Production designer Tambi Larsen, along with set decorators James L. Berkey and Josie MacAvin and art directors Spencer Deverell and Maurice Fowler, does phenomenal work with the set design from the look of the small town of Sweetwater with its cabins and roller skating hall as well as the home of the Stock Growers Association.
Costume designers Allen Highfill does excellent work with the costumes from the suits that the men wear to the period dresses that the women along with the more lavish look in the Harvard dance sequence. Sound editor James J. Klinger does fantastic work with the soundtrack from the way gunfire is presented to the sound of cannons as well as some of the intimate moments as it is quite sprawling in its mixing and editing. The film’s music by David Mansfield is just sublime for its mixture of eerie string arrangements with these rich arrangements of acoustic guitars, mandolins, and balalaikas to play into the film’s Eastern European tone as it features some amazing themes plus reinterpretations of classical pieces and traditional themes as Mansfield’s score is one of the film’s major highlights.
The casting by Cis Corman, Tony Gaznick, and Jane Halloran is amazing for the ensemble that is created as it features some appearances from composer David Mansfield plus T-Bone Burnett and Huey Lewis & the News keyboardist Sean Hopper as the live band in the skating rink, Willem Dafoe as a bar waiter, Anna Levine and Caroline Kava as a couple of young prostitutes, Mary C. Wright as the fiery prostitute Nell, Tom Noonan as an Association hitman who tries to rape Ella, Mickey Rourke as Nate’s friend Nick Ray, Waldemar Kalinkowski as the immigrant photographer, Terry O’Quinn as cavalry leader Captain Minardi, and Roseanne Vela as a beautiful girl that Averill eyed on at the Harvard graduation. Other notable small roles include Geoffrey Lewis as a trapper friend of Nate’s, Ronnie Hawkins as a military leader working with Canton, Paul Koslo role as the town’s cowardly mayor, and Richard Masur as the train station manager Cully who is friends with Averill. Brad Dourif is terrific as the town commerce head Mr. Eggleston who would have this great monologue about what it means to be poor and from another country as he would inspire his fellow immigrants to fight back.
In a small yet crucial role at the Harvard graduation scene, Joseph Cotten is superb as the Reverend Doctor who speaks to the graduates to ensure the weight of responsibility they have for the future of America. John Hurt is wonderful as Averill’s old Harvard classmate William Irvine as this rambling drunk who often spouts poetry though his role is one of most flawed elements of the film. Jeff Bridges is excellent as the town proprietor John L. Bridges who runs the bar and skating rink as he is a friend of the immigrants and becomes one of their leaders in the battlefield. Sam Waterston is brilliant as the smarmy and arrogant Stock Growers Association leader Frank Canton who is a man that is driven by greed as he is someone that is full of himself as Waterston brings this smarmy quality to a character that everyone loves to hate.
Isabelle Huppert is fantastic as Ella Watson as this bordello madam who is caught in a love triangle with two men as she wants to maintain a life that she built for herself while dealing with the reality of what she is facing as her name is on a death list. Christopher Walken is marvelous as Nate Champion as an Association enforcer who is quite prejudiced towards immigrants as he would eventually question his bosses once Ella is targeted as he realizes that they’re breaking the law. Finally, there’s Kris Kristofferson in a remarkable performance as James Averill as a marshal with a very posh and educated background who tries to mediate a deadly situation as he deals with his own personal feelings for Ella while dealing with who he is and what he tries to do to make a difference.
The 2-disc Region 1 DVD/Region A Blu-Ray from the Criterion Collection presents the film in a 2:40:1 theatrical aspect ratio in a widescreen format with 5.1 Dolby Digital Surround Sound in a newly-restored transfer supervised by Michael Cimino in a new 216-minute cut where the only scene removed is the film’s intermission scene plus a few slightly-trimmed shots in some sequences. The first disc of the Blu-Ray is the film in its entirety as it is given a much richer transfer while on the DVD version, the film is split into two parts where the split occurs just after James Averill receives the death list.
The film’s second disc features many extras relating to the film and its notorious production starting with a 31-minute illustrated audio interview with Michael Cimino and producer Joann Carelli (which appears as an extra in the DVD‘s first disc). Through various still photos of the film and its production, Cimino and Carelli talk about the film where Cimino dominates much of commentary as he revealed that the version on the Criterion DVD/Blu-Ray is his final version. Cimino and Carelli talked about the research they went through about the actual Johnson County War as Carelli talked about Cimino’s approach to writing and how she discovered David Mansfield during the production. Cimino admits to not using monitors or watch dailies in his approach to directing while commenting on a lot of the things about the film as it’s a very compelling piece that showcased Cimino feeling validated that the film is being given a second chance.
The extras include new interviews with three people involved the film as the first is a nine-minute, twenty-three second interview with actor Kris Kristofferson. Kristofferson talks about what made him do the film as he was interested in the subject matter and working with Cimino. He felt it was a story that needed to be told as he admitted that Cimino was difficult and excessive but only because he wanted to get things right. Kristofferson admitted to being hurt over the film’s reception yet he doesn’t regret doing the film which he is still proud of while he also talks about the political aspects of the film where he felt that it was probably too controversial for audiences to handle.
The nine-minute interview with music composer David Mansfield has him talking about the music and his background as he had been proficient in a lot of string instruments. He was discovered by Joann Carelli who had seen him play with Bob Dylan in the mid-1970s as he was among several real musicians including T-Bone Burnett that were hired to play a band that actually played live music. Through his work and what he was able to do on the set, Cimino hired Mansfield to do the score as Mansfield talked about his approach to the score as well as infusing a lot of Eastern European influences into the music since his father is from a Eastern European background.
The eight-minute interview with second assistant director Michael Stevenson who talked about making the film as he knew what Cimino wanted in terms of scenery and in its attention to detail. Having worked with David Lean, Anthony Mann, and Richard Brooks, Stevenson knew that Cimino had that sense of wanting to get things right where Stevenson also talks about some technical moments in the film. Especially in how close Cimino was with his actors in making sure they would get their performances right as they trusted him as Stevenson would work with Cimino in his next two films. Other minor extras include a two-and-a-half minute restoration demonstration that showcases what had to be done as the film was drenched in sepia as a lot of work through digital scanning had to be made to restore its original color. The extras include a teaser and a TV spot for the film where the latter displayed the sense of controversy about the film.
The DVD/Blu-Ray set includes a booklet that features two pieces of text relating to the film. The first is an essay entitled Western Promises by the New York-based film writer and programmer Giulia D’Agnolo Vallan about the film. Vallan discusses much of what Cimino wanted to say in the film as well as its disastrous screening in November of 1980. Vallan also talks about the film’s politics and some of the aspects of the production as she feels like it is a film that got attacked over what was going on in its production and its cost rather than it was about. Even as it was well-received in Europe who were looking for the kind of films that old masters like John Ford and Howard Hawks used to make while it was getting trashed by American critics just as the film industry was in a state of transition in the age of the blockbuster as it’s a very engaging essay about the film.
The second piece of text is an interview with Michal Cimino for the November 1980 issue of American Cinematographer entitled The Film That Took On a Life of Its Own by the magazine editor Herb Lightman who was a guest camera operator on the film. Cimino talks about what he wanted to say and do with the film as well as his meticulous approach as he needed people who were able to recreate things from the past as he felt it was something that was lost at the time. Cimino also talked about wanting to shoot in certain locations where he said that if he ever found the right location, he would go ahead and shoot somewhere just to capture something that is just magical. Even as he would capture something that was just accidental yet felt right for the story as it is a compelling piece that showcased his perspective on the making of the film before it would have its notorious premiere.
Heaven’s Gate is a tremendously rich and harrowing film from Michael Cimino. Armed with a great ensemble cast plus major technical achievements in its art direction, Vilmos Zsigmond’s photography, and David Mansfield’s score. It’s a film that showcases a man trying to make a difference in a conflict driven by greed and class differences set to a dark piece of American history. While it is a film that is flawed, it has aspects that are thematically provocative as well as visuals that really defines the concept of epic filmmaking. In the end, Heaven’s Gate is a remarkable film from Michael Cimino.
Michael Cimino Films: Thunderbolt & Lightfoot - The Deer Hunter - Year of the Dragon - The Sicilian - Desperate Hours (1990 film) - The Sunchaser - To Each His Own Cinema-No Translation Needed - The Auteurs #35: Michael Cimino
© thevoid99 2014
Directed by Michael Cimino and screenplay by Deric Washburn from a story by Cimino, Washburn, Louis Garfinkle, and Quinn K. Redeker, The Deer Hunter is the story of three steelworkers from Pennsylvania who fight at the Vietnam War where their ideas of heroism has them encounter with the realness of war as one of them comes home changed and lost. The film into the idealism of men upon what they expected in the war as it is told the early years of the war to the Fall of Saigon in 1975. Starring Robert de Niro, Christopher Walken, John Savage, Meryl Streep, George Dzundza, Chuck Aspergren, Rutanya Alda, and John Cazale. The Deer Hunter is a gripping yet haunting film from Michael Cimino.
The film is about three men who work at the steel mills in Pennsylvania as they come from families of Russian descent as they’re set to leave to serve the Vietnam War. Yet, it’s a film that is a coming-of-age tale of sorts as Michael Vronsky (Robert de Niro), Steven Pushkov (John Savage), and Nick Chevortarevich (Christopher Walken) who all experience three different journeys upon their encounter with war as they don’t just lose their innocence but also themselves. It’s told in three different acts as the film’s screenplay takes it time to establish the characters and what they encounter. The first act is set in Pennsylvania as Steven is marrying his pregnant girlfriend Angela (Rutanya Alda) as Michael, Nick, and friends Stan (John Cazale), Axel (Chuck Aspergren) and John (George Dzundza) embark on a final deer hunt before Michael, Nick, and Steven leave for war.
The characterization of the three men showcase the different ideas of these men as Michael is a man who is no-nonsense as he believes in just one shot in order to kill a deer. Steven is a man who is quite loving and generous with his friends while Nick is the most introspective of the three as he loves hunting and the world of nature. Joined Stan, Axel, and John, they’re men who like to have a good time and such while Nick also has a girlfriend in Linda (Meryl Streep) whom Michael has feelings for. The first act is a look into innocence as well as some foreshadowing of the dark journey Michael, Nick, and Steven would encounter in the form of a drop of wine spilled on Angela’s bridal gown and the encounter with a soldier (Paul D’Amato) whom the three ask about the war as all the soldier says to them is “fuck it”.
The second act is set in Vietnam where Michael, Nick, and Steven not only encounter the horrors of war but also a world that is far more complicated where they’re captured by Vietcong soldiers who force them to play a sick, psychological game of Russian Roulette. The three would survive but the event would have bad repercussions as Nick and Michael would both take separate journeys while Steven becomes severely injured as he is later taken to a veterans hospital in the U.S. Nick would become lost in the dark world of Vietnam while Michael returns to America in its third act as a changed man as he becomes close to Linda while learning about Steven’s whereabouts that led him to learning what Nick’s been doing in Vietnam. It would play into this chilling climax about Nick’s descent as well as Michael trying to come to terms with what he’s lost and what he’s gained from his experience in the war.
Michael Cimino’s direction is definitely sprawling not just for the intimacy that he creates in the scenes at the wedding, its reception, as well as other scenes in the bars in the first act. It’s also these moments set in the mountains and forests where much of Cimino’s direction comes to life as he captures the mountains that were shot in Pennsylvania, West Virginia, Washington, and Ohio to create something that feels like a world that is American at its most pure. Even in the small towns where Cimino’s direction has this sense of realism in the way men act towards each other and such as well as how they behave towards women. Some of which weren’t so good but some of it which includes the scenes between Michael and Linda are presented with great tenderness as they both deal with loss.
The direction has sequences that goes on for very long times such as the wedding and such where it establish some key moments for the characters as well as some small details that would occur. The scenes set in Vietnam was shot in Thailand as well as the infamous Russian Roulette sequence that is shot at the River Kwai. The scenes are very unsettling where there is a sense of unpredictability as it would play into the loss of innocence for the three men as Nick would descend further as he would be drawn by the world of Russian Roulette as it leads to this chilling climax during the Fall of Saigon where Michael tries to find him and take him home. It would be followed by this poignant epilogue that isn’t just about loss but how far the characters in the film have gone from the days of innocence in the late 1960s to the American nightmare at the fall of Saigon. Overall, Cimino crafts a very visceral yet touching film about three men and their chilling experience at the Vietnam War.
Cinematographer Vilmos Zsigmond does brilliant work with the film‘s cinematography from the lush scenery of the mountains in America to the desolate and eerie look of the scenes set in Vietnam as Zsigmond‘s work is a major highlight of the film. Editor Peter Zinner does excellent work with the editing from the news montage of the Fall of Saigon to some methodical cutting in the scenes at the wedding and its reception, the chilling scenes of war, and Michael‘s return to Saigon. Art directors Ron Hobbs and Kim Swados do fantastic work with the set pieces from the look of the river-prisons run by the Vietcong as well as the hall for the wedding reception.
The sound work of Richard Portman, William L. McCaughey, Aaron Rochin, and C. Darin Knight is amazing for its sound mixing in the way it captures the chaos of war as well as the craziness in the lively wedding reception sequence. The film’s music by Stanley Myers is exquisite for its orchestral-driven score to play into the sense of war as well as the calmness of small-town America as it includes the theme Catavina performed by classical guitarist John Williams while the film’s music soundtrack includes some traditional Russian folk and funeral music plus Frankie Valli’s Can’t Take My Eyes Off You and God Bless America.
The casting by Cis Corman is incredible as it features some notable small roles from Paul D’Amato as a war veteran at the wedding reception, Shirley Stoler as Steven’s mother, Pierre Segui as Nick’s French friend at Vietnam Julien, and Rutanya Alda as Steven’s bride Angela who becomes lost following Steven’s disappearance after his injury at the war. Chuck Aspegren is excellent as the very joyful big man Axel as he often says “fuckin’ A” while George Dzundza is superb as the bar owner/friend John who also likes to make sure everyone has fun though he is unable to fight in the war due to his hands. Meryl Streep is amazing as Linda as a woman who shares her sense of loss with Michael over Nick while wondering if he’s still alive as it’s one of Streep’s finest performances.
In his final film performance, John Cazale is great as Stan as this cowardly yet kind man who often gets himself into bad situations while bringing in some humor as it’s a very unforgettable performance from the late actor. John Savage is brilliant as Steven as this young man who gets married in the film’s first act while encountering the horror of war as he would nearly lose his sanity as it’s a mesmerizing one. Christopher Walken is phenomenal as Nick as this introspective man whose encounter with Russian Roulette has him descend into madness as he loses himself as it’s a very chilling performance from Walken. Finally, there’s Robert de Niro in a tremendous performance as Michael as this no-nonsense straight-arrow whose encounter with war has him changed as he tries to deal with what he loses and what he could get back as it’s a very intense and engaging performance from de Niro.
The Deer Hunter is a remarkable film from Michael Cimino. Armed with a great cast led by Robert de Niro along with strong supporting work from Christopher Walken, Meryl Streep, John Savage, and the late John Cazale. It’s definitely one of the finest films about war and the myth of the American Dream as a fantasy. Particularly as it’s a film about the Vietnam War and how it affected those who served in that war. In the end, The Deer Hunter is a sensational film from Michael Cimino.
Michael Cimino Films: Thunderbolt & Lightfoot - Heaven‘s Gate - Year of the Dragon - The Sicilian - Desperate Hours (1990 film) - The Sunchaser - To Each His Own Cinema-No Translation Needed - The Auteurs #35: Michael Cimino
© thevoid99 2014
Based on the DC Comics by Bill Finger and Bob Kane, Batman Returns is the sequel to the 1989 film in which Batman faces a new foe in the Penguin who teams up with a business tycoon to take down the Batman while a mysterious vigilante in Catwoman also creates trouble. Directed by Tim Burton with a screenplay by Sam Hamm and Daniel Waters from a story by Hamm, the film is a darker story than its predecessor as Bruce Wayne/Batman deals with his new foes as Michael Keaton reprises his role with Michelle Pfeiffer as Selina Kyle/Catwoman, and Danny Devito as Oswald Cobblepot/the Penguin. Also starring Pat Hingle, Michael Gough, Michael Murphy, Cristi Conaway, and Christopher Walken as Max Shreck. Batman Returns is a superbly thrilling film from Tim Burton.
The film is an exploration into Bruce Wayne adjusting to his role as Gotham’s peacekeeper as new enemies emerge during the Christmas holidays to wreak havoc on the city. Among them is a deformed man known as the Penguin who wants to take over Gotham where he kidnaps the industrialist Max Shreck as the two team up to control Gotham. Adding to the chaos is a woman named Selina Kyle who was a secretary of Shreck as she was pushed out of a window and fell many stories to the ground. Kyle would survive the fall as she becomes Catwoman as she becomes a vigilante of her own as she causes problems for Batman where she briefly aligns with the Penguin. Yet, Kyle’s life is more complicated when she falls for Bruce Wayne unaware that he’s Batman and vice versa as it would lead to a very troubling climax.
The film’s screenplay by Sam Hamm and Daniel Waters, with additional work by Wesley Strick, doesn’t just explore Bruce Wayne being this hero for Gotham but also encounter these new forces. The real villain in the film is Max Shreck as he is this industrialist that wants to create a new power-plant for Gotham when the city doesn’t need it. When Kyle accidentally learns what Shreck is doing, Shreck tries to kill her as he would use the Penguin to usurp Gotham’s mayor (Michael Murphy) to become the new mayor so Shreck can build his power plant. Though Penguin had his own plans to create chaos in Gotham, he teams up with Shreck for power while trying to discredit Batman with the help of Catwoman. One of the aspects of the script that is unique is the fact that it’s a film about identity as it relates to Batman, Penguin, and Catwoman.
Whereas Bruce Wayne tries to cope with his dual role as he is also seeking some balance as a man where he wouldn’t need to keep secrets. Though he accepts his role as Gotham’s hero, it’s not one that he easily accepts as he has few allies in the city. The Penguin maybe an antagonist but not a conventional one as the film begins with his birth as he arrives as a deformed baby his rich parents would dump into a sewer just days after his birth. In being this outcast, he wants to destroy Gotham only to become a pawn in Shreck’s plans that forces him to become more determined for Gotham’s end. Then there’s Selina Kyle who starts out as this timid secretary who lives with a cat as her near-death experience in the hands of Shreck has her becoming this unstable woman that not only wants to get revenge on Shreck but her encounter with Batman would create a very complicated relationship as their real-life personas are in love with each other while there’s a strange attraction between the two in their other personas. Catwoman isn’t a villain nor a hero but a true anti-hero who is only in it for herself.
Tim Burton’s direction is definitely more extravagant in some respects but also very offbeat in its mix of dark humor, action, and suspense. Yet, there’s a looseness to the story where Burton is able to make all of these elements fuse together though not all of these moments work. Still, he is able to create some exotic scenes and action sequences that are very exciting as it includes a very memorable moment where Catwoman introduces herself to Batman and the Penguin. The use of close-ups, wide shots, and medium shots gives Burton some room to breathe in the way he creates some of these moments while being able to explore the complexity of identity in the film in shots that are much more simpler. Especially in the romantic attraction between Wayne/Batman and Kyle/Catwoman as there’s an element of sensuality in that attraction.
The direction is also stylish in the way some of the action scenes and in some of the humor that is presented though a lot of its very dark. Especially in the film’s climax as it involves Batman, the Penguin, Catwoman, and Shreck as it features extravagant set pieces as well as a lot of penguins where some of it is real and some are robotic. The usage of animals do add some style to the film where they would aid whoever is needed as its climax is both enthralling but also somber where it would play into Batman/Wayne’s struggle to find a balance in his dual role. Overall, Burton crafts a very exciting and stylish film about Batman coming to terms with his identity and the new foes he faces.
Cinematographer Stefan Czapsky does excellent work with the film‘s cinematography from the look of the exteriors of Gotham as well some of the lighting in the sewer home of the Penguin and his army as well as the shadows in the Batcave. Editors Chris Lebenzon and Bob Badami do nice work with the editing as it‘s pretty straightforward with some stylish cutting for some of the film‘s action scenes as well as some of its humorous moments. Production designer Bo Welch with set decorator Cheryl Carasik and supervising art director Tom Duffield, does amazing work with the set pieces from the look of the city square in Gotham to the Batcave as well as the Penguin‘s lair, and the apartment Kyle lived in. Costume designers Bob Ringwood and Mary E. Vogt do fantastic work with the look of Catwoman‘s costumes as well as the clothes of the Penguin and the suits that Max Shreck wears.
Makeup designers Stan Winston, Ve Neill, and Ronnie Specter do brilliant work with the makeup design of the Penguin as well the look of his band of freaks that he leads. Visual effects supervisor Michael L. Fink does terrific work with some of the visual effects that includes some early ideas of CGI as well as the use of miniatures in some of the action sequences. Sound editors Richard L. Anderson and David E. Stone do superb work with the sound to create some layering of sounds in the action scenes as well as some of the scenes set in Gotham. The film’s music by Danny Elfman is incredible for its mixture of bombastic orchestral pieces to some more serene and enchanting pieces to play into some of the melancholia as the film’s soundtrack also includes a few Christmas pieces and a collaboration with Siouxsie & the Banshees for the song Face to Face.
The casting by Marion Dougherty is great for the ensemble that is created as it features cameo appearances from Jan Hooks as a PR assistant, Vincent Schiavelli as one of the Penguin’s henchmen, Anna Katarina as the poodle lady who works for the Penguin, and in the role of Penguin’s parents, Paul Reubens and Diane Salinger who had appeared in Burton’s first film Pee-Wee’s Big Adventure. Other notable small roles include Andrew Bryniarski as Shreck’s son Chip, Cristi Conaway as the Ice Princess who lights Gotham’s Xmas tree, and Michael Murphy as the city’s mayor. Reprising their roles from the first film, Pat Hingle and Michael Gough are terrific in their respective roles as Commissioner Gordon and Alfred Pennyworth where Gordon becomes one of the few men who trusts Batman while Pennyworth helps Batman/Wayne in uncovering some of the mysteries relating to the Penguin.
Christopher Walken is brilliant as the very manipulative and power-hungry Max Shreck as Walken has this charm that makes him a very unique villain that doesn’t have any personas but is willing to use people for his own means. Danny DeVito is fantastic as the Penguin as a man who learns about his family as he becomes manipulated into becoming a politician only to realize that he is who he is as he wants to destroy Gotham and its hero Batman. Michelle Pfeiffer is phenomenal as Selina Kyle/Catwoman as this woman who despises Shreck for his plans and later trying to kill her as she becomes this very unstable woman that wants to create chaos as she also falls for Wayne/Batman. Finally, there’s Michael Keaton in a superb performance as Bruce Wayne/Batman as Keaton displays more aggression in his role as Batman while still being a bit brooding as he showcases Wayne’s struggle to balance his dual roles as he also has some great chemistry with Pfeiffer in their different personas.
Batman Returns is an excellent film from Tim Burton that manages to be a worthy sequel to its 1989 predecessor. Armed with an amazing cast as well as dazzling set pieces and Danny Elfman’s sumptuous score that includes a song by Siouxsie & the Banshees. While it is a darker film than its predecessor, it is still an engaging one for the way it explores identities and one man’s desire to balance his role as a man and crime fighter. In the end, Batman Returns is a marvelous film from Tim Burton.
Tim Burton Films: (Pee-Wee’s Big Adventure) - Beetlejuice - Batman - (Edward Scissorhands) - Ed Wood - (Mars Attacks!) - (Sleepy Hollow) - (Planet of the Apes (2001 film)) - (Big Fish) - (Charlie & the Chocolate Factory) - (Corpse Bride) - (Sweeney Todd: The Demon Barber of Fleet Street) - (Alice in Wonderland (2010 film)) - (Dark Shadows) - (Frankenweenie) - (Big Eyes)
Batman Films: (Batman (1966 film)) - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - Batman v Superman: Dawn of Justice - The Lego Batman Movie -(Justice League)
© thevoid99 2014
Written and directed by Quentin Tarantino from an original story by Tarantino and Roger Avary, Pulp Fiction is a multi-layered story about intersecting events around Los Angeles involving a mysterious briefcase, a gold watch, and a crime boss’s wife. The film is an exploration into the world of crime, drugs, and other situations involving various people in the span of a few days in Los Angeles. Starring John Travolta, Uma Thurman, Samuel L. Jackson, Eric Stolz, Christopher Walken, Rosanna Arquette, Maria de Medeiros, Tim Roth, Amanda Plummer, Ving Rhames, Harvey Keitel, and Bruce Willis. Pulp Fiction is a thrilling and captivating film from Quentin Tarantino.
The film is essentially a multi-layered story revolving around various people in the course of a few days in Los Angeles. The first involves two gangsters named Vincent Vega (John Travolta) and Jules Winnfield (Samuel L. Jackson) retrieving a mysterious briefcase for their boss Marsellus Wallace (Ving Rhames) where things eventually go wrong following as they‘re forced to call on a man known as the Wolf (Harvey Keitel). Another story involves Vincent Vega taking Wallace’s wife Mia (Uma Thurman) to dinner where things go wrong when she accidentally overdoses on heroin. Then there’s the story about a gold watch that belongs to a boxer named Butch Coolidge (Bruce Willis) who doesn’t throw a fight under Wallace’s orders where he eventually crosses paths with the man that leads to all sorts of trouble involving some seedy individuals.
It’s all part of this unique world that Quentin Tarantino sets up where it doesn’t play into the traditional schematics of a crime film. Instead, it’s about the lives of various people who are part of a world full of drugs and violence along with those who don’t want any part of it. Tarantino takes the approach of what legendary French filmmaker says about narrative structure where the film has a beginning, a middle, and an end but doesn’t necessarily have to follow in that order. Even as the film opens with a scene involving a couple named Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer) eating a diner as they’re about to rob it as the film would later return to this couple towards its ending. Then the narrative cuts to the first half of Vincent and Jules story where they would get the mysterious briefcase and kill the young man who had it.
This would then go into the Vincent-Mia narrative that opens with a scene where Wallace tells Butch Coolidge to throw the fight and then goes directly to Vincent’s story. The narrative would then go into Butch’s story that opens with a prologue about this gold watch that belonged to his father as he would retrieve it only to encounter all sorts of trouble including Wallace himself. The narrative then goes back to Vincent and Jules’ story where it would reach its ending involving Pumpkin and Honey Bunny. It’s all part of the schematics Tarantino wants to set up to tell a story that doesn’t follow a traditional narrative but rather to help use this unconventional approach for its dramatic impact.
It’s not just the way Tarantino takes this unconventional approach to the narrative that makes the screenplay unique but the character themselves. Vincent Vega is a hitman who has just returned from Europe that has a love for heroin and having a good time though he is quite flawed about some of the things he does and the trouble he brings. Jules Winnfield is another hitman who would always have a biblical quote to say something before he kills someone where an incident would have him face some very deep questions about his own existence. Mia Wallace is a woman who loves to do cocaine as she was once an actress who starred in a failed pilot. Butch Coolidge is an aging prizefighter who loves his father’s gold watch as he has a French girlfriend named Fabienne (Maria de Medeiros). Marsellus Wallace is an intimidating crime boss with a big presence but also a man who will show a bit of mercy if necessary.
Tarantino’s direction is intoxicating for the way he presents the film with its sense of style and graphic depiction of violence. Particularly in the way he opens the film with this chat between Pumpkin and Honey Bunny at a diner where he maintains a sense of intimacy as well as stylized shots for this conversation. Tarantino would maintain this kind of intimacy in many group shot scenes while creating a world that is stylized. From the suits Jules and Vincent wears to the clothes that Mia wears at her dinner with Vincent. It’s all part of this very unique world that these characters live in where they live by their own rules and talk in their own language. Even in the places these characters go into such as the 50s/60s style restaurant that Vincent and Mia go into where waiters and waitresses dress up like icons of that time.
Another aspect of Tarantino’s direction is the way he depicts graphic violence where it is very stylized but also realistic in terms of its impact. Notably in some key scenes such as Vincent and Jules meeting with a young man or Butch’s encounter with Marsellus where they meet a couple of sick men who will do very awful things to them. Tarantino does find ways to create interesting framing devices to maintain an element of suspense in some scenes while knowing when not to show too much. There’s also the MacGuffins in both the gold watch and the mysterious brief case. While there is information known about the gold watch, there is nothing known about what’s inside the brief case as Tarantino maintains a sense of ambiguity throughout the film. Overall, Tarantino creates a truly engaging yet exciting film that explores the world of crime in Los Angeles.
Cinematographer Andrzej Sekula does brilliant work with the film‘s very colorful and vibrant cinematography from the look of the nighttime exteriors in Los Angeles to the daytime exteriors along with some very colorful shots of some of the locations such as Marsellus Wallace‘s bar and the restaurant that Vincent and Mia eat at. Editor Sally Menke does amazing work with the editing to help play out the film‘s unconventional narrative style along with some rhythmic cuts for some of the film‘s violent moments along with the rhythm to Vincent and Mia‘s dance scene. Production designer David Wasco, along with set decorator Sandy Reynolds-Wasco and art director Charles Collum, does wonderful work with the set pieces such as the home of Marsellus and Mia Wallace to the stylized look of the restaurant that Vincent and Mia go to.
Costume designer Betsy Heimann does nice work with the look of the suits Jules and Vincent wear along with the clothes that Mia Wallace wears as well as the Wolf‘s tuxedo. Sound editor Stephen Hunter Flick does terrific work with the sound to capture the atmosphere of the restaurant as well as the tense intimacy of the scene where Butch and Marsellus are inside a place run by two sick fucks. Music supervisor Karyn Rachtman does fantastic work with the film’s soundtrack that is a wide mix of soul, rock, rockabilly, country, surf music, and pop ranging from acts like Dusty Springfield, Dick Dale, Kool and the Gang, the Tornadoes, Ricky Nelson, Chuck Berry, the Centurions, Urge Overkill, Maria McKee, the Revels, the Statler Brothers, and the Lively Ones.
The casting by Ronnie Yeskel and Gary M. Zuckerbrod is incredible for the large ensemble that is created for the film as it features some notable small performances from Julia Sweeney as a junkyard owner’s daughter, Quentin Tarantino as Jules’ friend Jimmie, Frank Whaley as the man who had the briefcase named Brett, Phil LaMarr as Brett’s friend Marvin, Alexis Arquette as a man who tries to kill Jules and Vincent, Steve Buscemi as a waiter dressed up as Buddy Holly, Angela Jones as a death-obsessed cab driver, Kathy Griffin as a car crash witness, and the duo of Duane Whitaker and Peter Greene as the two sick fucks who try to torment Butch and Marsellus.
Christopher Walken is great in his small but unforgettable performance as Captain Koons who tells a young Butch about the significance of the gold watch that belongs to Butch’s father. Eric Stolz and Rosanna Arquette are excellent in their respective roles as the drug dealer Lance and his wife Jody where they would take part in one of the film’s most tense moments. Ving Rhames is wonderful as the very intimidating crime boss Marsellus Wallace while Maria de Medeiros is very good as Butch’s French girlfriend Fabienne. Tim Roth and Amanda Plummer are terrific as the diner-robbing couple Pumpkin and Honey Bunny. Harvey Keitel is superb as the professional Winston Wolf who makes sure Jules and Vincent clean up their mess in a short span of time.
Bruce Willis is marvelous as the aging prizefighter Butch Coolidge who deals with Marsellus wants him to do only to get himself into serious trouble as he tries to get back his father’s gold watch. Uma Thurman is brilliant as Marsellus’ wife Mia who has a love for cocaine and five-dollar milkshakes while proving herself to be an engaging person to hang out with as it’s definitely one of Thurman’s great roles. Samuel L. Jackson is amazing as the hitman Jules Winnfield who loves to do bible quotes before he kills as he maintains an air of intimidation while going into an existential frame of mind following a chilling moment. Finally, there’s John Travolta in an outstanding performance as the very cool Vincent Vega as a hitman who is truly a guy who lives by his own rules and has no qualms about killing anyone while doing whatever to not get himself into serious trouble.
Pulp Fiction is a magnificent film from Quentin Tarantino that features an amazing collective of actors that includes John Travolta, Samuel L. Jackson, Uma Thurman, and many others. It’s a film that is still as vibrant and as engaging nearly 20 years since its release. Armed with amazing visuals, a fun soundtrack, and witty dialogue, it’s truly a film that is one for the ages. In the end, Pulp Fiction is a riveting yet mesmerizing film from Quentin Tarantino.
Quentin Tarantino Films: Reservoir Dogs - Four Rooms: The Man from Hollywood - Jackie Brown - Kill Bill - Grindhouse: Death Proof - Inglourious Basterds - Django Unchained - The Hateful Eight - Once Upon a Time... in Hollywood
Related: The Auteurs #17: Quentin Tarantino - Growing Up with Quentin Tarantino
© thevoid99 2012
