In Bruges

Originally Written and Posted at Epinions.com on 1/10/09 w/ Additional Edits.

Written and directed by Martin McDonagh, In Bruges is a black comedy about two hitmen hiding out in the Belgian city of Bruges. Awaiting for their next assignment following one where the younger hitman accidentally killed someone, they encounter the town's various sites while meeting an attractive drug dealer, a racist dwarf, and other crazy locals. The film is a study of morality, redemption, and guilt all told with dark humor and gangster-style violence. Starring Colin Farrell, Brendan Gleeson, Clemence Poesy, Jordan Prentice, Thekla Reuten, Jeremie Renier, and Ralph Fiennes. In Bruges is a witty, dark, yet entertaining feature-film debut from the renowned Irish playwright.

After a hit that went bad despite the target being hit, Ken (Brendan Gleeson) and Ray (Colin Farrell) are ordered by their boss Harry (Ralph Fiennes) to hide out in the small, medieval Belgian city of Bruges. For the young Ray, hiding out in Bruges for two weeks to wait for Ray's orders seems like a bad idea. With Ken enamored with the city's medieval sites, castles, and such, Ray is extremely bored as all he wants to do is drink beer at the pub. Yet, Ray is also dealing with a guilty conscience over an accident he caused in his first hit despite killing his target. During a night of sightseeing, Ken and Ray stumble onto a film set starring a dwarf named Jimmy (Jordan Prentice) that Ray seems amused by while catching the eye of a very pretty production assistant named Chloe (Clemence Poesy).

After meeting Chloe and going on a date with her the next night, Ray feels good though he reluctantly takes part in another round of sightseeing. Ken meanwhile, gets a message from Harry about a phone call that Ken should receive. Ray and Chloe go on a date later that night where Chloe reveals herself to be a drug dealer as Ray later gets into a scuffle with a Canadian couple. Ken stays at his hotel room at night where he gets a call from Harry about some instructions that proves to be disturbing. Ray later gets into another scuffle with an ex-boyfriend of Chloe named Eirik (Jeremie Renier) who was trying to rob Ray only to get shot in the eye with a blank bullet. Ray and Ken later meet at a pub where Ray had scored some drugs where they meet with Jimmy and a couple of hookers. A night of partying where Jimmy is revealed to be a racist turned out to be troubling.

The next morning, Ken leaves his room to meet with a gun smuggler (Eric Godon) to go on his assignment but after getting a message from Ray from the hotel's pregnant manager Marie (Thekla Reuten). Ken tries to find Ray who was about to do something as Ken realizes that Ray is in trouble. With Ray sent away to whereabouts unknown, Ken calls Harry about what happened leaving Harry enraged and going to Bruges. Ray however, due to his scuffle with the Canadian couple, is sent back to Bruges. When Harry arrives Bruges to confront Ken, the two talk about principles leaving Ken in a moral dilemma about what Ray had done. When Eirik spots Ray with Chloe, all hell breaks loose forcing Ray to fend for himself with Ken making a decision about what to do for himself and Ray.

The film is about a young man dealing with the guilt over an accidental killing as he and his partner are forced to hide out in a place that no person would want to hide out. That place turns to be in Bruges. For the character of Ray, Bruges is a place that seems like the last place on Earth to hide out in with nothing to do but go sightseeing and heckle fat American tourists. Ken meanwhile, Bruges seems like a place to escape and just soak up the beauty of the place as he's been a hitman for so long that he needs something different. Yet, the two men deal with their roles as hitmen and the morality they often face with that role over killing people. When they're forced to face their boss, a man with more extreme principles, both Ken and Ray each have to deal with the consequences knowing what they might have to face.

Writer/director Martin McDonagh creates a film that is mostly dramatic but also filled with lots of humor due to its dialogue and a few characters that are very off the wall. While some audiences might be confused in what the film is trying to be, a black comedy or an existential crime drama. McDonagh does create a film that is filled with lots of rhythm, lots of humor, real drama, and moral themes in his script that is supported by lots of catchy dialogue. Particularly from the character of Jimmy, a racist midget who claims the war to end all wars will be a race war while revealing which side midgets are on. McDonagh's direction is definitely stylish with uses of hand-held cameras to follow the characters around along with tracking shots for other scenes. Yet, the location of Bruges makes it an inspiring place with McDonagh's direction creating a tourist-like feel of the place while getting the audience to be entranced by the beauty that is Bruges. The result is a well-made, stylish feature-film debut from Martin McDonagh.

Cinematographer Eigil Bryld does excellent work with the film's cinematography capturing the beauty nighttime look of Bruges with its yellowish light colors matching against the castles and buildings. The interior looks also are well-lit to convey the intimacy of the places like the bars and restaurants as Bryld does some fine work. Editor Jon Gregory does fantastic work to create a sense of rhythm to match up with the film's dialogue and smooth transitions while an entire phone conversation between Ken and Harry is done in one take with Gregory and McDonagh not cutting all of the drama that goes on. Production designer Michael Carlin along with set decorator Anna Lynch-Robinson and art director Chris Lowe do excellent work in the look of the film's interior setting like the gun smuggler's home, Jimmy's hotel room, and the outside restaurants of Bruge.

Costume designer Jany Temime does wonderful work with the suits that Ken and Harry wear along with the clothes that Ray wears to give them a hitman like look with the elder actors in more professional clothing and Ray more contemporary clothes. Sound editor Julian Slater does an excellent job with the sound in capturing the location of Bruges in all of its tourist-like feel and sense of action that goes on the film's third act. The film's plaintive, melancholic piano-driven music is by Carter Burwell, a known collaborator for the Coen Brothers, as he creates music to play up to the mood of Ken and Ray along with some intense pieces for the climatic standoff between Ray and Harry. The film's soundtrack includes tracks from Townes Van Zandt, the Walkmen, the Dubliners, the Pretenders, and Regina Spektor that's played throughout the film.

The casting by Jina Jay is truly superb with special appearances from Ciaran Hinds as the target that Ray and Ken were supposed to kill and Zjelko Ivanek as the Canadian guy who Ray beats up. Other memorable small roles like Mark Donovan as the overweight American tourist, Rudy Blomme as the ticket seller, and Eric Godon as the arms smuggler are very good. Thekla Reuten is excellent in her role as Marie, the pregnant hotel manager that Ray and Ken stays in while Jeremie Renier is very good as Eirik, Chloe's ex-boyfriend who tries to rob Ray only to get shot in the eye with a blank bullet. Jordan Prentice is wonderfully hilarious as Jimmy, a dwarf who is working on a movie as he tells very racist ideals about a race war and where the dwarfs would side on. Clemence Poesy, who is known by Harry Potter fans as Fleur Delacour in Harry Potter and the Goblet of Fire, is excellent as Chloe. Poesy's charming, calm performance is enjoyable to watch as she is a young woman who likes to do bad things while being very attractive to a guy like Ray.

Ralph Fiennes is great as Harry Waters, the boss who ends up going to Bruges in the film's second half as Fiennes' appearance is filled with great one-liners and a Cockney accent. Fiennes clearly looks like he's having fun with the performance while getting the chance to be a real badass. The film's two best performances go to the duo of Brendan Gleeson and Colin Farrell. Gleeson, who is often known for supporting roles, is brilliant as the more experienced, older Ken as he comes to grips with his own sins while finding comfort in the world that is Bruges. It's a rare leading performance for Gleeson who finally gets the chance to carry a film while sharing the screen with Colin Farrell. Farrell delivers in what has to be his best performance to date after some misguided roles in several Hollywood features. In this film, Farrell gets to display his real acting talents both in comedy and drama as he exudes charm, sarcasm, guilt, and naivete as it proves that Colin Farrell is easily one of the best young actors out there working who deserves better work.

In Bruges is a witty, violent, and enjoyable feature-film debut film from Martin McDonagh. Fans of black comedies and drama will enjoy the film for its sense of style and themes while fans of Colin Farrell will get a chance to see the actor in one of his best performances. Along with a top-notch performance from Brendan Gleeson, it's a film that has lots of stylish dialogue and a sense of humor. While audiences might be put off by some of its violence and 126 F-bombs, it's definitely a film that is geared more for entertainment and character study. In the end, In Bruges is a witty film from Martin McDonagh that delivers in all of its humor, drama, and action.

Martin McDonagh Films: (Six Shooter) - Seven Psychopaths - Three Billboards Outside Ebbing, Missouri

© thevoid99 2011

The Way Back

2003’s Master and Commander: The Far Side of the World was a film that garnered lots of acclaim from critics as it also received several Oscar nominations. Despite the acclaim, the film was a modest hit in the U.S. while its overall grosses worldwide did help cover the film’s massive budget. For its director Peter Weir, it was another of his great films as he would spend the next seven years taking on various projects. Among them was an adaptations of Pattern Recognition by William Gibson and Gregory David Roberts’ Shantaram. Other projects included War Magician and Shadow Divers as none of them got past the development stage. Weir finally got a project going based on the true story about a group of prisoners escaping the Siberian Gulag during World War II based on The Long Walk by Slawomir Rawicz that would be entitled The Way Back.

Directed by Peter Weir with an adapted script by Weir and Keith Clarke. The Way Back tells the story of a young Polish POW who is sent to the cold Siberian prison where he meets fellow prisoners from around the world. The young man along with other prisoners decides to escape the prison as they go into a treacherous journey through the cold mountains of Siberia and into the desert where they‘re later joined by an orphaned teenaged girl from Poland. Starring Jim Sturgess, Colin Farrell, Saoirse Ronan, Mark Strong, Gustaf Skarsgard, Dracos Bucur, and Ed Harris. The Way Back is an exhilarating and adventurous film from Peter Weir.

It’s 1939 as Janusz (Jim Sturgess) is being interrogated for possible crimes in being a spy which he denies. When his wife (Sally Edwards) reveals, under torture, that he did commit crime, he is sent to the Gulag in Siberia for twenty years. Entering the Gulag in 1941, Janusz meets an actor named Khabarov (Mark Strong) who claims to know a way to escape the Gulag. Yet, Janusz learns from an American prisoner named Smith (Ed Harris) that Khabarov is just trying to make his own way out as Janusz refuses to give up. When a brutish, tattooed prisoner named Valka (Colin Farrell) overhears a conversation with Janusz and Khabarov, he decides to join in Janusz’s plan to escape.

Joining Janusz, Smith, and Valka for the escape are four other men that consists of a Lativan priest named Voss (Gustaf Skarsgard), a Yugoslav accountant named Zoran (Dracos Bucur), an artist named Tomasz (Alexandru Potocean), and a 17-year old Polish boy named Kazik (Sebastian Urzendowsky). During a snowstorm and a blackout in the prison, the men escape as they trek through the cold forest of Siberia as they make their way South in hopes of reaching Mongolia. Along the way, they go further into the mountains hoping to reach a lake while they wear wooden masks during the heavy snowstorm. During the long journey, Janusz finally finds the lake as everyone goes to the lake.

Along the way, they learned that a young Polish girl named Irena (Saoirse Ronan) has been following them as Smith isn’t sure in taking another person to the journey. Still, she follows them as they reluctantly let her join the trek to Mongolia. Encountering everything from mosquitoes to icy waters, they finally reach the Russian-Mongolian border only to learn that Mongolia is a Communist state. Realizing that the only place to go to is India for freedom, the group goes on a trek through the Gobi desert where they have to deal with all sorts of challenges to get across to their destination.

The film’s plot about a group of men and a young girl trekking through Siberia to India seems like the kind of film that doesn’t really do much in terms of plotting. In the hands of Peter Weir, it becomes an extraordinary experience about endurance and survival. Though the film’s opening dedication does spoil the ending which is the only big mistake the film makes. Weir and co-screenwriter Keith Clarke decides that the film shouldn’t just be about the journey but also the characters.

Janusz is the character who drives the film as he knows he’s innocent and hopes to return to his wife whom he loves and knows that she is carrying a lot of guilt for putting him in prison. He is then joined by several characters who would help him escape and take part in this journey. While there are a couple of minor characters like the shady Khabarov and the young Kazik that do get a chance to shine. They’re just minor players who would help everyone else. Smith is an American who came to Russia to find work only to be suspected as spy. Smith is the old man who would be Janusz’s right hand man as he’s also someone not very sentimental as he tells Janusz about his kindness which he perceives as a weakness.

Yet, the arrival of Irena would become the person that the men in the journey would feel protective for. She becomes their angel of sorts as at one point during an encounter with Mongolians in the desert. Smith would say that Irena is his daughter as their relationship becomes somewhat of a father-daughter relationship as the rest of the men are her brothers. The character of Valka is a brutish man who is an admitted thief and is willing to do anything to survive. Yet, he becomes someone who would help everyone for their survival while maintaining his belief as a man who loves Stalin despite everyone else’s opinions.

It’s not just Weir’s ability for audience to get to know these characters which include other supporting characters like Tomasz, Voss, and Zoran as they would bring their own personalities to the journey. Even as the film would have bits of humor through the dialogue as some of it is in Russian and Polish. The screenplay also has a great structure in how to tell the story despite not having a lot of plot-points or conventional story ideas. Though it would lag in a few places, the overall work in the script is superb.

Weir’s direction for the film is definitely top of the line in what is expected from a cinematic master. Shooting on location in places like Bulgaria for the scenes in Siberia plus other locations such as Morocco, Pakistan, and India for the rest of the film. Weir takes audiences into a journey as if they’re part of this long walk from Siberia to India as he always has the camera following the group or have long shots of them walking together. Part of Weir’s brilliance as a director is him always having a wide depth of field where he allows the audience to soak the vast locations they’re walking on.

Whether its coldness of the snow and heavy storms in Bulgaria as Siberia or the big sandstorms the group encounters in the desert. Weir allows the audience to get a feeling of the location with close-ups of the ground or vast long shots. There is always something that Weir is interested in and he’ll shoot it. Even if with actors interacting with nature while taking a chance to even get in touch with where they’re at. It’s definitely directing at its finest as Weir secures another film that goes up there with his vast filmography.

Cinematographer Russell Boyd does an amazing job with the film’s vast, sprawling camera work as he creates naturalistic images that are truly dazzling on film. From the snowy regions near the Himalayas and other mountains to the wondrous deserts. Boyd’s photography is truly exquisite not just for its realistic look at the locations but also in playing to the emotional tone of the film as creates dream-like images for scenes at night as well as a mirage-like sequence. Boyd’s work is definitely top-notch in what is expected for a film like this.

Editor Lee Smith does an excellent job with the film’s editing which is mostly straightforward as it moves quite well for a film with a near two-and-a-half hour running time. Smith also manages to keep the film going with rhythmic cuts for some intense, fast-paced scenes while a lot of the scenes of walking is slow but in a leisured pace.

Production designer John Stoddart and art director Kes Bonnet do a fine job with the few set pieces made for the film such as the prison where the prisoners were staying early on to the Soviet Union-Mongolia border arc they encounter. Costume designer Wendy Stites does a very good job with the ragged costumes the characters wear including the dress that Irena wears and the pants and boots the men wear in their journey. Sound editor Richard King does a spectacular job with the film’s sound in capturing the broad atmosphere of the locations the characters encounter whether it’s the snowstorms or a sandstorm. King’s work is definitely one of the film’s technical highlights

Music composer Burkhard von Dallwitz brings a wonderful epic, soaring score that plays to the journey of the characters. Filled with sweeping string arrangements and a huge orchestra, von Dallwitz’s score is definitely one of the film’s highlights as it helps play up to the film’s vast presentation.

The casting by Lina Todd is wonderful for what is definitely inspired casting not just for its well-known actors but also lesser-known ones. Smaller performances such as Sally Edwards as Janusz’s wife, Zahary Baharov as the interrogator in the opening scene, Stanislav Pishtalov as the prison superintendent, and Sebastian Urzendowsky as Kazik, the young prisoner suffering from night blindness. Alexandru Potocean is excellent as Tomasz, an artist who makes drawings as he keeps the morale of the group high while being a dreamer with high hopes. Gustav Skarsgard is amazing as Voss, a former priest hoping to find a home to maintain some kind of spirituality for those seeking something to believe in as he has a great scene where he and Saoirse Ronan are inside a decayed Buddhist temple.

Dracos Bucur is superb as Zoran, a Yugoslav accountant who brings some much needed humor to the film whether is the desire for salt or maintaining some kind of hope needed once they reach their destination. Mark Strong is very good in a small role as Khabarov, an actor who has the idea to escape prison but doesn’t believe anything will happen. Colin Farrell is phenomenal as Valka, a thug who is very pro-Stalin as he is an admitted thief but a person who cares about freedom as he helps his friends to their journey. Saoirse Ronan is just spectacular in her role as Irena, a young Polish girl who forges an unlikely bond with the prisoners. Even in her scenes with the more cynical Smith where the chemistry between Ronan and Ed Harris is one of the film’s touching yet low-key moments.

Jim Sturgess gives what is definitely his best performance yet as Janusz. A young man desperate to return home as his willingness to escape and go home becomes one of the key moments into why the film is so captivating to watch. Even as tries to maintain hope for his group as Sturgess proves himself to be a capable lead when he’s armed with a great cast. Finally, there’s Ed Harris in one of his best roles as Mr. Smith. A cynical American who came to the Soviet Union for work only to be in prison as he tries to maintain a realist approach to the journey. Even in being an unlikely father figure for both Janusz and Irena as he also some great scenes with the rest of the cast as Harris solidifies his position as one of the finest actors working today.

The Way Back is an amazing film from Peter Weir and company. Featuring a great ensemble cast led by Ed Harris, Jim Sturgess, Saoirse Ronan, and Colin Farrell along with new discovers in Dracos Bucur, Gustav Skarsgard, and Alexandru Potocean. It’s a film that is a great testament of courage and survival as its captured through masterful filmmaking. Fans of Weir will no doubt enjoy the film for its adventurous vision and large canvas as it’s something that should be seen more. In the end, The Way Back is a stunning yet engrossing film from Peter Weir.

Peter Weir Films: (3 to Go-Michael) – (Homesdale) – (Whatever Happened to Green Valley?) - (The Car That Ate Paris) - Picnic at Hanging Rock - (The Last Wave) - The Plumber (1979 TV film) - Gallipoli - The Year of Living Dangerously - (Witness) - (Mosquito Coast) - Dead Poets Society - (Green Card) - (Fearless) - (The Truman Show) - Master & Commander: The Far Side of the World

© thevoid99 2011

The Imaginarium of Dr. Parnassus

Originally Written and Posted at Epinions.com on 1/17/10.

One of the most beloved but controversial directors in cinema, Terry Gilliam is a director who is known for a broad vision that doesn't fit in with what Hollywood wants. Despite acclaimed features like Time Bandits, Brazil, The Fisher King, and 12 Monkeys that were moderate commercial hits. Gilliam would often have budget troubles which had been notorious for his 1988 flop The Adventures of Baron Munchausen. Though his films would often have a devoted following of fans since his days working as a member of Monty Python, funds for his projects were not easy for him to get.

The 2000s however, would be a very rough decade for Gilliam. Production for his ambitious yet radical re-telling of Miguel de Cervantes' Man of La Mancha entitled The Man Who Killed Don Quixote. The project that starred Johnny Depp and Jean Rochefort as Don Quixote was filled with lots of trouble as the $32.1 million film was officially scrapped in November 2000 as it was documented for the 2002 documentary Lost in La Mancha. 2003 was also a tough year for Gilliam as he worked on his next project The Brothers Grimm where he and Tony Grisoni couldn't get proper credit for their script re-write while Gilliam battled it out with Bob and Harvey Weinstein over who should shoot the film and final cut privileges.

The film was eventually released in the fall of 2005 after several delays to some mixed reviews and decent box offices. Gilliam also released another film that same year to film festivals with Tideland, a surreal adaptation of Mitch Cullin's novel that was widely panned by critics in its fall 2006 release. Yet, the film's DVD release wasn't well-received by Gilliam as his troubles to keep getting funding for projects were troubled. In late 2007, a new project by Gilliam was finally in the works which was considered another ambitious project about Gilliam's themes of imagination. Starring in the film was Heath Ledger who had previously worked with Gilliam in The Brothers Grimm. Things seem to go well until January 22, 2008 when the young actor died of an apparent overdose of prescription pills.

Ledger's death seemed to mark the end of another Gilliam project but the director didn't give up as he decided to keep the footage that he shot with Ledger. At the same time, the parts that Ledger didn't film would be filled by other actors. The project was finally finished in 2009 despite a lot of trouble as Gilliam dedicated the film to Ledger along with producer William Vince entitled The Imaginarium of Dr. Parnassus.

Directed by Terry Gilliam with a script he co-wrote with collaborator Charles McKeown, The Imaginarium of Dr. Parnassus tells the story of a traveling circus troupe leader who makes a deal with the Devil to live a thousand years. When the Devil comes to collect the deal by taking the doctor's daughter, the doctor makes a deal to save her by trying to obtain five souls with help from a mysterious outsider as they travel to different worlds inside the doctor's imagination machine. Playing the title character is Christopher Plummer while the outsider named Tony is played by Heath Ledger in his final performance as the film revels in Gilliam's themes of man versus reality. Also starring Lily Cole, Tom Waits, Verne Troyer, Andrew Garfield, Peter Stormare, and in the other roles of Tony, Johnny Depp, Jude Law, and Colin Farrell. The Imaginarium of Dr. Parnassus is a whimsical, entertaining, and spellbinding film from Terry Gilliam and company.

Dr. Parnassus (Christopher Plummer) is in modern-day London with a traveling circus troupe trying to entertain people throughout the city. Yet, with help from his daughter Valentina, a young performer named Anton (Andrew Garfield), and a dwarf named Percy (Verne Troyer). The troupe tries to entertain people but would often be dismissed or heckled by people who seem uninterested. For the 1000-year old doctor, it's a struggle as the Devil (Tom Waits) is lurking around to collect on a deal that the doctor made many years back. The deal was that for any child the doctor has at the age of 16, the Devil must collect while the doctor would be granted immortality as he met the devil many years ago when the doctor was just a monk.

Then on one night while traveling through London, a shadow of a man being hanged under the bridge as he was saved. Waking up, the man whose name is Tony (Heath Ledger) has no idea who he is as the doctor reluctantly takes him in while Valentina falls for him much to Anton's dismay. Attempts to stage the show, while getting people inside the imaginarium mirror where people would go into the mind of Dr. Parnassus where their own imagination would enamor them, has unfortunately been troubled as the Devil makes a deal with the doctor to have five souls to believe in the imaginarium where if Dr. Parnassus succeeds, he could keep his daughter.

Anton hears what is going on as he tries to take a woman into the imaginarium but only to cause trouble. Tony has a new idea to revamp the entire stage on the day of Valentina's sixteenth birthday. There, Tony woos his way to get women inside where he would sport different faces inside as everything seems to go well until a group of Russian men would chase Tony inside the imaginarium. The Devil ends up collecting their souls while Anton would make a discover of Tony's true identity. With less than hours away before the Devil can collect his prize, Valentina learns what was all of this about with Tony deciding to make a desperate move to save her as the Devil is ready to make more trouble.

The film recalls a lot of Gilliam's themes of man vs. reality where the character of Dr. Parnassus is a man who likes to tell stories in order to entertain people. For the Devil, Dr. Parnassus' ability to get people's attention was something that he was intrigued by as he gave the doctor immortality to keep telling stories and entertain. Yet, immortality comes with a price where Parnassus wanted to experience things that humans want and often joining the doctor in this long journey is Percy, who is the film's conscience of sorts. Yet, the experience to love would only come at a price for the doctor as the film does become a battle between the desire of one's soul with the help of a few characters.

Terry Gilliam and co-writer Charles McKeown create a film that is about a man dealing with the harsh realities to entertain people and his own immortality where he faces changing times and the Devil lurking around to collect on a deal. Inside the imaginarium where the doctor hopes to get people inside where they can live a certain fantasy. The doctor's job is to make it happen though the Devil would appear to tempt people and collect their soul. The script is well-structured though at times, the story lags a bit in its pacing as Gilliam and McKeown does bring a lot of depth, humor, and drama to the story and the characters in the story. Notably Tony who carries a dark secret about who he is since he can't remember where inside the imaginarium. He takes on a different face and personality which would reveal the kind of person that he really is while the Tony in the real world has no clue and tries to hide it from himself. The script is overall fantastic in what Gilliam and McKeown created in terms of what its idea of imagination.

The direction of Gilliam is definitely superb as it revels in a grim world of reality with wondrous fantasy. Shot mostly in London with sets and visual effects pieces in Vancouver, Gilliam does create a film that sort of lives up to his grand, ambitious ideas where things are huge and everything seems unreal. The scenes where the Devil first meets Dr. Parnassus at a monk place is truly fascinating along with scenes in the desert and such. In London, there's a look that is very gritty where Gilliam doesn't go for a wide depth of field. It's mostly close-ups and location shots of where the characters are while inside the carriage where the imaginarium is stored, it's more intimate and at times, claustrophobic. The scenes inside the imaginarium are truly whimsical and fantastic as it plays up to Gilliam's strange mind and visual swirls that are reminiscent of his work with Monty Python. From the way Gilliam composes several effects shot to its comical tone, it is definitely a Gilliam film all the way as it is his most rewarding work since Fear & Loathing in Las Vegas.

Gilliam's longtime cinematographer Nicola Pecorini does fantastic work with the film's stark, gritty visuals for the nighttime scenes in London along with the dazzling look of the imaginarium stage when it's revamp and inside a mall. The look for the scenes inside the imaginarium are colorful with bright lights and colors as Perconi's work is superb. Editor Mick Audsley does some very good work with the editing to maintain a certain rhythm and style along with smooth transitions for some of the film's dramatic and comical scenes. For the more intense, adventure-like sequences, the film is cut with a fast-paced rhythm as the editing is well-crafted.

Production Anastasia Masaro with set decorators Caroline Smith and Shane Vieau along with a couple of art directors plus Gilliam do a spectacular job with the film's set designs. From the carriage that carries the imaginarium stage to the stage itself where at first, it was a ragged stage that wasn't well put together until it was revamped into something classier. The look of the film in its set designs is phenomenal like a lot of the set works in Gilliam's films. Costume designer Monique Prudhomme is excellent for the ragged clothing that everyone wears when they're not performing to the more dazzle look that everyone else wears where at one point, Verne Troyer has to look like an African child for Tony's revamp of the imaginarium stage that can be seen as offensive but there's a humor to it that even the character knows that it's wrong.

The visual effects are truly amazing in its whimsical look from the candy world that Anton stumbles to the more romantic yet troubled look that Tony and Valentina venture through. Led by its team supervised by Richard Bain and John Paul Docherty, the look of the imaginarium along with the design of the monk structure that Dr. Parnassus was a part of, it's truly dazzling. The sound design of Andre Jacquemin is excellent for many of the film's adventure sequences along with the sound of the carriage and locations. The music score of Mychel and Jeff Danna is wonderful for its circus like tone with playful musical pieces along with lush orchestral pieces for the film's dramatic and adventure sequences with big, heavy arrangements on some of its darker elements. One of the most comical elements of the music involves a group of policemen wearing lingerie stockings and high heels as they sing a song that is truly silly but fun.

The casting by Irene Lamb and Maureen Webb is excellent with some notable appearances from Peter Stormare as a politician in a fantasy sequence plus Maggie Steed as a woman with a lot of Louis Viutton objects who goes inside the imaginarium, Paloma Faith as a woman who is wooed by Tony into the imaginarium but doesn't get there, and Richard Riddel as a drunk who heckles the troupe early in the film. Verne Troyer gives what is probably his best performance of his career as Percy, Dr. Parnassus' longtime traveling companion who is really the straight man of the film while making sure Dr. Parnassus isn't doing anything wrong as he is also the film's conscience of sorts. Tom Waits is great as the Devil but is known as Mr. Nick who is a charmer and a man that is willing to tempt Parnassus into playing games as Waits is just fun to watch throughout the film.

Andrew Garfield is really good as Anton, a performer who likes to do magic tricks and wow the crowd while struggling to maintain his feelings for Valentina until Tony comes in and intervenes. Lily Cole is also good as Valentina, Dr. Parnassus' daughter who yearns for a better life while trying to take care of her father as she also deals everything else around her including Tony. Christopher Plummer is great as the film's title character, a man tormented by his own immortality while struggling to keep things going while dealing with the devil as it is definitely a mesmerizing performance from the veteran actor.

Finally, there's Heath Ledger in his final performance as Tony and as far as final performances go. This is certainly a fitting bow though it doesn't top the brilliance of his penultimate role as the Joker in The Dark Knight. Ledger's performance is full of charm, wit, and humor as it clearly shows an actor who was seemingly having a good time and it's a shame that audiences will never get to see the likes of him ever again as it definitely a fantastic performance from the late, great actor. Helping Ledger in filling the role of Tony through imaginarium are Johnny Depp, Jude Law, and Colin Farrell as they all do a fantastic job. Depp with his light-comic performance with a sense of wit. Law with his playful yet smarmy tone and Farrell with a greasy yet charming performance as they all embody part of Ledger's persona as the three actors do great work while it is great to note that they gave their earnings to Ledger's daughter Mathilda.

The Imaginarium of Dr. Parnassus is a remarkable yet enjoyable film from Terry Gilliam and company featuring a fantastic final performance from Heath Ledger. Along with top-notch performances from Christopher Plummer, Tom Waits, and Verne Troyer plus Johnny Depp, Jude Law, and Colin Farrell filling in for Ledger. It's a film that shows that Terry Gilliam still has it when it comes to whimsical and ambitious ideas. While it may not rank with a lot of his great films like Brazil, The Fisher King, 12 Monkeys, and a couple of other films. It is certainly a film that is definitely his best in quite a long time after a decade of trouble. While mainstream audiences might enjoy the film for its entertaining factor and whimsical humor along with some star power. The film is a bit eccentric in some places but it's what happen when they see a Terry Gilliam film. In the end, The Imaginarium of Dr. Parnassus is an excellent film from Terry Gilliam along with a fond farewell from Heath Ledger.

Terry Gilliam Films: Jabberwocky - Time Bandits - Brazil - The Adventures of Baron Munchausen - The Fisher King - 12 Monkeys - Fear & Loathing in Las Vegas - The Brothers Grimm - Tideland - The Zero Theorem - The Auteurs #38: Terry Gilliam

© thevoid99 2010

The New World (the 135-Minute Cut & 172-Minute Cut)

Originally Written & Posted at Epinions.com on 1/21/06 of the 135-minute cut with some minor edits.

The story of Pocahontas has been told in many forms including a Disney animated version in 1995 about the young Indian heroine who befriended colonists in 1608 in Virginia including John Smith whose life she saved. The story is often told in a simple way and would often ignore Pocahontas' life after saving and befriending Smith as she later married aristocrat John Rolfe in 1614 as she settles into a simpler life while bringing peace between Indians and the English. Now, there's a new story that is much broader and more observant about the life of Pocahontas but it's more about the arrival of English colonists arriving to the area of Jamestown, Virginia and the aftermath. This time however, this story of Pocahontas is from the viewpoint from one of American cinema's most poetic and enigmatic visionaries in Terrence Malick for The New World.

Written and directed by Terrence Malick with a script he wrote in the mid-70s, The New World is a story about John Smith and English settlers arriving into Jamestown where Smith meets Pocahontas as the two explore each others culture that would lead to tension as Pocahontas would later meet John Rolfe. Shot on location in Jamestown, Malick goes for the same, poetic narrative approach to his earlier films for an observant and more enchanting tale of how the world changed through the eyes of a young girl. Starring Colin Farrell, Christian Bale, Christopher Plummer, Wes Studi, August Schellenberg, Irene Bedard, Raoul Trujillo, Jesse Borrego, Jonathan Pryce, David Thewlis, Noah Taylor, Ben Chaplin, John Savage, Brian F. O'Byrne, and introducing Q'Orianka Kilcher as Pocahontas.  The New World is a haunting yet lush film from Terrence Malick and company.

It's 1608 Virginia as three ships arrive onto the unknown land led by Captain Newport (Christopher Plummer) where joining him is another captain, Wingfield (David Thewlis). Imprisoned inside the ship for mutinous remarks is John Smith (Colin Farrell) as Newport sets him free so he can join the exhibition of the land. During their reconnaissance, Newport and his crew meet up with a group of natives led by Tomococo (Raoul Trujillo) as their first meetings is slow. Then when Newport leaves for England, Wingfield takes over while Smith becomes second-in-command to take on the exhibition. Immediately, mis-communication and misunderstandings lead to trouble as Smith along with two captured natives and crew members including Jehu Robinson (Ben Chaplin) are to explore the regions and rivers of Virginia to find the tribe's chief. After a native escapes, Smith takes on his exploration where he is captured by a band of natives led by Opechancanough (Wes Studi).

Opechancanough takes Smith to his tribe where he awaits answers from his brother and tribe chief Powhatan (August Schellenberg) as the punishment is death. Just as Smith is about to die, Powhatan's daughter Pocahontas steps him and asks her father to spare his life. Smith becomes a prisoner but immediately during his period of captivity, he becomes enamored and absorbed with the culture of the natives. He also begins to befriend the worldly spirit of Pocahontas as the two learn about each others' languages while having this relationship that transcends all barriers. This period of captivity made Smith aware of the peace they live in as Powhatan decides that he should return home. Smith is taken back to the settlement his colleagues had been building where they've been struck by poverty. With Smith chosen to take over, it doesn't become easy as he is often in conflict with Argall (Yorick van Wageningen) while dealing with the starvation of other men including crazed men like Savage (John Savage), Murray (Eddie Marsan), Lewes (Brian F. O'Byrne) Thomas Emery (Jamie Harris), and Selway (Noah Taylor).

After a horrifying winter, Pocahontas comes to help the troubled settlers to give them food but Smith knows that her generosity might spell trouble. Despite their love for each other, Smith tries to give the natives things in return but more misunderstandings including the settlers refusing to leave their land lead to a horrific conflict in battle. Pocahontas is immediately banished by her father for her involvement with the settlers while Smith is also punished for his refusal to trade with another tribe for Pocahontas. Pocahontas is sent to the village that was becoming Jamestown as she becomes accepted immediately thanks to her generosity as she no longer is called Pocahontas and adopts new ideas from a woman named Mary (Janine Duvitski). Pocahontas finally sees Smith as he blames himself for her banishment and feels that if they get together, it only spells trouble. Newport returns where he wants Smith to take part on an exhibition around North America. Smith takes the job as he tells someone to tell Pocahontas that he died two months after his expedition.

Smith's departure breaks Pocahontas as she becomes an alien of sorts to the town until she captures the gaze of a widowed aristocrat named John Rolfe (Christian Bale). Rolfe begins a relationship with Pocahontas as he teaches her about the English culture while he like Smith, is enamored with her spirit. During their time, they marry and have a son while she adopts the name Rebecca. The marriage is seen as a treaty between natives and settlers after a period of conflict as Rebecca learns that Smith is still alive. Rolfe is aware of her feelings for Smith as the two go to England where she becomes an honored guest in front of King James I (Jonathan Pryce) and Queen Anne (Alexandra Malick). Rebecca along with Opechancanough and a few natives are taken to England as they are amazed at the world they're in now. With Rolfe aware of Rebecca's feelings for Smith, he arranges a final meeting between the two in his posh home as Smith is forced to deal with his own troubles and feelings for his lost love.

Now most historical moments that features a romantic subplot in films like Heaven's Gate, Titanic, or Pearl Harbor can either work or becomes a distraction. What none of those films have is the genius, narrative approach that Terrence Malick does with a romantic subplot. Since he's basing some of these ideas from fact and legend, the love story of Pocahontas and John Smith doesn't feel contrived at all and it's the heart of the story since it's about these two different cultures coming together and trying to understand one another. While the romance does lead to trouble of what was to come in terms of the tension between the settlers and natives, it helps conveys the story and what Malick is trying to say in his revisionist approach to history. Another thing that Malick does that works in this film that didn't work with other films about moments of American history is that he gets right to the point about these events and what had happened without over-dramatizing things that happened.

Plus, Malick's writing on characters reveals not just the arrogant ignorance that the English came on feeling that they own this land. Malick also reveals the natives’ reluctance into giving land to settlers since it disrupts the peace they had been living in. Malick doesn't take shots on the English because of their feelings, he knows why they try to find a new world since their land is filled with problems yet they take those problems into the new world. While the story moves slow for Malick's message to come across, the momentum he builds up does pay off emotionally and spiritually right to the end. Then there is Malick's unique narrative style that is a trademark of all of his films. The voice-over narration Malick does goes from different perspectives, mostly the perspective of John Smith and Pocahontas as they search for their own ideas on themselves and the lands. Also given some narration is John Rolfe in the film's second half in his description of Pocahontas and how he tries to help lift her spirits.

It's not just Malick's unique script that brings light to his interpretation of what happened in those times but its his direction that really is amazing. Particularly on how he slowly builds up the momentum of the story and observe the behaviors and nature of what is going on around Jamestown. Then when the film reaches its final moments in England, the feeling and mood change but not the spirit since Pocahontas and her natives are seeing the world of their neighbors and how it differs. Whereas the world that the natives live is wide open with this scenery of rivers, trees, plants, fields, and amazing sunlight. The world of England is a bit more claustrophobic upon their arrival since its more crowded and more divine in its religious imagery and richness. While Rolfe's English home does have the space that Pocahontas seem to love, it doesn't have the same worldliness that her home had.

Known for his visual poetry, Malick does something that not many filmmakers would do in capturing an epic, visual scope. Whereas most films would use 35mm for a full-film print in terms of widescreen presentation, Malick goes for 65mm where that print of film is often used for visual effects. In this film, the first since Kenneth Branagh's 1996 adaptation of Hamlet, Malick uses the 65mm for a visual scale that is undeniably powerful in each of its absorbing image. From shots underwater to the ariel shots of the world where Malick would spin around to observe every moment and every piece of grass and mud. From the steadicam, dolly shots of more dramatic sequences to the shaky, handheld camera work of the more intense scenes. More importantly, to convey the sense of realism and poetry that he wants in his vision, no artificial or light equipment was used. All the light from the sun, fires, and moons were the source. The overall result is Malick creating a film that is entrancing in its imagery while recreating an old story that is still compelling after all of these years.

Helping Malick in his visual scope is renowned Mexican cinematographer Emmanuel Lubezki. Known for his pallette visual style of greenish colors, Lubezki takes that color to even greater use as for anyone who have seen his work including the films of Alfonso Cuaron will know that he shot this. Lubezki's lush coloring and camera work with the use of sunlight and fire brings not just the realism Malick wanted but an exquisite visual scale that is unparalleled with many of today's period films. In many of the exterior Jamestown scenes, Lubezki uses whatever source of light he can find and brings a true vision of what it could've looked like. Even in interior settings, Lubezki uses the light for shadows and to convey the emotions of the characters. Since he used no filters or special equipment, Lubezki's work in this film is truly not just some of the best cinematography of the year but its by far his most absorbing piece of camera work to date.

Longtime Malick collaborator Jack Fisk does wonderful detail in the production design of capturing the look and features that goes on into the homes of the natives and settlers. Since the Jamestown scenes are shot right in Jamestown itself, the location is truly inspiring for Fisk, along with set decorator David Erickson and art director David Crank, to convey the true atmosphere of the differing worlds of the natives and settlers. Whereas the natives' world is more grounded and natural as opposed to the poverty-stricken of the settlers' home early on and later to the more bleaker world of England and its claustrophobic setting. Along with the costume design of Jacqueline West and the make-up work of Chris Varosky, the film truly captures an authenticity and spirituality to the clothing and makeup of the natives as it brings an atmosphere that is just amazing. Even the clothing that Pocahontas wears in her meeting with King James I is exactly true to the pictures that are shown in various history books.

Whether in its 150-minute long, NYC/LA theatrical version or the 135-minute wide-release version, the editing style of Saar Klein, Hank Corwin, Richard Chew, and Mark Yoshikawa is wonderful with its use of jump-cuts, black fades, and straight cuts shows the film in its unique form in its perspective to perspective. Even as they move the film quite seamlessly from sequence to sequence without disrupting its elliptical flow. Even the sound work of sound editor Skip Livesay and sound designer Craig Berkey rings true to the way sound works in those times where everything from the hitting of clubs, cannons, and animal calls are so true where even to the point that it can make the audience jump at the mix of all these different sounds. It's truly some of the best sound work done in a film.

Then we come to the music that features elements of Richard Wagner's Das Rheingold where it's used to convey a sweeping, operatic feel to help build the momentum of the film. Also included is Mozart's Piano Concerto No. 23 for more subtle, tender scenes involving John Smith and Pocahontas. Composer James Horner does bring in a bit of bombast to his score but goes for more sweeping and subtle pieces to convey the drama and romance of each scene as he creates probably his best score work to date.

Then, we have the film's superlative, enormous cast filled with great actors from the Native American community to an array of English actors. Playing small yet memorable roles as the natives are Jesse Borrego, Alex Rice, Michael Greyeyes, Kalani Queypo, Rulan Tangen, Myrton Running Wolf, and Irene Bedard as Pocahontas' mother who brings a great presence to her worldly spirit. In small roles as the settlers, Ben Chaplin, Brian F. O'Byrne, Noah Taylor, John Savage, Jamie Harris, and Eddie Marsan are excellent while Jonathan Pryce makes a wonderful cameo as King James I with Alexandra Malick as Queen Anne.

Raoul Trujillo is excellent as the natives' interpreter Tomococo while Wes Studi is brilliant as the war-like chief Opechancanough. August Schellenberg does great supporting work as the calm, observant Chief Powhatan who knows that intruders coming to his land will bring trouble as Schellenberg does great work. David Thewlis is excellent as the ignorant, wary Wingfield while Yorick van Wageningen is wonderful as the violent but disciplined Argall. Janine Duvitski is also wonderful in a small, supporting role as Pocahontas' maternal mentor. Of the supporting cast, none is as great as the brilliant Christopher Plummer as Captain Newport whose intelligence and willing to do good in making peace with the natives bring depth to a historical character. Plummer's wariness and wisdom brings light to the man's flaw as he feels that his arrival is an importance for his own country while he doesn't want to bring trouble. It's a great performance from the veteran actor.

Christian Bale, fresh off from his role as Batman, is wonderful in his role as John Rolfe. While not much is known about the aristocrat, Bale brings a wonderful emotion to a man who is willing to form a relationship with Pocahontas as he is seduced by her spirit. Bale brings a lot of humor and heart to his role while having great chemistry with Kilcher as his character reveals that he is aware that his love is in love with someone else. Bale does great work in playing a second fiddle for a woman whose spirit only brings him a lot of warmth. Colin Farrell delivers his best performance to date as the troubled, anguished John Smith who gains a peace of mind when he meets Pocahontas while being a man who is trying to find his place in the world. While Farrell had nearly embarrassed himself as Alexander the Great in Oliver Stone's awful 2004 film Alexander, Farrell more than improves as the rugged, adventurous Smith by playing a man who is confused while finding a sense of happiness. Where in Alexander, Farrell had to be more dramatic but in this film, Farrell displayed a rare sensitivity and warmth to his character as Farrell has proven to be a really, fine actor.

The film's breakthrough and most spiritual performance easily goes to Q'Orianka Kilcher as Pocahontas. While her previous work was a choir extra in Ron Howard's film version of How the Grinch Stole Christmas, this is truly one of the best debut performances ever captured on film. Every moment in the film, Kilcher creates a vibrancy and spirit that is indescribable. In her dramatic moments, Kilcher sells the heartbreak of her character while her scenes with Farrell, including their final meeting is filled with real chemistry that is true to their legend. There is never a dull moment from Kilcher and she is truly a young actress that should be watched.

***The Following is Additional Content Relating to the 135-minute DVD & 172-minute Extended Edition of the Film Written on 8/19/10 along with a new conclusion***

When The New World was slated for a late 2005 release. The film eventually came out in two different running times due to Terrence Malick’s notoriety for editing his films right up to the last minute. In New York City and Los Angeles in late 2005, Malick released a 150-minute cut of the film for Oscar consideration where it received a nomination for Emmanuel Lubezki’s cinematography. Malick would end up trimming 15 minutes of the first cut of the film for a 135-minute theatrical cut that was officially released in January of 2006. When news arose that Malick was in preparation of a much longer cut of the film, it only added to excitement among Malick’s devoted fans.

Yet, fans would end up having to wait for that extended cut of the film with a running time of 172-minutes that was eventually released on DVD in October of 2008. The New World is released in two different running time for its DVD released back in 2006 and later 2008 for North American region. The 2006 Region 1 DVD presents the film in a widescreen format of 2:35:1 aspect ratio with 5.1 English Surround and Stereo Surround Sound. Along with Spanish subtitles and closed captioning for the hearing impaired. The DVD includes only one special feature in the form of a 50-minute making-of featurette.

The making-of featurette explores the long process of making the film when production began in July 2004 and ended in November of 2004. It starts with Malick’s longtime production designer Jack Fisk recreating the entire Jamestown colony with a crew on a location nearby where the actual colony was. Taking the same amount of time the original settlers used to build the colony but with modern equipment, it was an attempt to recreate something close to what it was at the time. Even as an archeology professor gets a chance to look at the set to see how close it is as he is amazed by its look and authenticity.

The making of is set into ten parts where the second has Raoul Trujillo, who plays a Native American, also serves as a choreographer for the people cast as the Algonquian tribe. Scholars were brought in to see a language be revived as Trujillo and the rest of the Native American actors were brought into create their own personas for the film. Once Q’Orianka Kilcher was finally cast a month into pre-production, she came in to the rehearsals as everyone agreed she is Pocahontas. With the third part about the casting of Kilcher as Pocahontas, the fourth is about the recreation of the tribe with actors putting on makeup and such.

Part five is the use of the ships that was used as they’re all filmed on the rivers where the ships did arrive back in 1607. Even as cast and crew members talk where everyone is taking instructions from Malick via cell phone. Notably the film’s cinematographer Emmanuel Lubezki. Colin Farrell is shown the swords he will use for his battle scenes and his arrival into the Algonquian village set. Christian Bale for the eighth part along with actors and crew talk about Malick’s directing style. August Schellenberg discusses Malick’s approach which is to shoot at the moment with no rehearsals and no planning as if he’s doing a documentary. Even as there’s no cables or lighting projects as Lubezki and other camera operators have to use natural, available light. Yet, throughout the fifty-minute, 10-part documentary, Malick is not seen as it is an overall, fascinating piece on the making of the film.

The 2008 extended edition of the film is presented in the same theatrical aspect ration as in the 135-minute cut along with the same sound formats. Yet, the 172-minute version is not very different from the other versions. It’s mostly an extension of the film with subtle additions and such. The film begins with a quote from John Smith about Virginia prior to the opening credits. The film also has an extended scene of Pocahontas and fellow natives swimming underwater along with a scene of Wingfield pleading to Captain Newport about not sending John Smith to confer with the natives.

A lot of the film features not just extended scenes of Smith with the natives, going upriver with other settlers, and struggling to build the Jamestown colony. There’s other scenes where there’s more emphasis on the Smith/Pocahontas relationship including a scene that follows just after Smith makes a trade with another tribe. In the theatrical version, it’s inter-cut with him playing around with Pocahontas with audiences believing it could be a flashback. In the extended version, it has Smith returning from the trade where he meets and spends some time with her. When he returns to the ship, it’s clear he’s been gone for a few days.

The extended cut also makes note of Pocahontas’ own internal conflict on her love for Smith as well as her devotion to her tribe. Particularly a small scene with her uncle Opechancanough at the Rolfe estate in England where she reveals her guilt while he offers her a brief sense of wisdom about the many worlds around her. It’s not just added scenes that includes a small scene with Roger Rees as a governor discussing John Rolfe’s decision to marry Pocahontas. There’s a bit more of Newport in those scenes as well as one scene in England at the Rolfe estate. There’s a lot of material that is small scenes including one of Lewes meeting Pocahontas when getting some fish where he would tell Argall about a trade.

It’s not just what Malick adds to the film in terms of scenery, it’s also in the voice-over dialogue from Pocahontas, John Smith, and John Rolfe. Malick adds more voice over work from Pocahontas and Smith in terms of their own feelings about the environment and the conflicts they’re dealing with. For Rolfe, there isn’t much added though one piece of dialogue about his dead wife and child is cut as it’s later revealed through a dialogue between him and Pocahontas. Another addition to the film in its extended version is more of James Horner’s score pieces as it’s only used to underplay certain sequences.

To compare the 135-minute theatrical cut and the 172-minute extended cut seems hard to grasp on. Even as they’re both the same story but with small differences. It’s not easy to say which version is better but Malick is a director that has absolute control of what he can do. He prefers to let his audience figure out which is better. Then again, there is probably no version that is better other than the fact that The New World is truly one of most mesmerizing films of the past decade.

While it may not be as good as films like Days of Heaven or The Thin Red Line, The New World is truly an astounding and intoxicating masterpiece from Terrence Malick. No matter what cut of the film is presented, it is a film that truly enraptures an old world that is resurrected into the legendary story of John Smith and Pocahontas. With a superb cast that includes Colin Farrell, Christian Bale, Christopher Plummer, and Q’orianka Kilcher, it’s a film that recalls the beauty of the 17th Century as well as the discovery of something new. In the end, The New World is one of the most compelling films ever made and from one of the greatest directors out there in Terrence Malick.

Terrence Malick Reviews: Badlands - Days of Heaven - The Thin Red Line - The Tree of Life - To the Wonder - Knight of Cups - (Weightless) - (Voyage of Time)

© thevoid99 2010