Lion (2016 film)

Based on the book A Long Way Home by Saroo Brierley and Larry Buttrose, Lion is the true story of a man who was separated by his family as a young boy where he was adopted by an Australian couple as he would later go on a search to find his original family. Directed by Garth Davis and screenplay by Luke Davies, the film follows the path of a man who trying to find his family with the help of those who cared about him including his adoptive family. Starring Dev Patel, Sunny Pawar, David Wenham, Rooney Mara, Divian Ladwa, and Nicole Kidman. Lion is a rich and evocative film from Garth Davis.

Told largely in the span of more than 25 years, the film follows a young boy who is separated from his older brother where he accidentally boards a train and is suddenly lost where he’s later adopted by an Australian couple who would raise him. It’s a film that follows the journey of a boy searching for his family only to restart the search many years later as a man where he begins to raise questions about himself and what happened to his mother, his older brother, and younger sister. Luke Davies’ script doesn’t waste time early in the film where the young Saroo (Sunny Pawar) follows his older brother Guddu (Abhishek Bharate) who is trying to find work while Saroo naps at a bench on a train where he accidentally enters a train that leaves where he arrives in Calcutta several days later. Much of the first act has Saroo lost in Calcutta trying to find his way back home but has no idea where he’s at nor does he speak Bengali since he speaks a more rural Hindu-based language.

He would encounter people that might seem good but he immediately realizes that it’s not what it seems until he’s taken into an orphanage where he is later aided by a woman in the orphanage in finding his family but has gotten no response. Yet, she would tell him that an Australian couple in John Brierley (David Wenham) and his wife Sue (Nicole Kidman) are interested in adopting him. The second act largely takes place in Tasmania, Australia where Saroo finds a home and a family that loves him where they adopt another Indian child in Mantosh (Keshav Jadhav) who has a hard time adjusting to his new surroundings. 20 years later as the older Saroo (Dev Patel) is training to manage hotels while he dates an American student in Lucy (Rooney Mara), Saroo gets a reminder of his old home forcing him to go into a search to find his family through the usage of Google Earth. Though he is reluctant to tell his adopted parents on what he’s doing, it would become an obsession that nearly drives him apart from those who care about him.

Garth Davis’ direction is definitely mesmerizing for not just the way he captures a man caught between two different worlds but wanting to hold on to them as well as make peace with the world he was lost in when he was a child. Shot on various locations in India such as Kolkata and Melbourne, Australia along with Tasmania, the film does play into this journey that a boy would take as he would travel from Khandwa to Calcutta as Davis would use a lot of wide shots to establish the locations as well as the sense of wonderment that the young Saroo would endure. Much of Davis’ direction is intimate with its usage of hand-held cameras for the close-ups as well as the medium shots to capture Saroo’s family life with John and Sue. Though a lot of Davis’ compositions are straightforward, there are elements of style late in the second act where the older Saroo would see his older brother at a certain location as well as paralleling images to play into a location in Australia and matched with India. The usage of Google Earth is crucial to the story as it play into Saroo’s search and what he can remember about certain locations which leads to the film’s climax where he returns home to see if his family is still there. Overall, Davis crafts a riveting and touching film about a man’s journey to find his family with the support from the people who raised and cared for him.

Cinematographer Greig Fraser does brilliant work with the film’s cinematography with its usage of natural lights for many of the exterior scenes with some low-key lights for some of the interior/exterior scenes at night. Editors Alexandre de Franceschi does excellent work with the editing with its usage of jump-cuts, stylish match cuts, and other rhythmic cuts to play into the drama. Production designer Chris Kennedy, with set decorators Nicki Gardner and Seema Kashyap plus art directors Janie Parker and Ravi Srivastava, does fantastic work with the look of the home that John and Sue live in as well as Saroo’s home in Melbourne plus some of the places in India. Costume designer Cappi Ireland does nice work with the costumes from the ragged clothes of the young Saroo walking around in India to the more casual look of the older Saroo and the people in his life.

Visual effects supervisors Julian Dimsey and Sid Jayakar do terrific work with some of the film’s minimal visual effects that relate to Google Earth and a few moments of set dressing. Sound designer Robert Mackenzie does superb work with the sound as it play into the many locations as well as the array of sounds that Saroo remembers from his time as a child. The film’s music by Hauschka and Dustin O’Halloran is wonderful for its mixture of Indian string music with some ambient textures to play into the sense of wonderment that Saroo endures while music supervisor Jemma Burns provide a mixture of music ranging from Indian-pop to electronic music and pop from acts like Hercules and Love Affair, Sia, Enigma, and Mondo Rock.

The casting by Kirsty McGregor is marvelous as it feature some notable small roles from Riddi Sehn as a man in a café who would find the young Saroo and take him to the authorities in the hope his family would find him, Tannishtha Chatterjee as a young woman in Calcutta who finds Saroo and gives him shelter for a while, Nawazuddin Siddiqui as a friend of that woman who has ideas for Saroo that makes the boy uncomfortable, Keshev Jadhav as the young Mantosh, Abhishek Bharate as Saroo’s older brother Guddu, Divian Ladwa as the older Mantosh who remains a troubled soul, Priyanka Bose as Saroo’s biological mother, and Deepti Naval as Saroj Sood who is an outsider of the Indian orphanage system as she would be the one to make sure Saroo finds a good home and would get him adopted by the Brierleys. David Wenham is superb as Saroo’s adoptive father John Brierley as a kind man that is very patient with Saroo and Mantosh as he is also someone that is becoming concerned with the former’s growing distance from everyone. Rooney Mara is fantastic as Lucy as an American student who becomes Saroo’s girlfriend as she is concerned about his distance as she wants to help him find his family.

Sunny Pawar is excellent as the young Saroo as this young boy who is trying to find his way back home as he endures poverty, different language and cultural barriers while eventually finding a home and a family that loves him. Dev Patel is brilliant as the older Saroo as a man who finds himself dealing with his identity as well as the need to find his family where his obsession nearly drives him away from those who care about him. Finally, there’s Nicole Kidman in a truly radiant and intoxicating supporting performance as Saroo’s adoptive mother Sue as she provides this air of warmth and gracefulness from the first scene she’s in as a woman that is full of love where it’s Kidman at her most restrained as well as one of her finest performances.

Lion is an incredible film from Garth Davis that features great performances from Sunny Pawar, Dev Patel, and Nicole Kidman. Along with its supporting cast, gorgeous locations, and a touching story of loss and the need to return home. It’s a film that captures the journey of a boy who becomes a man in his need to find his original family as well as bring together those who raised and cared for him. In the end, Lion is a sensational film from Garth Davis.

© thevoid99 2018

Australia (2008 film)

Directed by Baz Luhrmann and screenplay by Luhrmann, Ronald Harwood, Stuart Beattie, and Richard Flanagan from a story by Luhrmann, Australia is the story of an Englishwoman who travels to Australia to discover her husband’s death as she takes over the cattle business with a help of a drover while taking care of a half-Aborigine boy. Set in the late 1930s to early 1940s during the start of World War II, the film is an epic story of how a woman tries to take control of her destiny while dealing with forces that are trying to stop her as she tries to protect a young boy. Starring Nicole Kidman, Hugh Jackman, Brandon Walters, David Wenham, Bryan Brown, Ben Mendelsohn, Jack Thompson, and David Gulpilil. Australia is a grand though underwhelming film from Baz Luhrmann.

The film revolves around a period in time where half-Aborigine children, known as the Stolen Generations, were taken away from their families by the governments of the early 20th Century to be integrated with white societies. Notably as it has a plot revolving around a boy named Nullah (Brandon Walters) who is half-Aborigine where he intrigues an aristocratic Englishwoman in Lady Sarah Ashley (Nicole Kidman) who later becomes the maternal figure he needed following the death of his mother. While she embraces the new world she has arrived into as well as gaining the trust of a hardened yet kind man known as the Drover (Hugh Jackman). She also deals with all sorts of trials and tribulations relating to her burgeoning cattle business as well as witnessing the bombing of Darwin in 1942 where many characters deal with its impact and near-tragedy.

The screenplay that Luhrmann and his co-writers create is very multi-layered with lots of storylines revolving around many characters set in the span of three years from 1939 to 1942. While there are moments in the story that do falter a bit such as the mystery into the death of Lady Ashley’s husband where it is obvious into what really happened. It does play into the arrival of this woman who comes into a land that she has no knowledge about as she is seen as an outsider of sorts. By discovering why her husband went to the Australian outback which involves cattle, she decides to take control by protecting Nullah who had been mistreated by the very cruel Neil Fletcher who had been working for the cattle baron Lesley “King” Carney (Bryan Brown). With the help of the Drover and various other people, the film’s first act is about Lady Ashley’s arrival into Australia and becoming the competition that Carney tries to avoid.

The second act isn’t just about Lady Ashley’s romance with the Drover and the brief happiness she has with him and Nullah but also revelations into her husband’s death and what Aborigine children have to do which also plays into the presence of Nullah’s grandfather King George (David Gulpilil) whom Fletcher claimed had killed Lady Ashley’s husband. The third act takes place in 1942 during World War II where Lady Ashley, the Drover, and Nullah are separated as Nullah was taken to a remote island with other half-Aborigine children as Lady Ashley vows to get him back as she thinks of him as her son. The script does allow its principle characters like Lady Ashley and the Drover to develop where the latter is also an outsider because of his friendship with the Aborigine as he had a wife who was Aborigine.

While some of the ideas about the attitude towards Aborigines at the time is a bit heavy-handed in the story, it does play into the fact that both the Drover and Lady Ashley are outsiders who are willing to do right for those people despite what society thinks. The antagonist in Neil Fletcher is a conniving individual who does have a secret of his own though it is one aspect of the character that doesn’t work where it is also obvious. Still, there is something about Fletcher as he’s character that audiences love to hate as he often spouts the words, “pride is not power”.

Luhrmann’s direction is definitely grand in the way he presents Australia during that time period where it is a mixture of a lot of genres ranging from the sweeping romantic epic, the costume dramas, some comedy, the war film, and elements of the western. It’s a film that is all over the place where it can be called a mess a times but it makes up for as Luhrmann aims to create a film that recalls the epics of the past. Shooting on location in Australia including the Never Never desert in the Outback, Luhrmann uses the locations to present something that is visually-astonishing as well as epic to express how vast the land is. The place itself is just as much as a character of the film as everything else.

There are also moments in the film when Luhrmann knows where he doesn’t need to be extravagant where he does keep things simple in the way the characters interact with each other. Luhrmann does create some shots that are filled with a lot of lively moments and surprises to amp up the romance or the drama including some very harrowing scenes of the Darwin bombings. Though there are bits of the film’s ending which are over-drawn, it does work to reinforce the idea of love and family that the three central characters need from one another. Overall despite some of its messy moments and a few flaws in the story, Luhrmann does create a very worthwhile and engaging film about love and identity.

Cinematographer Mandy Walker does amazing work with the film‘s very gorgeous and colorful cinematography from the look of the rugged landscape with its naturalistic look to the more stylish scenes in some of the interiors and exterior settings in Darwin. Editors Dody Dorn and Michael McCusker do excellent work with the editing as it plays to an air of style with some rhythmic cuts for some of the film’s action moments as well as some montages to help establish a few key moments in the story. Production/costume designer Catherine Martin, with set decorator Beverley Dunn and supervising art director Ian Gracie, does fantastic work with the set pieces to recreate the look of late 1930s Darwin with its bars as well as the home Lady Ashley has in the Outback while the costumes that Martin creates are just beautiful to play up the evolving style of Lady Ashley along with the rugged look of the Drover who also shows that he has a very classy side to himself.

The film’s visual effects by Chris Godfrey does wonderful work with some of the film‘s visual effects for the extravagant Darwin bombing scene as well as a few visual effects shots in the Outback. Sound designer Wayne Pushley does superb work with the sound to capture some of the tense atmosphere in the Outback along with more layered sound work in the Darwin bombing scenes. The film’s music by David Hirschfelder is terrific for its use of sweeping orchestral arrangements and bombast along with some serene moments that includes the use of Somewhere In the Rainbow that becomes a key piece for Nullah and Lady Ashley. The soundtrack consists of music from that period with its mix of jazz, Australian folk, and pop along with new songs by Elton John and Angela Little to play up the sense of adventure and romance in the film.

The casting by Nikki Barrett and Ronna Kress is brilliant as it features a large collective of actors for this film. The film features appearances from Bill Hunter as a skipper, Barry Otto as a government representative overseeing the cattle industry, Ursula Yovich as Nullah’s mother, Ray Barrett as Lady Ashley’s British counsel, Sandy Gore as King Carney’s wife Gloria, Yuen Wah as a Cantonese chef living in Faraway Downs, Jacek Koman as the Faraway Downs saloon keeper Ivan, and Tony Barry as Sgt. Callahan who heads the Northern Territory police unit. Essie Davis is very good as King Carney’s daughter Catherine who is an admirer of Lady Ashley while Jack Thompson is quite funny and excellent as Lady Ashley’s alcoholic accountant Kipling Flynn. David Ngoombujarra is wonderful as the Drover’s brother-in-law Magarri who helps him out while Ben Mendelsohn is terrific as the army officer Captain Dutton who becomes a close ally for Lady Ashley.

David Gulpilil is amazing as the mysterious Aborigine King George who aids Lady Ashley and the Drover through the Outback despite his distrust towards the whites. Bryan Brown is great as the cattle baron King Carney as a man eager to have a monopoly in the cattle industry. Brandon Walters is remarkable as the half-Aborigine boy Nullah who becomes the one person in Lady Ashley’s life to make her stay in Australia as he also helps her become a rich cattle baron. David Wenham is superb as the very slimy and conniving Neil Fletcher who tries to do whatever to bring down Lady Ashley.

Hugh Jackman is marvelous as the Drover as a man who knows Australia better than anyone as he comes off as a very rugged yet stubborn man but also one who is very kind and can become a gentleman. Nicole Kidman is radiant as Lady Sarah Ashley as a woman who arrives to the country as an outsider only to become a more proud and fierce woman eager to lead and become someone not to be messed with. The scenes with Kidman and Jackman are just glorious to watch as the two have great chemistry together as they are among one of the film’s highlights.

Despite some of its shortcomings in its story, Australia is a still a visually-gorgeous and stellar film from Baz Luhrmann. Thanks to the leading performances of Nicole Kidman and Hugh Jackman along with some amazing technical work and a supporting cast. The film is definitely a worthwhile film that has a lot to offer though it is a bit of a mess at times. In the end, Australia is a very good film from Baz Luhrmann.

Baz Luhrmann Films: Strictly Ballroom - William Shakespeare's Romeo + Juliet - Moulin Rouge - The Great Gatsby (2013 film) - The Auteurs #23: Baz Luhrmann

© thevoid99 2013

Top of the Lake (TV Miniseries)

Top of the Lake is a seven-part TV miniseries about a detective who is trying to find a 12-year old pregnant girl whose father is a local drug lord in a small yet remote New Zealand town. Written and created by Jane Campion and Gerard Lee and directed by Campion and Garth Davis, the miniseries is a suspense story that involves a world where many people are carrying secrets and some are trying to hide from the secrets just as a girl is disappearing from the world. Starring Elisabeth Moss, Peter Mullan, David Wenham, and Holly Hunter. Top of the Lake is a chilling yet mesmerizing miniseries from Jane Campion, Garth Davis, and Gerard Lee.

A 12-year old girl named Tui (Jacqueline Joe) is pregnant as she is the daughter of a local drug lord named Matt Mitcham (Peter Mullan) where people are wondering who got her pregnant. An investigation happens led by Robin Griffin (Elisabeth Moss) as she questions Tui about who the father is where the only thing Tui reveals are the words “no one”. When Tui suddenly disappears, a manhunt happens where Griffin turns to her former boyfriend and Tui’s half-brother Johnno Mitcham (Thomas M Wright) for help while getting aid from Detective Sergeant Al Parker (David Wenham). While the investigation progresses as it involves land disputes, drug trades, and all sorts of things in the underworld while a group of women are seeking sanctuary in a camp led by the enigmatic GJ (Holly Hunter).

Things eventually take an emotional and mental toll on Griffin, who was the victim of a rape at the age of 15, as her mother (Robyn Nevin) is dying while she becomes troubled by her own past. Secrets are unveiled that leads to Griffin to get more questions about Tui’s whereabouts as well as the mystery into who is the father of Tui’s baby. What the miniseries does is create a story that isn’t just a suspense-drama but a woman’s exploration into facing her own demons just as she is trying to find this young girl. Even as she is surrounded by women who are victims of abuse, neglect, or something incomprehensible as they try to save themselves in this camp led by this strange figure. Just as the series progresses in each episode, the stakes of trying to find Tui becomes much more troubling as it’s not just the police that are trying to find her but the girl’s father who is descending into madness over her disappearance.

The teleplay by Jane Campion and Gerard Lee does play with some of the conventions of a mystery where little clues do arrive to reveal something big or small. By breaking the story into seven parts, it allows each episode to reveal little clues on not just Tui’s disappearance but why Robin Griffin is so personally invested in this case as it relates to her own demons from the past. Even as each clue she finds brings her closer to not just about Tui but also a dark underworld involving the drug trade and prostitution. She also has to confront the people around her including her boss, her former boyfriend, and her ailing mother about these secrets where her mother is carrying one of her own that would later impact Robin to the brink of an emotional breakdown.

The script also plays into characters like Matt Mitcham, Johnno Mitcham, and Al Parker as they’re these three different men who are all connected to Robin Griffin as well as the case. While Matt Mitcham may be this local drug lord with a dark reputation as well as having casual conversations with the police, he’s also a man that is becoming troubled by Tui’s disappearance. Either he’s in denial or he might be involved about what happened to Tui yet he is someone that does have good intentions to get his daughter back. Matt’s estranged son Johnno is a man trying to start a new life after serving an eight-year prison in Thailand as he was living with Tui’s mother. Having Robin back in in his life creates complications as he remembers the night Robin was raped while his presence makes her mother uncomfortable which relates to the secret that she carries during her visit to GJ’s compound.

Al Parker is just as mysterious as the other characters as he is a leading police figure who is very rich and lives in a lavish home which causes Robin to raise questions about how he makes his money. Although he would help Robin and even ask her to marry him, there are still things about him that makes Robin uneasy as well as his connection to Mitcham. Then there’s the camp compound leader GJ who is easily the most mysterious person of the entire story. Though she doesn’t really do much when it involves Tui or the case, she is someone who provides shelter to women yet she says mysterious things that are very eccentric. Yet, she knows what these women are going through but doesn’t provide answers that will help them but rather point them in the right direction.

The direction of Jane Campion and Garth Davis is very entrancing for the way it presents this small town in New Zealand that is surrounded by mountains and a big lake where these locations are characters in the miniseries. Shot in the cities of Queenstown and Glenorchy, the miniseries does have this air of chilling ambiance in its settings where there’s a lot of bluish, grey colors while there is this mix between nature and the city. Notably for the scenes set in the day where there is this sense of unease throughout the town where there is something that is secretive but no one wants to speak out. The images that Campion and Davis create are full of mesmerizing imagery and lots of little tidbits such as deer heads, bones, and other things to establish a world that is modern but still reveled in something that harkens back to the idea of an old world order.

Filled with a mixture of shots ranging from hand-held to gazing establishing shots of the location, the direction is quite stylish but also intimate at times to play out some of the drama that occurs. Notably as it has this air of suspense that happens throughout including some flashback scenes where it plays into Griffin’s past and her motivation to find Tui. There are twists and turns that happens throughout the miniseries where it does reach a climax that isn’t just horrifying but also maintains an air of ambiguity where some answers are revealed though are also questions that don’t get answered. Overall, Jane Campion, Garth Davis, and Gerard Lee create a hypnotic yet engrossing suspense-drama that explores the world of demons and dark secrets.

Cinematographer Adam Arkapaw does excellent work with the look of the miniseries with its exotic blue-grey color to create an air of despair and uncertainty to many of the miniseries‘ locations as well as keeping things natural for the scenes at night and the scenes at the forest. Editors Alexandre de Franceschi and Scott Gray do fantastic work with the editing to give each episode some stylish cuts from jump cuts and fade-outs while building up the suspense with slow yet methodical cuts. Production designer Fiona Crombie does amazing work with the set pieces from the look of Parker‘s posh home to the more cabin-like home of Matt Mitcham that includes a drug lab under his bathroom.

Costume designer Emily Seresin does nice work with the costumes as a lot of it is mostly casual though the clothes do help out in establishing key parts of the film as it relates to clues about Tui‘s whereabouts. Sound designer Tony Vaccher does superb work with the sound to create an atmosphere in some of the party scenes as well as in the suspenseful moments to maintain that air of dread. The music by Mark Bradshaw is exquisite for its hypnotic mood with its plaintive sounds of guitar and piano to create a sense of melancholia and dread throughout the miniseries.

The casting by Kirsty McGregor is brilliant for the ensemble that is created for this miniseries. Notable appearances include Genevieve Lemon and Robyn Malcolm as a couple of women at the compound, Darren Gilshenan as the real estates agent Bob Platt who is hiding a dark secret about the town, Luke Buchanan as Tui’s friend Jamie, Mirrah Foulkes as Jamie’s mother Simone who also works for Mitcham, Kip Chapman and Jay Ryan as two of Mitcham’s adult sons, Calvin Tuteao as Jude Griffin’s Maori boyfriend, and Lucy Lawless as Platt’s wife who tells Robin about the secrets in Bob’s computer. Jaqueline Joe is excellent as the young girl Tui who finds herself the subject of a mysterious hunt about who the father of her baby is as she suddenly disappears. Robyn Nevin is wonderful as Robin’s mother Jude who is dealing with her illness while carrying a secret that would shake up Robin’s relationship with Johnno.

Thomas M. Wright is terrific as Matt’s estranged son Johnno who helps Robin out in finding Tui while dealing with his own issues as it relates to his relationship with Robin in the past as he yearns to start a new life for himself. Peter Mullan is great as the drug lord Matt Mitcham who is man eager to find his daughter while coming undone by her disappearance as he tries to hold on to his drug empire and finding some redemption. David Wenham is amazing as Detective Sgt. Al Parker who heads the investigation to find Tui while he being very ambiguous about his connection with Mitcham as well as his finances.

Holly Hunter is superb as GJ as she is just this very strange woman who is the head of a sanctuary as she says very weird things that would later prove to be helpful. Finally, there’s Elisabeth Moss in a remarkable performance as Robin Griffin where Moss brings a chilling intensity to a woman eager to find this young girl and face her own demons where Moss displays a sense of rawness and vulnerability to a role where a woman is trying to do something good in a chaotic world.

Top of the Lake is a phenomenal TV miniseries from Jane Campion, Garth Davis, and co-writer Gerard Lee that features top-notch performances from Elisabeth Moss, Peter Mullan, David Wenham, and Holly Hunter. It’s definitely one of Jane Campion’s fine works in terms of creating a suspense film led by a female protagonist while adding layers that makes the project far more compelling. It’s also a very provocative miniseries that explores a dark underworld as well as secrets that people don’t want to unveil. In the end, Top of the Lake is a fantastic TV miniseries from Jane Campion, Garth Davis, and Gerard Lee.

Jane Campion Films: Sweetie - An Angel at My Table - The Piano - The Portrait of a Lady - Holy Smoke! - In the Cut - Bright Star - (Top of the Lake-China Girl) - The Power of the Dog - The Auteurs #25: Jane Campion

© thevoid99 2013

2012 Cannes Marathon: Moulin Rouge!

(Opening the 2001 Cannes Film Festival & Played in Competition for the Palme D’or)

Directed by Baz Luhrmann and written by Luhrmann and Craig Pearce, Moulin Rouge! is the story of a English writer who travels to 1899 Paris where he becomes part of the Bohemian culture where falls for a sickly courtesan and contend with a greedy duke. The film is a lavish musical set at a period where things are changing as it features music from the late 20th Century. Starring Nicole Kidman, Ewan McGregor, John Leguizamo, Richard Roxburgh, Jacek Koman, Caroline O’Connor, and Jim Broadbent. Moulin Rouge! is a spectacular and extremely-entertaining film from Baz Luhrmann.

Arriving from England to Bohemian Paris is a young aspiring writer named Christian (Ewan McGregor) as he meets a group of performers led by the midget Toulouse-Lautrec (John Leguizamo). After creating some inspiring contributions to their play entitled Spectacular Spectacular, Christian joins Toulouse, the narcoleptic Argentine (Jacek Koman), and the musical composer Nini Legs-in-the-Air (Caroline O’Connor), and the bearded musician Satie (Matthew Whittet) to the Moulin Rouge to see its attraction in the beautiful courtesan Satine (Nicole Kidman). Also there is the Duke of Monroth (Richard Roxburgh) whom the owner of the Moulin Rouge in Harold Zidler (Jim Broadbent) hopes to invest money in a future production. When Zidler performs with Satine, he tells her that the Duke wants to meet her as she mistakes Christian as the Duke where things become confusing when the Duke arrives where Christian, Zidler, Satine, and the gang reveal that they’re working on a play that would be exciting.

The Duke agrees to fund the play called Spectacular Spectacular to the delight of Satine, Christian, Zidler, and the troupe but a private meeting with the Duke has Zidler uneasy about the deal he’s making as the Duke wants Satine for himself. Yet, Satine and Christian start to fall in love during the making of the play as they try to avoid the Duke and his henchman Warner (Linal Haft) while Zidler becomes worried as he discovers a secret about Satine that would destroy everything. When a rough version of the play is presented in full for the Duke, he is unhappy about the ending forcing Zidler to try and deal with him where he asks Satine to deal with the Duke for the sake of the play. Satine tries to get the Duke to reason with her only to feel compromised by her love for Christian.

When Zidler tells her about the secret that only he and her assistant (Lara Mulcahy) know, Satine is forced to give in and have Christian be forced out. Yet, it would take the ideas of truth, beauty, freedom, and love for Christian to try and win Satine at the night of the play.

The film is about a young aspiring writer telling the story about how he fell for a courtesan during Bohemian Paris at the Moulin Rouge where he had to contend with a greedy duke for her love. Meanwhile, he tries to create a play with a group of artists that he hopes would win her love as the play about a penniless sitar player who tries to deal with a maharajah for a woman’s life that would mirror his own conflict with the Duke. It’s a story that is quite simple as it focuses on the ideas that the Bohemians wanted to state but it’s told from a young man who wanted to be part of that world only to tell what happened the year before when that world was thriving.

Characters like Christian and Satine are people who want to be great though Satine hopes to achieve greatness outside of Moulin Rouge. Together, they become lovers who find something together away from their world of art while they both had to deal with a greedy, demanding Duke who is on the verge of becoming a loose cannon. It’s up to the Moulin Rouge’s owner to try and reason with the Duke or else he loses everything that he’s worked so hard for only to realize he’s about to lose more than his beloved palace of entertainment. Screenwriters Baz Luhrmann and Craig Pearce definitely succeed in finding motivations for these key characters while adding some nice moments for some smaller characters to stand out. While they’re aware that the story is a simple one, it’s still engaging for the fact that it is a love story with charm and adventure.

Luhrmann’s direction is definitely style over substance but it manages to works because it knows that it’s all about style rather than substance. From the fast-paced, jerky tracking shots to unveil Paris early in the film to the chaos that is the Moulin Rouge with its can-can dances. Luhrmann creates a world that is very lively and over-the-top while doing whatever he can to capture the energy of these dances. Since the film is a musical with these amazing musical numbers, Luhrmann knows how to slow things down for the ballads but also play to the energy of the upbeat songs. Notably the latter as it refuses to take itself so seriously by just being silly in a fun way. It allows the audience to take part in these musical numbers including the climatic play that is inspired by Bollywood.

While there is a lot of craziness in these dazzling dance sequence and upbeat musical numbers, Luhrmann does manage to focus on the film’s story by creating a lot of entrancing close-up on the characters and give reason for the music to help tell the story. Even in the love ballads where Luhrmann has the camera fixated on both Christian and Satine where they would profess their love for each other. The overall result is a musical that lives up to the namesake of its fictional play’s title and more that can only be masterminded by someone who is unapologetic in his emphasis on style like Baz Luhrmann.

Cinematographer Donald McAlpine does excellent work with the film‘s cinematography where it plays into Luhrmann‘s emphasis on style by utilizing blue lights to convey moods as well as an array of colors to help create something that is exciting and vibrant for its interior and exterior settings. Editor Jill Bilcock creates dazzling work with the film‘s hyper-stylized editing with the use of jump-cuts, fast-cuts, and dissolves to play around with the film‘s musical numbers and craziness while knowing when to slow things down for the ballads in the film. The work of production/costume designer Catherine Martin is truly amazing for the way she creates the extravagant sets such as the Moulin Rouge stage and the turn-of-the-century costumes worn by the characters With the help of set decorator Brigitte Broch, art director Ian Gracie, and co-costume designer Angus Strathie, Martin’s work is definitely the film’s technical highlight.

Hair/makeup designers Maurizio Silvi and Aldo Signoretti do wonderful work with the look for many of the film‘s characters such as Zipler with his beard and hair along with the look for several other small characters in the film. Visual effects supervisor Chris Godfrey does brilliant work with some of the film‘s minimal visual effects for the film‘s exterior settings of Paris including the moon that features the voice of Placido Domingo. Sound recorders Craig Heath, Robert Renga, and Guntis Sics do terrific work with the sound work to capture the chaotic atmosphere of the Moulin Rouge as well as the smaller sounds in the film‘s climatic play scene. Choreographer John O’Connell does fantastic work with the dance choreography to play out the extravagance of the dance numbers where things are chaotic but also fun to watch.

Another major highlight of the film is music by Craig Armstrong that is filled with lush orchestral flourishes to play out some of the drama and adventure aspects of the film. Music director Marius de Vries and supervisor Anton Monsted create a truly phenomenal mix of music that plays to the craziness of the dance sequences as well as the splendor of the love ballads. Fusing a cover of LaBelle’s Lady Marmalade with Nirvana’s Smells Like Teen Spirit plus elements of songs like T. Rex’s Children of the Revolution and Marilyn Monroe’s Diamonds are a Girl’s Best Friend with Madonna’s Material Girl are some of the film’s highlights. Yet, it’s the love medley that features many classic love songs by Elton John, the Beatles, Phil Collins, Paul McCartney, David Bowie, and many others are the real highlights. The overall soundtrack is truly one of the best in the world of film.

The casting by Ronna Kress is great for the ensemble that is created as it features cameo appearances from Strictly Ballroom star Tara Morice as a prostitute early in the film, David Wenham as the androgynous writer Audrey, and Australian pop legend Kylie Minogue as the Green Fairy. Other notable small roles include Peter Whitford as the stage manager, Linal Haft as the Duke’s henchman Warner, Kiruna Stamell as the dancer La Petite Princess, Kerry Walker as the dancer Marie, Matthew Whittet as the musical troupe member Satie, Deobia Oparei as stage actor Le Chocolat, Lara Mulcahy as Satine’s aide, and Caroline O’Connor as the eccentric composer Nini Legs-in-the-Air. Jacek Koman is excellent as the narcoleptic Argentine who provides a lot of humor to his kooky character while John Leguizamo is fun as the very outrageous Toulouse who pushes Christian to follow his dreams.

Richard Roxburgh is terrific as the twitchy yet devious antagonist Duke of Monroth whose obsession with Satine leads him to try and take control of the play and wants Satine for his own selfish reasons. The film’s best supporting performance is Jim Broadbent as Harold Zidler in the way he presents himself as this boisterous and larger-than-life man who owns and runs the Moulin Rouge who tries to win over the Duke while being a more serious man when he has to deal with the secret about Satine. Ewan McGregor is incredible as the idealistic Christian who falls for Satine as he wants to fit in with this new world while McGregor truly displays his amazing talents as a vocalist where he and Nicole Kidman truly have great chemistry as vocalists and as actors.

The film’s best performance easily goes to Nicole Kidman who really gives a performance that is definitely filled with star power and more. Proving to be a very capable vocalist who can use her charm and wit to win over a large crowd while also being very funny in some of the film’s whimsical scenes. It’s also a performance where Kidman can bring torment to her character torn by her love for this young writer but also a secret that would allow her to give a grand performance in the film’s climatic play. It’s truly among one of Kidman’s great performances of her career.

Moulin Rouge! is a magnificent film from Baz Luhrmann that features outstanding performances from Nicole Kidman, Ewan McGregor, and Jim Broadbent. The film is definitely Luhrmann’s best film to emphasize his unique approach to style over substance that is truly engaging to watch. It’s also a film that really brings the musical back to life without taking itself too seriously and just do what it needs to do which is to entertain. In the end, Moulin Rouge! is a rip-roaring and exciting film from Baz Luhrmann.

Baz Luhrmann Films: Strictly Ballroom - William Shakespeare’s Romeo + Juliet - Australia - The Great Gatsby (2013 film) - The Auteurs #23: Baz Luhrmann

© thevoid99 2012

300

Originally Written and Posted at Epinions.com on 3/11/07 w/ Additional Edits.

One of the most historical battles ever was the Battle of Thermopylae where a million Persians fought against several groups of small armies during the Persian war. One of those armies was a group of 300 soldiers from the Greek state of Sparta known as the Spartans. Fighting the Persians to the death, the Spartans fought with such might that despite being dead to the last man, they did however weaken the Persians. Despite this setback, the story of the Spartans and their king Leonidas was legendary. In 1998, comic book writer Frank Miller, known for his Sin City graphic novels, collaborated with illustrator Lynn Varley for a graphic novel of this legendary battle which he called 300. The cult success of the graphic novel was huge that after Miller's recent success of the first Sin City film with Robert Rodriguez. He was approached to be involved for another adaptation of his work for 300.

Directed by Zack Snyder with he a script he co-wrote with Kurt Johnstad and Michael B. Gordon, 300 tells the legendary story of the Spartans and King Leonidas fighting against Xerxes and his Persian army. Using the same visual technique that was done for Sin City and with Miller's involvement, Snyder brings a visual interpretation true to Miller's vision as well as his graphic, violent style. Starring Gerard Butler, Lena Headey, David Wenham, Dominic West, Michael Fassbender, Rodrigo Santoro, Andrew Tiernan, and Vincent Regan. 300 is a glorious, visually amazing film from Zack Snyder that is true to the brilliance of the Spartans.

Before he became king of Sparta, Leonidas (Eli Snyder at 7/8 & Tyler Max Neitzel at 15) grew up to become a Spartan. An elite army that is known for their high-fighting skills and refusal to retreat or surrender. When he became King Leonidas (Gerard Butler), he leads Sparta with wife Queen Gorgo (Lena Headey) and son Pleistarchos (Giovani Cimmino). Then one day, a Persian messenger (Peter Mensah) arrives to bring a message from Xerxes (Rodrigo Santoro) who wants land and water from Sparta. Leonidas refuses as he and his fellow Spartans kill the messenger and his men. Leonidas decides to call into the council of elder priests and the Oracle (Kelly Craig) for guidance about war against the Persians. Leonidas is refused by law but along with his 300 troops including Captain Artemis (Vincent Regan), his son Astinos (Tom Wisdom), Stelios (Michael Fassbender), and Dilios (David Wenham). Leonidas against the wishes of elders and the Spartan council led by Theron (Dominic West), move forward with his small troops of 300 soldiers as he says goodbye to his Queen.

Upon their way to the area of Thermopylae known as the Hot Gates where they meet a troop of 7000 Greek Thespians led by Daxos (Andrew Pleavin). Daxos is disappointed in the small army Leonidas has but the king insists that his army are born to fight. Along the way, Leonidas meets a deformed, hunchback named Ephialtes (Andrew Tiernan) who wants to join but because of his deformity, Leonidas politely refuses. Back in Sparta, Queen Gorgo learns that if Leonidas is to fall, she needs more troops as a councilman (Stephen McHattie) suggests that the only way to get more troops is to get the support of Theron. The Persians arrive but they underestimate the 300 fighting Spartans as they're beaten badly. Xerxes sends more of his troops including some of his elite men but again, the Spartans continue to stand their ground. Xerxes finally meets Leonidas where he promises wealth and power but the king refuses as he continues to fight the Persians to the death.

Back in Sparta, Queen Gorgo tries to convince Theron for help only to learn of his corruptive ways. In an attempt to talk to the council, she exposes a dark secret to the council. After days of fighting, Leonidas and his Spartans start to lose some soldiers as Leonidas sends Dilios a message to the council for help. Dilios departs while the Spartans leans that Ephialtes has betrayed them in exchanges for riches, women, and comfort from Xerxes. Despite this setback, the Spartans do what they do best against the remaining yet overwhelming large army of Persians as they fight to the last man.

While the film is based on the graphic novel by Frank Miller, like Sin City, Zack Snyder chose to be faithful to the Miller style of dialogue and visual storytelling. Even in its most graphic depiction of violence. Yet, Snyder has created a film that isn't just faithful to Miller's novel but also brings back the legendary tale of the 300 Spartans in the Battle of Thermopylae. While the film's graphic violence and battle sequences aren't clearly for everyone, Snyder and his team create an amazing, dream-like quality that is inspired by Miller's story. Taking the same filmmaking style of Sin City by creating images on bluescreen with not many sets built, the result is truly one of the most visually exhilarating films ever made.

The story, which is based on legends, is truly amazing of how a small army continue to defy something as totalitarian and evil as Xerxes while going against the odds to fight to the death. The subplot of Gorgo's political challenges gives the film a bit of a balance from the action to the dramatic scale in which reveals that women, even a queen can have power in order to help their own land. While the script is really faithful to Miller's stylized dialogue, it's Snyder's direction that really holds it together. Snyder no doubt, wants to make an entertaining and unique film where the battle sequences are just exciting to watch with full adrenaline that gives even the supporting characters moments to shine. Snyder even balances the action with some wonderful drama in Gorgo's story on how she tries to deal with the council. The overall approach in Snyder’s direction and his visual style prove that this film is truly one of the year's best.

Cinematographer Larry Fong creates a wonderfully colorful yet visually stimulating to the film from its bright, sepia color to some of the film's battle sequences along with bits of grain in order to maintain a sense of authenticity to the film. Editor William Hoy brings style to the film, notably in the battle sequences where the frame speeds are slowed to convey the action of the fight. Production designer James D. Bissell and his team of art directors do excellent work in recreating the square hall of the Leonidas home as well as the priests building. Costume designer Michael Wilkinson does great work in creating the look of the Persian uniforms and the dresses of Queen Gorgo.

Visual effects supervisor Chris Watts does amazing work in recreating the look of Sparta with its colorful imagery and the number of Persian soldiers along with the look of graphic violence true to the Miller visual style. Sound designer Derek Vanderhost and sound editor Scott Hecker also do great work in the sound to convey the tense atmosphere and intensity of the battle sequences. Music composer Tyler Bates creates a wonderfully intense score filled with orchestral arrangements mixed in with heavy metal guitar drones to bring excitement to the action as well as momentum. Bates' wonderful score work is dreamy during the dramatic sequences while the battle is just amazing.

Then there's the film's amazing cast that includes such notable small performances from Stephen McHattie, Kelly Craig, Peter Mensah, Eli Snyder, Tyler Max Neitzel, and Giovani Cimmino. Tom Wisdom is great as the young yet energetic Astinos who fights like a warrior while having some great, humorous moments of dialogue with Michael Fassbender as Stelios, who is just as cool and such a bad*ss. Those two together would make one hell of a tag team. Andrew Pleavin is excellent as the cautious Daxos who is willing to fight but is unable to understand the madness of the Spartans. Andrew Tiernan is wonderful as the creepy, deformed Ephialtes whose desire to become a Spartan is only tempted by Xerxes powers after being rejected by Leonidas. Vincent Regan is excellent as the veteran Captain Artemis whose love of being a Spartan and father to Astinos proves to be the heart of a warrior who has more to fight for. Dominic West is excellent as the conniving Theron who seeks power and is willing to do anything to maintain his power in the council.

Rodrigo Santoro has an amazing yet overwhelming presence as the godlike Xerxes who has an exotic look as Santoro really owns the role with such restraint and elegance that it's hard to root against a man like him. David Wenham, who also does the narration, is great as Dilios who is another loyal warrior who is forced to tell the story while having to leave the group he's fought with. Lena Headey is just simply amazing as Queen Gorgo with her enchanting beauty and love for her husband. It's Headey's performance that is truly the most dramatic as she tries to convince the council and Theron while dealing with her role as a woman, who is a lot tougher than she looks. It's a fantastic performance from the British actress who remains underrated in mainstream circles. Gerard Butler gives an awesome performance as King Leonidas where despite being over-the-top, it's worth it to play a character like Leonidas. Butler brings a bit of sensitivity and heart to the character but overall, Butler sells himself as a badass and is a real leader. It's an amazing performance from Butler who should become a star.

While it's not as visually cool as Sin City, 300 is still an amazing, violent, exotic film from Zack Snyder and company. While serious history buffs might not take this film very seriously, it does improve on what previous historical films like Troy and Alexander failed to do. Plus, it's far more accurate thanks to Frank Miller's novel and how he based his story on legends. After the brilliance of his 2004 remake of Dawn of the Dead, Zack Snyder proves himself to be an amazing director who can belt out great moments of violence and excitement to the audience. In the end, 300 is one hell of a film to go see.

Zack Snyder Films:  (Dawn of the Dead (2004)) - Watchmen - (Legend of the Guardians:  The Owls of Ga'Hoole) - Sucker Punch - Man of Steel - Batman v Superman: Dawn of Justice - Justice League - Zack Snyder's Justice League - (Army of the Dead) - Rebel Moon

(C) thevoid99 2011 

The Proposition

Originally Written and Posted at Epinions.com on 10/18/06.

Known for his dark lyrics, brooding music as an iconic artist in the Alternative rock genre with his band the Bad Seeds, Nick Cave has often made songs about the dark side with subjects ranging from murder to drug addiction. From his early years in the band the Birthday Party to the Bad Seeds, the Australian rocker has endured as a figure in rock music. While his work as a musician brought him success, Cave has always had interest in the world of cinema where he often collaborates with director John Hillcoat on music videos for the band. Several of Cave's songs have been used in the film work of Wim Wenders including the song Red Right Hand that was used in Wes Craven's 1996 horror classic Scream. In 2005, Cave and Hillcoat teamed up to create a film that was close to Cave's heart in is love for the Western in a film simply entitled The Proposition.

Written by Nick Cave and directed by John Hillcoat, The Proposition is set in 1880 Australia in the hot Outback where a police captain in a local town makes a deal with a criminal to free his younger brother in order to capture his psychotic, murderous older brother. Meanwhile, amidst a rebellion among Aborigines and pressure from his superior, the captain is trying to protect his wife from her newfound surroundings. Shooting on location in the hot, sweltering land of the Australian outback, the film is a reminder of Australia in its early days where the country was considered as a hell-hole in some eyes. Starring Guy Pearce, Danny Huston, Ray Winstone, John Hurt, David Wenham, and Emily Watson. The Proposition is further proof that the Western is still alive in all of its bloody glory.

After a bloody shootout between police, Charlie Burns (Guy Pearce) and his younger brother Mikey (Richard Wilson) are captured by Captain Morris Stanley (Ray Winstone). With the murder of a woman that still haunts the town that Stanley is trying to protect and with the Burns connected to that murder, Stanley offers Charlie a proposition. Since Mikey is very young and completely innocent, Stanley offers Mikey and Charlie pardons if Charlie hunts down his older, psychotic brother Arthur (Danny Huston) in 9 days until Mikey is hanged on Christmas. Charlie takes the proposition as Mikey remains jailed while Captain Stanley watches over the town with recent news of a rebellion among Aborigines as he hasn't returned home in a few days. Concerned for his well-being is Stanley's wife Martha (Emily Watson), who hasn't seen him a few days as she got a peek at Mikey.

Charlie rides into the Outback desert where he encounters an aging bounty hunter Jellon Lamb (John Hurt) who is trying to find Arthur Burns. After a conversation that involves drinking, Charlie knocks out the hunter as he continues on his journey. Back in town, Stanley learns from his Aborigine officer Jocko (David Gulpilil) of a growing rebellion after capturing some troops where the location of Arthur Burns was revealed. Stanley gets a visit from his superior Eden Fletcher (David Wenham) on trying to restore order about the Aborigine rebels and the presence of Arthur Burns. Martha's visits to the town brought some trouble as she is reminded of the murder of the woman from Arthur Burns is her friend. Charlie gets closer to where Arthur is hiding where he's attacked by Aborigines only to be saved by Arthur's gang that included the young Stanley Stoat (Tom Budge) and Aborigine Two Bob (Tom E. Lewis). Wounded from the attack, Charlie is found in the hideout where Arthur lives as he often looks into the Outback landscape on sunset.

When Fletcher learns of Stanley's proposition, he decides to take matters into his own hands in punishing Mikey with 40 lashes to the back. Stanley tries to stop the matter as his wife also sees the punishment unaware of its damage. Haunted by the image, Martha is forced to recall a dream to her husband involving the murdered woman while Mikey is suffering from his punishment. With Stanley's men led by Jocko going into the land to find the Aborigine rebels, they find themselves closer to Arthur Burns as a bloody battle ensues where Arthur and Two Bob kills them. After an attack from Lamb, Charlie survives as his wounds are healed where he, Arthur, Stoat, and Two Bob decide to save Mikey where Arthur reveals some true intentions as Charlie is stuck in the middle between two brothers.

While the Western genre hasn't seen anything that is close to its greatness in several years, it seems that the genre in the context of American and European standpoints have run out of ideas. Fortunately for a place like Australia, there is a new idea of what the West is and like the great films before them, it's not very pretty. Setting the film in 1880s Australia seems to be a sense of inspiration for director John Hillcoat and screenwriter Nick Cave for its despair, heat, and the tension between settlers and Aborigines. What the film has isn't just the epic scope of the Westerns of Sergio Leone and the anti-heroism of Clint Eastwood but also the violence and morals of Sam Peckinpah. In many ways, Hillcoat and Cave have reinvented the West back into its gritty, desolate tone.

The story and plot in many ways seem like something that Nick Cave could've come up with if he was making it into another song or a collection of songs in an album. Particularly since the film revolves around a rape/murder of a woman who is connected to every major character in the film. The film has a sense of melancholia surrounding its characters, particularly Martha Stanley recalling a dream and how it relates to the murder and the way Charlie reacts around his brother Arthur. Cave's study of character, surroundings, and morals is unique in how it's interpreted since they're all more than just the one-dimensional stereotype that's expected from the genre. The language of the West, notably in Australian terms circa 1880 is very authentic to the way someone like an Englishman like Cpt. Stanley reacts to Australia which he refers to as a hell-hole. The script Cave has created is one of the most fascinating of any Western script where the famed rock icon has now opened a new path into his creative psyche.

Helping Cave in his story is director John Hillcoat who definitely uses the Australian Outback as an atmosphere and location that not many will understand. Since the Outback is mostly a desert land that stretches for miles, it's known more for its open spaces and unbearable heat which definitely brings light to the story. The heat in the desert gives a bleakness that Hillcoat coats with not just sweat in the characters but also flies on their bodies and clothes. Most of the male characters aren't clean-shaven nor are someone who has taken a bath. Hillcoat's bleak presentation doesn't give the audience a look that is likely to pretty since it's the West. The West isn't meant to be pretty despite the fact that the locations do create an epic scope and scenery that is breathtaking in a way that only Sergio Leone would've loved. Overall, the direction that Hillcoat gives is some of the best work ever done in a Western since Clint Eastwood's 1992 masterpiece The Unforgiven.

Helping Hillcoat with his visual presentation is French cinematographer Benoit Delhomme whose photography style for this film is absolutely stunning. Taking advantage of the Outback landscape, the yellow sunlight is very prevalent in many scenes to convey the bleak heat of the location as well the night sequences which is awash with wonderful blue, greenish night colors as well as shots of the sunset that is breathtaking. Interior sequences take advantage of the yellow sunlight of the film with shades and intimate settings including a few shots in the Stanley home where the blue-green look of one scene is beautiful as well as a shot with red silhouette that is amazing. Delhomme's photography is amazing for its beauty and atmosphere.

Production designer Chris Kennedy and art directors Bill Booth and Marita Mussett also take advantage of the locations by creating a bleak town where everything looks a bit old and everything is very primitive while the Stanley home is completely different from its Victorian look inside and the gardens outside to bring a contrast of lands and idealism. Costume designer Margot Wilson does great work in creating the dirty costumes of many of male cast with old bowler hats, sombreros, and other objects while Emily Watson gets to wear a great array of old, Victorian dresses that presents the same contrast to her own world clashing with Australian culture. Sound editor Paul Davies does some great work in capturing the wind and bleakness of the Outback. Editors Jon Gregory and Ian Seymour also does some great editing to bring out long shots and perspective cutting to make the audience aware of the situation and surroundings of where the characters are as it's done in a leisurely pace for 105-minutes.

The music written and performed by Nick Cave and his Bad Seeds bandmate Warren Ellis is mostly ambient-driven to convey the brooding texture of the film with Cave's haunting vocals. The music isn't reminiscent of the work of Ennio Morricone but rather take Morricone's approach to intensity to make way for action while Cave adds some traditional songs of the Irish including the standard of Danny Boy that is sung in a brooding fashion. It's a wonderful score from the talented Nick Cave and Warren Ellis.

The film has a great cast that includes some noted small roles from Robert Morgan as a sergeant, David Gulpilil, Bogdan Koca and Sue Dwyer as a couple from the town, Leah Purcell as an Aborigine nurse from Arthur, and a quick cameo from Noah Taylor as an ill-fated gang member in the film's first showdown sequence. Tom E. Lewis is great as Arthur's psychotic yet wise friend Two-Bob who is aware of the Aborigine struggle while maintaining his own identity. Tom Budge is excellent as the crazed yet young Stoat who can do some nice singing of old Irish standards while going along with Arthur's devious plans. Richard Wilson, who looks like the late River Phoenix, is great as the youngest brother of the clan Mikey Burns with his innocent presence, fearsome personality, and a childlike mind as a young man unaware of where he is or what's going on.

David Wenham is great as the intimidating, clean-cut Eden Fletcher whose superiority clashes with the morals of Captain Stanley as Wenham brings a great presence and look to a character who doesn't care about right and wrong but about power. John Hurt is hilarious as a crazed bounty hunter who says awful things about people notably the Irish while is mad into capturing Arthur Burns as Hurt's brief appearance is wonderful to watch. Emily Watson delivers another great performance as the innocent, haunted Martha Stanley whose murder of a friend has frightened her while trying to find some escape in her own home while wondering about everything around her as she and Ray Winstone have some wonderful chemistry. Ray Winstone also delivers a complex performance as a police captain who has to uphold the law while trying to be fair in a town that isn't so fair and being a protective shield for his wife.

In a performance that can be described as brooding, Danny Huston delivers an amazing yet troubling performance as the psychotic Arthur Burns. Huston channels all of the starkness of a character who is so reclusive and so murderous that he can only come from someone like Nick Cave. Huston hits all the right notes of quietness into his character when he's in some form of peace when he’s watching the sunset yet when he becomes a psycho, his character brings a complexity of danger that it is intimidating to watch. Huston truly delivers a performance that ranks up there with the legacy his famed family has made. Guy Pearce also delivers a fantastic performance that is completely against some of his more comical and tough-guy persona to explore more darker territory. Playing a somewhat traditional, anti-hero character like the movies Sergio Leone made with Clint Eastwood, Pearce adds an edge and brooding texture to his performance as a man caught in the middle of an uneasy proposition. Pearce looking very ragged reveals a man who is trying to do what's right yet is in conflict to loyalty over his two brothers as Pearce adds all of the angst and grittiness of a traditional Western character.

The Proposition is a full-blown masterpiece from John Hillcoat and Nick Cave with a great cast led by Guy Pearce, Danny Huston, Ray Winstone, Emily Watson, David Wenham, and John Hurt. Fans of the Western genre who for years have been disappointed in what the genre's been giving can wait no more. This film is a return to what the Western is and what it should be. Thanks to its awe-inspiring location, epic-scope, grittiness, and odes to the traditions of the genre, this is a film that definitely lives up to what famed directors like John Ford, Sergio Leone, and Sam Peckinpah had in mind. In the end, The Proposition brings back the West into its unruly, enchanting glory. 

(C) thevoid99 2011