Eyes of Laura Mars

Directed by Irvin Kershner and screenplay by John Carpenter and David Zelag Goodman from a story by John Carpenter, Eyes of Laura Mars is the story of a fashion photographer who is known for shooting violent images starts to see things through the eyes of a killer. The film is a suspense-thriller that play into the mind of a woman who is dealing with what she is seeing as her own life starts to unravel. Starring Faye Dunaway, Tommy Lee Jones, Brad Dourif, Raul Julia, Michael Tucker, and Rene Auberjonois. Eyes of Laura Mars is a thrilling but underwhelming film from Irvin Kershner.

A controversial yet revered fashion photographer known for creating macabre images in her work finds herself seeing murders happening through the eyes of a killer who are targeting those that she knows. With the help of a detective, she would try and find the killer while falling for the man who is protecting her. It’s a premise that is intriguing and simple yet it would fall apart due to its screenplay as would play into the things that the titular character (Faye Dunaway) would see as there are suspects on who could be the killer. The script unfortunately doesn’t do enough to maintain that intrigue where the audience can get an idea on who it might be while there is also this love story between Laura Mars and the detective Lieutenant John Neville (Tommy Lee Jones) that occurs in the middle of the film that feels tacked on and brings a lot of ideas about who is killing her as he is first introduced at one of her galleries criticizing her work to her unaware of who she is.

Irvin Kershner’s direction does have its moments in terms of the visuals and establishing the locations into what Laura sees through her strange psychic visions. Shot on location in New York City and parts of New Jersey, Kershner’s direction does have some unique compositions such as the photoshoots that Laura creates with some unique wide and medium shots along with the usage of close-ups to play into the visions that she sees. There are some visual tricks that Kershner would use to play into Laura’s visions that are blurry as it plays from the point-of-view of the killer yet it becomes repetitive as the story progresses. The film’s screenplay definitely hinders Kershner’s approach to the suspense as it includes a third act where Lt. Neville finds a suspect but had also fallen for Laura which complicates things as it tries to be thrilling but it doesn’t do enough to be ambiguous. Even in the reveal where it doesn’t have the impact it should’ve had as it is over-the-top and ridiculous that includes a monologue that reveals too much. Overall, Kershner crafts a film that starts off well only to fumble big time in its second half in a half-baked film about a woman who sees murders through the eyes of a killer.

Cinematographer Victor J. Kemper does excellent work with the cinematography to play into some of the visuals in the way the gallery looks along with some of the exteriors for scenes set in the day and night. Editor Michael Kahn does nice work with the editing as it does have bits of style to play into the suspense with its cuts of what Laura sees from the killer’s point of view. Production designer Gene Callahan, with set decorator John Godfrey and art director Robert Gundlach, does fantastic work with the look of the gallery as well as Laura’s home and the studio where she does some of her photo shoots.

Costume designer Theoni V. Alderedge does brilliant work with the costumes in the clothes that Laura wears along with the models and her friends wear. Sound editor Charles L. Campbell does terrific work with the sound as it does play into the atmosphere of the suspense including scenes in some of the film’s locations. The film’s music by Artie Kane is good for its orchestral score that play into the film’s suspense and drama while music supervisor Charles Koppelman provides a fun soundtrack that is filled with some disco music but also a lame and overwrought love ballad sung by Barbra Streisand.

The film’s superb cast include some notable small roles and appearances from Michael Tucker as an associate of Mars in Bert, Lisa Taylor and Darlanne Fluegel as a couple of models of Mars in their respective roles as Michelle and Lulu, Meg Mundy as a friend of Mars in Doris Spenser, Rose Gregorio as another friend of Mars in Elaine, and Frank Adonis as a detective who helps Lt. Neville in the case in Sal Volpe. Raul Julia is terrific in a brief yet memorable performance as Mars’ ex-husband Michael Reisler as a man who is an initial suspect of the murders though he had been dating one of Mars’ friends and is dealing with failure of his work as a writer. Rene Auberjonois is fantastic as the flamboyant Donald Phelps as a friend of Mars who also handles her business as well as try to figure out how to deal with the presence of the killer.

Brad Dourif is superb as Tommy as Mars’ driver who definitely has the look of being a suspect as he is someone that doesn’t like Phelps while always carrying a knife as he has the many obvious traits in being the killer. Tommy Lee Jones is pretty good in the film whenever he’s being charming and cunning in the role of the Lt. John Neville yet it is the moments where Neville and Mars fall for each other that doesn’t work as Jones is just miscast as the romantic. Finally, there’s Faye Dunaway in an excellent performance as the titular character as it’s a performance that has Dunaway display the anguish and fear of what she’s seeing though there’s moments that the script doesn’t do her any favors where she doesn’t do enough to break out of the conventions of suspense while she and Jones don’t really have any chemistry in the romantic scenes.

Despite its ensemble cast, some gorgeous visuals, and an intriguing premise, Eyes of Laura Mars is a film that starts off well only to falter by its conventions in the genre and not enough trust into unveiling the killer in the end. Even as its attempt to be this giallo-inspired film from someone like John Carpenter who understands the genre only to have his script play into cheap scares and a stupid ending. In the end, Eyes of Laura Mars is just a hackneyed and disappointing film from Irvin Kershner.

© thevoid99 2018

Summer of Star Wars: The Empire Strikes Back

Directed by Irvin Kershner and screenplay by Lawrence Kasdan and Leigh Brackett from a story by George Lucas, The Empire Strikes Back (Star Wars: Episode V) is the story where the Empire tries to find the small band of rebels who had destroyed their most powerful weapon as the group of rebels each go into different journeys where one of them would seek his destiny to become a Jedi. The second part of a trilogy about a civil war between an evil empire and a resistance group, the film plays into characters trying to evade the Empire as its evil leader is trying to pursue the young man who could destroy that empire. Starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Mayhew, Anthony Daniels, Kenny Baker, David Prowse with the voice of James Earl Jones, the voice of Frank Oz, Billy Dee Williams, and Alec Guinness as Obi-Wan Kenobi. The Empire Strikes Back is a riveting and intense film from Irvin Kershner.

Set three years after the events of the previous film, the film is a vengeance story of sorts from the point of view of its antagonists in the Imperial Empire led by Darth Vader (David Prowse with the voice of James Earl Jones) as he is trying to hunt down the group of rebels that had managed to defeat them in a big way. Most notably in Luke Skywalker (Mark Hamill) who has become a top pilot for the rebellion while having the abilities to become a Jedi where his journey would lead him to be trained under one of the Jedi’s great masters in Yoda (voice of Frank Oz). Meanwhile, Han Solo (Harrison Ford) tries to leave the rebellion in order to pay some long-standing debts to a criminal as he is chased by the Empire along with Princess Leia (Carrie Fisher), his sidekick Chewbacca (Peter Mayhew), and the protocol droid C-3P0 (Anthony Daniels). It’s a film that has a lot that is happening as it shows exactly how angry the Empire is in their pursuit to crush the rebellion. At the same time, it also plays into the sense of hope that the former Republic longs for in the hands of a young man who needs to learn the ways of the Force.

The film’s screenplay not only explores the complexity of what the Empire is trying to do in the aftermath of their major defeat but also into who is really running things where Vader is revealed to be under the orders of its leader in Emperor Palpatine (Elaine Baker with the voice of Clive Revill). While Darth Vader is still a very dangerous and cunning antagonist, the script allows to reveal much more into who he is as he’s not a man that is totally evil as he’s willing to give those who work for him second chances. Even in the film’s climax where he and Luke Skywalker have a battle with lightsabers where Vader offers Luke the chance to join him where it reveals an ambiguity into Vader. The character of Luke Skywalker also becomes more layered in the film but as someone who is more unsure about the ways of being a Jedi as he travels to the swampy planet of Dagobah to meet Yoda with the astromech droid R2-D2 (Kenny Baker). Upon learning who Yoda is and Yoda’s reluctance to train him because of Luke’s lack of patience.

Luke would go through a rigorous training as he would also learn about the dark side of the force where a vision he would have would become the catalyst for the film’s climax. A climax that would involve Han and Leia where their storyline involves the two finally realizing their attraction for one another after years of tension where they seek shelter in a friend of Han in Lando Calrissian (Billy Dee Williams) who is an ambassador in a planetary city known as Cloud City. Calrissian is a unique character who is someone that is loyal to Han but is forced to reveal that his city had been taken by the Empire as he becomes consumed with guilt into what Vader is doing. The climax at Cloud City wouldn’t just be a moment where many of its protagonists would come together but also would create a resolution which would bring more motivation to destroy the Empire.

Irvin Kershner’s direction maintains the vast tone of its predecessor by not just setting it into different worlds but also create something that is very dark as it relates to Darth Vader’s pursuit of Luke Skywalker. Shot partially on location in Norway with much of it shot in studios in London, the film has a very broader look in terms of how diverse the galaxy is. The film would begin in a snowy and icy planet where the rebels are in hiding where Luke’s encounter with a monster would play into his evolving powers with the Force. Kershner’s usage of wide shots not only plays into the ground battle between the rebels and the Empire but also in some medium shots and close-ups that add to the sense of suspense and drama. Even in the action where many of the scenes set in space such as the chase between the Star Destroyers and the Millennium Falcon through asteroid fields and such do play into the vast tone of the story.

There’s also some humor in the film as one of the running jokes involves the Millennium Falcon’s attempt to jump into hyperdrive where it is this great attempt at dark humor. The scenes set in the planet of Dagobah where there’s all of these creatures and such play into Luke Skywalker not just being out of his comfort zone but also in a land that is quite damp and desolate which is the last place he would expect to find someone like Yoda. Some of the visual effects that are used aren’t just miniatures and puppets but also in stop-motion animation for the battle scenes in Hoth as it adds a realism to the film. The film’s climax as this sky-based city known as Cloud City isn’t just one of the most chilling moments in the film but it would also feature a moment that is very shocking. Overall, Kershner creates a gripping and exhilarating film that explores a group of rebels trying to escape and defy an evil empire.

Cinematographer Peter Suschitzky does brilliant work with the film‘s cinematography with the damp look of the scenes set in Dagobah as well as the usage of orange lights for some of the exteriors in Cloud City as it creates something that is gorgeous as well as eerie. Editor Paul Hirsch, with additional work by George and Marcia Lucas, does amazing work with the editing with its usage of dissolves, transition wipes, and other stylish cuts to play into the action and suspense. Production designer Norman Reynolds, along with set decorator Michael Ford and art directors Leslie Dilley, Harry Lange, and Alan Tomkins, does fantastic work with the look of the rebel base at Hoth as well as the bridge inside the Star Destroyer Excelsior Class and the rooms inside Cloud City. Costume designer John Mollo does nice work with the clothes from the look of the Imperial uniforms as well as the clothes the main protagonists wear in their journey.

Makeup designer Stuart Freeborn does excellent work with the look of Emperor Palpatine as well as some of the alien creatures that appear in the film. Visual effects supervisors Richard Edlund, Brian Johnson, Dennis Muren, and Bruce Nicholson do phenomenal work with the visual effects from the look of the AT-AT Walkers with its usage of stop-motion animation to the design of the scenes in space. Sound designer Ben Burtt does superb work with the sound in not just the sound of the droids but also in the creatures and other aspects in the sound. The film’s music by John Williams is incredible for its bombastic orchestral score that includes some lush and soaring string arrangement pieces as well as some low-key orchestral moments to play into the drama.

The casting by Bob Edmiston, Irene Lamb, and Terry Liebling is marvelous as it features notable small roles from John Ratzenberger and Bruce Boa as a couple of rebel military leaders, Julian Glover as General Veers who leads the attack at Hoth, Michael Culver as Captain Needa who tries to capture the Millennium Falcon, John Morton as Luke’s gunner at Hoth, Michael Sheard as the Imperial Admiral Ozzel who would make a fatal mistake at Hoth that angers Vader, Kenneth Colley as Ozzel’s replacement Admiral Piett who would be the one to find the rebels at Hoth, Denis Lawson as rebel pilot Wedge, and Jeremy Bulloch, with the voice of Jason Wingreen, as the bounty hunter Boba Fett who is tasked to capture Han Solo for a major reward. Clive Revill is terrific as the voice of Emperor Palpatine with Elaine Baker as the character in physical form as it displays a figure that is truly evil.

Alec Guinness is superb as the late Obi-Wan Kenobi who appears as a spiritual guide of Luke through the Force while Frank Oz is fantastic as the voice of Yoda that is an alien figure who would teach Luke the ways of the Force and show him that nothing is impossible. Anthony Daniels and Kenny Baker are excellent in their respective roles as C-3P0 and R2-D2 as the two droids who both endure separate adventures with Daniels being the comical protocol droid who complains about what is happening to him while Baker brings a more whimsical yet low-key approach to his role as he would play a crucial part for the film’s ending. David Prowse is great as Darth Vader as he maintains a dangerous presence with James Earl Jones providing the voice that would show glimpse of the humanity that makes Vader a very interesting antagonist. Peter Mayhew is amazing as Chewbacca as Han Solo’s Wookie sidekick who often brings some comical commentary to Han’s attempt to woo Leia while being the guy that everyone can count on.

Billy Dee Williams is brilliant as the smooth-talking Lando Calrissian as an ambassador of Cloud City who is an old friend of Han while being forced to work with the Empire over Han’s capture. Carrie Fisher is remarkable as Princess Leia Organa as a top rebel leader who copes with her feelings for Han while dealing with the chaos that is surrounding her as she tries to keep things calm. Harrison Ford is incredible as Han Solo where he brings in some charm and humility into his anti-hero character that is being chased by the Empire while dealing with his feelings for Leia. Finally, there’s Mark Hamill in a sensational performance as Luke Skywalker as he displays not just an immaturity and naiveté in his training as a Jedi but also a determination to prove himself to become a Jedi.

***The Following is Based on the 1997 Special Edition and its Subsequent Revised Editions***

The 1997 Special Edition and its subsequent revised versions of the film not only featured new visual effects and remastered sound design by Ben Burtt along with additional edits by T.M. Christopher. What George Lucas does in this edition aren’t a lot of new things as it’s only a few subtle changes with new effects for the scenes in Cloud City as well as a fully-realized look of the monster that would attack Luke early in the film. The one big change that is most evident in the film that would emerge in later editions is the Emperor Palpatine character as he would be played by Ian McDiarmid in a 2004 revised version as McDiarmid would play the character in Return of the Jedi and its prequels. Another change is in the character of Boba Fett as the 2004 revised version would feature a new voice by Temura Morrison who would play the role of Jango Fett in 2002’s Attack of the Clones and the many storm troopers in 2005’s Revenge of the Sith. While it is a different version than the original film, the revised versions is able to at least maintain some of the heart of the film’s original story and its dark tone.

***End of Special Edition/Revised Versions Tidbits***

The Empire Strikes Back is a magnificent film from Irvin Kershner. Armed with a great cast, sprawling visual effects, and a thrilling story that is dark as well as raising the stakes. It’s not just one of the best sci-fi adventure films ever made but also a standard into what blockbuster cinema is and more. Even as it’s revised editions don’t do much to deter some of the elements of the original films. In the end, The Empire Strikes Back is an incredible film from Irvin Kershner.

Star Wars Films: Star Wars - Return of the Jedi - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Last Jedi - The Rise of Skywalker

Related: Holiday Special - Caravan of Courage - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas

Star Wars Anthology Films: Rogue One - Solo - (Untitled Star Wars Anthology Film)

George Lucas Films: THX 1138 - (American Graffiti)

© thevoid99 2015

The Last Temptation of Christ

Based on the novel by Nikos Kazantzakis, The Last Temptation of Christ is a film that depicts Jesus Christ of Nazareth as a human being who deals with temptation of all kinds as he would eventually be crucified for his own sins. Directed by Martin Scorsese and script adaptation by Paul Schrader, with additional contributions from Scorsese and Jay Cocks, the film explores the final days of the life of Jesus Christ told in a different style where he’s portrayed as a human being. Playing the role of Jesus Christ of Nazareth is Willem Dafoe. Also starring Harvey Keitel, Barbara Hershey, Harry Dean Stanton, Verna Bloom, Andre Gregory, and David Bowie as Pontius Pilate. The Last Temptation of Christ is a mesmerizing yet uncompromising portrait of Jesus Christ’s final days from Martin Scorsese.

Jesus Christ is a carpenter who is dealing with his own self and whatever plans God has for him. Already helping Romans crucify Jewish revolutionaries, he is dealing with self-doubt and self-loathing as his friend Judas Iscariot (Harvey Keitel) is frustrated with him. After meeting with the local prostitute Mary Magdalene (Barbara Hershey) and asking for her forgiveness, Jesus decides wanders around where he would encounter various moments that would question his role. After seeing Mary Magdalene being stoned for her prostitution, Jesus comes to her aid and asks those who are stoning her if they’re any better where would preach about his ideas to a crowd at the Sermon on the Mount. After gaining some disciples, he meets John the Baptist (Andre Gregory) who would baptize him and later discuss their differing views.

Jesus later tries to communicate with God as he would fight off various temptations including one from the voice of Satan (Leo Marks). Still, Jesus ponders about his role as he takes shelter in the home of Martha (Peggy Gormley) and Mary of Bethany (Randy Danson) where would resurrect their brother Lazarus (Tomas Arana) from the dead. It would be among the many small miracles that would increase his number of disciples, including Judas, as Jesus would lead them to Jerusalem at a temple to rid of those he believed are destroying it. Yet, he gets the attention of Romans while Jesus becomes aware of what he must do as does Judas. After the Last Supper and Judas’ eventual betrayal, Jesus meets with Pontius Pilate who reveals why Jesus had to be crucified.

During Jesus’ crucifixion where Mary Magdalene and Jesus’ mother Mary (Verna Bloom) watches, a young girl (Juliette Caton) who claims to be his guardian angel tells him that he doesn’t have to die for the sins of humanity. Jesus steps out of his cross to live the life of a human being with Mary Magdalene where he would face loss and other circumstances. Notably when a man named Paul (Harry Dean Stanton) makes claims about meeting Jesus Christ over his sins prompting Jesus to wonder if he made the right choices in his life.

Since this is a film about the final days of the life of Jesus Christ told from a very different perspective in which Jesus is portrayed as a human being with flaws and vices. It is a unique approach to exploring the life of a man who would die for the sins of the world. Yet, he would be a man that will be filled with the same doubts and temptations that would drive anyone into doing things that are considered wrong. The story is told from Jesus’ perspective as he would often narrate his doubts about the role he’s playing while he tries to deal with what humanity wants in life.

Paul Schrader’s screenplay, with some re-writes from Martin Scorsese and Jay Cocks, opens with text from the book’s novelist Nikos Kazantzakis to emphasize that this story about Jesus Christ is just a fictional interpretation. Schrader’s script definitely explores the complex behavior of Jesus as he tries to come to terms with who he is and the role that his father God wants from him. Particularly as Jesus wants to be among the many men who will want Mary Magdalene as well as the idea of having children. Yet, he would eventually tempted by strange forces that would challenge his will as he starts to realize the role he is to play. While that role would be a difficult one as people would find his preaching of love as a lot of wishy-washy idealism. He would eventually gain disciples who are interested in what he has to say thinking he has the answers.

Another character that is given more complexity is Judas who is known as Jesus’ betrayer. Yet, he is presented as a man that has a hard time trying to deal with Jesus’ insecurities as he is willing to follow him thinking he could lead a revolution. Eventually, he also realizes the role he must play as well as the fact that he is aware of the heat he will received from Jesus’ disciples. Still, there’s an element of the regret that Judas is going to face as he will appear in a key moment in the film’s third act. Other characters such as Mary Magdalene, Pontius Pilate, John the Baptist, and Saul/Paul would also emphasize the more human interpretation Schrader and Scorsese wanted. Notably in the way they speak their dialogue where instead of displaying some sort of period voice. They talk in their natural dialects or something just as if they’re talking somewhere around the corner.

Schraeder’s intricate yet loosely-based script would allow Martin Scorsese to create a film that doesn’t play up to previous versions of Jesus Christ’s story. Instead of this romanticized portrayal or the shock-value that would be later displayed in Mel Gibson’s The Passion of the Christ. Scorsese chooses to create a film that is entrancing in its images while making Jesus Christ into someone that the viewer can relate to in his struggles with faith and humanity. Shooting on location in Morocco, Scorsese decides to create a film where Jesus is surrounded by a world where things seem to go into chaos as he tries to make sense of everything. Notably as Scorsese would utilize lots of stylistic crane and tracking shots to play up the anguish he’s dealing with early in the film as of God is trying to tell him something.

The sense of style that Scorsese presents is very evident as it includes a key scene of Jesus facing his temptations through various creatures including Satan in the form of a rising flame from the ground. The film would progress into these wonderful moments such as the small miracles Jesus would display but not do it in a grand way as Scorsese wants to maintain a simplicity of these miracles without really showing anything. The sense of style is evident in various key moments of the film such as the Last Supper and the Cleansing of the Temple scene. Notably in the way Scorsese frames the actors and the situation that is happening without explaining very much. The film’s crucifixion scene is very brutal but there is a restraint in the violence though the way the nail sounds piercing onto Jesus’ hands and foot do maintain its visceral tone that is quite unsettling.

The film’s third act following the crucifixion scene is very dream-like for the way Jesus sees the world as if he is about to live the life of a man with a family. Yet, it’s also quite surreal because it feels like it’s a dream-world where he would age like everyone else around him. It would lead to this very climatic ending that would reveal the world that Jesus has put himself upon while the film’s ending is truly powerful in what Jesus would do. Overall, Martin Scorsese creates a film that is more than just a marvel to watch but also provocative for the way he tells the life story of Jesus Christ of Nazareth.

Cinematographer Michael Ballhaus does a brilliant job with the film‘s evocative cinematography with its lush shots of the Moroccan skylines as well as the colorful scenery for many of the film‘s nighttime settings including some of its dark interiors. Ballhaus’ use of lights to play up the presence of God or Satan is very inspiring to create something that seems out of this world as Ballhaus’ work is truly amazing. Editor Thelma Schoonmaker does a superb job with the editing to emphasize a lot of stylish cuts to present the film as it includes rhythmic dissolves, jump-cuts, and quick-reaction cuts to play up the drama that occurs in the film. Notably as Schoonmaker maintains a very methodical pace to explore Jesus Christ’s journey in the course of its 164-minute running time.

Production designer John Beard, with set decorator Giorgio Desideri and art director Andrew Sanders, does great work with the set pieces from the palace that Jesus and his disciples embark on to the design of the crucifixes that Jesus would make early in the film. Costume designer Jean-Pierre Delifer does a fantastic job with the costumes from the robes that Jesus and his disciples wear to the more stylish robes of Mary Magdalene. Special effects supervisor Dino Galiano does amazing work with some of the film‘s key special effects such as the rising fire to the brief moment of water turning into red with its dust coloring. Sound editor Skip Lievsay does tremendous work with the sound from the way the voice-over narration is edited to the distortion of sounds to play up Jesus’ sense of fear towards God as well as the anguish he would feel in the world around him.

The film’s music by Peter Gabriel is a major highlight of the film for the way it plays out the drama in a very hypnotic yet eerie tone. Featuring vocal contributions from Youssou N’Dour and Nusrat Fateh Ali Khan, the soundtrack is a mixture of ambient and world music that channels the world that Jesus Christ is surrounded. At times, it’s soothing but a lot of it is unsettling as a lot of the arrangements features blistering polyrhythms, brooding drone sounds, bits of guitar crashes, and all sorts of ethereal keyboards arrangements that add to the exotic nature of the film. Gabriel’s score is truly one of the most definitive film scores that really serves as a great introduction to world music.

The casting by Cis Corman is phenomenal for the ensemble that is created as it would feature voice work from Martin Scorsese as the lion, Illeana Douglas as a voice in the crowd, and Leo Marks as the voice of Satan. Other notable small performances include Irvin Kershner as a man who tries to stone Mary Magdalene to death, Peggy Gormley and Randy Danson in their respective roles of Martha and Mary of Bethany, Tomas Arana as the resurrected Lazarus, Roberts Blossom as an old man Jesus meets at a funeral, Verna Bloom as Jesus’ mother Mary, and Juliette Caton as a young girl claiming to be Jesus’ guardian angel. In the roles of Jesus’ disciples, there’s John Lurie, Leo Bermester, Paul Herman, Michael Been, Victor Argo, and Gary Basaraba as the men who follow Jesus while discussing their thoughts on faith to each other. Andre Gregory is excellent as John the Baptist who helps Jesus with his test on temptation while David Bowie is superb in a small but memorable performance as a calm Pontius Pilate.

Harry Dean Stanton is great in the role of Paul/Saul as a man who was once a killer and then later transforms into a man who claims to have been saved by Jesus. Barbara Hershey is wonderful as Mary Magdalene as a woman who becomes the object of lust for Jesus as she also tries to help him deal with his role. Harvey Keitel is astonishing as the troubled Judas Iscariot who tries to be Jesus’ one true friend though he is aware of what he will do as it’s a very complex performance from Keitel. Finally, there’s Willem Dafoe in an outstanding performance as Jesus Christ. Displaying the sense of anguish, confusion, and fear of a man dealing with his destiny. Dafoe brings a performance that is very engaging and chilling as it is definitely one-of-a-kind for the way he makes Jesus Christ into a very human figure.

The Last Temptation of Christ is an astonishing yet chilling film from Martin Scorsese and screenwriter Paul Schrader that features a tour-de-force performance from Willem Dafoe. While it’s not an easy film to watch as well as a film that doesn’t portray him as a romanticized figure. It’s a film that cannot be ignored as it raise questions on faith and doubt. Particularly as it refuses to peg Jesus Christ of Nazareth as anything than just some idea or a man as he’s a whole lot more than that. In the end, The Last Temptation of Christ is a marvelous yet haunting portrait of Jesus Christ told from one of cinema’s great masters in Martin Scorsese.

Martin Scorsese Films: (Who’s That Knocking at My Door?) - (Street Scenes) - Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn’t Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - Raging Bull - The King of Comedy - After Hours - The Color of Money - New York Stories-Life Lessons - Goodfellas - Cape Fear (1991 film) - (The Age of Innocence) - (A Personal Journey with Martin Scorsese Through American Movies) - (Casino) - (Kundun) - (My Voyage to Italy) - Bringing Out the Dead - (The Blues-Feel Like Going Home) - Gangs of New York - (The Aviator (2004 film)) - No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) - (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2012