Junior Bonner

Directed by Sam Peckinpah and written by Jeb Rosebrook, Junior Bonner is the story of a rodeo cowboy who returns to his hometown for a rodeo events as he deals with his estranged parents and his brother. The film is an intimate portrait of a man dealing with aging as well as trying to make amends with his family where they all deal with change in their surroundings. Starring Steve McQueen, Joe Don Baker, Robert Preston, Ben Johnson, and Ida Lupino. Junior Bonner is a heartwarming and evocative film from Sam Peckinpah.

Set in the 4th of July weekend, the film revolves around an aging rodeo cowboy who arrives to his hometown for an event as he meets with his estranged family as his parents are going through hard times and a separation while his brother has become a successful businessman. It’s a film that plays into a man trying to see his family during the weekend as he copes with the fact that his brother has torn down the old family home to create a line of mobile homes as well as other things relating to his family. It’s a film with a simple story as it play into changing times but also a man trying to make amends as he deals with his family. Jeb Rosebrook’s script follows the titular character (Steve McQueen) who has been down on his luck in the rodeo circuit as a bull he’s trying to ride remains undefeated as he wants another shot in his hometown of Prescott, Arizona. Yet, he is aware that it’s his last shot as he’s broke and in need to do something for himself.

While his brother Curly (Joe Don Baker) would offer him a job, it is done with a sense of arrogance as Junior doesn’t like what Curly is doing. At the same time, their father Ace (Robert Preston) wants money to go to Australia for prospecting believing there is something there as Curly thinks it’s a bad scheme while Ace’s estranged wife Elvira (Ida Lupino) agrees as she sells antiques for a living while being unsure about living in a mobile home. Junior’s relationship with his father is a unique one as both men are dreamers in some ways where Junior understands what his father wants no matter how foolish the dream is as Junior is like his dad in some ways. Though Ace is a womanizer, he still carries a torch for Elvira as he wants her to join her yet she doesn’t know considering the many failures he’s had. Even as the family becomes unsure if Junior can pull off one last victory in the rodeo as it is clear he doesn’t have much time left as well as very little options in his life.

Sam Peckinpah’s direction is very understated in terms of the fact that it’s a more subdued film in comparison to a lot of the films he’s known for as they’re very violent. With the exception of a comical barroom brawl and a fight between Junior and Curly, the film isn’t very violent at all as it’s more about the life of a family in this small town in Arizona. Shot largely on location in Prescott, Arizona, the film does play into a world that is changing as the images of the old Bonner family home being destroyed is startling while there are these shots mobile homes from afar that are being shown to play into this sense of change. Many of Peckinpah’s compositions are simple as well as have an air of intimacy in the medium shots and close-ups to play into the interaction of the Bonner family. The wide shots would play into the locations as well as some shots of the 4th of July parade while Peckinpah would just maintain that sense of Americana that feels like a community coming together and celebrate. The rodeo scenes are quite stylish as Peckinpah presents them with that air of energy but also excitement as it is a world that is in its own time no matter how much the world around it changes. Overall, Peckinpah creates a somber yet touching film about a rodeo cowboy returning home to make amends with his family and go for one last victory in the rodeo.

Cinematographer Lucien Ballard does brilliant work with the film‘s cinematography from the grainy, low-key look of the flashback scenes of a rodeo in the film‘s opening scene to the more colorful look of the exteriors in Prescott as well as the interiors inside the bar. Editors Frank Santillo and Robert L. Wolfe do amazing work with the editing with its usage of jump-cuts, split-screens, slow-motion cuts, and other stylistic cutting as it plays into the vibrancy of the rodeo as well as the world of the American West in its modern context. Art director Ted Haworth, with set decorators Angelo P. Graham and Jerry Wunderlich, does nice work with the look of the home that Elvira lives in as well as the bar where many of the locals hang out at. The sound work of Larry Hooberry is terrific for the sound of the crowd at the rodeo and at the bar as well as the quieter moments involving Junior and his parents. The film’s music by Jerry Fielding is superb as it‘s mainly a country-based score with its guitars and sliding guitars as well as some songs in that style of country-western music.

The casting by Lynn Stalmaster is excellent as it features some notable small roles from Sandra Deel as Ace’s nurse Arlis whom Ace flirts with, Don “Red” Barry as a rodeo impresario named Homer Rutledge, Bill McKinney as a rival rodeo cowboy named Red Terwiliger, Barbara Leight as Rutledge’s girlfriend Charmagne who takes a liking towards Junior, and Mary Murphy as Curly’s wife Ruth. Joe Don Baker is terrific as Curly Bonner as Junior’s brother who has become a successful yet arrogant businessman that is eager to make money out of mobile homes as he believes it is the future while not understanding that Junior and their father are part of the old ways of the world. Ben Johnson is superb as Buck Roan as a rodeo owner who knows Junior and his father as he is reluctant to let Junior ride this bull knowing that Junior’s luck has been running out.

Ida Lupino is amazing as Elvira Bonner as the estranged wife of Ace who is a down-to-earth woman that is happy to see Junior though she is aware of the path he’s taking as she tries to understand why he can’t exactly give up the world of the rodeo. Robert Preston is brilliant as Ace Bonner as Junior’s father who likes to drink and chase around women as he laments over the ways of the world as he hopes to go to Australia to mine and raise sheep there as a way to be with the old ways. Finally, there’s Steve McQueen in a phenomenal performance as the titular character as this aging rodeo cowboy that is aware that he’s running out of chances as well as try to make amends with his family no matter how complicated things are as it’s a very grounded and solemn performance from McQueen.

Junior Bonner is a remarkable film from Sam Peckinpah that features great performances from Steve McQueen, Ida Lupino, and Robert Preston. While it is a very different western of sorts from Peckinpah as well as a more dramatic-based feature. It is still a fascinating film about the ideas of the old ways vs. the new ways where a man tries to cope with change and help his family. In the end, Junior Bonner is a marvelous film from Sam Peckinpah.

Sam Peckinpah Films: The Deadly Companions - Ride the High Country - Major Dundee - Noon Wine - The Wild Bunch - The Ballad of Cable Hogue - Straw Dogs - The Getaway - Pat Garrett and Billy the Kid - Bring Me the Head of Alfredo Garcia - The Killer Elite - Cross of Iron - Convoy - The Osterman Weekend - The Auteurs #62: Sam Peckinpah

© thevoid99 2016

Cape Fear (1991 film)

Based on the novel The Executioners by John D. MacDonald, Cape Fear is the story of a convicted rapist who has been released from a 14-year prison stint as he decides to go after the attorney who put him in jail through some moments of injustice. Directed by Martin Scorsese and screenplay by Wesley Strick that is based on James R. Webb‘s script of the 1962 film, the film is a remake/homage of sorts to the 1962 film of the same name as it plays more into a man who is hell-bent on making the life of a public defender and his family a living hell. Starring Robert de Niro, Nick Nolte, Jessica Lange, Juliette Lewis, Illeana Douglas, Joe Don Baker, and special appearances from Martin Balsam, Robert Mitchum, and Gregory Peck from the 1962 film. Cape Fear is a thrilling and mesmerizing film from Martin Scorsese.

The film is a simple story of a released convict who served a 14-year sentence for a rape charge as he decides to make the life of the man, who put him in jail for mishandling his case, a living hell. It is a revenge story of sorts as a battle of wits and wills between this convict and an attorney yet it is the convict that feels wronged where an attorney’s past actions are catching up with him. Even as the sins of this attorney named Sam Bowden (Nick Nolte) have his own family live in fear but also wonder what did he do as Bowden is driven to the edge to protect them with the help of a private investigator where things don’t go very well.

Wesley Strick’s screenplay doesn’t just explore the dynamics of two men but also a growing sense of distrust towards Bowden from his wife Leigh (Jessica Lange) and daughter Danielle (Juliette Lewis). Especially as the former is suspicious of Sam’s supposed infidelities while the latter would have her own meeting with the convicted man in Max Cady (Robert de Niro) who would charm her. All of which adds to Bowden’s determination to rid of Cady one way or the other but at the cost of his own reputation and who he is as a man.

Martin Scorsese’s direction is definitely very stylish for not just the fact that he pays homage to the original 1962 film by J. Lee Thompson. It is also a film in which Scorsese pays homage to the many thrillers and suspense films of the past while doing something that is an update of sorts to those genres. Shot largely on location in South Florida as well as some sequences shot in Universal Studios Hollywood, the film does set itself in the American South but in a more modern idea of the South as it tries to maintain elements of tradition but in a world that is ever-changing. With its stylish usage of wide and medium shots along with some close-ups, Scorsese would go for something that is very stylistic in the way he would put actors into a frame where one would be in the foreground and the other in the background.

Scorsese also provides these moments that are quite surreal with its usage of different film stocks, color schemes, and moments that feel very artificial as it relates to the fear that is growing in Sam and his family. It says a lot to this kind of reality that Bowden has created but one that feels false where Cady would come in and disrupt everything as if he is this wronged man that is trying to make their lives a living hell. Featuring some dazzling imagery that includes this exotic opening credits sequence created by Saul and Elaine Bass that serves as a homage to the works of Alfred Hitchcock. It would add to the film’s unique look with some stylish camera angles that Scorsese would inject as it would also play into the film’s climax that is set on a river. The impact of the violence as well as some religious-based imagery would say a lot into what is happening where it does take place on this houseboat where it is about not just some truths coming out but also what one is willing to do to survive. Overall, Scorsese creates an exhilarating yet provocative film about a convicted rapist stalking and preying on lawyer for the sins he had committed.

Cinematographer Freddie Francis does amazing work with the film‘s cinematography with its usage of different film stocks and lighting schemes for some of the surreal sequences while creating some moods in the lighting for some of exteriors scenes in the day and at night. Editor Thelma Schoonmaker does brilliant work with the editing with its stylish montages for some of the more eerie sequences that play into Bowden‘s fear as well as some stylish rhythmic cuts to play into the suspense, drama, and much of its dark humor. Production designer Henry Bumstead, with set decorator Alan Hicks and art director Jack G. Taylor Jr., does excellent work with the look of the Bowden home to play into its sense of artificial world that Sam lives in to the look of the houseboat for the film‘s climax.

Costume designer Rita Ryack does nice work with the costumes from the more casual and clean look of the Bowden family to the stylish clothes that Cady wears. The hair/makeup work of Ilona Herman does fantastic work with the look of Cady from his slick hair to the tattoos on his body that features a lot of religious text and imagery. Sound editor Skip Lievsay does superb work with the sound in the way some of the quieter moments such as Danielle‘s meeting with Cady sounds like in its intimacy to the chilling moments in the film‘s climax. The film’s music largely consists of the film score Bernard Herrmann made for the 1962 film as it is adapted by Elmer Bernstein which does maintain that air of suspense and high drama as it proves anything that was used in the past can still be used again while the soundtrack would also feature music from Guns N‘ Roses and Aretha Franklin.

The casting by Ellen Lewis is wonderful as it features some notable small roles from Zully Montero as the Bowden’s family maid Graciella, Fred Dalton Thompson as Bowden’s law partner Tom Broadbent, Domenica Cameron-Scorsese as Danielle’s friend, Charles and Catherine Scorsese as a couple of fruit stand customers, and Martin Balsam in a terrific cameo appearance as a judge who would disbar Bowden early in the film’s third act. Illeana Douglas is fantastic as the law clerk Lori Davis who is rumored to be Bowden’s mistress until she has a meeting with Cady that would prove to be extremely ugly. Gregory Peck is excellent in his brief yet mesmerizing appearance as Cady’s attorney Lee Heller who would defend the man after an assault as he would have this passionate plea to disbar Bowden. Robert Mitchum is brilliant as Lt. Elgart as this police detective who realizes what is happening to Bowden and what Cady is doing as he sort of plays the film’s conscience in telling Bowden to not descend into darkness which is a surprise since Mitchum played Cady in the 1962 film. Joe Don Baker is amazing as Claude Kersek as a private detective who tries to see what Cady is up to while realizing that he is in the middle of a game where does whatever he can to stop Cady.

Juliette Lewis is incredible as Danielle as this 15-year old girl who deals with the chaos surrounding her family as she becomes intrigued by Cady and the books she is given until she realizes the severity of his terror. Jessica Lange is remarkable as Leigh Bowden as a wife/artist who deals with not just Cady’s presence but also the sins of her husband as she has a hard time trusting him. Nick Nolte is marvelous as Sam Bowden as an attorney who is terrorized by a man he was supposed to defend only to bury evidence that could’ve given Cady a lesser sentence as he tries to outwit Cady only to realize the flaws of himself. Finally, there’s Robert de Niro in a phenomenal performance as Max Cady where de Niro brings a charm that just exudes in every moment he is in as well as a sense of terror that is menacing as it one of de Niro’s most definitive performances.

Cape Fear is a sensational film from Martin Scorsese that features great performances from Robert de Niro, Nick Nolte, Jessica Lange, and Juliette Lewis. In being an updated version of the 1962 film as well as a homage to that film, Scorsese creates a film that isn’t just a thriller that oozes with excitement and terror. It’s also a study of sin and what one man would do to make another man pay for his sins. In the end, Cape Fear is a riveting film from Martin Scorsese.

Related: Cape Fear (1962 film)

Martin Scorsese Films: (Who’s That Knocking on 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 - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - 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) - 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 - (The 50 Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2016

Mud (2012 film)

Written and directed by Jeff Nichols, Mud is the story of two boys who meet a strange man living on a boat stuck on a tree as he is hiding from bounty hunters while hoping to return to his former flame. The film is an adventure in which two teenage boys meet up with this man as it’s set entirely in Arkansas where they try to help this man who is carrying some secrets of his own. Starring Matthew McConaughey, Reese Witherspoon, Tye Sheridan, Jacob Lofland, Michael Shannon, Joe Don Baker, Ray McKinnon, Sarah Paulson, and Sam Shepard. Mud is a riveting yet towering film from Jeff Nichols.

The film is a simple story of two teenage boys who meet a mysterious man in an island on the Arkansas River as he is living on a boat on top of a tree that the boys want. It’s a film that explores this complex relationship between this man who is on the run from authorities and bounty hunters while he befriends these two boys as he asks for their help in getting the boat down from the tree and fix it. Even as it is a film about men and young men where this man named Mud (Matthew McConaughey) is hoping to reunite with his old flame whom he went to jail for. While Ellis (Tye Sheridan) and his friend Neckbone (Jacob Lofland) help bring some supplies, Ellis encounters things in his own life that he’s unprepared for while understanding the fallacies of love.

Jeff Nichols’ screenplay is mostly about Ellis as he copes with not just his parents separating but also the idea of leaving the river home he’s spent much of his life. It’s really a coming-of-age tale for both Ellis and Neckbone as the two are becoming interested in women as Ellis would gain the attention of a high school girl in May Pearl (Bonnie Sturdivant) whom he has a crush on. Yet, their encounter with Mud would give them a chance to do something in the hopes that they could get the boat for themselves as the two also learn about Mud’s intentions as he waiting for his old flame in Juniper (Reese Witherspoon). Juniper is this woman who has a past with Mud as she learns through Ellis and Neckbone about Mud as she is also being watched by a bounty hunter whose brother was killed by Mud.

It adds to the drama as well as the severity of the situations where things do intensify on an emotional level in the third act as the warnings that Ellis is getting from neighbor in Tom Blankenship (Sam Shepard) starts to seep in. Even as revelations about what Mud did that got him in trouble start to emerge which plays into not just the fallacies of love but also how foolish men are when it comes to women. The script also goes into the idea of loyalty and doing what is right where even though Ellis and Neckbone would do things that are wrong so they can help Mud. They do start to question what they’re doing as well as why Mud hasn’t contacted Juniper himself though they know he’s a wanted man.

Nichols’ direction is very entrancing not just for the way he creates this film as this mixture of thriller with a coming of age drama. He also manages to make something that definitely feels like a very Southern film not just in its many locations in small towns in Arkansas but also in places near its river and the Mississippi River. While many of the compositions from close-ups to wide shots are very simple with some underwater shots and some unique camera angles. There is a sense of naturalism that Nichols is going for as he shoots a lot of places on locations where there is a beauty to the river and some of skylines while there’s also something that feels very grimy such as some of the aspects of nature.

The direction also has Nichols use suspense in some very effective ways as it pertains to the horde of bounty hunters that are going after Mud as well as the warnings that Blankenship has for Ellis about getting too close to Mud. There’s also some humor in the way it plays into the idea of love while much of it is dramatic as Nichols makes no bones that this is a film about men though he doesn’t portray women as selfish beings but rather those who are just complicated. It’s that idea that would spark much of the film’s more intense third act where it isn’t just about Mud facing his demons but also the consequences that Ellis would have that would shape him from boyhood to manhood. Overall, Nichols creates a very somber yet exhilarating film about two boys who help a man trying to get back to an old flame.

Cinematographer Adam Stone does brilliant work with the film‘s gorgeous cinematography from the look of the skylines to some of the nighttime exterior settings in the island as well as some interior scenes where the lighting plays into the dark mood of the film. Editor Julie Monroe does excellent work with the editing as it‘s very straightforward in terms of its rhythmic cuts as well as playing into the film‘s suspense. Production designer Richard A. Wright, with set decorator Fontaine Beauchamp Hebb and art director Elliott Glick, does fantastic work with the set pieces from the river house that Ellis and his family lived in to the design of the boat that he and Neckbone would find that Mud would live in.

Costume designer Kari Perkins does nice work with the costumes as it‘s mostly casual from the white shirt that Mud wears to the clothes that Juniper wears. Sound designer Will Files does amazing work with the film‘s sound to convey for many of the film‘s locations in the rivers as well as some scenes in some of the social gatherings including a bar where Juniper goes to. The film’s music by David Wingo is superb for its mixture of folk music with eerie orchestral-like pieces to play into the world that is the American South that includes some country textures in the music while music supervisor Steve Lindsey maintains that world of the South with a lot of music ranging from country to rock as well as an inspired use of the Beach Boys‘ Help Me Rhonda.

The casting by Francine Maisler is phenomenal as it features some notable small roles from Kirsty Barrington as Neckbone’s uncle’s girlfriend, Bonnie Sturdivant as Ellis’ high-school crush May Pearl, Joe Don Baker as a notorious crime kingpin who wants Mud dead, Paul Sparks as the kingpin’s son who wants vengeance for his brother’s death, and Michael Shannon in a superb performance as Neckbone’s uncle Galen who provides some of the film’s funnier moments. Sarah Paulson and Ray McKinnon are excellent as Ellis’ parents with Paulson playing the mother who tries to talk to Ellis about why she’s leaving her father while McKinnon plays the father who feels like he let his son down. Sam Shepard is brilliant as Ted Blankenship as a former assassin who was a father-figure for Mud as a boy as he realizes why Mud has come back. Jacob Lofland is amazing as Neckbone as a teen who helps Ellis do things for Mud as he would prove to be a formidable ally as he also says some funny things.

Reese Witherspoon is fantastic as Juniper as Mud’s former girlfriend as she learns about Mud returning as she is this very complex person who loves Mud but is also a very flawed woman who plays into the idea of love’s fallacy. Tye Sheridan is incredible as Ellis as this 14-year old boy who befriends Mud as he deals with helping Mud as well as growing up and experience first-love. Finally, there’s Matthew McConaughey in a tremendous performance as the titular character as this man who is on the run as he is eager to return to his old flame as he also proves to be someone that knows a lot about love while being unaware of the same mistakes he’s making.

Mud is a spectacular film from Jeff Nichols that features a mesmerizing leading performance from Matthew McConaughey as the titular character. Along with a great supporting cast that includes Tye Sheridan, Reese Witherspoon, Jacob Lofland, and Sam Shepard. It’s a film that manages to be a lot of things such as a coming-of-age story and a suspense thriller while having so many things to say. In the end, Mud is an outstanding film from Jeff Nichols.

Jeff Nichols Films: Shotgun Stories - Take Shelter - Midnight Special - Loving (2016 film) - The Auteurs #58: Jeff Nichols

© thevoid99 2014

Cool Hand Luke

Originally Written and Posted at Epinions.com on 11/6/08 w/ Additional Edits.

Based on the novel by Donn Pearce, Cool Hand Luke tells the story of a prisoner who defies authority in a harsh Florida prison. Directed by Stuart Rosenberg with a script written by Pearce and Frank Pierson, the film features Paul Newman in the title role as Luke Jackson. A man who just won't conform to whatever the system tells him to do as he proves to be an inspiration to the fellow prisoners around him. Also starring George Kennedy, Strother Martin, J.D. Cannon, Luke Askew, Dennis Hopper, Clifton James, Harry Dean Stanton, Joe Don Baker, and Morgan Woodward. Cool Hand Luke is a tremendous film from Stuart Rosenberg.

After doing some drinking and destroying some parking meters, Lucas Jackson is sent to a prison in Florida. Under the supervision of its captain (Strother Martin), Jackson along with three other new convicts including Tramp (Harry Dean Stanton) are given rules to live in the prison. Joining several other men including Dragline (George Kennedy), the men plow the fields, create ditches, and pave roadways. Yet, Lucas has managed to prove to be a guy not willing to give in to the system. After a fight with Dragline where he refused to stay down, he gains the respect of his fellow inmates as well as a few men running the prison. After meeting his mother (Jo Van Fleet) when she visits, he's given a banjo as he continues to be an inspiration.

Dragline befriends the young new convict whom he named Cool Hand Luke as Luke proves to be a real tough guy by eating 50 eggs in an hour. After causing some intimidation in the sunglasses-wearing Boss Godfrey (Morgan Woodward), Luke proves to be powerful until he receives news over the death of his mother. Yet, Luke decides to try and break out of prison with the help of a few prisoners. After two attempts where he nearly succeeded, notably the second one. He is sent back as the captain tries to break his spirit. With the prison bosses making him dig a big ditch and prisoners looking on. The captain wonders if he has broken Luke's spirit but Luke has other ideas with Dragline in tow.

The film can be described as inspirational due to the idea that Luke is described as a Christ-like figure. A man who brings so much inspiration and hope to his fellow prisoners while proving that he can't give in to authority. Attempts to break the spirit of someone like Luke is hard, even when his mother dies and the time he gets captured again and abused. Even at the lowest point, it seems like Luke is willing to give up but this a man that can't really be broken. Even to someone as tough and hardened like Dragline who becomes his confidant and at times, a father figure. Dragline teaches Luke about surviving the prison and its confines while gaining hope in that he too, can escape and yearn for freedom. The script by its novelist Donn Pearce and co-writer Frank Pierson is filled with moments of humor as well as drama and action as it keeps on getting interesting right to the end.

Stuart Rosenberg's direction is truly superb in its compositions and presentation of key scenes. From the way the film opened to its last sequence, it's done with great style that is reminiscent of what American films were doing at that time against the traditional style of the past. There's scenes where Rosenberg captures a great moment of action with his fluid camera and scenery while one sequence in which Luke is beaten, reveals the perspective of all of the prisoners in a rich composition. Yet, Rosenberg's approach to the drama is all in a theatrical style with intimate settings to reveal the kind of tension and comradery between the prisoners and a few of its guards. The film's thematic tone about authority and conformity reveal something power around the time of the mid & late 1960s. The result is a powerful film about individuality and the refusal to conform from the mind of Stuart Rosenberg.

Cinematographer Conrad Hall bring exquisite camera work to many of the film's exterior sequences, notably the skylines and shots of the roads filled with great blue skies and beautiful shots of the river. Hall's interior work, notably the prison house is filled with wonderful lighting setups to create a unique sense of intimacy and atmosphere for those scenes. Even the exterior nighttime scenes are done with wonderful shades and tone to bring for those scenes. Hall's work is truly brilliant in exemplifying in why he's one of American cinema's most renowned cinematographers. Editor Sam O'Steen does great work in creating a fluid style of editing that's traditional but with jump-cuts and rhythmic cutting to emphasize a new style of editing that was cutting edge at the time. Yet, the editing works to capture the moment of action and drama with such precision and in the creation of smooth transitions from scene to scene.

Art director Cary Odell and set decorator Fred Price do excellent work in the look of the rural prison and the house for its convicts as it's given a real, Southern look and style for its intimate setting. Costume designer Howard Shoup also does excellent work in the look of the convicts uniform along with the prison guard suits to show the contrast between authority and those forced to give in. Sound recordist Larry Jost does excellent work in the sound of rain, chains, rakes, and other things to create something intimate and real. Music composer Lalo Schifrin creates a unique film score that is a mix of traditional, orchestral pieces for some of the film's dramatic moments and a Southern, string-inspired piece with guitars and banjos for some of the film's comical and light-hearted moments. Even music from Harry Dean Stanton who sings in a few tracks is filled with Southern values that plays true to the tone of the film.

The cast is truly superb with early appearances from actors like Harry Dean Stanton, Dennis Hopper, Anthony Zerbe, and James Gammon as fellow convicts where they each have memorable moments. Other memorable character actors like Clifton James and Joe Don Baker are great as the two men who run the prison house with Lou Antonio in a memorable role as the convict Koko. Joy Harmon has a memorable appearance as the girl washing her car bringing a lot of excitement to the convicts while Jo Van Fleet is great as Luke's mother who knew that he was trouble but always brought some excitement into her life. Luke Askew is excellent as one of the prison bosses while Morgan Woodward has a more memorable appearance as Boss Godfrey, a man who doesn't talk and wears sunglasses but is a good shooter. Strother Martin is brilliant as the Captain, the prison's warden who has a great complexity in being someone who might be helpful or he can be a mean son-of-a-bitch. It's a brilliant performance with a great Southern drawl that proves he can be intimidating while carrying a unique charm.

George Kennedy, in his Oscar-winning performance as Dragline is brilliant as the prison's convict leader who provides wisdom in showing how to live in the prison while being impressed by Luke's spirit. Kennedy's performance filled with humor and a father-like persona is truly amazing as it's a very memorable performance as a man who finds a new lease on life while trying to keep everything cool that goes with the prisoners. Finally, there's Paul Newman in an iconic role as the title character of Cool Hand Luke. An anti-hero who isn't a real hero but one that won't back down from authority or anything is a guy that is inspirational and can bring a unique spirit. Newman also proves that for a guy that's very beautiful, he can also be tough as hell where he won't be backed down. Filled with a lot of charisma, vulnerability, and tenacity as he's just a guy trying to figure out his role in the world and why he's being pushed down. It's a phenomenal performance from the legendary actor.

Cool Hand Luke is a magnificent film from Stuart Rosenberg that features powerful performances from Paul Newman and George Kennedy. This film isn't just one of the finest films in American cinema ever made but also a film that dares to question the idea of authority. Especially in a character like Luke that can only be played with such power by Newman. In the end, Cool Hand Luke is an outstanding film from Stuart Rosenberg.

© thevoid99 2014

007 James Bond Marathon: GoldenEye

Based on the stories of Ian Fleming, GoldenEye is the story of James Bond going up against an old 00 agent from destroying London with a satellite weapon. Directed by Martin Campbell and screenplay by Michael France, Jeffrey Caine, Kevin Wade, and Bruce Feirstein from a story by France. The film marks James Bond return to the big screen following a six-year hiatus due to legal disputes as playing the role of Bond is Irish actor Pierce Brosnan. Also starring Sean Bean, Izabella Scorupo, Famke Janssen, Robbie Coltrane, Alan Cumming, Tcheky Kayro, Joe Don Baker, Desmond Llewnlyn, Samantha Bond, and Judi Dench as M. GoldenEye is an exhilarating yet fun film from Martin Campbell.

On a trip to Monte Carlo, James Bond follows a mysterious woman named Xenia Onatopp (Famke Janssen) who is rumored to be part of a secret crime syndicate called Janus. Bond tracks her down as she had just killed an admiral to steal a helicopter that can withstand electromagnetic pulse. The helicopter arrives at a Russian bunker where Onatopp and General Ourumov (Gottfried John) kill the people at a satellite command station to take control of a satellite known as GoldenEye that can destroy locations with an electromagnetic pulse. Witnessing this is a computer programmer named Natalya Simonova (Izabella Scorupo) as she hides from the massacre and manages to survive the collapse of the building. Bond is asked by M to investigate the matter as he travels to St. Petersburg to find out more about Janus.

With the help of CIA agent Jack Wade, Bond meets an old adversary in Russian mafia head Valentin Zukovsky (Robbie Coltrane) who decides to help Bond by setting up a meeting between Bond and Janus. After an encounter with Onatopp, Bond finally gets to meet the head of Janus as it’s revealed to be former 00 agent Alec Trevelyan (Sean Bean) who Bond thought was killed in a mission they took part in nine years ago. Trevelyan with help of Onatopp and Ourumov trap Bond in the helicopter that was stolen as Bond and Simonova manage to escape as they’re eventually captured by Russian authorities as they meet Russian defense minister Dimitri Mishkin (Tcheky Kayro) where Bond reveals what’s going on.

Ourumov would end up causing trouble as he takes Simonova leading to a chase as Bond boards Trevelyan’s train where Bond has another confrontation with Trevelyan. After another escape with Simonova, the two travel to Cuba to stop Trevelyan from using the GoldenEye satellite as Bond learns what Trevelyan is planning to do.

The film is essentially another story of James Bond trying to save the world but this time around, he faces up against someone who was a friend and ally who knows Bond better than anyone else. It’s also a film where Bond has to deal with changing times as the Cold War is over and he has a new M that is very different from her predecessors who isn‘t fond of Bond and his antics. This would allow Bond to face hard facts about himself and his company as he discovers that the man who was once his ally has now become the enemy whose motivation is simply vengeance in the most extreme way.

The screenplay explores this new post-Cold War world where it’s clear that people like Ourumov is still trying to uphold the old prestige of the Soviet Union as he plans to threaten the new, fragile peace that Russia wants. Yet, it’s the Alec Trevelyan character that is the most interesting as he is the brains behind the scheme as he wants to destroy London for what they did to his parents. With Ourumov’s help as well as Xenia Onatopp and a computer programmer named Boris Grishenko (Alan Cumming), Trevelyan would not only get his revenge but also something more as he also wants to humiliate Bond. Still, the script allows Bond to re-think his strategies as he gets help from another computer programmer in Natalya Simonova who knows what the Janus crime group are up to and can stop the GoldenEye satellite from creating chaos.

Martin Campbell’s direction is definitely big in the way he presents the film as he is aware that this is a James Bond film and it has to be big. The film opens with this amazing prologue of Bond and Trevelyan teaming up to stop Ourumov at a Soviet chemical plant where it establishes Bond’s friendship with Trevelyan and the unexpected betrayal that would follow nine years later. With the locations set in Russia, London, Monte Carlo, and Puerto Rico, the direction establishes that the world is far grander in this post-Cold War period as computers also play a part in the scheme where Trevelyan and Grishenko would do things to control this deadly satellite.

With these spectacular action sequences that includes a few chase scenes, Campbell does manage to create a film that is thrilling while taking its time to establish what is going on. Campbell also balances the action with bits of humor as well as a lot of suspense as he makes sure that is about Bond doing his job to investigate where he would uncover many secrets about what he’s facing. Even as it would lead to a climatic face-off between Bond and Trevelyan in a grand sequence that pits 00 against 00. Overall, Campbell creates a truly solid yet exciting film that lives up to the James Bond name.

Cinematographer Phil Meheux does excellent work with the film‘s photography from the lighting schemes in the spa fight scene to some of the day and nighttime exteriors of the locations in the film. Editor Terry Rawlings does nice work with the editing by creating some rhythmic cuts for the film‘s action scenes along with some more methodical cuts for the film‘s suspense. Production designer Peter Lamont, with set decorator Michael Ford and art director Neil Lamont, does fantastic work with the set pieces such as MI6 base, the train car that Trevelyan chills out at, and the main base for the film’s climatic confrontation. Costume designer Lindy Hemming does superb work with the costumes such as the lavish dresses and clothes that Xenia Onatopp wears.

Special effects supervisor Chris Corbould does brilliant work with the special effects created for the action scenes along with visual effects miniatures made by Derek Meddings, whom the film is dedicated to. Sound editor Jim Shields does terrific work with the sound to capture the atmosphere of action scenes to the more intimate moments in the meetings Bond would have. The film’s music by Eric Serra is wonderful for its mix of orchestral flourishes and electronic music to create an air of suspense as well as utilizing the Bond themes to play out the action scenes. The title song by U2’s Bono and the Edge that is sung by Tina Turner is among one of the most fascinating songs of the Bond catalog.

The casting by Debbie McWilliams is amazing for the ensemble that is created as it features appearances from Minnie Driver as Zukovsky’s mistress, Serena Gordon as Bond’s Monte Carlo evaluator, Robbie Coltrane as Russian gangster Valentin Zukovsky, Joe Don Baker as CIA agent Jack Wade, and Tcheky Kayro as Russian defense minister Dmitri Mishkin. Alan Cumming is very funny as the cocky computer programmer Boris Grishenko while Gottfried John is very good as the villainous General Ourumov. In her first appearance as Miss Moneypenny, Samantha Bond is wonderful as M’s personal secretary who revels in her dating life while Desmond Llewelyn is fantastic as the very witty inventor Q who provides Bond some amazing gadgets.

Famke Janssen is superb as the villainous Xenia Onatopp as she has this great presence that is alluring while being very dangerous in the way she deals with men physically. Judi Dench is great as Bond’s superior M where Dench provides a very different approach to the character in her disdain towards Bond’s antics while making sure he maintains his professionalism in his mission. Izabella Scorupo is excellent as computer programmer Natalya Simonova who helps Bond to deal with the Janus crime syndicate as she is also a very smart individual who can deal with Grishenko. Sean Bean is phenomenal as Alec Trevelyan who organizes a plan to destroy London while trying to defeat Bond in every game while anticipating everything else Bond does as Bean does solid work.

Finally, there’s Pierce Brosnan in his first of four outings as James Bond. Brosnan brings a sense of wit and charm to the character that is very engaging as well as a physicality that is also startling to watch as he makes Bond a guy who isn’t afraid to throw down. Brosnan also manages to make Bond more human by having show a bit of humility for the fact that he’s facing an old friend adding a bit of new edge to the character as Brosnan definitely gives a very memorable portrayal of Agent 007.

GoldenEye is a marvelous film from Martin Campbell that features Pierce Brosnan in a remarkable performance as James Bond. Along with wonderful supporting work from Sean Bean, Famke Janssen, Izabella Scorupo, and Judi Dench. It’s a film that lives up to a lot of elements of the Bond films of the past while bringing something new to make Bond fresh and exciting. In the end, GoldenEye is a mesmerizing and spectacular film from Martin Campbell.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

007 James Bond Marathon: The Living Daylights

Based on Ian Fleming’s short story, The Living Daylights is the story of James Bond traveling all over the world to retrieve a defected Soviet general where Bond finds himself being conned in the process. Directed by John Glen and screenplay by Richard Maimbaum and Michael G. Wilson, the film marks a new shift in the Bond story as it returns to more grittier territory as it is also the first film to star Timothy Dalton as James Bond. Also starring Maryam d’Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbe, Geoffrey Keen, Desmond Llewelyn, Caroline Bliss, and Robert Brown as M. The Living Daylights is a fantastic action-adventure film from John Glen.

In Bratislava, Bond aids fellow agent Saunders (Thomas Wheatley) to handle the defection of Soviet general Georgi Koskov (Jeroen Krabbe) by helping him escape to Austria. After Bond targets the assassin who is revealed the cellist Kara Miloy (Maryam d’Abo), Bond only shoots the gun as he successfully gets Koskov to Austria. Returning to London, Bond and his superiors hear Koskov’s claims about new KGB leader General Pushkin (John Rhys-Davies) reviving an old policy that targets spies including Bond. Yet, a break-in into Koskov’s secret hideout has Koskov captured as Bond is assigned to track down Pushkin and retrieve Koskov though Bond remains suspicious as he and M know Pushkin.

Bond returns to Bratislava to track down Miloy as he notices that she’s being followed by the KGB where he finds her gun in her cello trunk where he makes a discovery. After helping Miloy escape to Austria to avoid the KGB, Bond asks Saunders to figure out where Koskov bought Miloy’s cello as Bond learns that it was paid for by an arms dealer named Whitaker (Joe Don Baker). This adds more suspicions as Bond finally confronts General Pushkin in Tangiers as he would make moves to figure out what is really going on. After confessing to Miloy about what he’s really doing, Bond and Miloy are captured where they learn the truth about really happened to Koskov. With the help of a local Mujahideen leader in Kamran Shah (Art Malik), Bond would stop an illegal transaction from happening and uncover the truth about Koskov.

The film is essentially the story of James Bond trying to uncover a mysterious plot in the re-capturing of a defected Soviet general as he learns that the defection plan was really a ruse for something far more troubling. This would have Bond track down a Czech cello player, who is the girlfriend of the defected general, as she’s revealed to be a pawn in this defection plan where she would aid Bond in uncovering the truth. This plot would also involve illegal arms deals, extortion, and drug trades where Bond would eventually help the Mujahideen in defeating a group of Russians.

The screenplay succeeds in balancing both action and suspense as the screenwriters definitely wanted to do something that is a bit different as James Bond is a bit more ruthless in his pursuits. Even as he maintains an air of professionalism in his role while he’s also willing to take some risks in uncovering the truth. Helping his is Kara Miloy who is essentially this woman that’s been kept in the dark about what is happening as she would eventually become a more resourceful woman who can fight back and get things done. Then there’s General Koskov who is this ambiguous figure that makes all of these claims but there’s something about him that has Bond wondering if he’s really telling the truth. Even as Bond learns what he’s really up to as it would involve this arms dealer profiting from the Soviet-Afghan conflict.

John Glen’s direction is definitely superb for the way the film opens as it involves this training exercise that goes wrong where it would introduce Bond to do what is necessary. With the film largely shot in Vienna and Morocco, Glen does maintain a lot of straightforward shots of the locations while creating some spectacular action sequences in the Alps where it is about the stakes as Glen takes his time to capture its intensity. While there isn’t much humor in this film as it’s mostly restrained, the film’s suspense makes up for it in the way Glen builds it up and create some silent moments where Bond would play investigator to make his discoveries. Overall, Glen creates a marvelous and engaging action-suspense film that does more than what is expected in a Bond film.

Cinematographer Alec Mills does excellent work with the photography from the wonderful look of many of the film‘s locations including the nighttime scenes in Vienna to the array of lights in Bond‘s climatic confrontation with Whitaker. Editors John Grover and Peter Davies do nice work with the editing by creating lots of rhythmic cuts for the film‘s action scenes as well as more methodical ones for the film‘s suspenseful scenes. Production designer Peter Lamont, along with set decorator Michael Ford and art director Terry Ackland-Snow, does superb work with the set pieces from the home base of Whitaker to Q’s gadget room in the secret MI6 base.

Costume designer Emma Porteus does terrific work with the costumes from the dresses that Kara wears to the uniforms that Whitaker wears. Special effects supervisor John Richardson does splendid work with the visual effects in some of the film‘s action scenes. Sound recorder Derek Ball does wonderful work with the sound to capture the intensity of the action scenes as well as the atmosphere of the orchestra concert scenes. The film’s score by John Barry is brilliant for its mixture of orchestral flourishes and electronic rhythms to give the Bond themes a new sense of flair as they add to the film’s action and suspenseful moments. The soundtrack includes some classical pieces by Mozart, Tchaikovsky, Dvorak, and Alexander Borodin as well as a couple of songs by the Pretenders’ Chrissie Hynde as well as the wonderful mid-tempo title song by A-ha.

The casting by Debbie McWilliams is phenomenal for the ensemble that is created as it features some notable small roles from Virginia Hey as General Pushkin’s mistress, Julie T. Wallace as Bond’s Bratislava contact, John Terry as Bond’s CIA friend Felix Leiter, Thomas Wheatley as Bond’s aide Saunders, and Andreas Wisniewski as the henchman Necros. There’s also some terrific performances from such Bond regulars like Desmond Llewelyn as Q, Robert Brown as M, Caroline Bliss in her first appearance as Miss Moneypenny, and in their final appearances, Geoffrey Keen as defense minister Frederick Gray and Walter Gotell as former KGB head-turned diplomat General Gogol. Art Malik is excellent as local Mujahideen leader Kamran Shah who helps Bond in Afghanistan while John Rhys-Davies is superb as new KGB head Leonid Pushkin.

Joe Don Baker is wonderful as the scheming arms dealer Whitaker who loves guns and war as he tries to engineer a plot to profit from conflict. Jeroen Krabbe is great as General Georgy Koskov who tries to create things where he makes Bond suspicious and also leave Kara in the dark over his ideas. Maryam d’Abo is very good as Kara Miloy as a woman who has been kept in the dark by her boyfriend as she aspires to play cello all over the world as she would aid Bond in his plans to stop these schemes. Finally, there’s Timothy Dalton in a marvelous performance as James Bond. Dalton brings a real sense of cool to his character as well as restrained aggression in the way he handles his situations as there’s a bit of a dark edge to Bond as Dalton really brings a fresh take on Bond.

The Living Daylights is an incredible film from John Glen that features Timothy Dalton in a top-notch performance as James Bond. The film is definitely a return of sorts to simpler, suspenseful Bond as it strays away from the silly humor of the Roger Moore period. The film is also different for giving Bond more grit as he is more fearless in his pursuits as well as giving some of the sexual interplay a bit of break in the wake of AIDS. In the end, The Living Daylights is an extraordinary film from John Glen.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

The Underneath

Based on the book Criss Cross by Don Tracy, The Underneath is the story of a man returning home to deal with his past as a criminal as he tries to make amends. Yet, his past catches up with him as he deals with his ex-wife’s new boyfriend. Directed by Steven Soderbergh and screenplay by Soderbergh and Daniel Fuchs, the film is a remake of the original 1949 film Criss Cross by updating it for the mid-1990s. Starring Peter Gallagher, Alison Elliott, William Fichtner, Joe Don Baker, Paul Dooley, Elisabeth Shue, and Shelley Duvall. The Underneath is an entrancing noir film from Steven Soderbergh.

After being freed from prison, Michael Chambers (Peter Gallagher) returns home for the wedding of his mother (Anjanette Comer) to armored truck guard Ed Dutton (Paul Dooley) as Michael hopes to start a new life. Though his police officer brother David (Adam Trese) remains suspicious of Michael’s intentions, Michael’s old life finally catches up when he sees his ex-wife Rachel (Alison Elliott) at a club where he tries to woo her again only to realize she’s engaged to the club’s owner Tommy Dundee (William Fichtner). While Michael recalls his life as a gambler where it led to all sorts of troubles, Ed gets Michael a job as an armored truck guard where he runs into a bank teller named Susan (Elisabeth Shue) whom he met some time earlier at a bus on his way home.

When Michael’s secret meetings with Rachel eventually leads to trouble with Tommy, Michael makes Tommy an offer he couldn’t refuse about planning a robbery at a bank to get a daily payroll. Tommy takes the offer to help Michael in a robbery but the result would prove to be troubling for Michael’s conscience as he eventually realize all of the things he’s been doing to get back his ex-wife.

The film is essentially the story of a man trying to make amends for his past deeds only to bump into his ex-wife and her new boyfriend where he eventually finds himself in trouble and in an even worse situation when he takes part in a robbery. It’s a story that is typical of what is expected in a film noir schematics as it would often involve a woman and a man in conflict over trying to start a new life and be involved in a world of crime. Yet, what makes this film so interesting is how the story is told through recollections and how everything leads up to this ill-fated robbery.

Under the Sam Lowry alias, Steven Soderbergh and co-writer Daniel Fuchs create a story where the film opens with the day of the robbery and then cuts to a scene of Michael Chambers coming home as he’s talking to Susan at the bus about going home. A lot of the film is told from Michael’s perspective as he recalls his life when he was this successful gambler who is in it for himself and his then-wife Rachel by giving her a better life only to crash because of one big loss. By returning home, he hopes to make amends but the presence of his ex-wife and trying to reclaim her would only cause trouble as he has to deal with her new boyfriend and his own brother who isn’t happy to see him home thinking he’s just going to screw things up like usual.

Sodebergh’s direction is truly mesmerizing for the way he creates moods in the film as well as the way he frames his actors for certain scenes. Notably as it’s all very stylized for a simple family dinner scene where there’s a close-up of someone on the edge while the other actor is in a medium shot talking. Yet, it’s Soderbergh creating something that is tense for a character like Michael Chambers as if he is trying to integrate himself back into the world. The film also features a lot of suspenseful moments and flashback scenes to see how Chambers fell apart or, in the case of the suspense, how far is he willing to screw things up again. It’s all about the lead-up to the heist and to understand who this man is that is playing part of a robbery that would eventually go wrong.

Since it’s a modern-day take on the noir genre, Sodebergh utilizes a lot of the schematics to what is expected in the genre. The set-up of the crime, a man in conflict, a femme fatale, a villain, and a surprise ending. While the first two acts carries a largely non-linear structure in the story where Soderbergh has the lead-up to the robbery crisscross against the narrative of Michael’s homecoming and his reunion with Rachel that would spell trouble. It’s the third act where the robbery and a troubling aftermath occurs that leads to some major surprises and revelations. Overall, Soderbergh crafts a truly hypnotic and wonderfully stylized noir film that plays with the genre’s plot devices.

Cinematographer Elliot Graham does amazing work with the film‘s stylized photography from the way he uses colored filters to set the mood to the interiors he shot in the club that Tommy runs as there‘s always something to see in those shots. Editor Stan Salfas does superb work with the editing to play out the film‘s unique non-linear structure to help build up the suspense for the eventual robbery that is to happen. Production designer Howard Cummings, with set decorator Jeanette Scott and art director John Frick, does nice work with the set pieces such as the home of Michael‘s mother as well as the look of the old house he and Rachel stayed in.

Costume designer Karyn Wagner does good work with the costumes as a lot of it is casual to keep up with the look of mid-90s fashion. Sound editor Larry Blake does terrific work with the sound to play up the atmosphere of the clubs to the intimacy of other locations to help build up some of the film‘s suspense. The film’s score by Cliff Martinez is brilliant for its mesmerizing electronic score to help set a mood for the suspense as well as the flashback as Martinez’s score is a major highlight. The film’s soundtrack features a wide mix of alternative music of the mid-90s as it features cuts from Better than Ezra and Cowboy Mouth as the latter appears as one of live bands in the club scenes.

The casting by Ronnie Yeskel does solid work with the casting as the ensemble features appearances from filmmaker Richard Linklater as a club doorman, Shelley Duvall as a nurse late in the film, Joe Don Baker as an armored truck supervisor, Anjanette Comer as Michael’s mother, Joe Chrest as a man Michael talks to at the hospital late in the film. Paul Dooley as the very kind Ed Dooley, and Elisabeth Shue as the very likeable new bank teller Susan whom Michael befriends. Adam Trese is very good as Michael’s brother David who doesn’t seem happy to see Michael back as he also has some strong opinions about his brother. William Fichtner is excellent as the intimidating Tommy Dundee who presses Michael over his relationship with Rachel as it’s a very strong performance from the character actor.

Alison Elliott is wonderful as Rachel where she’s a very lively character in the flashback scenes while in the present scenes is someone who isn’t happy to see Michael back in her life though she’s tempted by him. Finally there’s Peter Gallagher in a superb performance as Michael Chambers where Gallagher brings a very layered performance as a man trying to restart his life only to be tempted by the world of crime again as Gallagher shows a real sense of bravado and restraint to a man troubled by his own past and the world he’s about to re-enter.

The Underneath is a stellar noir film from Steven Soderbergh that is highlighted by Peter Gallagher’s marvelous performance. Along with great supporting work from Alison Elliott, William Fichtner, Adam Trese, Paul Dooley, and Elisabeth Shue. It’s a film that definitely finds way to keep the film noir alive in the mid-90s while it is also one of Soderbergh’s more underrated works. In the end, The Underneath is a chilling yet evocative film from Steven Soderbergh.

Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - Gray’s Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's 11 - Full Frontal - Solaris (2002 film) - Eros-Equilibrium - Ocean’s 12 - Bubble - The Good German - Ocean’s 13 - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)

The Auteurs #39: Steven Soderbergh Pt. 1 - Pt. 2

© thevoid99 2012