Directed and edited by Peter Pardini, Now More Than Ever: The History of Chicago is about the career of one of American music’s most popular and enduring bands from their groundbreaking blend of jazz, rock, and pop that made them big in the 1970s to becoming one of the most vital and popular touring acts for nearly thirty years. The film chronicles the many highs and lows the band went through from death of founding guitarist/vocalist Terry Kath in early 1978 to the many changes the band had to endure and keep up with trends. The result is a fun and adventurous film about one of the most popular bands in American music.
From their formation in the late 1960s to finally being inducted into the Rock N’ Roll Hall of Fame in 2016, Chicago has been a band that has sold more than 100 million albums with a lot of hit singles from the 1970s and the 1980s. From the 1990s and into the 21st Century, they’ve become a popular live staple playing 100 shows a year as they continue to be vital despite line-up changes and such. Yet, at the heart of the group are its four remaining original members in vocalist/keyboardist Robert Lamm, trumpeter Lee Loughnane, trombonist James Pankow, and woodwind player Walter Parazaider. The four along with original drummer Danny Seraphine talk about the band’s history through the many trials and tribulations they endured as it began in 1967 in Chicago with those five men and a guitarist/vocalist in Terry Kath as they were part of an early version of the band but then changed its name at the time to the Chicago Transit Authority that included bassist/vocalist Peter Cetera.
The classic original lineup of Cetera, Kath, Lamm, Loughnane, Pankow, Parazaider, and Seraphine would create numerous hits starting with their 1969 eponymous debut album as they were guided by manager/producer James William Guercio who declined to be interviewed for the film along with Cetera and other former members in guitarist/vocalist Donnie Dacus and vocalist/keyboardist Bill Champlin. There are many stories the band talk about including the legendary story of Jimi Hendrix telling the band that Kath is a better guitarist than he is along with other events that happened on the road. Still, the band talk about the many different periods though not much is talked about the band from the 1990s and so on with the exception of the individuals who would be important to the band in the later years like bassist/vocalist Jason Scheff, drummer Tris Imboden, guitarist Keith Howland, and keyboardist Lou Pardini.
Director/editor Peter Pardini would use a lot of archival footage of the band through from the 1970s as it showcases their rise to stardom and such as well as the fact that these are guys who love to live their life on the road. Many of the interviews that are shot with the aid of cinematographer John Honore as well as some archival audio interviews provided by sound mixer Tim Jessup play into the band’s history. Especially the story about Kath’s death on January 23, 1978 of an accidental self-inflicted gunshot wound to the head which happened just after the whole band dismissed Guerico over finances. Kath’s death remains something that haunts the band to this day yet they forge on in honor of him. The band also talks about the 80s which they admit they have mixed feelings about not just because in the change of sound under the eye of producer David Foster but also the loss of the band becoming a democratic unit where it’s a band into becoming a back-up band for Peter Cetera who would leave the group in 1985 for a solo career. It’s a situation that would later lead to Bill Champlin’s own departure in 2009 thinking he was the front man of the band.
Seraphine’s own departure from the group is included as it relates to not just his own frustrations of trying to keep up with current technology but also his focus on the business side of the band. Both Seraphine and the band admitted that the way they parted wasn’t in the best of terms though both were able to reconcile as Seraphine did get to play with the band for the Rock N’ Roll Hall of Fame induction in 2016. It all plays into the many aspects of the band’s rich history as it is told by the band as well as longtime fan and actor Joe Mantegna who recalls moments of the band’s early history.
Now More Than Ever: The History of Chicago is a sensational film from Peter Pardini. It’s a documentary film that chronicles the career of one of America’s great bands as well as emphasizing on what is more important about them which is their timeless music. In the end, Now More Than Ever: The History of Chicago is a phenomenal film from Peter Pardini.
© thevoid99 2017
Directed by John Carpenter and written by Anthony Lawrence, Elvis is a made-for-TV movie about the life and career of Elvis Presley from his early beginnings to the aftermath of his comeback in the late 1960 and early 1970s. Told in a stylistic fashion, the TV movie explores the turbulent and raucous life of the King of Rock N’ Roll as he tries to deal with many ups and downs as he is played by Kurt Russell. Also starring Shelley Winters, Season Hubley, Bing Russell, and Pat Hingle. Elvis is a towering and mesmerizing TV movie by John Carpenter.
The life of Elvis Aaron Presley is one of the most unique in the history of the world as he was the man that brought a new sound to the post-war era of the 20th Century and became the King of Rock N’ Roll through many hit songs that are timeless. The TV movie is a typical story of Elvis Presley’s life as it’s told in a straightforward fashion though it begins in 1970 where Presley is about to mount his big comeback concert at the International Hotel in Las Vegas where he would reflect on his life and the journey he took from obscurity to being a troubled icon. The teleplay by Anthony Lawrence does take some dramatic liberties in aspects on Presley’s life yet it’s main focus is on Presley and the need to find balance in his success but also wanting to remain humble. There is a structure to the script where it’s first act is about Presley’s childhood and the need to help out his parents anyway he can but also wanting to become a singer.
The second act is about his meteoric rise but also tragedy when he deals with the death of his mother Gladys (Shelley Winters) around the time he would serve in the U.S. Army and later meet Priscilla (Season Hubley) who would become his wife in 1967. The third act is about the birth of their daughter Lisa Marie Presley but also Presley’s struggle with fame and fulfillment that would culminate with his comeback at the International Hotel. Yet, it all plays into Presley and his need to entertain and have his friends be along for the ride but also wanting to make his parents proud. Presley also talks to his stillborn twin brother Jesse as it adds to that lack of fulfillment and guidance that Presley craves for where he would also cope with the chaos of his fame that would eventually affect his marriage to Priscilla.
John Carpenter’s direction is largely straightforward which isn’t a complete surprise considering that it’s a sprawling TV movie with a near three-hour running time (in its Blu-Ray release). Still, Carpenter does manage to create something that is very engaging as it plays into the rise of this young man born at Tupelo, Mississippi who would later live in Memphis, Tennessee with his family. Shot largely in Los Angeles with some of it shot in Tennessee and some second unit shots of Las Vegas. Carpenter does manage to create something that play into a period of time where Presley is trying to maintain that sense of humbleness as he is devoted to family and his roots. With the usage of wide and medium shots for the locations as well as some close-ups to maintain some of the intimacy. Carpenter does create some compositions that are beautiful and lively where he allows the simplicity of these images to really say a lot without the need to be overly stylish. Overall, Carpenter creates an entertaining yet compelling film about the life of Elvis Presley.
Cinematographer Donald M. Morgan does excellent work with the film‘s cinematography from the usage of shadows and lights for some of the interiors to the beautiful usage of natural colors for many of its exterior scenes in the daytime. Editors Christopher Holmes and Ron Moler do nice work with the editing as it‘s mostly straightforward with a few stylish dissolves as well as fade-outs that is common with most TV movies. Art directors Tracy Bousman and James William Newport, with set decorator Bill Harp, do fantastic work with the look of the homes that Presley lived throughout his life as well as the look of some of the venues he would play at. Costume designers Suzanne Grace and Richard Mahoney do brilliant work with the costumes to play into the period of the times as well as the evolution of the clothes that Presley would wear as a performer.
Hair stylist Ruby Ford and makeup artist Marvin G. Westmore do terrific work with the look of the hairstyles that play into the way Presley looked throughout the years as well as the hairstyles that Priscilla would have in those years. Sound mixer Willie D. Burton does superb work with the way the music is presented as well as other sounds to play into Presley‘s lifestyle away from the world of performing. The film’s music by Joe Renzetti is wonderful as it’s mostly low-key in its orchestral setting to play into the dramatic elements of the film while most of it features a lot of the music of the times including songs performed by Elvis and country singer Ronnie McDowell as the live singing voice of Presley.
The casting by Joyce Selznick is great as it feature some notable small roles from Meg Wylie as Elvis’ fraternal grandmother, Felicia Fenske as Lisa Marie Presley, Abi Young as actress Natalie Wood, Joe Mantegna as Memphis Mafia member Joe Esposito, Dennis Christopher as film actor Nick Adams, Les Lannom as Sonny West of the Memphis Mafia, Peter Hobbs as Jim Denny of the Memphis Mafia, Randy Gray as the young Elvis, Elliott Street as Elvis’ bassist Billy Black, James Canning as Elvis’ guitarist Scotty Moore, Melody Anderson as Elvis’ first girlfriend Bonnie, and Ellen Travolta as Marion Keisker as the person who would record Elvis’ first songs. Charlie Cyphers is terrific as Sun Records founder Sam Phillips who would discover Elvis and give him his first break while Pat Hingle is superb as Elvis’ manager Col. Tom Parker who would make Elvis into a megastar as well as handle some of Elvis’ business.
Robert Gray is fantastic as Elvis’ friend Red West who would be part of the Memphis Mafia that would protect and hang around with Elvis as makes sure Elvis have a good time and keep him grounded. Bing Russell is excellent as Elvis’ father Vernon who does whatever he can to help Elvis following the death of his wife as well as watch over some of his son’s finances. Shelley Winters is amazing as Elvis’ mother Gladys as this woman who adores her son and strives for him to succeed while being overwhelmed by all of his success as she helps try to ground him from not having fame get over his head. Season Hubley is brilliant as Priscilla as Elvis’ wife whom he met in Germany when she was 14 as she would be the love of his life while later coping with living in a world that she has very little control of. Finally, there’s Kurt Russell in a phenomenal performance as the titular character who does whatever he can to succeed and help out his parents while dealing with all sorts of trials and tribulations where Russell displays a charm and humility that brings the man back to life as it’s one of Russell’s defining performances.
Elvis is a sensational TV film from John Carpenter that features an incredible performance from Kurt Russell as the titular character. It’s a TV movie that doesn’t just tell a fascinating story about the King of Rock N’ Roll but also manages to be a bio-pic that does a lot in creating a story that is engaging though still manage to be conventional. In the end, Elvis is a remarkable TV film from John Carpenter.
John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Vampires - Ghosts of Mars - The Ward
The Auteurs #60: John Carpenter Part 1 - Part 2
© thevoid99 2016
Written and directed by Michael C. Martin, 10 Cent Pistol is the story of two criminals who both plan a job to retrieve a savings bond that was owed to one of the criminals where things suddenly go wrong in the planning. The film is a mixture of film noir, the heist, and all sorts of things as it revolves around two brothers who did a job for a crime boss only to get fucked over where one of them wants to get what he‘s owed while the other becomes very cautious. Starring Adam Arkin, Brendan Sexton III, Jena Malone, Thomas Ian Nicholas, JT Alexander, Damon Alexander, Jessica Szohr, and Joe Mantegna. 10 Cent Pistol is an interesting but extremely messy film from Michael C. Martin.
The film revolves around a heist inside the home of a crime boss where two brothers are trying to retrieve a savings bond that one of them was owed to for serving jail time. Along the way, a shitload of problems ensue where the brothers don’t trust each other as well as the fact that there’s some resentment brewing. At the same time, the two try to play their own angles into getting this and that where the result becomes a mess. Writer/director Michael C. Martin wants to create something that feels like a modern noir film as it is largely told from the perspective of these two brothers who always did things together but when they meet this crime boss. Things go wrong where the two did separate things with bad results where one goes to jail and the other being broke. At the same time, one of them was dating a wannabe actress who would end up being with the other brother as complication ensues where she finds herself involved in the scheme.
Martin’s direction is largely straightforward in terms of the compositions and the way he sets things up. Notably for a key sequence in the second act where the younger brother Jake (JT Alexander) is trying to steal a car without being seen by the cameras and do it carefully as it is one of the more engaging moments of the film. While Martin’s usage of close-ups and medium shots have their moments, the script with its non-linear narrative does make it hard to comprehend into what is happening where Martin is really trying to do something that has audience guessing what is going on and such. It ends up being nonsensical at times while it would also lag into the pacing where the non-action and heist scenes try to feature elements of humor that never gels. The film however does have a satisfying payoff of sorts as it relates to someone involved as it shows the stupidity of what people will do over something as trivial as money. Overall, Martin creates a decent but undercooked suspense-thriller about two brothers trying to retrieve a savings bond they’re owed to.
Cinematographer Michael Fimognari does nice work with the film‘s cinematography though it does have a low budget look in the way many of the daytime‘s exterior settings while doing some fine lighting for scenes set at night. Editor Aram Nigoghossian does terrific work with the editing as it is largely straightforward with some montage-style cutting for some of the set-ups though it doesn‘t do enough to comprehend some of the messiness in the film. Production designer Adrina Rose Garibian does excellent work with the look of the apartment home of the brothers as well as the place where their boss lived in as well as some of the places the characters go to.
Costume designer Mynka Draper does wonderful work with the costumes as it is mostly casual for the men along with some of the stylish clothes and dresses the character of Danneel wears. Sound editor Trip Brock does brilliant work with some of the sound such as the carjack scene inside the garage as it plays up some of the suspense in the film as well as some scenes in bars and such. The film’s music by Jim Dooley does excellent work with the score as it‘s a mixture of low-key, guitar-based music with some ambient textures though it tends to be overused at times in some of the moments while music supervisors Jim Bissell and Evan Dubinsky bring in a soundtrack that consists of rock and pop music.
The casting by Emily Schweber is pretty good as it features some notable small appearances from Jessica Szohr as a friend of Danneel who would do a double-date with the brothers, Emilio Rivera as Easton’s halfway house advisor, Brendan Sexton III as a friend of Jake who would help out in the scheme, Thomas Ian Nicholas as the boss’ son H-Wood who deals with the awful situation he’s in, and Adam Arkin as a surgeon who is friends with the gangster that helps out in healing Easton. Joe Mantegna is brilliant as the gangster Punchy where Mantegna does a lot of things as a man of wisdom and charm while being very dangerous as Mantegna makes the most of his brief appearance.
JT Alexander is alright as the more cautious Jake who is resentful for his brother’s troubles as he tries to do what is right while Damon Alexander is OK at times as the more brash Easton as the older of the two though he often comes across as a loudmouth and tries to be tough as it’s a performance seen so many times in other films. Finally, there’s Jena Malone in an amazing performance as Danneel as this wannabe actress who starts off dating Easton until he is sent to prison where she falls for Jake as she finds herself entangled into a scheme where Malone manages to find ways to rise above the material despite the horrible situations that she is surrounded with throughout the film.
Despite the top-notch work of Jena Malone and Joe Mantegna, 10 Cent Pistol is a terrible and messy film from Michael C. Martin. Due to a nonsensical script and the desires to be all things in a crime film despite a few noteworthy moments. The film is just simple something lackluster in what it wants to be while being hampered badly its low-budget look. In the end, 10 Cent Pistol is just a bad film from Michael C. Martin.
© thevoid99 2016
Directed by Francis Ford Coppola and written by Coppola and Mario Puzo that is based on Puzo’s The Godfather novel series, The Godfather Part III is the story of Michael Corleone’s attempt to gain legitimacy away from the world of the Mafia as he makes a deal with the Vatican bank only for things to go wrong as it involves an illegitimate nephew who wants to help Corleone in getting rid of his enemies. The third and final part of The Godfather trilogy, the film is an exploration of Michael Corleone’s attempt to find redemption as he also copes with guilt over his past actions as Al Pacino reprises his role as Michael Corleone as he’s joined by Diane Keaton, Talia Shire, Richard Bright, and Al Martino reprising their famed roles from previous films. Also starring Andy Garcia, Sofia Coppola, Joe Mantegna, Bridget Fonda, George Hamilton, John Savage, Donal Donnelly, Helmut Berger, and Eli Wallach. The Godfather Part III is a compelling yet flawed film from Francis Ford Coppola.
Set in the late 1970s, the film revolves around Michael Corleone’s attempt to detach himself from the criminal world as he had reinvented himself as a philanthropist while leaving his other business to other people where it begins to fall apart. When an opportunity arises to buy shares from one of the world’s biggest banks in the Vatican’s Immobiliare, Corleone sees it as a chance to become a fully-legitimized businessman. Still, elements of his past dealings with the Mafia come back to haunt him as his enforcer Joey Zasa (Joe Mantegna) has been running Corleone’s territory into ruins forcing an illegitimate nephew of Corleone in Vincent Mancini (Andy Garcia) to wanting to get control back. Once it becomes clear that there are those trying to get rid of Corleone not just over the deal but for other reasons, Corleone decides to have Vincent take over but with Vincent to disconnect himself with his cousin in Corleone’s daughter Mary (Sofia Coppola).
The film’s screenplay plays into not just Michael Corleone’s attempt to be part of society and make himself legitimate but also carry the guilt over the way he rose into power. Especially as the demons of his past would return in ways he didn’t expect as he is facing new enemies who play by different rules as well as those whom he thought were his friends. The chaos that emerges in Corleone’s life forces him to look towards Vincent for help as well as the advice of his sister Connie (Talia Shire) and longtime bodyguard Al Neri (Richard Bright). It is around the same time that Michael makes amend with his estranged ex-wife Kay (Diane Keaton) after pushing her away from his dealings just as Michael is seeking redemption for his past actions and sins. Still, Corleone copes with issues regarding the Immobiliare as well as the involvement of his old family friend Don Altobello (Eli Wallach) who is the most interesting character in the film. An old man that may seem weak and frail but it’s just a front for who he really is.
It’s among the interesting aspects of the script but there’s elements in that script that involves real-life events such as the death of Pope John Paul I as well as the Papal banking scandal of the early 80s definitely becomes too overwhelming and not as fleshed it for the main story which relates to Michael Corleone’s attempt for legitimacy and redemption. Another aspect of the script that doesn’t work involves the relationship between Mary and Vincent where it does border into the world of incest since the two are related to the Corleone family as Vincent was the illegitimate son of Michael’s eldest brother Sonny as Vincent bears reminders of the father he never really knew. It’s among some of the weak aspects of the script as well as the missed presence of a major character in the series in Tom Hagen, whose character is revealed to have died, as the only connection that is presented in the film is his son Andrew (John Savage) who is a priest that helps Michael in dealing with the Immobiliare.
Francis Ford Coppola’s direction is quite interesting as it’s set in three different places such as Rome, New York City, and Palermo, Sicily as it plays into a world that is changing but things are far more ruthless as they when Michael was ruling the Corleone family. Yet, Coppola retains the look of its predecessors while aiming for something that is rich but also play into a world that is changing where Michael Corleone is unaware that he is on his way out. Coppola’s compositions are still potent in the way he frames some of the drama as well as play into some of the film’s violence which is quite brutal in the way characters are killed and such. Some of the drama has Coppola use some unique medium shots and close-ups as it includes a very mesmerizing scene where Michael makes his first confession in many years to Cardinal Lamberto (Raf Vallone) who is one of the few good men in the world. It’s a scene where Michael Corleone finally reveal his sins as it is also this brief moment where the man could find redemption.
It’s among these very keen moments in the film that works while some of the elements in the film as it relates to Vincent’s attraction towards Mary are among some of the things in the film that doesn’t work. Even as Coppola isn’t able to really do anything new as the film’s climax at an opera house does have an air of theatricality in a montage that does play as a homage to elements of films of the past. Yet, it’s aftermath does have an air of tragedy as it plays to not just the sins of Michael Corleone but also the fact that all of his attempts to get those closest to him away from that dark world aren’t exempt. Especially as he realizes that the world of legitimacy that he thought he was going into is a far more treacherous world than the world of crime. Overall, Coppola creates a very captivating though very uneven film about a mobster’s attempt to find redemption and atone for his sins.
Cinematographer Gordon Willis does amazing work with the film’s cinematography with its approach to low-key lights for the scenes at night while maintaining a sepia-drenched visual style that plays to the film’s interior looks for the scenes in day and night as well as maintaining something natural and low-key for the scenes set in Sicily. Editors Walter Murch, Lisa Fruchtman, and Barry Malkin do excellent work with the editing as it does have an air of style in some of the film‘s violent moments while creating some montages as well as some stylish dissolves to play into the drama. Production designer Dean Tavoularis and art director Alex Tavoularis do fantastic work with the set pieces from the New York City penthouse that Michael lives in as well as the look of Little Italy and the home of the Corleone family in Sicily.
Costume designer Milena Canonero does brilliant work with the costumes from the party dress that Mary wore at the opening party scene as well as the suits and dresses the characters wear in some of the posh events at the film. Sound designer Richard Beggs and sound editor Gloria S. Borders do superb work with the film‘s sound to play into some of the violence that includes the chilling helicopter attack scene as well as the moments in the opera house. The film’s music by Carmine Coppola is wonderful as his approach to lush string arrangements and somber horns play into the sense of melancholia that looms over the film along with some very offbeat cuts such as the use of the Jew-harp that serves as a theme for Don Altobello.
The casting by Janet Hirshenson, Jane Jenkins, and Roger Mussenden is terrific as it features small yet notable appearances from Catherine Scorsese as an old lady who likes Vincent, Raf Vallone as Cardinal Lamberto, Enzo Robutti as the an old-school mob leader in Don Luchessi, Vittorio Duse as the old Corleone ally Don Tommasino, Mario Donatone as the assassin Mosca, Helmut Berger as an Immobiliare accountant Frederick Keinszig, John Savage as Father Andrew Hagen who would help Michael with dealings of the Immobiliare, and Al Martino who makes a wonderful appearance as the singer Johnny Fontaine for the film’s opening party scene. Performances from George Hamilton as Michael’s attorney B.J. Harrison isn’t inspiring as Hamilton really does nothing to make his performance memorable while Bridget Fonda is wasted as a photojournalist in Grace Hamilton who sleeps with Vincent as she is nearly killed for that moment. Other small roles from Richard Bright as Michael’s longtime bodyguard Al Neri, Franc D’Ambrosio as Michael’s son Anthony, and Donal Donnelly as Archbishop Gilday are pretty good as they do serve purpose for the story.
Sofia Coppola isn’t as bad that many has said about her performance as Mary Corleone but it is still quite terrible as she is unable to sell the dramatic elements of her performance as she and Andy Garcia don’t really have any chemistry. Joe Mantegna is excellent as Joey Zasa as a Corleone enforcer who has caused trouble for the Corleone crime empire forcing Vincent to take action. Talia Shire is fantastic as Connie Corleone as she becomes more involved in the Corleone family business as she would encourage Vincent to take action. Andy Garcia is superb as Vincent Mancini as the illegitimate son of Sonny Corleone who attained his father’s fiery attitude as he becomes Michael’s protégé as he later copes with the role he is given as well as breaking off a relationship with his cousin Mary.
Eli Wallach is phenomenal as Don Altobello as an old family friend of the Corleone family who is a truly complex and fun character as this old man that seems like a harmless person but he’s really one of the most deceitful and cunning antagonists ever presented on film as Wallach is a major highlight of the film. Diane Keaton is brilliant as Kay Adams as Michael’s estranged ex-wife who returns to plea for Michael to let Anthony go while coping with his illness and attempts to find redemption. Finally, there’s Al Pacino in a remarkable performance as Michael Corleone as he brings a lot of charm but also a weight of melancholia to the role as a man who copes with the guilt of his actions as he tries to become a legitimate businessman only to realize how corrupt it is as he searches for redemption and atonement for his sins.
The Godfather Part III is a stellar yet underwhelming film from Francis Ford Coppola. While it does feature excellent performance from Al Pacino, Diane Keaton, Talia Shire, Andy Garcia, Joe Mantegna, and Eli Wallach along with some fine technical contributions. It’s a film that has some unique elements in its theme of redemption but is boggled down by some uninspired storylines and other things that really hinders the film though it is still an engaging one. In the end, The Godfather Part III is a superb film from Francis Ford Coppola.
Francis Ford Coppola Films: (Tonight for Sure) - (The Bellboy and the Playgirls) - Dementia 13 - (You’re a Big Boy Now) - (Finian’s Rainbow) - (The Rain People) - The Godfather - The Conversation - The Godfather Part II - Apocalypse Now/Apocalyse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Captain EO) - (Heart of Stone) - (Tucker: The Man and His Dreams) - New York Stories-Life Without Zoe - Bram Stoker's Dracula - (Jack) - (The Rainmaker) - (Youth Without Youth) - Tetro - (Twixt)
© thevoid99 2015
Written and directed by Woody Allen, Celebrity is the story about a divorcing couple that both take on two different paths of their lives where both find themselves immersing into the world of celebrity culture. The film is an exploration into that world where two people go into different paths to see what will happen after this encounter with this world. Starring Kenneth Branagh, Judy Davis, Leonardo diCaprio, Charlize Theron, Hank Azaria, Winona Ryder, Joe Mantegna, Melanie Griffith, Bebe Neuwirth, and Michael Lerner. Celebrity is a stylish though very messy film from Woody Allen.
The film explores the world of a divorced couple who both go into very different paths outside of their marriage. Lee Simon (Kenneth Branagh) was a travel writer who turns into a celebrity journalist as he ventures into the world celebrity culture while trying to work on a novel in the hopes to gain a career as a writer. For his insecure ex-wife Robin (Judy Davis), she quits being a schoolteacher as she tries to find a new place in life where she eventually works for a TV producer named Tony Gardella (Joe Mantegna) as she falls for him. The paths these two would take would have not just some major impact in their personal lives but also the path they would both take in this messy world of film premieres, parties, theaters, gatherings, and all sorts of thing in that world that is celebrity culture.
While it’s an interesting concept, Woody Allen’s screenplay unfortunately loses some of its luster in the second act where not only does the journeys of Lee and Robin become repetitive but their neuroses would also play into their troubles as that would become grating to watch. The script’s narrative does move back-and-forth into the different storylines of Lee and Robin in the paths they take though their storylines would coincide in brief moments. Most of it would play into their dramatic development over their split as those moments are told in flashbacks such as Lee’s decision to end the marriage and why did he did he decide to pursue a career in writing in his 40s after attending his high school reunion. A lot of the first act is interesting but it loses some steam in the second while it does have an interesting third act to see the outcome of the paths they took.
Allen’s direction is quite stylish as he aims for something that is timeless in its black-and-white photography as it would recalls some of his early films from the 1980s. Notably in the compositions and camera movements that he creates as it has this amazing opening of a plane writing the word “help” in the sky for a film. While many of Allen’s compositions are gorgeous, some of the humor doesn’t seem to work as it relies too much on characters acting awkward to their situations where the comedy feels a bit forced instead of natural. At the same time, the situations that occur starts to wear thin to the point that the outcome is sort of predictable. Overall, Allen creates a film that has an interesting concept but loses steam due to its predictability and over-emphasis on neurotic characters in a culture they know little about.
Cinematographer Sven Nykvist does amazing work with the film‘s gorgeous black-and-white photography that has this air of style in its look that is timeless as well as playing to some of air of pretentiousness that is common with art films. Editor Susan E. Morse does nice work with the editing in the way the story is structured as well as a few moments in the film‘s drama. Production designer Santo Loquasto, with set decorator Susan Kaufman and art director Tom Warren, do terrific work with the set pieces from the look of the runways and parties to the home of Lee.
Costume designer Suzy Benzinger does wonderful work with the costumes from the many stylish clothes of the models and the young people that Lee hangs around with to the more loose clothing of Robin early in the film. Sound editor Robert Hein does excellent work with the sound from the atmosphere of the party scenes to the intimate moments in the apartment and such. The film’s soundtrack consists of classical and jazz music from the Dave Brubeck Quartet, Ludwig Van Beethoven, Billie Holliday, Stan Getz, the Gershwin Brothers, and Richard Wagner to play up the world of that culture to give the film a romantic feel.
The casting by Laura Rosenthal and Juliet Taylor is brilliant for the ensemble that is created as well as the cameos that are made as it includes appearances from Donald Trump, supermodels Frederique and Roshumba, filmmaker Greg Mottola as a director in the film’s opening sequence, Andre Gregory as an art house filmmaker, Karen Duffy and Debra Messing as TV reporters, J.K. Simmons as a souvenir salesman, Alison Janney and Celia Weston as socialites, Tony Sirico as a mob guy who is supposed to appear on a TV show, Isaac Mizrahi as an artist, Jeffrey Wright as an off-Broadway theater director, Sam Rockwell and Adrian Grenier as entourage guys for actor Brandon Darrow, Gretchen Mol as Darrow’s girlfriend, David Marguiles as an alderman, Kate Burton as Robin’s friend Cheryl, Dylan Baker as a Catholic retreat priest, Douglas McGrath as a novelist, Larry Pine as a publisher, Aida Turturro as a fortune teller, and Hank Azaria as a date of an aspiring actress named Nola.
Bebe Neuwirth is excellent as a famed prostitute named Nina who teaches Robin how to pleasure someone sexually while Michael Lerner is funny as a famed plastic surgeon named Dr. Lupus. Famke Janssen is terrific as the publisher Bonnie whom Lee dates while Melanie Griffith is very good as the actress Nicole Oliver whom Lee hangs out with early in the film. Winona Ryder is superb as the aspiring actress Nola whom Lee falls for while Charlize Theron is amazing as a supermodel Lee hangs out with as they get into some trouble. Leonardo DiCaprio is great as the young actor Brandon Darrow as he displays all of the traits of a bad boy actor. Joe Mantegna is wonderful as TV producer Tony Gardella whom Robin falls for as he becomes the guy that can help her.
Judy Davis is fantastic as Robin as a former English schoolteacher whose life worsens following her divorce with Lee as she becomes more insecure and neurotic as she tries to figure out what to do with her life while meeting Tony as Davis brings some humor and dramatic weight despite some of the repetitiveness of her character. Finally, there’s Kenneth Branagh in an absolutely horrible performance as Lee. Branagh can do comedy but in trying to impersonate the personas that Woody Allen has played in his many films just doesn’t work. It comes off as a very bad impression of Allen where the awkwardness feels forced while Branagh doesn’t do enough to make his character sympathetic as he ends up being a real scumbag.
Celebrity is a really terrible film from Woody Allen. Despite a remarkable performance from Judy Davis as well as wonderful ensemble, the film is hampered by its messy storyline as well as Kenneth Branagh’s poor leading performance. While there’s moments in the film that are very engaging that includes Sven Nykvist’s cinematography, the overall results are just very disappointing. In the end, Celebrity is just a dreadful film from Woody Allen.
Woody Allen Films: What's Up Tiger Lily? - Take the Money and Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows and Fog - Husbands and Wives - Manhattan Murder Mystery - Bullets Over Broadway - Don't Drink the Water - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Sweet and Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra’s Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)
The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2013
Written and directed by Woody Allen, Alice is the story about an upper-class New York housewife whose life changes after meeting a jazz musician as she thinks about her life as she turns to a mysterious Chinese man for help. Inspired by Federico Fellini’s 1965 film Juliet of the Spirits, the film is a mixture of romance and fantasy where a woman tries to find herself away from the life she’s lived. Starring Mia Farrow, William Hurt, Joe Mantegna, Alec Baldwin, Keye Luke, Judy Davis, Blythe Danner, Cybill Shepherd, Bernadette Peters, and Bob Balaban. Alice is an extraordinary film from Woody Allen.
The film plays into the life of a rich New York City housewife who goes to a mysterious Chinese man (Keye Luke) in Chinatown to get something for her aching back. What happens instead is that this woman named Alice (Mia Farrow) goes into a journey of self-discovery as she thinks about her 16-year marriage to Doug (William Hurt) while falling for a musician named Joe (Joe Mantegna) whom she had dreams about. In taking different amounts of herbs, Alice encounters these revelations about her life while wondering who to be with as she turns to her estranged sister Dorothy (Blythe Danner) for help while becoming driven to do something about her life.
It’s a film that takes this woman who for all of her life has lived a world where it’s very routine where she shops, goes to salons, gossip with various friends, and do all sorts of things as a rich woman. Yet, Alice is also quite prudish and unwilling to take risks where she seems to be content with her life despite the fact that she and Doug don’t spend much time together anymore as he’s always working. It’s only until she starts to have some backaches where she meets the mysterious Dr. Yang as she takes different herbs in her drinks to play into her attraction towards Joe as well as doing things like be invisible and pry into his life and other people’s lives.
The screenplay that Woody Allen creates is full of these revelations that Alice faces not just about herself but also her late mother (Gwen Verdon) and the things she does as well as her marriage that’s definitely lost steam. While she finds some happiness in Joe, it’s not enough as Joe is dealing with being a divorcee with a child to take care of. Though Alice is also a mother, her two kids are often in the care of a nanny as it adds more to her own existential plight as well as what kind of woman she needs to be.
Allen’s direction is quite straightforward in terms of compositions though there are moments of style in the way he brings up this idea of fantasy. Notably as it includes a sequence where Alice meets the ghost of her former lover Ed (Alec Baldwin) who observes her as well as Joe while having a very low opinion on Doug. There’s also some funny moments of Alice being invisible as she talks to a friend on the phone as only the phone is shown while another sequence has Alice and Joe both be invisible through the herbal drink that Alice had been carrying where it’s funny but also would become a key plot point for both characters. There’s also a moment where Alice has to face things about her childhood and her relationship with her estranged sister as it also plays some truths about her mother. All of these revelations where Allen uses medium shots and some close-ups are all to express Alice’s journey into finding herself and meaning in her life. Overall, Allen crafts a very majestic and compelling film about a woman’s personal journey in finding herself.
Cinematographer Carlo Di Palma does excellent work with the film‘s very colorful cinematography from some of the look of the interiors like Alice and Doug‘s home to the more low-key look of the scenes in Chinatown. Editor Susan E. Morse does nice work with the editing as it‘s mostly straightforward where it doesn‘t go for style except in a few rhythmic cuts for some of its comedic moments. Production designer Santo Loquasto, with set decorator Susan Bode and art director Speed Hopkins, does amazing work with the set designs from the look of Alice and Doug’s posh home to the school where her kids and Joe’s daughter go to.
Costume designer Jeffrey Kurland does fantastic work with the costumes from the posh clothes Alice and her friends wear to the more simplistic look of Dr. Yang. Visual effects supervisor Randall Balsmeyer does terrific work with some of the visual effects like the dissolved look of Ed to some of the moments where Alice and Joe become invisible. Sound editor Robert Hein does superb work with the sound to create some effects where dialogue is presented while the characters aren’t talking as well as some of the scenes in the locations. The film’s music soundtrack features a mix of jazz and classical music to play up the sense of adventure and fantasy that is prevalent in the film.
The casting by Juliet Taylor is brilliant for the ensemble that is created where it features some small appearances from Holland Taylor as a friend of Alice’s, June Squibb as Alice’s maid, Gwen Verdon and Patrick O’Neal as Alice’s late parents, filmmaker James Toback as a writing professor Alice briefly goes to for instructions on writing, Elle MacPherson as a model at a clothing store, Bob Balaban as a guest at Dorothy’s Xmas party, and Judy Davis as Joe’s ex-wife Vicki. Other notable small roles include Alec Baldwin as Alice’s deceased lover Ed, Bernadette Peters as a muse who appears through one of Alice’s herbal drinks, and Cybill Shepherd as an old friend of Alice’s who becomes a powerful TV executive who is uninterested in Alice’s ideas.
Keye Luke is amazing as Dr. Yang as a man who gives Alice mysterious herbs to help her as he would guide her into the journey that she must take. William Hurt is terrific in a small though sort of bland role as Alice’s husband Doug as a man who is always working while not really understanding about what his wife does. Blythe Danner is wonderful as Alice’s older sister Dorothy as a woman whom Alice hadn’t seen who becomes aware of Alice’s problems as well as giving her some harsh truths about Alice. Joe Mantegna is great as the musician Joe Ruffalo as a man whom Alice falls for as he is seeking for someone to overcome his life as a divorced man while being mystified by some of Alice’s experience with the herbs. Finally, there’s Mia Farrow in a remarkable performance as the titular character as a woman who learns about her life as well as finding more about herself as Farrow brings a bit of humor and humility to a character that becomes strong as the story progresses.
Alice is a marvelous film from Woody Allen that features a winning leading performance from Mia Farrow. Along with a great supporting cast that includes Joe Mantegna, William Hurt, Blythe Danner, and the late Keye Luke. It’s a film that isn’t just one of Allen’s more entertaining films but also one of his most thought-provoking about individuality and finding a role in life. In the end, Alice is a sensational film from Woody Allen.
Woody Allen Films: What's Up Tiger Lily? - Take the Money & Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Shadows & Fog - Husbands & Wives - Manhattan Murder Mystery - Don’t Drink the Water - Bullets Over Broadway - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet & Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra’s Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)
The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2013
