Bullitt

Based on the novel Mute Witness by Robert L. Fish, Bullitt is the story of a police lieutenant who is hired to protect a mob boss’ brother from testifying as they’re being chased by the mob. Directed by Peter Yates and screenplay by Alan R. Trustman and Harry Kleiner, the film is an action thriller that involves car chases and thrills where a police official tries to protect a man for a politician as it play into the world of corruption and crime. Starring Steve McQueen, Robert Vaughn, Jacqueline Bisset, Don Gordon, and Simon Oakland. Bullitt is a gripping yet engaging film from Peter Yates.

The film revolves around the brother of a mob boss who has arrived in San Francisco to testify for a politician as a police lieutenant is hired to protect the witness from the mob. It’s a film with a simple premise yet screenwriters Alan R. Trustman and Harry Kleiner is more concerned with the stakes of what this politician wants and how a police lieutenant is caught in the middle of this conflict. Notably as the politician Walter Chalmers (Robert Vaughn) wants to go to the Senate for a hearing about his views on organized crime with a key figure to help him as Lt. Frank Bullitt (Steve McQueen) is given the job to protect John Ross (Felice Orlandi). Yet, Bullitt is concerned about what is needed to protect Ross as he feels putting him in a hotel room with another cop isn’t enough when a young cop in Carl Stanton (Carl Reindel) is wounded during an ambush by two hitmen that would also wound Ross.

The script would play into Bullitt trying to understand what is going on as he deals with Chalmers who tries to make Bullitt’s job harder as well as get police officials to be on his side through bribes and promises. Even as Bullitt decides to hide Ross from Chalmers believing something isn’t right as he’s aided by Delgetti (Don Gordon) and a sympathetic doctor in Dr. Willard (Georg Stanford Brown) whom Chalmers dismisses as it adds intrigue into the tension between Bullitt and Chalmers. Even as the former becomes targeted by these mob figures and more intrigue emerges that even his girlfriend Cathy (Jacqueline Bisset) would discover the severity of what Bullitt is dealing with that would become a turning point into his investigation.

Peter Yates’ direction is stylish from the way he opens the film from its heist as well as opening credits sequence to its usage of superimposed images and cuts. Shot on location in San Francisco as well as nearby locations as the setting would be a major character in the film. Yates would maintain a low-key approach to the direction where it play into the suspense and building up the intrigue of what is at stake rather than go on board with the action. Notably in the usage of close-ups and medium shots that play into some of the drama that occur as well as Bullitt’s own investigation and life outside of the police with Cathy. Still, Yates would use these compositions to play into the ambush as there is a sense that something will happen yet it is its impact that would be important. Even in a scene in the hospital where a hitman is set to strike leading to a chase of sorts with Bullitt trying to find this man through the hospital corridors and such.

That small chase scene would be a taster for this intense and intricate chase scene involving Bullitt’s car and the car of the hitmen throughout the city of San Francisco. The usage of wide, medium shots, and close-ups along with its approach to realism is among one of the most astonishing sequences captured on film where Yates gets a point-of-view of the driver in his car as well as the geography of a certain location and where the car is supposed to turn. It plays into the stakes of the film as its third act is about what Ross did and what is really going on along with why Chalmers needs him so bad only to realize that it’s become a far more complicated situation leading to an intense climax. Overall, Yates crafts a riveting and intoxicating film about a police lieutenant’s attempt to protect a witness for a major Senate hearing.

Cinematographer William A. Fraker does excellent work with the film’s cinematography as it is largely straightforward for many of the daytime exterior scenes along with its usage of low-key lights for some of the interior/exterior scenes set at night. Editor Frank P. Keller does incredible work with the editing with its usage of rhythmic cuts as well as the film’s car chase sequence as there’s a language and rhythm that add to the suspense as it’s a major highlight of the film. Art director Albert Brenner, with set decorators Phil Abramson and Ralph S. Hurt, does fantastic work with the look of the hotel room that Ross was staying in as well as the apartment that Bullitt lives in.

Costume designer Theadora Van Runkle does nice work with the costumes as it does have some style from the turtleneck sweater that Bullitt wears to the stylish dresses of Cathy. The sound work of John K. Kean is superb for the way different cars and tires are heard during the car chase as well as the sounds of sirens and gunfire. The film’s music by Lalo Schifrin is amazing for its jazz-based score that play into suspense and action as well as maintaining an energetic atmosphere throughout the film as it is another big highlight of the film.

The casting by Ann Brebner is terrific as it feature some notable small roles from Norman Fell as a police captain working closely with Chalmers, Justin Tarr as an informant for Bullitt, Victor Tayback as Ross’ brother Pete who is the target of the investigation, Georg Stanford Brown as Dr. Willard who understands the severity of Ross’ wound, Carl Reindel as a police detective in Carl Stanton who gets wounded by the ambush, Paul Genge and Bill Hickman as the two hitmen, Pat Renella as a mysterious mob figure, and Robert Duvall in a small role as a cab driver who takes Bullitt to the locations he drove Ross around. Felice Orlandi is superb as Johnny Ross as the brother of a mob boss who has agreed to testify to the Senate to help out Chalmers’ and his need to get rid of crime. Jacqueline Bisset is wonderful as Bullitt’s girlfriend Cathy as a woman who doesn’t know much about what her boyfriend does until she gives him a ride where she gets a close look into what he’s dealing with.

Simon Oakland is excellent as Bullitt’s superior Captain Sam Bennett who is giving Bullitt a lot to work with but is also tempted by what Chalmers is offering. Don Gordon is fantastic as Delgetti as a detective helping out Bullitt as he knows something is off as he also has a dislike towards Chalmers. Robert Vaughn is amazing as Walter Chalmers as a politician who is eager to become a senator in order to rid the world of crime yet he has his own ideas of handling things as well as offer those benefits if they’re loyal to him. Finally, there’s Steve McQueen in a phenomenal performance as Lieutenant Frank Bullitt as a police detective who is tasked to protect a witness for an upcoming Senate hearing as he is aware something off as it’s McQueen being cool and low-key in his no-nonsense performance while being someone who cares about the job and is aware of what is at stake.

Bullitt is a spectacular film from Peter Yates that features an iconic performance from Steve McQueen. Along with Lalo Schfrin’s playful score, top-notch editing, superb ensemble cast, and a riveting premise, the film is definitely an action-suspense film that manages to do a lot in its dramatic and suspenseful moments as well as know when to bring in the thrills. In the end, Bullitt is a tremendous film from Peter Yates.

Peter Yates Films: (Summer Holiday) – (One Way Pendelum) – (Robbery) – (John and Mary) – (Murphy’s War) – (The Hot Rock) – (The Friends of Eddie Coyle) – (For Pete’s Sake) – (Mother, Jugs & Speed) – (The Deep) – Breaking Away - (Eyewitness) – (Krull) – (The Dresser) – (Eleni) – (Suspect) – (The House on Carroll Street) – (An Innocent Man) – (Year of the Comet) – (Roommates) – (The Run of the Country) – (Curtain Call) – (Don Quixote (2000 film))

© thevoid99 2019

Widows (2018 film)

Based on the British TV series from 1983 to 1985, Widows is the story of a group of women whose husbands had been killed in a botched heist forcing the women to carry out a heist of their own to pay back the money their husbands had stolen. Directed by Steve McQueen and screenplay by McQueen and Gillian Flynn, the film is an unconventional heist drama that involves the widows of a few men as they learn in pulling a heist as they deal with all sorts of forces in the world of politics and crime. Starring Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Carrie Coon, Jacki Weaver, Robert Duvall, and Liam Neeson. Widows is a gripping and eerie film from Steve McQueen.

A group of women, whose husbands had been killed following a botched heist, learn they owe a man who is running for office $2 million forcing them to embark on a heist to pay him back as they only have one month to do the job. It’s a film with a simple premise that play into a trio of women whose husbands had been killed in a heist while one of the widows chooses to not be involved as none of them have an idea of how to carry out a bigger heist to owe this man the money their husbands had stolen. The film’s screenplay by Steve McQueen and Gillian Flynn has a straightforward narrative with some flashback sequences that play into the events of the botched heist and the life of one of the widows in Veronica Rawlings (Viola Davis) who is still in shock not just over what her husband Harry (Liam Neeson) did but also the fact that they lost a son a decade earlier.

Being caught in the middle of a contentious election race for alderman at a small area in Chicago between Jack Mulligan (Colin Farrell) and a crime boss in Jamal Manning (Brian Tyree Henry) as the latter is trying to become legitimate. Veronica realizes that Harry and his crew had stolen $2 million from Manning who confronts Veronica in wanting his money back with his brother Jatemme (Daniel Kaluuya) keeping an eye on her as he’s also his brother’s enforcer. Left with just a book of all of Harry’s plans for the heists including one that was supposed to be the next heist, Veronica decides to contact the other widows that include clothing store owner Linda Pirelli (Michelle Rodriguez) and Alice Gunner (Elizabeth Debicki) as neither women nor Veronica have a clue in trying to plan a heist as they are willing to learn from Harry’s book. While Linda and Alice are given assignments in to get certain things despite their lack of knowledge, they do see the bigger picture with Alice feeling resentful towards her late husband for putting her in debt knowing what he did.

Alice however wasn’t sure about what her husband did as she reluctantly becomes an escort as she and Linda both help Veronica with the heist as Linda would bring in her kids’ babysitter Belle (Cynthia Erivo) who discovered a key connection between the botched heist, Mulligan, and Manning at the beauty shop she works at. The screenplay doesn’t just play into the motivations of these women but also this underbelly of corruption from both Manning and Mulligan as the latter is trying to fill in the role that his father Tom (Robert Duvall) had been sitting at as he’s trying to maintain his own ideals into his son. It raises questions into the heist that Harry and his crew were involved in as did they know it would involve this contentious political race? This forces the widows to answer these questions themselves as well as deal with all of the chaos and loss they had to endure.

McQueen’s direction is definitely intense in terms of the tight visuals and compositions he creates as well as that air of suspense that occurs for the heist scenes in the film. Shot on location in Chicago, McQueen uses the location to create this air of social divide from the spacious and comfortable penthouses and posh homes that Veronica, the Mulligans, and Alice lived in to the more working-class and poor environment that Linda, Belle, and Manning is at. McQueen would use wide shots to play into the locations as well as some intricate tracking and long shots for scenes that establish some of the drama such as an off-screen conversation between Mulligan and his campaign manager Siobhan (Molly Gunz) as it is presented in one take. It’s one of the more unconventional elements McQueen would create as it adds to this drama over the idea of ambition and who it would impact for all of the wrong reasons.

McQueen’s usage of close-ups add to the drama as it relates to loss which include a few flashback scenes involving Veronica as it relates to her marriage but also events that impacted her marriage to Harry such as the death of their son Marcus (Josiah Shefee). It’s not just Veronica that feels lost but also Linda and Alice where the former meets a man asking him about a building blueprint as he had just lost his wife as it’s a moment of two people who are both coping with loss. For Alice despite being in an abusive relationship with her husband, she is defined by being in a marriage and has a need for companionship but has to come to terms that she needs to live for herself. McQueen does maintain this need for feminism in the film as it is clear that they’re living in a world driven by men though Mulligan’s duty for campaigning is really masterminded by Siobhan.

McQueen’s approach to the violence is unsettling such as a scene of Jatemme confronting a couple of young men over the film’s opening heist scene which is told with a sense of immediacy. The scene has McQueen present everything in one take as he knows when to pull the trigger and then some as it is shocking while the film’s climatic heist is more about location and timing rather than violence. Still, it is followed by an aftermath about who runs the show in terms of the heist but these are women who aren’t from the world of crime and they don’t play by the rules since they don’t know nor care about the rules of the underworld. Even as it involves powerful forces who are trying to maintain some idea of power yet those who are impacted by this play of power would eventually reap from what they sow. Overall, McQueen crafts a rapturous yet astonishing film about a group of widows who plan a heist to pay back the money their husbands stole from men of power.

Cinematographer Sean Bobbitt does brilliant work with the film’s cinematography for its usage of dreamy yet naturalistic lighting for some of the daytime exterior scenes at Veronica’s apartment as well as the usage of low-key lights for some of interior/exterior scenes at night. Editor Joe Walker does amazing work with the editing as its usage of rhythmic cuts and montages help play into the drama as well as in some of the suspenseful moments where it doesn’t emphasize too much on style in favor of something more controlled in its execution. Production designer Adam Stockhausen, with art directors Gregory S. Hooper and Heather Ratliff plus set decorator Elizabeth Keenan, does fantastic work with the look of the homes of the widows as well as the home office of Manning and the posh home of the Mulligans. Costume designer Jenny Eagan does nice work with the costumes from the posh clothes that Veronica and Alice wears to the more casual look of Linda and Belle.

Special effects supervisor Michael Gaspar and visual effects supervisor Lars Andersen do terrific work with some of the film’s big effects as it relates to the film’s first heist scene as well as a key moment during the film’s climax. Sound editors Paul Cotterell and James Harrison do superb work with the sound as it captures the atmosphere of the violence in the opening scenes as well as some of the crowd moments and the conversation between Mulligan and Siobhan in their car off-screen. The film’s music by Hans Zimmer is excellent for its low-key yet eerie score that feature some heavy string arrangements as well as some ambient-based pieces while music supervisor Ian Neil provides a soundtrack that is mostly diegetic as it include songs by Nina Simone, W.A.S.P., Al Green, Michael Jackson, Procol Harum, and a few others plus a song by Sade that is performed in the film’s final credits.

The casting by Francine Maisler, Mickie Paskal, and Jennifer Rudnicke is great as it feature some notable small roles from Alejandro Verdin and Bailey Rhyse Walters as Linda’s kids, Bailee Brewer as Belle’s daughter, Adam Wesley Brown as an auction guy helping Alice find a van, Philip Rayburn Smith as a grieving man Linda meets about blueprints, Josiah Sheffie as Veronica and Harry’s late son Marcus, Matt Walsh as a securities man that Veronica blackmails, Adepero Oduye as a hair salon woman who is Belle’s boss, Jon Michael Wheel as a reverend Manning tries to win over, Molly Kunz as Mulligan’s campaign manager Siobhan, Coburn Goss as one of the thieves in the heist who is married to the fourth widow that is not involved, Jon Bernthal as Alice’s husband Florek, Manuel Garcia-Rulfo as Linda’s husband Carlos, Kevin J. O’Connor as a friend of Harry who provides Veronica some information about her husband, Lukas Haas as a real estate developer Alice would sleep with for money, and Garrett Dillahunt in a terrific small role as Veronica’s driver Bash who offers to help Veronica with the heist. 

Liam Neeson is superb in a small role as Veronica’s husband Harry Rawlings as a master thief who has organized everything yet is mysteriously killed believing that he’s been set-up. Robert Duvall is fantastic as Mulligan’s son Tom as a government official who is forced to step down due to health issues while trying to maintain some of his old ideals where he finds himself not agreeing with his son who has bigger ideas.  Carrie Coon is excellent as Amanda Nunn as a widow whose husband was killed in the heist as she has no interest helping Veronica in favor of her own safety while also carrying a secret about the heist. Jacki Weaver is brilliant as Alice’s mother as a woman who is trying to instill Alice ideas of being a housewife as well as suggest Alice to become an escort. Brian Tyree Henry is amazing as the crime boss Jamal Manning as a man that is eager to enter politics to be influential and have power. 

Daniel Kaluuya is incredible as Jamal’s younger brother and enforcer Jatemme as a man that is watching over what Veronica does while taking of things that need to be taken care of with ruthless aggression. Colin Farrell is marvelous as Jack Mulligan as a politician who is taking over his father’s position as he is reluctant to be involved with politics yet realizes that it would give him a lot of power of wanting to make change in his ward.  Cynthia Erivo is remarkable as Belle as a hairdresser who also works as a babysitter for Linda who also takes part in the heist after a discovery she made about Mulligan and what he’s trying to do proving that she’s a formidable ally. 

Michelle Rodriguez is great as Linda Perelli as a clothing store owner who loses her business because of her husband’s dealings prompting her to join Veronica while dealing with her own grief as well as the difficulty of understanding what needs to be done. Elizabeth Debicki is sensational as Alice Gunner as a housewife who is initially reluctant to take part in the heist as she is someone used to being abused only to realize that things will get worse as she starts to help out. Finally, there’s Viola Davis in a phenomenal performance as Veronica Rawlings as a woman ravaged by grief as she is aware of what will happen to her as she decides to take action after finding her husband’s book prompting her to lead a heist with a few other women despite their inexperience as it’s a performance that has Davis show some strength and determination making it a career-defining feat for her.

Widows is a magnificent film from Steve McQueen. Featuring a great ensemble cast, haunting visuals, a chilling music score, intense editing, and a riveting story about ambition, power, and its impact on those who become directly involved. It’s a film that is an exploration of women dealing with the world of men that takes advantage of them forcing them to carry out a heist that many believe they couldn’t pull off as well as showing who has the power in a world that is corrupt and unruly. In the end, Widows is an outstanding film from Steve McQueen.

Steve McQueen Films: Hunger (2008 film) - Shame (2011 film) - 12 Years a Slave - The Auteurs #52: Steve McQueen

© thevoid99 2018

We Own the Night

Written and directed by James Gray, We Own the Night is the story of a club manager who finds himself in trouble following a raid where his boss decides to target both his father and brother who are cops. The film is an exploration of a man trying to live his own life as he contends with the drawbacks of his lifestyle and how it would affect his family. Starring Joaquin Phoenix, Mark Wahlberg, Eva Mendes, and Robert Duvall. We Own the Night is a gripping and evocative film from James Gray.

Set in the late 1980s in New York City, the film revolves a nightclub manager who works for the Russian mob as a raid led by his brother lead to trouble where he learns about a drug deal that has gotten dangerous forcing him to turn to his family. It’s a film that is not just about loyalty but also a study of a man caught between two different worlds where he is already in the world of running a club with drugs and seedy businesses while his father and older brother are cops. James Gray’s screenplay follows Bobby Green (Joaquin Phoenix) who spends much of his time running a nightclub in New York City while being with his Puerto Rican girlfriend Amada (Eva Mendes) and their friend Jumbo (Danny Hoch). Bobby works for the Russian mob leader Marat Buzhayev (Moni Moshonov) who owns the club as a legit way of making business though he allows his nephew Vadim Nezhinski (Alex Veadov) to make deals as he is about to make a huge drug deal that would change things. The news gets the attention of Bobby’s older brother Captain Joseph Grusinsky (Mark Wahlberg) who would lead a raid that doesn’t go anywhere but only furthers the tension between him and Bobby.

When Joseph is gunned down and in a critical state following a hit, Bobby finds himself torn between his loyalty to the mob as well as his love for his brother and father in Chief Albert Grusinsky (Robert Duvall) as the latter wants to protect him. When Bobby is asked to see what Vadim is up to by some of his father’s fellow officers, Bobby reluctantly agrees as a way to make amends with his brother but he eventually realizes that he isn’t safe once Vadim learns who he’s related to. Amada would be in danger as she copes with having to give up a lifestyle that she’s used to as well as be disconnected from her own family which would eventually cause tension with her and Bobby. Notably in the third act where Bobby makes a decision that is more about doing what is right for everyone and himself rather than return to a life that is filled with too much trouble.

Gray’s direction definitely bear elements of style in terms of some of the compositions while he would also create a period in time when New York City was still dangerous but had risen from the ashes of its dreary period of the late 70s thanks in part to its then-mayor in Ed Koch who appears in the film as himself. Shot on location in New York City, the film does play like a look back in time when the city was thriving but also had this air of unease where it’s the police that is trying to bring order back as the film’s title comes from a tag from one of chevrons on the police uniforms. Much of the film is set in the night with Gray focusing on that world though there are substantial scenes set in the daytime as it play into the world that Bobby lives in where he gambles or parties with Amada. It’s something different to what Joseph does where he splits his time doing his work with the police and being with his own family. Gray would shoot some wide shots of some of the locations though he would avoid certain landmarks of the city to maintain this element of the street and areas that involve people of Russian descent.

The direction would also have these intense moments such as a chase scene in the rain where Bobby and Amada are in a car where they’re being attacked with Bobby’s father trying to stop the attackers as it’s a key moment that would lead to the third act. It would play into what Bobby needed to do as Gray’s usage of close-up and medium shots play into the drama as well as how he deals with near-moments of tragedy and other things that add to Bobby’s development to help his family. Even as he has to deal with the other people who were like family to him as he is aware that everything he had done for them is meaningless. The film’s climax which is set in a bed of reeds is definitely one of the most chilling moments in the film as it play into the sense of the unknown and what a man will do to make things right. Overall, Gray creates a thrilling and compelling film about a nightclub manager turning straight when the mob he works for goes after his family.

Cinematographer Joaquin Baca-Asay does brilliant work with the film’s cinematography as it has some distinctive looks into the way the scenes at the club as well as some exterior scenes at night are light while it emphasizes on something low-key for some of the daytime scenes as well the mood for the car chase scene in the rain. Editor John Axelrad does excellent work with the editing as it has elements of style as it relates to the action and suspense while being more straightforward in its approach to the drama. Production designer Ford Wheeler, with set decorator Catherine Davis and art director James C. Feng, does amazing work with the look of the nightclub that Bobby manages as well as the look of some of the homes of the characters in the film. Costume designer Michael Clancy does fantastic work with the costumes as it has elements of style in what Bobby and Amada wear to the clubs as well as the look of the police uniforms.

Visual effects supervisors Iva Petkova, Kelly Port, and Mike Uguccioni do nice work with the visual effects as it is mainly set dressing for a few spots including a shot where the World Trade Center buildings are seen through a window. Sound designer Douglas Murray does superb work with the sound as it play into the atmosphere of the nightclub as well as some of the intense moments of violence including the film’s climax. The film’s music by Wojciech Kilar is wonderful for its usage of low-key string arrangements to play into the drama and suspense while music supervisor Dana Sano provides a cool soundtrack that features a lot of the music of the late 70s/early 80s from Blondie, the Clash, David Bowie, the Specials, Louis Prima, Tito Puente, and a mixture of traditional Russian music and jazz.

The casting by Douglas Aibel is marvelous as it feature notable small roles and appearances from former New York City mayor Ed Koch as himself, Maggie Kiley as Joseph’s wife, Latin artist Coati Mundi as himself at a club performance, Yelena Solovey as Buzhayev’s wife Kalina, Tony Musante as Captain Jack Shaprio who is an old friend of Albert, Antoni Corone as another friend of Albert in Lt. Solo, and Moni Moshonov in a terrific small role as the mob leader Marat Buzhayev as a man who treated Bobby like a son despite his dealings. Danny Hoch is superb as Bobby’s best friend Jumbo as a guy who helps run the nightclub as well as party with him while not knowing anything that is happening to Bobby or his family. Alex Veadov is fantastic as Vadim Nezhinski as Buzhayev’s nephew who is also a ruthless drug dealer that is willing to make sure things go right and kill anyone who gets in his way.

Eva Mendes is excellent as Amada as Bobby’s girlfriend who is happy in the lifestyle that she and Bobby live until Bobby gets into danger where she gets a closer look into the dark aspects of the lifestyle where Mendes really shows her frustration and sadness over Bobby’s eventual decision with his life. Robert Duvall is brilliant as Chief Albert Grusinsky as Bobby’s father who is aware of the lifestyle of his son as he hopes Bobby would get into the straight-and-narrow where he learns the kind of trouble he’s in as he does what any father would do which is to protect him. 

Mark Wahlberg is amazing as Captain Joseph Grusinsky as Bobby’s older brother who is this hard-ass that is trying to do what is right for the law despite getting into fights with his brother where he learns how deep into trouble his brother is following his own recovery from a hit as he does whatever he can to help him. Finally, there’s Joaquin Phoenix in an incredible performance as Robert “Bobby” Grusinski/Bobby Green as a nightclub manager trying to live his own life until he learns of a drug deal that would get him into trouble after his brother was nearly killed as Phoenix’s performance is one of anguish and determination that includes the film’s climax.

We Own the Night is a phenomenal film from James Gray. Featuring a great ensemble cast, gorgeous cinematography, a riveting story, and a thrilling soundtrack, it’s a crime-drama that explore the idea of loyalty and a man being torn between his love for his family and the people who are part of the dark and seedy world of crime. In the end, We Own the Night is a sensational film from James Gray.

James Gray Films: Little Odessa - The Yards - Two Lovers – The Immigrant (2013 film) - The Lost City of Z – Ad Astra - The Auteurs #57: James Gray

© thevoid99 2017

Countdown (1968 film)

Based on the novel The Pilgrim Project by Hank Searls, Countdown is the story of two American astronauts competing with one another in a crash project to see who can become the first man to walk the moon during the space race against the Soviet Union. Directed by Robert Altman and screenplay by Loring Mandel, the film is an exploration into the real-life space race that was happening in the 1960s where two men do what it takes to make history. Starring James Caan, Robert Duvall, Joanna Moore, Barbara Baxley, Michael Murphy, and Ted Knight. Countdown is a by-the-numbers and dull film from Robert Altman.

The film revolves around the space race to see who can become the first man to walk on the moon as a veteran astronaut is forced to train a civilian after learning that the Soviets have put a civilian for their first mission to land on the moon. It’s a film with a simple story that follows what happens during a mission training where a man is given the chance to go on the moon despite his inexperience as an astronaut but has to endure a lot of pressure. While the plot itself is unique, it’s Loring Mandel’s script that unfortunately suffers as it doesn’t really do much to be engaging in terms of the story as it is quite predictable while not doing enough to play into the tension between the civilian Lee Stegler (James Caan) and the veteran astronaut Chiz (Robert Duvall) as the former feels bad that he’s taking Chiz’s spot. Adding to the drama are the politics behind the scenes at NASA as well as what his happening at home as Lee’s wife Mickey (Joanna Moore) wonders what could go wrong leading up the mission at hand.

Robert Altman’s direction is definitely very straightforward though it does bear a few elements that would be key to the style that Altman is known for. While the few stylistic moments such as a few close-ups and moments at a party where Altman would put in bits of over-lapping dialogue. Much of it has Altman just using a lot of wide and medium shots to capture some of the locations around Florida with the scenes on the moon shot at the Mojave Desert with some visual effects as it has moments that are gorgeous. The problem is that the script Altman is given doesn’t do anything to give the film any kind of looseness as it just feels by-the-book in what to do as Altman was fired during production of the film. It does feel like that a lot of the film was handled in post-production as it just goes for something that is straightforward yet doesn’t do enough to make it engaging which hurts the film and slows it down to the point that it becomes quite boring. Overall, Altman ends up making a film about astronauts trying to go into the moon into something that is dull to watch.

Cinematographer William W. Spencer does excellent work with the film’s cinematography from the sunny look of the daytime exteriors to the usage of lighting and filters for some of the scenes on the moon. Editor Gene Milford does nice work with the editing as it has bits of slow-motion cuts as much of it is straightforward. Art director Jack Poplin and set decorator Ralph S. Hurst do fantastic work with the look of the crash station and simulators at NASA as well as the space capsule. The sound work of Everett A. Hughes is terrific as it play into the atmosphere at the simulators as well as the way rocket sounds from afar. The film’s music by Leonard Rosenman is good for its orchestral flourishes though there’s moment where it acts as a dramatic or a suspenseful crutch where it does become overwhelming.

The film’s brilliant cast include some notable small roles and appearances from Bobby Riha as Lee and Mickey’s son Stevie, Michael Murphy as a fellow astronaut in Rick, Steve Inhat as a NASA official in Ross, Barbara Baxley as Chiz’ wife Jean, Charles Aidman as a NASA director/doctor in Gus, and Ted Knight as the NASA press secretary/official Walter Larson. Joanna Moore is excellent as Lee’s wife Mickey as a woman who is dealing with some of the problems going on at NASA as she wonders if her husband will survive as well as the idea of things going severely wrong. Robert Duvall is brilliant as Chiz as an Air Force colonel-turned-astronaut who becomes reluctant in training Lee as he is filled with jealousy but is forced to swallow his pride to help Lee knowing that he might not have a chance to walk on the moon. Finally, there’s James Caan in an amazing performance as Lee Stegler as a civilian who has some training in being an astronaut as he endures the pressure of what he has to do while knowing the dangers he is facing as it’s a very reserved performance from Caan.

Despite solid performances from James Caan and Robert Duvall as well as some nice visuals, Countdown is just a terrible film from Robert Altman though it’s not really his fault. For a film about the space race of the 1960s, it’s very boring as it doesn’t really do anything new while it bear little touches of what Altman is known for as fans of his work will see this as just one of his bad films before he would become the great filmmaker that’s been lauded for so many years. Countdown is just a drab and uninteresting film from Robert Altman.

Robert Altman Films: (The Delinquents) – (The James Dean Story) – (That Cold Day in the Park) – M.A.S.H. - Brewster McCloud – McCabe & Mrs. Miller - (Images) – The Long Goodbye - Thieves Like Us – California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson – 3 Women - (A Wedding) – (Quintet) – (A Perfect Couple) – (HealtH) – Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) – (Streamers) – (Secret Honor) – (O.C. and Stiggs) – Fool for Love - (Beyond Therapy) – (Aria-Les Boreades) – (Tanner ’88) – (Vincent & Theo) – The Player - Short Cuts - Pret-a-Porter - (Kansas City) – (The Gingerbread Man) – Cookie's Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) – A Prairie Home Companion

© thevoid99 2017

The Killer Elite

Based on the novel Monkey in the Middle by Robert Syd Hopkins, The Killer Elite is the story of an American spy who has been betrayed by his best friend as he finds himself wanting revenge unaware of a power struggle that is emerging for the company they work for. Directed by Sam Peckinpah and screenplay by Marc Norman and Stirling Silliphant, the film is a suspense-thriller that plays into a man who tries to cope with betrayal as well as wondering about his loyalty to the people he work for. Starring James Caan, Robert Duvall, Burt Young, Bo Hopkins, Mako, Arthur Hill, and Gig Young. The Killer Elite is a compelling and thrilling film from Sam Peckinpah.

Following an assignment that ends with betrayal and injury, the film is about a spy who works for a private company as he struggles to get back in the game and seek revenge. It’s a film that play into an ever-changing world where a spy who is known for doing his job and having fun is given a rude awakening where his assignment to protect a defector leaves him wounded where his best friend shot him in the elbow and on a kneecap. The film’s script is quite straightforward as it play into the struggle of its protagonist Mike Locken (James Caan) would endure in getting himself back up as well as return to work despite the fact that his superiors believe he’s done. Yet, he would accept an assignment to protect a Chinese political figure who is eager to return to his home country while dealing with Asian rivals as well as his friend George Hansen (Robert Duvall). Yet, Locken and Hansen are both unaware of what is happening behind the scenes as it relates to the ideas of what men want to control their idea of the world.

Sam Peckinpah’s direction is actually quite restrained in some aspects with the exception of its climax which bear many of the elements of stylish violence that he’s known for. Shot entirely on location in San Francisco and areas near the city, the film is quite straightforward as Peckinpah would create some nice wide and medium shots of the locations to play into this sense of a world that is very modern but the characters are quite comfortable with the setting. There are some close-ups to play into some of the suspense along with the medium shots as Peckinpah knows how to maintain some momentum and build it up. At the same time, there are elements that showcases what is going on behind the scenes as it relates to the ideals that Locken hold about doing his job in the hope to do something good.

Yet, there is an air of cynicism as it is more about power and wanting to maintain some form of the status quo with greed also being a factor. Especially in the confrontation between Locken and Hansen as it shows two men who are forced to deal with the emergence of a new world order. It is later followed by another confrontation where one is about honor but the other is about the realities of a new world where ideals and loyalty would become obsolete. Overall, Peckinpah crafts a fascinating yet gripping thriller about a spy’s thirst for revenge complicated by those he is working for.

Cinematographer Philip Lathrop does excellent work with the film‘s cinematography from the usage of low-key lighting for some of the interior/exterior settings at night to the gorgeous look of the scenes set in the daytime. Editors Monte Hellman and Tony de Zarraga do terrific work with the editing as it has some stylish montage sequences that play into Locken‘s attempt to get revenge with a scene of what is going on in the company he works for as well as some stylish jump-cuts. Production designer Haworth and set decorator Rick Gentz do nice work with the set design from the look of the home Locken would live in his recovery to the secret base of a Chinese client that he is trying to protect.

Costume designer Ray Summers does wonderful work with the costumes as it is mostly casual with the exception of the old-school Chinese garb that the Chinese clients wear. Sound editor Fred Brown does superb work with the sound as it play into some of the violence as well as some of the sparse moments in the quieter scenes in the film. The film’s music by Jerry Fielding is brilliant for its mixture of jazz and orchestral music as it play into the suspense and sense of action as it is a major highlight of the film.

The casting by Jane Feinberg and Mike Fenton is marvelous as it feature some notable small roles from Tiana Alexandra as Yuen Chung‘s daughter Tommie, Kate Heflin as Locken‘s nurse Amy, Victor Sei Yung as an associate of Chung in Wei Chei, Takayuki Kubota as a rival Japanese mob figure wanting to take out Chung, Tom Clancy as Hansen‘s right-hand man O‘Leary, and Helmut Dantine as the Eastern European client Vorodny whom Locken and Hansen were protecting in the film‘s opening sequence. Bo Hopkins is terrific as Locken’s weapons specialist Jerome Miller who is good with guns while Mako is fantastic as the Chinese political figure Yuen Chung who is eager to return to his home country in the hopes of bringing some form of democracy to the country. Burt Young is brilliant as Mac as a civilian who is Locken’s getaway driver and associate who is also the film’s conscience of sorts where he goes into detail over what Locken is fighting for and why it doesn’t mean anything.

Gig Young is superb as Weybourne as a private security leader who is trying to do whatever he can to maintain his own status in the spy business while using both Locken and Hansen to clean up his dirty work. Arthur Hill is amazing as Cap Collis as Locken’s superior who gives Locken the assignments as he deals with Weybourne in a power struggle where he wants some control but for his own selfish reasons. Robert Duvall is remarkable as George Hansen as a spy who is trying to survive for himself as he copes with what he had to do for Locken while also coping with this emergence of a new world order that he isn’t sure he wants to be a part of. Finally, there’s James Caan in an incredible performance as Mike Locken as a spy who has been betrayed and nearly crippled as he seeks revenge while also dealing with what he has and trying to hold on to some idealism that is starting to become obsolete in a more cynical and crueler world where it isn’t about doing the right thing.

The Killer Elite is a remarkable film from Sam Peckinpah that features excellent performances from James Caan, Robert Duvall, and Burt Young. While it may be considered one of Peckinpah’s weaker films, it is still a fascinating suspense-thriller that does play into Peckinpah’s fascination with man and changing times as well this growing sense of cynicism where honor and loyalty are becoming non-existent. In the end, The Killer Elite 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 - Junior Bonner - The Getaway - Pat Garrett and Billy the Kid - Bring Me the Head of Alfredo Garcia - Cross of Iron - Convoy - The Osterman Weekend - The Auteurs #62: Sam Peckinpah

© thevoid99 2016

Hearts of Darkness: A Filmmaker's Apocalypse

Directed by Fax Bahr, Eleanor Coppola, and George Hickenlooper, Hearts of Darkness: A Filmmaker’s Apocalypse is about the making of Francis Ford Coppola’s 1979 film Apocalypse Now and its notorious production as it was captured by his wife Eleanor. The film showcases many of the aspects that nearly troubled the production from weather to all sorts of illness as the film also features new interviews with the film’s cast and crew. The result is a fascinating yet evocative documentary film about the making of Apocalypse Now.

In early 1976, production for what would be Francis Ford Coppola’s re-imagining of Joseph Conrad’s Heart of Darkness into a film set during the Vietnam War begins but what happens would be one of the most troubled productions ever in the history of cinema. Coppola’s wife Eleanor arrived to the Philippines with their three children in Gian-Carlo and future filmmakers Roman and Sofia where Eleanor was supposed to make some promotional footage for United Artists on the making of the film. What happened instead is that she would capture is the unthinkable as well as record private conversations with her husband unbeknownst to him at the time of the film’s production. Much of it would involve delays due to a typhoon that destroyed a film set, military personnel forced to take their helicopters to fight rebels in the south of the country, and Francis trying to figure out an ending and be faithful to John Milius’ original script.

The film would feature new interviews with the Coppolas plus actors Martin Sheen, Laurence Fishburne, Frederic Forrest, Albert Hall, Sam Bottoms, Robert Duvall, and Dennis Hopper plus cinematographer Vittorio Storaro, producer Fred Roos, and production designer Dean Tavoularis as they talk about a lot that went on in the production. A lot of it is revealed to be true as it showed a lot of things that went wrong where a week into shooting, Francis decided to replace Harvey Keitel with Martin Sheen as it was just the first of many things. The film begins with a rare footage of Francis at the 1979 Cannes Film Festival where he premiered a work-in-progress version of the film where Francis declared that the film isn’t about Vietnam. It is Vietnam.

Through Eleanor’s footage with a few of her camera operators, she showcases a lot of the things that went wrong as well as some of the things that really made the production one of the most maddening where her husband would have meltdowns during the production. There’s also moments where Eleanor would capture some of the things that happened in the Philippines where some of it would be surprising such as its ceremonies and such to showcase some of the light-hearted moments in the production. With the new interviews shot by cinematographers Larry Carney, Shana Hagan, Igor Meglic, and Steven Wacks, the actors, crew, and the Coppolas reflect on the craziness that went on as Francis often wondered how the hell he managed to continue.

With the help of editors Michael Greer and Jay Miracle along with sound editor Brian Risner, the film compiles many of the footage that occurs in the making of the film plus some of the film‘s deleted footage that would later be restored for its 2001 Redux version of the film. Even as Risner would use some of Francis own conversations that Eleanor had recorded to play into his own madness and his difficulty with the production as he would deal with the press who were already calling the film a disaster before it even finished. Especially as some of the audio features recordings by Orson Welles reciting the Joseph Conrad novel which he had hoped to adapt for many years. With some original music by Todd Boekelheide that is mostly low-key in its ambient score, much of the music in the documentary is from the original film to play into much of its madness and setbacks.

Hearts of Darkness: A Filmmaker’s Apocalypse is a phenomenal film from Fax Bahr, Eleanor Coppola, and George Hickenlooper. The film is something that anyone who loves Apocalypse Now must see over its troubled production as well as what happens when things can go wrong only for a director to persevere despite all of the obstacles he goes through. In the end, Hearts of Darkness: A Filmmaker's Apocalypse is a tremendous film from Fax Bahr, Eleanor Coppola, and George Hickenlooper.

Apocalypse Now/Apocalypse Now Redux

© thevoid99 2014

Crazy Heart

Originally Written and Posted at Epinions.com on 2/21/10 w/ Additional Edits & Revisions.

Based on Thomas Cobb’s novel, Crazy Heart tells the story of an aging country music singer whose life is unfulfilling as he is playing small bars and clubs while succumbing to alcoholism. A meeting with a young journalist/single mother changes his life while he is asked by his old protégée to come out of obscurity while dealing with demons. Written for the screen and directed by Scott Cooper, Crazy Heart is a tale of redemption and hope as Jeff Bridges plays the role of Bad Blake in what many consider to be one of his finest performances. Also starring Maggie Gyllenhaal, Beth Grant, and Jack Nation along with special appearances from co-producer Robert Duvall and Colin Farrell. Crazy Heart is an excellent yet entertaining musical-drama from Scott Cooper and company.

The film is a simple story about a 57-year old country/western singer named Bad Blake who was once popular as he has become a boozed, washed-up singer playing tiny clubs in the American Southwest who drives city to city at a truck. Upon meeting a journalist named Jean Craddock (Maggie Gyllenhaal) and getting the chance to open and write new songs for his former protégé Tommy Sweet (Colin Farrell). Blake’s life seems to be in an upswing but his alcoholism would cause trouble as he begins a relationship with Jean and her four-year old son Buddy (Jack Nation) while recuperating from a car accident as he has a hard time trying to beat the bottle with help from friend Wayne (Robert Duvall) in the hopes he can find redemption.

While the story is a bit familiar in comparison to another film about an aging figure trying to find redemption and a comeback in the form of Darren Aronofsky’s 2008 film The Wrestler. The story of an aging country singer trying to make a comeback and deal with his alcoholism is an appealing story despite being a bit clichéd. Still, screenwriter and director Scott Cooper does make the story engaging while providing strong supporting characters to be revolved around a figure like Bad Blake. A man who is charming and fun to be with but is also hard-headed and full of pride about what he wants to do.

In meeting Jean and her son Buddy, he finds a reason to maybe quit drinking and be the kind of person he never got to be for his own son. The character of Tommy Sweet is a man who idolizes Blake while wanting to return a favor so Blake can get his career back on track. Cooper’s direction is very good in terms of getting actors to dramatize a scene or capture what is going on in the country music scene. Even as he also take shots towards the modern world of country music which has become very polished and more pop in recent years though the characters of Tommy and Blake are anything but the commercialized world of country. The former of which is successful but maintains an authentic sound. Despite a few flaws in the story and directing that isn’t very flashy or stylized, Scott Cooper does create a solid film.

Cinematographer Barry Markowitz does some phenomenal work with the film’s colorful yet gritty cinematography to convey the roughness of Southwestern U.S. with some beautiful scenery of the sky in the daytime and evening scenes. The nighttime interiors for some of the club performances is wonderful for its intimate setting as Markowitz’s work is very good. Editor John Axelrod does a fine job with the film’s editing which is mostly straightforward with its cuts with some nice transitions and jump-cuts to get the film going. Production designer Waldemar Kalinowski along with set decorator Clara Curry and art director Ben Zeller do a real good job in capturing the grimy look of the halls and clubs that Blake performs in to convey the feel of the American Southwest.

Costume designer Doug Hall does some great work in the costumes, notably the ragged look of Blake along with a more prestigious look when he’s on stage despite his haggard persona. Sound editors Andrew DeCristofaro and Paula Fairfield along with sound designer Clara Murray do a fantastic job in capturing the intimate sounds of a club and the way things sounded like at the amphitheater and arenas Blake and Tommy Sweet play at.

The film’s music which is mostly written by T-Bone Burnett and Stephen Bruton is truly the film’s technical highlight. Sticking to traditional country with a bouncy rhythm and a simpler sound with no polished production. The music is truly mesmerizing as it also features the song The Weary Kind written by Burnett and Ryan Bingham who makes an appearance in the film singing a track. Along with the song Reflecting Light by Sam Phillips, a lot of the music is sung by Jeff Bridges while Colin Farrell also sings a couple as they both possess great singing voices that is very straightforward.

The casting by Mary Vernieu is wonderful with some notable small roles from noted character actress Beth Grant as an old groupie, Tom Bower as liquor store owner who gives Blake free booze, Ryan Bingham as a guitarist at the Pueblo club, Rick Dial as Jean’s uncle who plays with Blake in Santa Fe, Paul Herman as Blake’s manager, and Jack Nation as Jean’s four-year old son Buddy. Robert Duvall is superb in a small role as Blake’s old friend Wayne who helps Blake get his act together as Duvall is just a joy to watch. Colin Farrell delivers a surprising performance as Tommy Sweet, a popular country singer who idolizes Blake while wanting to give him a chance to become big again as Farrell’s performance is great as he also delivers a solid vocal performance.

Maggie Gyllenhaal is excellent as Jean Craddock, a journalist/single mother who is charmed by Blake but also is aware that she’s setting herself up for some trouble. Gyllenhaal’s performance is definitely a marvel to watch in how she tries to compose herself into some very emotional scenes without any kind of high drama. While it’s not up there with more noteworthy performances like Secretary, Happy Endings, and Stranger Than Fiction, it’s a performance that solidifies her as one of the best working actresses today.

Finally, there’s Jeff Bridges in what is definitely one of his greatest roles of his career. Using his friendly persona and a physicality that is definitely ragged but stunning to watch. Bridges definitely lives up to the character sported a dirty beard, looking a bit overweight, and playing to his vulnerability. Yet, he’s also someone with charm as he has great chemistry with Gyllenhaal along with some great scenes with Colin Farrell and Robert Duvall. Bridges is the heart and soul of the film as he definitely shows his charisma and depth as a performer when he is singing or just playing a guitar quietly. It’s definitely a role that shows that he is truly one of American cinema’s great actors.

Crazy Heart is a stellar film from Scott Cooper featuring a phenomenal performance from Jeff Bridges. Along with solid supporting work from Maggie Gyllenhaal, Colin Farrell, and Robert Duvall plus an amazing soundtrack. It’s a film that isn’t entirely original but one that is appealing. Fans of Jeff Bridges will definitely see the actor play a role that truly shows his talents as it is truly deserving of the accolades it’s getting. In the end, Crazy Heart is an enjoyable yet sobering film that is like a good country song with all of its crazy emotions that is carried by the brilliance of Jeff Bridges.

(Out of the Furnace)

© thevoid99 2013

M.A.S.H.

Originally Written and Posted at Epinions.com on 3/4/07 w/ Additional Edits.

Based on the novel by Richard Hooker, M.A.S.H. is the story about an eccentric group of medical personnel working during the Korean War as they defy the world of the military and all sorts of authority. Directed by Robert Altman and screenplay by Ring Lardner, the film is an exploration into the world of military service and how some deal with their time. With an all-star cast that includes Elliott Gould, Donald Sutherland, Sally Kellerman, Robert Duvall, Bud Cort, Rene Auberjonois, Tom Skerritt, Fred Williamson, Roger Bowen, John Schuck, and Michael Murphy. M.A.S.H. is an absurd yet chaotic war-comedy from Robert Altman.

It's the Korean War as two surgeons named Hawkeye (Donald Sutherland) and Duke (Tom Skerritt) arrived onto base and steal a jeep to go the M.A.S.H. unit miles away from where the fighting is going on. They meet their superior, Lt. Col. Blake (Roger Bowen) along with Cpl. "Radar" O'Reilly (Gary Burghoff), Father "Dago Red" Mulcahy (Rene Auberjonois), and dentist Capt. "Painless Pole" Waldowski (John Schuck). While Hawkeye and Duke were drafted into the war, they reveal to be just ordinary guys that just want to help people. Unfortunately, they're forced to live in the same tent with the religious, tough Major Frank Burns (Robert Duvall). Going on with their business in surgery and flirting with nurses including Lt. "Dish" Schneider (Jo Ann Pflug), Hawkeye finds a new partner in arriving surgeon in "Trapper John" McIntyre (Elliott Gould).

Trapper John doesn't like the way things are run, especially when Burns blames the death of a patient on an orderly named Private Boone (Bud Cort). Trapper John responds to Burns' attitude by punching him just as new head nurse Major Margaret O'Houlihan (Sally Kellerman) arrives. O'Houlihan's arrival only increases Trapper John and Hawkeye's battle against authority. When they learn that O'Houlihan is having an affair with the married Burns, they learn her nickname to be "Hot Lips" as the medical personnel decide to play a prank on them. After getting Burns into the hot seat, John and Hawkeye continue to work on their wily ways while getting help from their Korean assistant Ho-Jon (Kim Atwood). When Hawkeye learns that Painless Pole is dealing with a problem that reveals that he's not a Don Juan, he finds a solution that will help him as the entire personnel including some reluctance from Dago Red, get involved. After another prank that involved Hot Lips, Hot Lips threatens to resign to Col. Blake.

When John and Hawkeye continue their wild ways, they learn that they can go to Japan to help operate on the son of a congressman. Still, dealing with the authority, Hawkeye and John continue to break the rules as they demand for some food and time to play golf and meet women with the building's doctor Capt. "Me Lay" Marston IV (Michael Murphy). Returning from Japan, they learn that General Hammond (G. Wood) wants to challenge Col. Blake for a football match with his unit. The rowdy personnel including Hot Lips decide to get a ringer named Spearchucker (Fred Williamson) for help to win some money. There, the general is forced to see for himself what the M.A.S.H. unit is really all about.

While films about war often show different sides of what goes on and off the battlefield. Robert Altman chooses to go outside of not just the battlefield but the conventions of war films by making not just an anti-war film but also anti-military. There's not a lot of mention of what was going on in the Korean War but rather as an allegory of sorts about Vietnam and its intentions. So, Altman chooses to explore the military in all of its absurdity and find characters that audiences can relate to. Then there's the story or rather... the lack of a story and plot. Still, Altman chooses to make fun of these things and defy authority through the film's central characters and supporting roles.

While the screenplay and story revels on what it was like working in the M.A.S.H. unit, it's really about a few, ordinary men trying to do their jobs and live their life while trying not to be pushed by their authority figures. Conflict is an important part of the film as characters such as Hawkeye and Trapper John duke it out with anyone like the mean Frank Burns who blames patients deaths on interns or Hot Lips for her strict guidelines. Yet, Altman's direction that is filled with chaos, overlapping dialogue between characters, and scenes that included more than two people in a frame. This became known as the Altman style and it feels very real to its audience where everyone from the big lead to a supporting player gets to have their moments. While the film incorporates a lot of style into this war comedy that includes a lot of low-brow humor and a football game in the end. To the casual film goer, it seems like one too many genres in a film yet Altman makes the film consistent through its irreverent humor where as a result, it's a no-holds-barred, witty comedy about war and the little people involved.

Cinematographer Harold E. Stine does excellent work in capturing the surreal, worldly look of the army bases and cities that the M.A.S.H. unit visit. Art directors Arthur Lonergan, Jack Martin Smith, and Michael Friedman also do excellent work in creating the tents and quirky look of the camps as well as some of the Japanese bases and sushi restaurants. Editor Danford B. Greene does excellent work in bringing rhythm and style to the film's editing with some perspective cuts as well as playing to the film's humor. Sound mixers Bernard Freericks and John D. Stack do great work on the sound to convey the atmosphere and mood of the scenes and settings they're in. Composer Johnny Mandel brings a comical film score to the film while the famous song Suicide Is Painless by Mandell and lyrics by then 14-year old Mike Altman is wonderfully funny ballad about one of the film's characters.

Then there's the cast which is very important to any Altman film. Notable small yet memorable performances from G. Wood, Kim Atwood, Indus Arthur as Col. Blake's mistress, Bobby Troup as Staff Sgt. Gorman, Cathleen Cordell as the head nurse in Japanese base, Danny Goldman as Cpt. Murrhardt, Corey Fischer as Cpt. Bandini, and in their film debuts, Fred Williamson as Spearchucker and Bud Cort as an intern. The voice of Sal Viscuso is very memorable for all the information he reveals about what movies are playing and such. Other small performances from Altman regulars Michael Murphy and Rene Auberjonois are wonderfully memorable for the brief scenes they're in while series regular Gary Burghoff is funny as Radar. Jo Ann Pflug is excellent as the nurse Lt. "Dish" Schneider while John Schuck gives a great performance as Painless Pole. Roger Bowen is wonderfully funny as the leading authority figure Lt. Col. Blake with his own quirky ideas about leading a unit.

Though he's known for dramatic roles, Robert Duvall is given to do a bit of comedy as the insane, religious Frank Burns. Duvall is great in willing to play a comic foil who takes himself too seriously and is willing to compromise his own beliefs. Sally Kellerman is wonderfully funny as another comic foil in Hot Lips with her hysterical behavior after her humiliating moments and her cheering as a cheerleader. Kellerman is very funny in the role that is definitely memorable. Tom Skerritt is also great as Duke with his mischievous ways and love for dope and Hot Lips. Donald Sutherland gives a wonderfully laid-back, funny performance as the easy-going Hawkeye who likes to flirt and cause trouble. Altman regular Elliott Gould is also extremely funny as Hawkeye's partner-in-chaos Trapper John with his hatred for authority and willingness to cause chaos. Gould and Sutherland really own the film by just adding memorable moment and one-liners after another.

M.A.S.H. is an off-the-wall yet extremely hilarious film from Robert Altman. Armed with a great ensemble cast and biting themes on war and authority, it is definitely one of the great films about military service. Notably as it isn't afraid to poke fun at the dark side of dealing with death and such. For those new to Robert Altman, this film is definitely one of the best places to start. In the end, M.A.S.H. is an incredibly funny film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

Thank You for Smoking

Based on the novel by Christopher Buckley, Thank You for Smoking is the story of a tobacco spokesman who tries to help sell cigarettes while trying to be a good father to his 12-year old son. Written for the screen and directed by Jason Reitman, the film explores the world of the tobacco industry and its tactics in the form of a black comedy. Starring Aaron Eckhart, Cameron Bright, Katie Holmes, Maria Bello, Rob Lowe, Adam Brody, David Koechner, William H. Macy, Sam Elliot, J.K. Simmons, and Robert Duvall. Thank You for Smoking is a witty feature-film debut from Jason Reitman.

Nick Naylor (Aaron Eckhart) is a tobacco lobbyist whose job is to speak for tobacco companies as they’re often under target for giving its customers lung cancers and other diseases. Naylor manages to win people over by talking about the good that tobacco does as he’s the darling of the tobacco company while his best friends are also lobbyists in firearms spokesman Bobby Jay Bliss (David Koechner) and alcohol spokeswoman Polly Bailey (Maria Bello). Naylor’s success at a talk show against anti-tobacco groups has gained the attention of the legendary tobacco company head the Captain (Robert Duvall) over Naylor’s idea to spend $50 million for an anti-teen smoking campaign that would give teenagers the choice to smoke.

While Nick is also a good father to his son Joey (Cameron Bright) whom he takes to on a trip to California to meet with film producer Jeff Megall (Rob Lowe). Nick would also meet Washington news reporter Heather Holloway (Katie Holmes) for a profile on him as the two have an affair. During Nick’s trip with Joey in California, the Captain asks Nick to do a job for him in which he is to give money for former Marlboro Man figure Lorne Lutch (Sam Elliot) where Joey watches putting Nick in an uncomfortable position. Nick’s career is suddenly shaken by a kidnapping attempt on him that left him unable to smoke again while Heather’s article does more damage to his reputation. With Nick’s boss BR (J.K. Simmons) doing damage control and Nick in trouble, he gets some surprising help as he faces off against the anti-tobacco campaign leader Senator Finistirre (William H. Macy) in front of Congress.

The film is about a lobbyist who tries to be a good role model to his own son while selling tobacco to the public. While he knows that he’s selling a product that is harmful but he doesn’t apologize for it nor force people to go buy it. He’s part of a group of people whom he’s comfortable with and often talks his way into getting people to sway his way for the good of the people he’s working for. Yet, he would face things that would put him in an uncomfortable position as he has to bribe a former tobacco spokesman to stop from talking while he’s also being seduced by a reporter with ambitions of her own.

Jason Reitman creates a script that is essentially a character study of a lobbyist’s life and the product he’s supporting as he has people trying to stop tobacco. It’s also a classic rise and fall tale of sorts though it’s third act would have Nick Naylor finding a way to redeem himself. While the characters that Nick meets are essentially characters that represent some form of caricature in a film that is partially a satire. Yet, the whole film is told through Naylor’s perspective as he narrates what he does and the tribulations he faces as he’s just trying to do what he thinks is right. While there’s parts of the script that doesn’t work such as Naylor’s son Joey and a kidnapping subplot. Reitman does create a solid and engaging story.

Reitman’s direction is quite fluid in the way he presents the film with lots of style such as a montage of Naylor and his son arriving to Los Angeles shot in super 8 film stock. Other scenes such as Naylor’s monologue about what he does and how he believes he’s contributing to society where Reitman has Naylor hitting a home run. Reitman creates lots of intimate scenes with compositions where he always have more than one person in a frame or is shooting from afar. Yet, he also knows who to aim for during such big scenes while shooting from a certain perspective. Overall, Reitman creates a film that is very intriguing as well as entertaining.

Cinematographer James Whitaker does a superb job with the film‘s sepia-laden cinematography to complement a stylish look from the restaurant that Nick eats at to the Californian exteriors to emphasize the world Nick hoped to conquer. Editor Dana E. Glauberman does a nice job with the editing in creating Nick and Joey’s California montage to a few jump-cut and stylish cuts in scenes where Nick talks about the people he works and hangs out with.

Production designer Steve Sakland and set decorator Kurt Meisenbach do some fine work with the set pieces created such as Jeff Megall‘s Asian-inspired office and Nick‘s own apartment. Costume designer Danny Glicker does a very good job with the costumes created such as the suits that the men wear to the business-like wardrobe the women wear. Sound editors Perry Robertson and Scott Sanders do fantastic work with the sound work to capture the atmosphere of the Congressional hearing to the intimate scenes of the restaurant that Nick eats at.

The film’s score by Rolfe Kent is wonderful as it features playful jazz and blues-style music to complement its sense of humor along with more intense orchestral pieces for its dramatic moments. Music supervisors Peter Afterman and Margaret Yen do some terrific work with the soundtrack that features a wide array of music from blues, country, and pop to play the whimsical tone of the film.

The casting by Mindy Marin is brilliant for the ensemble cast that is created which includes notable appearances from Adam Brody as Jeff’s hyperactive assistant, Kim Dickens as Nick’s ex-wife Jill, Daniel Travis as Jill’s boyfriend, Connie Ray as Lorne’s wife, talk show host Joan Lunden as herself, Todd Luiso as an anti-tobacco protester, Marianne Muellerleile as Joey’s teacher, and Rob Lowe as the very funny and eccentric Hollywood producer Jeff Megall. Robert Duvall is excellent as the wise tobacco legend the Captain while Sam Elliot is wonderful as the bitter Lorne Lutch. J.K. Simmons is superb as Nick’s devious boss BR who tries to use Nick for his own gain while making himself look good for the tobacco company. William M. Macy is terrific as Nick’s nemesis in Senator Finistirre who tries to outwit Nick in a war of words in his quest to ban tobacco.

David Koechner and Maria Bello are very good in small but funny roles as Nick’s lobbyists friends with Koechner as the more wilder person of the two with Bello as the reasonable one. The weak links in the cast are Cameron Bright and Katie Holmes as Bright doesn’t really display much of a personality to his character despite some of the good one-liners he has in the role of Nick’s son. Holmes meanwhile, is really miscast as ambitious reporter since she doesn’t really exude the sexiness nor the humor that is needed for this character. Finally, there’s Aaron Eckhart in a fabulous performance as the charming Nick Naylor. Eckhart has a wit and personality that is fun to watch while also bringing a serious side to his character as it’s definitely one of best roles of his career.

Thank You for Smoking is a funny yet smart film from Jason Reitman that features a phenomenal performance from Aaron Eckhart. While it’s a film that is a bit flawed due to a few casting choices as well as ideas that doesn’t work, it is still a pretty engaging film about the tobacco industry and those who try to oppose it in the wrong way. In the end, Thank You for Smoking is an insightful and humorous film from Jason Reitman.

Jason Reitman Films: Juno - Up in the Air - Young Adult - Labor Day - (Men, Women, & Children) - Tully - (The Front Runner) - The Auteurs #30: Jason Reitman

© thevoid99 2011