Based on the novel by Charles Dickens, Oliver Twist is the story of an orphaned boy who joins a gang of pickpockets to escape a life of misery with the help of a criminal. Directed by David Lean and screenplay by Lean and Stanley Haynes, the film is a look of a boy trying to find a family and people to care for after leading a life of abuse of misery. Starring Alec Guinness, Robert Newton, Kay Walsh, John Howard Davies, and Anthony Newley. Oliver Twist is a touching and visually-astonishing film from David Lean.
The film follows the titular character (John Howard Davies) who is a young boy that had been raised in an orphanage as he would later join a gang of pickpockets where he learns the trade as a mean to survive and later finds kindness and compassion from an old rich man. It’s a film that explore a boy who had endured nothing but cruelty as he would escape these harsh environments and discover a world where there is this element of survival but also a world that can offer him so much more. The film’s screenplay by David Lean and Stanley Haynes, with contributions from Eric Ambler and Kay Walsh, follows this young boy who was born in an orphanage as his mother (Josephine Stuart) died just shortly after his birth asking an old woman to take care of the boy who would regretfully send him to an orphanage.
After being sent to work as an apprentice for the undertaker Mr. Sowberry (Gibb McLaughlin) and later running away after a period of abuse. Twist would go to London where he would meet a young pickpocket in the Artful Dodger (Anthony Newley) and an old man who trains them named Fagin (Alec Guinness). Fagin would provide Twist this need of companionship and brotherhood among these pickpockets until he is mistaken for a thief by an old rich man in Mr. Brownlow (Henry Stephenson) who would take pity in the young boy and show him a world that has a lot to offer other than riches. Twist is torn between two worlds as an associate of Fagin in Bill Sikes (Robert Newton) discovers more about Twist’s identity and would use it for selfish reasons much to the dismay of his girlfriend in the kind-hearted prostitute Nancy (Kay Walsh).
David Lean’s direction is definitely mesmerizing for the images that he creates as well as some images that are striking such as a wide shot of London that Twist and Dodger would see from a bridge on the way to Fagin’s hideout. Shot on Pinewood Studios in London to recreate 19th Century London, Lean would use the wide shots to get a scope of London in those times as well as the world that is London which is huge for a young boy like Twist. Though it is shot on the full-frame 1:33:1 aspect ratio, Lean does manage to get enough coverage of the places that Twist would go into such as the orphanage, the home of the undertaker, Fagin’s hideout, and Mr. Brownlow’s home as it each represent this world that is full of complexities and wonders that would fascinate Twist. Lean’s direction does emphasize on close-ups and medium shots as it play into the wonderment of Twist in his surroundings as well as the sense of the unknown into who he is as well as some secrets about his mother. Lean would create some unique compositions that play into the drama but also in some of the suspense as well as images that represent elements of symbolism into the plight of the characters.
Lean’s direction also play into the contrast of the two different lifestyles that Twist would endure as the home at Mr. Brownlow is spacious and full of knowledge but there’s also a warmth to it that can give the boy a chance of a future. It’s something totally different than what Fagin’s world is in as it’s dirty, cramped, and decayed yet there is an air of excitement into that world. The film’s third act that relates to Sikes and those who had taken care of Twist in the past where it play into the discovery of his identity as well as who is mother was and who her father is. Even as Nancy would find out the truth as she is eager to make things right as it lead to a confrontation involving Fagin and Sikes over Twist’s fate. Overall, Lean crafts a riveting and heartfelt film about a boy’s journey to find hope and kindness in a cruel world.
Cinematographer Guy Green does brilliant work with the film’s black-and-white photography with its stylish usage of lighting and shadows for many of the interior scenes set in the day and night as well as some exterior scenes set at night as it’s a major highlight for the film. Editor Jack Harris does excellent work with the editing as it is largely straightforward with a few dissolves and some rhythmic cuts to play into the drama and suspense. Set decorators T. Hopewell Ash and Claude Momsay do incredible work with the look of the homes from the spacious home of Mr. Brownlow to the more decayed world of Fagin. Costume designer Margaret Furse does fantastic work with the look of the decayed clothes that Fagin and his gang wears as well as the more posh clothes of Mr. Brownlow
Makeup artist Stuart Freeborn does terrific work with the look of Fagin from his nose and ragged hair to play into his dirty yet charming look. Sound recordists Stanley Lambourne and Gordon K. McCallum do superb work with the sound as it play into the atmosphere of the locations as well as in some of the sound effects in the film. The film’s music by Arnold Bax is amazing for its orchestral score that play into some suspense in some of the film’s bombastic string arrangements along with some low-key and playful pieces in the film.
The casting by Dennis Van Thal is wonderful as it feature some notable small roles from Hattie Jacques as a tavern singer, Josephine Stuart as Twist’s mother, Gibb McLaughlin as the undertaker Mr. Sowberry who takes Twist in as his apprentice, Michael Dear as a worker for the undertaker in Noah who insults Twist’s mother, Deidre Doyle as an old woman at the workhouse, Kathleen Harrison as the cruel Mrs. Sowberry who would keep a major secret from Twist in the hopes of great finances, Diana Dors as a maid for the Sowberrys in Charlotte, and Amy Veness as Mr. Brownlow’s warm housekeeper Mrs. Bedwin whom Twist becomes fond of. Ralph Truman and Francis L. Sullivan are terrific in their respective roles as Monks and Mr. Bumble as two men who both have selfish interests in Twist with Monks being a landlord of sorts for Fagin and Mr. Bumble being the one who sent Twist to Mr. Sowberry.
Anthony Newley is superb as the Artful Dodger as a young pickpocket who would introduce Twist to Fagin as well as be kind of an older brother of sorts to Twist as he also has an intense dislike towards Sikes. Kay Walsh is fantastic as the young prostitute Nancy who is also Sikes’ lover as someone that becomes concerned about Twist when she learns what Sikes is planning to do while discovering more about Twist’s true identity. Henry Stephenson is excellent as Mr. Brownlow as an elderly rich man who takes pity in Twist following a misunderstanding involving theft as he gets to know the boy where he has a realization about who the boy really is. Robert Newton is brilliant as Bill Sikes as this vicious criminal that is willing to use Twist for his own reasons as well as financial and such as he would learn more about Twist and where he comes from.
Alec Guinness is amazing as Fagin as this criminal who teaches young boys how to be pickpockets as he is a father figure of sorts for Twist despite his immorality towards the law while also being someone that does care about Twist. Finally, there’s John Howard Davies in an incredible performance as the titular role as a young boy who has known nothing but cruelty and abuse where he has enough of it and runs away where he learns how to survive through pickpocketing and later encountering a world of kindness and generosity where he’s torn between two ideals and two worlds only to realize that there are those that will use him for the worst kind of reasons.
Oliver Twist is a phenomenal film from David Lean. Featuring a great cast, gorgeous visuals, a rich music score, and a compelling story of family, survival, and kindness. It’s a film that definitely captures the spirit of Charles Dickens in his exploration of fate and identity. In the end, Oliver Twist is a sensational film from Charles Dickens.
Related: Oliver Twist (2005 film) - (The Auteurs #74: David Lean)
David Lean Films: In Which We Serve - This Happy Breed – Blithe Spirit - Brief Encounter - Great Expectations (1946 film) - The Passionate Friends - Madeleine (1950 film) – The Sound Barrier - Hobson's Choice - Summertime (1955 film) – The Bridge on the River Kwai - Lawrence of Arabia - Doctor Zhivago - Ryan's Daughter - (Lost and Found: The Story of Cook’s Anchor) – A Passage to India
© thevoid99 2019
Based on the novel by Charles Dickens, Great Expectations is the story of a boy’s encounter with a convict that would eventually lead to his development upon meeting an eccentric rich spinster whose adopted daughter he falls for and later pursues as an adult. Directed by David Lean and screenplay by Lean, Anthony Havelock-Allan, Cecil McGivern, Ronald Neame, and Kay Walsh, the film is an adaptation of one of Dickens’ acclaimed novels as it explores a man trying to find himself but also cope with his need to be with a person who treats him with indifference. Starring John Mills, Anthony Wagner, Jean Simmons, Valerie Hobson, Alec Guinness, Martita Hunt, Bernard Miles, and Finlay Currie. Great Expectations is a rich and evocative film from David Lean.
The film follows the journey of a young boy from a humble and poor background whose encounter with an escaped convict would lead to unexpected fortunes where he would become a gentleman and be given opportunities that others would never have while pursuing a young woman whom he had been in love with since he was a boy. It’s a film that follows the journey of this boy who would become a man as he would find himself in situations that would play into his development as well as cope with the changes he would endure. The film’s screenplay is largely told from the film’s perspective of its protagonist Pip (John Mills) as he recalls his journey as a boy (Anthony Wagner) who was living with his sister (Freda Jackson) and her blacksmith husband Joe Gargery (Bernard Miles). Visiting his the grave of his parents, he would encounter this convict (Finlay Currie) who threatens him unless Pip brings food, drink, and a file for his chains as the young Pip would do so.
It’s this act of kindness to the convict that would mark the start of good fortune for Pip who would be asked by an acquaintance of the reclusive Miss Havisham (Martita Hunt) to be a playmate for her adopted daughter Estella (Jean Simmons) who isn’t fond of Pip. Even as Pip has to endure her cruelty though Miss Havisham does find him to be fascinating as she sees that Pip has the potential to be so much more. By the time Pip grows into a man where he would be Joe’s apprentice, the film would show Pip getting some unexpected fortunes as he believes that Miss Havisham is his benefactor. Moving to London, Pip would learn how to be a gentleman with the help of Herbert Pocket (Alec Guinness) and Miss Havisham’s lawyer Mr. Jaggers (Francis L. Sullivan) as he would cope in how to behave and act like a gentleman and fit in to society. Yet, he would also pursue the adult Estella (Valerie Hobson) who would treat him coldly as Pip would learn why she is the way she is as it all goes back to Miss Havisham who would cope with the way she raised Estella.
David Lean’s direction does have elements of style in the compositions in some scenes yet much of the film is presented in a straightforward fashion. Shot on location at Denham Film Studios in Buckhamshire, the film play into two different worlds such as the rural beachside landscape that Pip lives with his sister and Joe where Miss Havisham’s estate is also located at and London where the adult Joe would live and work at with Pocket. Lean’s usage of the wide shots would capture the location as well as the world the older Pip is in as it relates to the dance halls with Estella as it also play into this sense of detachment from Estella who has other interests. Lean’s usage of close-ups and medium shots play into the despair that Pip would endure in his pursuit of Estella as well as these stylistic slanted shots in how Pip and Miss Havisham would engage each other in a scene.
Lean’s direction also play into this element of dramatic suspense as it relates to the identity of Pip’s benefactor as well as other revelations about Miss Havisham’s past and Estella herself. Much of Lean’s direction would have these moments that are surreal but also chilling as it relates to some of the things in Pip’s past as a child where Lean would provide subtle hints in the imagery. The estate of Miss Havisham does have elements of horror in its look yet it more represents this metaphorical sense of Miss Havisham’s sense of loss and the reasons she would give Estella this world that is cold and unforgiving. All of which forces Pip to make sense of everything as well as provide a sense of hope through simple acts of kindness in a world that is often very cruel. Overall, Lean crafts a riveting and intoxicating film about a boy’s journey into a gentleman and his pursuit towards a woman who filled with uncertainty and a cold demeanor.
Cinematographer Guy Green, with opening sequence by Robert Krasker, does brilliant work with the film’s black-and-white photography to capture the look of the landscape as well as the array of natural lighting for many of the interiors in Miss Havisham’s estate as well as some scenes set at night. Editor Jack Harris does excellent work with the editing as it play into the drama and suspense as well as some stylish montages to play into Pip’s growth in becoming a gentleman. Production designer Jack Bryan, with set decorator Erik Blakemore and art director Wilfred Shingleton, does fantastic work with the look of the sets including Miss Havisham’s home and the apartment he would share with Pocket.
Costume designer Sophie Devine does amazing work with the costumes from the look of the suits that the men wore during the 19th Century to the dresses including the ones that Estella wore. Sound editor Winston Ryder does terrific work with the sound in capturing the atmosphere of the locations as well as the sound of winds and the oceans for a key scene in the third act. The film’s music by Walter Goehr is superb for its sumptuous orchestral score that play into the drama and some of the film’s lighter moments as well as the suspenseful moments with its heavy strings and percussions.
The casting by Pat MacConnell, Adele Raymond, and Maude Spector do wonderful work with the casting as it include notable small roles from O.B. Clarence as Mr. Wemmick’s father, Torin Thatcher as a gentleman Estella is pursuing, Ivor Barnard as a man who helps Pip in a plan late in the film in Mr. Wemmick, Eileen Erskine as Joe’s new lover Biddy whom Pip is fond of, Freda Jackson as Joe’s first wife/Pip’s sister, John Forrest as a young version of Pocket that the young Pip meets at Miss Havisham’s home, and Francis L. Sullivan in a terrific performance as Miss Havisham’s lawyer Mr. Jaggers who would take Pip in for work as well as tell some things about Miss Havisham and Estella late in the film. Bernard Miles is superb as Joe Gargery as a blacksmith who is married to Pip’s sister in the first act as he is a father figure of sorts to Pip as well as someone who is willing to support him no matter how out of sorts he is with the rest of the world.
Alec Guinness is fantastic as Herbert Pocket as Pip’s co-worker who would help him in the ways of being a gentleman as well as informing Pip about what happened to Miss Havisham in her early life Anthony Wager is excellent as the young Pip who would deal with his encounter with the convict as well as young Estella’s cruelty where he would end up being fascinated by her. Jean Simmons is brilliant as the young Estella as a young girl who is quite cruel yet is intrigued by Pip for not giving into her insults while having desires to be a lady. Finlay Currie is amazing as the mysterious convict the young Pip meets early in the film as he would threaten him for food and a file to break away from his chains as he is touched by Pip’s kindness where he would later get him out of trouble as he would also appear in the film’s third act.
Martita Hunt is remarkable as Miss Havisham as an old woman who lives in a decayed estate that invites Pip to be her adopted daughter’s playmate as she is fascinated by the young boy but also deals with a sense of heartbreak as it represents her loss and sense of disappointment with the world. Valerie Hobson is incredible as Estella as a woman who is eager to make it into society yet would treat Pip as a prop rather than a person in her pursuit to be a bigger deal in society. Finally, there’s John Mills in a marvelous performance as older Pip as a man who is given a chance to be a gentleman as well as be part of society only to deal with some of the things that happen which makes him uneasy as well as his pursuit of Estella whom he sees as someone that is need to be loved.
Great Expectations is a phenomenal film from David Lean. Featuring a great cast, gorgeous visuals, a compelling script that is faithful to the Dickens novel, and a sumptuous music score. It’s a film that bear a lot of what is expected from Dickens with visual ideas from Lean that makes the film a top-notch adaptation. In the end, Great Expectations is a sensational film from David Lean.
Related: Great Expectations (1998 film) - (The Auteurs #74: David Lean)
David Lean Films: In Which We Serve - This Happy Breed – Blithe Spirit - Brief Encounter - Oliver Twist (1948 film) – The Passionate Friends - Madeleine (1950 film) – The Sound Barrier - Hobson's Choice - Summertime (1955 film) – The Bridge on the River Kwai - Lawrence of Arabia - Doctor Zhivago - Ryan's Daughter - (Lost and Found: The Story of Cook’s Anchor) – A Passage to India
© thevoid99 2018
Based on the novel by E.M. Forster and a play by Santha Rama Rau, A Passage to India is the story of class conflict in colonial India where a false charge of rape trouble relations between the British and Indians. Written for the screen, edited, and directed by David Lean, the film is a study of class and racial identity in 1920s India where a woman copes with her actions and how it affects change during a tense time in Indian history. Starring Peggy Ashcroft, Victor Banerjee, Judy Davis, James Fox, Nigel Havers, and Alec Guinness. A Passage to India is a rich and majestic film from David Lean.
Set during a tumultuous period during British-colonial India, the film revolves around a young woman who arrives to the country wanting to discover India with her beau’s mother as they befriend an Indian doctor whom the young woman would later accuse of rape during an outing. It’s a film that play into events that would shape a country and its relation with the British during a time when British was ruling India as there is this divide between them. Especially when it’s in the hands of a woman whose interest in India behind British influence would eventually get her into a world of the unknown where she becomes confused and lost. Even as there are forces in both the upper-class British and the people favoring India’s independence from Britain would use this woman and this kind doctor in a trial.
David Lean’s screenplay doesn’t just explore this cultural and social divide between the British and India but also a number of intervals with an interest towards each other’s cultures. The film’s first act is about the arrival of Adela Quested (Judy Davis) and Mrs. Moore (Peggy Ashcroft) as the latter is arriving to see her son Ronny (Nigel Havers) who is engaged to the former. Upon their arrival, they’re surrounded by many British expatriates who live in posh and lavish homes that is very clean which is a direct contrast to the poor and shabby condition of the people in India. It’s something that Mrs. Moore notices as she wants to see India as it is as does Adela where they both wonder why Indians are not allowed to enter British country clubs. Mrs. Moore would meet Dr. Aziz Ahmed (Victor Banerjee) who is hoping to be accepted by the British as he is intrigued by the kindness of Mrs. Moore as he would also find a friend in the local school superintendent Richard Fielding (James Fox). Fielding would introduce Mrs. Moore and Adela to a scholar in Professor Godbole (Alec Guinness) who is an eccentric with unique views on the world and life.
The second act is about this journey to the Marabar Caves in the country where Fielding misses the train leaving Dr. Ahmed to accompany Adela and Mrs. Moore to the caves. It’s the moment in the film where Adela’s own interest towards India, that included an earlier solo journey to ruins, would come to ahead as her own sense of emotional anguish towards Ronny and the blistering heat of the country would create chaos. Especially when Dr. Ahmed becomes a victim of a lie with Fielding and Mrs. Moore knowing that he’s innocent but the British residents already have opinions that Dr. Ahmed did rape Adela because he’s Indian. The script doesn’t just showcase this cultural and social divide but also the beginning of Britain’s rule on India as the third act is about the aftermath of the trial. An aftermath that does have some serious consequence for those involved as well as revelations about the identities of its characters.
Lean’s direction is definitely vast in its setting as well as the scale of the story for its tumultuous time period. Shot on the Cinemascope film stock on a 1:85:1 aspect ratio and largely on various locations in India with some interiors shot at Shepperton Studios in Britain. Lean definitely uses a lot of wide shots to capture the gorgeous locations with great depth of field of the mountains and forests while creating something that is also intimate for some of the scenes in the streets with the medium shots. The scenes set in the country clubs and British residences have this air of space and openness that is beautiful but also quite stuffy to play up the sense of arrogance of those residents. The scenes set in the streets and slums in India are definitely more crowded and shabby to play the contrast of the world of the British living in India. The character of Dr. Ahmed is someone who is Indian but wants to be part of that world of British society as he is dressed early in the film like many of the British residents as it kind of represents this conflict of identity.
Also serving as the film’s editor, Lean would go for something straightforward with some dissolves and montages for scenes in the trial where Adela tries to remember what happened. It adds to a lot of the drama and elements of suspense where it is about the event that would put the relations between Britain and India on the line. The scenes set on the actual Barabar Caves as the Marabar Caves would have this air of mystique that would play into Adela’s own mind as there is something about that couldn’t be explained. The film’s third act that revolve around the trial’s aftermath play into this further division between the British and Indians with a few of them in the middle who aren’t happy in how things played out. Especially as some reject their own identities with some grudgingly accept their own roles in the world. Overall, Lean creates a ravishing and riveting film about a young woman’s encounter with Indian culture and the trouble she unknowingly causes over relations between Britain and India.
Cinematographer Ernest Day does brilliant work with the photography in capturing some of the gorgeous exterior scenes in the day including the interior in the caves with natural light as well as some of the beauty of some of the exterior scenes at night along with some of its interiors. Production designer John Box, along with art directors Cliff Robinson, Leslie Tomkins, Herbert Westbrook and Ram Yedekar as well as set decorator Hugh Scaife, does amazing work with the sets from the club houses and homes of the British residents to the shabby look of the home of Dr. Ahmed. Costume designer Judy Moorcroft does fantastic work with the costumes from the clothes that the British women wear as well as the clothes of the men including the suits that Dr. Ahmed wear as well as the clothes that many of the Indian citizens wear.
The sound work of Graham V. Hartstone, Nicolas Le Messurier, Michael A. Carter, and John W. Mitchell do excellent work with the sound from the way many of the raucous sounds of the street is captured as well as the eerie tension that is heard during the trial scene. The film’s music by Maurice Jarre is incredible for its mixture of bombastic and serene orchestral flourishes with some lush string sounds as well as bits of traditional Indian music to play into the setting of the Indian landscape.
The casting by Priscilla John is superb as it include notable small roles and appearances from Sandra Hotz as Mrs. Moore’s daughter Stella, Art Malik and Saeed Jeffrey as a couple of Dr. Ahmed’s friends who try to represent him on trial, Roshan Seth as Dr. Ahmed’s attorney with pro-Indian independence ideas, Richard Wilson and Antonia Pemberton as a rich British couple in the Turtons who are very prejudiced toward the Indians, Ann Firbank as Mrs. Callender, and Clive Swift as Major Callender as a British resident who tries to manipulate Adela over what happened. Michael Culver is terrific as British official Major McBryde who serves as the prosecutor for trial of Dr. Ahmed while Nigel Havers is fantastic as Mrs. Moore’s son Ronny Heaslop as a magistrate who is engaged to Adela as he is also very prejudiced towards Indians as he doesn’t think they have a lot to offer socially or politically.
Alec Guinness is excellent as Professor Godbole as an eccentric spiritual figure who is a friend of Fielding as he serves as someone that is just trying to stay away from the political turmoil of India as he’s more about concerned about spirituality. James Fox is brilliant as Richard Fielding as a British school superintendent who is a friend of Dr. Ahmed as he tries to figure out what is going on while being disgusted with the prejudice of many of his British colleagues as he is this very kind person that represents the best aspects of humanity. Victor Banjeree is amazing as Dr. Aziz Ahmed as a kind Indian doctor that is hoping to be entered into British society and be accepted while understanding the tension that is looming where he later finds itself in the middle of this conflict where he becomes an unknowing pawn all because of a false accusation.
Peggy Ashcroft is radiant as Mrs. Moore as an old woman traveling to India to see her son as she is amazed by the intoxicating beauty of India but is also aware of the prejudice from the British towards the Indians as she is disgusted by it while not wanting to be involved in the trial knowing that it will never play fair. Finally, there’s Judy Davis in a remarkable performance as Adela Quested as a young woman who is eager to see India as it is where she copes with being engaged to Ronny while dealing with an accusation she unknowingly made as it’s a very chilling yet ravishing performance from Davis.
A Passage to India is a phenomenal film from David Lean. Featuring a great ensemble cast, beautiful images of the Indian locations, an enchanting score, and a riveting story. It’s a film that definitely bear a lot of the hallmarks of epics but also play into India’s unique history and the seeds to be independent from the British empire. In the end, A Passage to India is a sensational film from David Lean.
David Lean Films: In Which We Serve - This Happy Breed - Blithe Spirit - Brief Encounter - Great Expectations (1946 film) - Oliver Twist (1948 film) - The Passionate Friends - Madeleine (1950 film) - The Sound Barrier - Hobson’s Choice - Summertime (1955 film) - The Bridge on the River Kwai - Lawrence of Arabia - Doctor Zhivago - Ryan's Daughter - (Lost and Found: The Story of Cook’s Anchor) - (The Auteurs #74: David Lean)
© thevoid99 2017
Directed by Richard Marquand and screenplay by Lawrence Kasdan and George Lucas from a story by Lucas, Return of the Jedi (Star Wars: Episode VI) is the third and final film of the original trilogy in which the Imperial Empire and the rebellion go out for one final battle in space as Luke Skywalker copes with the identity of the man who is Darth Vader. The film isn’t just another sci-fi adventure film where many of the characters of the previous film get ready for one final battle but also do whatever it takes to save the galaxy from this evil empire. Starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Mayhew, Billy Dee Williams, David Prowse with the voice of James Earl Jones, Kenny Baker, Anthony Daniels, Alec Guinness, the voice of Frank Oz, Sebastian Shaw, and Ian McDiarmid as Emperor Palpatine. Return of the Jedi is a thrilling and exhilarating film from Richard Marquand.
The film revolves the final showdown between the Galatic Empire led by Emperor Palpatine and Darth Vader (David Prowse, with the voice of James Earl Jones), and the rebellion representing the former Galactic Republic as its heroes Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), Chewbacca (Peter Mayhew), and Princess Leia (Carrie Fisher) get ready for the final battle. Yet, things become very tense as Palpatine arrives in a newly-constructed Death Star in which he personally oversees its completion while he and Vader both seek Skywalker. The film also plays into Skywalker’s own discovery of who Darth Vader is as he turns to a dying Yoda (the voice of Frank Oz) and the spirit of Obi-Wan Kenobi (Alec Guinness) for the truth where another revelation is unveiled.
The film’s screenplay by Lawrence Kasdan and George Lucas does have a more traditional structure than the previous films as its first act involves Vader arriving to the Death Star telling his officers that the Emperor is coming while Luke, Leia, Chewbacca, C-3P0 (Anthony Daniels), R2-D2 (Kenny Baker), and Lando Calrissian (Billy Dee Williams) go on a personal mission to retrieve Han from the clutches of the reputed gangster Jabba the Hutt (voice of Larry Ward) and the bounty hunter Boba Fett (Jeremy Bulloch) at the planet of Tatooine. Its second act is set in Dagobah where Luke meets with Yoda while joining in the plan to destroy the Death Star’s shield in the nearby moon of Endor where the rebels are aided by a tribe of creatures known as Ewoks. The structure doesn’t just play into the development of the characters but also into Luke’s own understanding about Darth Vader’s identity and realize who the man used to be.
It’s not just Luke, Leia, and Han that become more realized in their development but also Darth Vader as it is clear that he is the good cop for the Imperial officers while it’s Palpatine that is far less forgiving. There is also tension that looms in the film between Palpatine and Vader where the latter does sense Luke’s presence while the former doesn’t where it plays into an internal conflict with Vader who has no choice but to follow his master. It would force Luke to find the good in Vader where the two would have another battle with light sabers as it is clear that they’re really pawns into the game that Palpatine wants. That conflict would parallel the battles that Han, Leia, Chewbacca, R2-D2, and C-3P0 would have against the Empire in Endor with the aid of the Ewoks while Lando Calrissian would lead the attack on the Death Star. It is there where the film’s third act and climax does come to ahead as something has to happen where it’s everything or nothing.
Richard Marquand’s direction doesn’t really do anything new in comparison to the previous films but he does manage to maintain some visuals and compositions that are very engaging. Shot partially on location in Tunisia as Tatooine and at the Redwood Forest in California as Endor, the film definitely goes for a mixture of not just a darker tone but also something that is light as it plays to the conflict over the two sides of the Force. The usage of wide and medium shots do play into the vastness of the story not just in the locations of its planets but also in space that includes some very entrancing shots of the Death Star in its final construction phase. Marquand’s close-ups do play into Luke Skywalker’s own realization about who Darth Vader is but also into the revelations that he would discover which added bigger stakes into what he has to fight for.
The scenes set in Endor are quite playful as it does bring in some humor as well as something that is more accessible to children in the form of the Ewoks. While it’s not everyone’s cup of tea, the Ewoks do serve a purpose as it plays into their own brand of fighting which is primitive yet effective. The mixture of playfulness and adventure does give the film a liveliness in its third act where Han, Leia, Chewbacca, C-3P0, and R2-D2 would square off against the Empire in Endor with their own soldiers and the Ewoks. It is in sharp contrast to the more thrilling sequence in space where Lando is leading the rebellion in an all-out assault on the Death Star while Luke and Vader would have their own battle. Yet, their battle would really play more into what Palpatine wants as it would force one of these two men to do something to save the galaxy. Overall, Marquand creates a phenomenal and exhilarating film about a group of rebels going into one final battle against an evil empire.
Cinematographer Alan Hume, with additional work by Alec Mills, does excellent work with the look of many of the exteriors from the naturalistic look in the scenes at Endor as well as some of the interior lighting for the scenes inside the Death Star and in the rebel ships. Editors Sean Barton, Duwayne Dunham, and Marcia Lucas, with additional work by George Lucas, do amazing work with the editing with its stylish approach to transition wipes and rhythmic cuts to play into the action and suspense. Production designer Norman Reynolds, with set designers Michael Ford and Harry Lange and art directors Fred Hole and James L. Schappe, does fantastic work with the look of Palpatine‘s main room in the Death Star as well as the room in the rebel ship where the plan of attack occurs as well as the home of Jabba the Hutt. Costume designers Aggie Guerard Rodgers and Nilo Rodis-Jamero do terrific work with the costumes from the slave bikini that Leia would wear at Jabba’s home but also the black suit that Luke would wear to express his sense of loss.
Makeup designers Stuart Freeborn and Phil Tippett do brilliant work with the look of some of the alien creatures including the Ewoks and some of that characters at Jabba the Hutt‘s palace including some puppetry for the Jabba character. Visual effects supervisors Richard Edlund, Dennis Muren, Ken Ralston, and Phil Tippett do incredible work with the visual effects look for the scenes in space as well as the designs for scenes in Tatooine and in Endor such as the Imperial walkers with its usage of stop-motion animation. Sound designer Ben Burtt does superb work with the sound from the layering of sound effects for the battle scenes as well as in some of the sound that occurs for the droids. The film’s music by John Williams is wonderful for its thrilling and soaring orchestral score that plays into its sense of adventure and humor along with some of its brooding and melancholic moments.
The casting by Mary Selway is great as it features notable small performances from Denis Lawson as the rebel pilot Wedge, Jeremy Bulloch as the bounty hunter Boba Fett, Timothy M. Rose as the rebel military leader Admiral Akbar, Caroline Blakiston as the rebel alliance co-founder and leader Mon Mothma, Larry Ward as the voice of Jabba the Hutt, Michael Pennington as the Death Star commander who oversees the Death Star’s construction, Kenneth Colley as the Imperial Admiral Piett, Warwick Davis as the young Ewok Wicket that Leia befriends, and Sebastian Shaw as the unmasked Darth Vader. Frank Oz is superb as the voice of the great Jedi master Yoda who would tell Luke some startling news and some revelations while Alec Guinness is fantastic as the late Obi-Wan Kenobi who would also provide some revelations to Luke about Darth Vader.
Ian McDiarmid is great as Emperor Palpatine as the Galactic Empire’s leader who tries to steer Luke to join the dark side of the Force in the hopes he can gain another apprentice. David Prowse, with voice of James Earl Jones, is amazing as Darth Vader as the Empire’s great warrior who would also try to steer Luke into the dark side while displaying the sense of conflict from within him as it relates to whom he once was. Billy Dee Williams is brilliant as Lando Calrissian as an old friend of Han who would help free him from Jabba the Hutt while leading the attack on the Empire and the Death Star. Kenny Baker and Anthony Daniels are excellent in their respective roles as the droids R2-D2 and C-3P0 as the former would provide some key moments in the film’s first act and its climax while the latter would be responsible for forging an alliance between the Ewoks and the rebels.
Peter Mayhew is marvelous as Chewbacca as the Wookie who helps rescue Han Solo as well as provide a key role in battling the Empire in Endor. Carrie Fisher is sensational as Princess Leia Organa as a rebel leader who gets more hands-on in the fighting while making a major discovery about who she is as well as a bigger role she has to play for the rebellion. Harrison Ford is remarkable as Han Solo as the former smuggler who was imprisoned by Jabba the Hutt as he later leads an attack on the Empire in Endor with the help of the Ewoks where Ford brings some humor to his role. Finally, there’s Mark Hamill in an incredible performance as Luke Skywalker where Hamill brings a more reserved performance to display Skywalker’s grief and maturity as he copes with Darth Vader’s identity while knowing what he has to do to save the galaxy as it’s a dark but engaging performance from Hamill.
***The Following is Based on the 1997 Special Edition and its Subsequent Revised Editions***
Of the versions that George Lucas would get involved in, it is in this film where there’s a lot of changes with the aid of editor T.M. Christopher, sound designer Ben Burtt, and various visual effects people that would change things from the original. Among them is the pit of Sarlacc scene where there’s more arms added via computer-based visual effects as well as additional scenes near the film’s ending. Most notably scenes where other planets celebrated that featured the voice of a much-maligned character from the prequels. There’s also some changes in the visual effects in the battle scenes that are distracting yet the biggest change from its 2004 DVD release is one of the most controversial. It relates to its ending where Sebastian Shaw’s appearance in the end would be replaced by Hayden Christensen who would play Anakin Skywalker in the prequels. It’s an ending that is very disrespectful to Shaw as well as the series itself. While Lucas claims he’s trying to make the film better, it just shows how out of touch he is with his audience.
***End of Special Edition Tidbits***
Return of the Jedi is a phenomenal film from Richard Marquand. Featuring a great cast, sprawling visual effects, and an offbeat yet effective tone. The film isn’t just a worthy end to the original trilogy but it’s also an adventurous and fun film that manages to do a lot and more. In the end, Return of the Jedi is a remarkable film from Richard Marquand.
Star Wars Films: Star Wars - The Empire Strikes Back - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Last Jedi - The Rise of Skywalker
Related: Holiday Special - Caravan of Courage - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas
Star Wars Anthology Films: Rogue One - Solo - (Untitled Star Wars Anthology Film)
George Lucas Films: THX 1138 - (American Graffiti)
© thevoid99 2015
Written and directed by George Lucas, Star Wars (Episode IV: A New Hope) is the story of a young farmhand from a distant planet who finds two robotic droids that is carrying a secret plan as they seek the help of two smugglers and an old knight to save a princess from the evil empire and aid the rebellion to destroy its secret weapon. The film is a space opera that is set in planets far away in the galaxy where a young man learns about who he is and the powers he would have to help save the galaxy from the darkness. Starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, David Prowse with the voice of James Earl Jones, Anthony Daniels, Kenny Baker, Peter Mayhew, and Alec Guinness. Star Wars is an enthralling yet rapturous film from George Lucas.
Set in a galaxy far away during a civil war between the Galactic Empire and a group of rebels representing the old Galactic Republic. The film revolves around a young farmhand who encounters two robotic droids as one of them carries a message as well as secret plans that would help the rebellion destroy the Empire’s newest weapon in a large space station known as the Death Star. With the aid of an old knight who was part of an elite group of peacekeepers known as Jedis, the two get the help of a smuggler and his alien first mate to not only save the princess but also give the plans to the rebel forces to stop the Empire. It’s a story that is very simple where it’s not just an entire galaxy at stake but also a world of good that has been covered by darkness for so many years.
While there are flaws in George Lucas’ screenplay as it relates to his dialogue, Lucas is able to create characters that are engaging such as the droids in the protocol droid C-3PO (Anthony Daniels) and the astromech droid R2-D2 (Kenny Baker with sound effects by Ben Burtt) as the latter is carrying a message from Princess Leia Organa (Carrie Fisher) to an old Jedi Night in Obi-Wan Kenobi (Alec Guinness) and secret plans that might help destroy the Death Star. Upon landing on this desert-planet called Tatooine where Kenobi was supposedly last seen, the droids are bought by a farmer named Owen Lars (Phil Brown) and his nephew Luke Skywalker (Mark Hamill). The latter of which would discover Princess Leia’s message as he knows someone named Kenobi as he would eventually learn that a man named Ben is actually whom Princess Leia is asking for. At the same time, Luke would learn about his father who was a Jedi knight that was killed by one of Kenobi’s old pupils in Darth Vader (David Prowse with the voice of James Earl Jones).
The characterization of Luke is an interesting one as he is this young man that is eager to get out of Tatooine and become a fighter as he is an accomplished pilot. Yet, circumstances would finally realize that he does have a destiny to fulfill in not just wanting to help rebellion but also become a Jedi like his father. With Kenobi’s help, the two team up with a couple of smugglers named Han Solo (Harrison Ford) and a large dog-like creature named Chewbacca (Peter Mayhew) who would take them to a planet for a price. Solo is an unusual character as he is modeled after many Western archetypes as he has no qualms killing people if it helps him such as a scene where he kills a smuggler who wants to collect a bounty on Solo’s head. Though Solo is reluctant to save Princess Leia, he only decides to help her once he realizes how much money he can get which shows an ambiguity to who he is. Princess Leia herself is anything but a damsel-in-distress as she is quite adept in shooting with a blaster while being very opinionated and knowing what to do in tense situations. Especially where is confronted by a member of the Imperial government in Grand Moff Tarkin (Peter Cushing) to find the whereabouts of a secret base.
The character of Darth Vader is an interesting antagonist as someone who is seen wearing black with a helmet and breathes through a mask. He is someone that can pretty much get the job done and get some answers but he is also very intelligent in knowing that not everyone will be swayed easily. Like Kenobi, he is also a trained Jedi knight but leans towards the dark side and knows when to use the Force to do things. He and Kenobi would have a confrontation in the middle of the film as it would play into exactly what Kenobi would do in order for Luke to learn the ways of the Force for the film’s climax.
Lucas’ direction is quite vast for a sci-fi film in terms of not just the world that he creates but also in how he would introduce it starting with this chase between a small space cruiser and this large Imperial ship called the Star Destroyer as it comes in from above the frame. It sets the tone for what is to come though the film actually opens with some exposition about this civil war between the Empire and the rebellion. With some of the locations shot in Tunisia for the scenes in Tatooine and other locations in Guatemala, much of the film is set in space as it plays into a galaxy where it’s very diverse and very different. Tatooine is seen as this desert world where it’s sort of unruly and desolate but it is a place where things can happen. Even for someone like Luke Skywalker who feels like he doesn’t belong as he is among the small group of humans who wound interact with all sorts of aliens in the world.
The world of outer space is also quite big in terms of the way it is presented with Lucas using a lot of wide and medium shots as well as the look of the Death Star that looks like a large moon that can shoot a giant laser to destroy a planet. The way Darth Vader is first presented is among these rich compositions that Lucas creates to establish what kind of man he is. The light saber battle between Vader and Kenobi plays into the world of traditional sword fighting but involving and old man and a tall one where there aren’t a lot of big movements but rather on instinct. Many of the battles in space are presented with these very intense visual effects that mixes miniatures and optical effects to make it feel as realistic as it can. Especially for the film’s climatic battle against the Empire at the Death Star where it has a lot of thrills and moments that are just gripping. Overall, Lucas creates a spectacular yet engaging film about a group of people trying to save the galaxy from an evil empire.
Cinematographer Gilbert Taylor does brilliant work with the film‘s cinematography from capturing the sunny look of the scenes set in Tatooine as well as some of the interior lighting for some of the ships in space including Solo‘s spaceship the Millennium Falcon. Editors Richard Chew, Paul Hirsch, and Marcia Lucas, with additional work by George Lucas, do amazing work with the editing as it includes some unique rhythmic cuts for some of the film‘s action scenes along with a few dissolves and some stylish transition wipe that play into the film‘s mixture of adventure and action. Production designer John Barry, with set decorator Roger Christian and art directors Leslie Dilley and Norman Reynolds, does fantastic work with the design of the Death Star and some of its interiors along with the Millennium Falcon and its interiors plus some of the places in Tatooine such as the Mos Eisley Cantina.
Costume designer John Mollo does nice work with the look of Darth Vader as well as the Imperial officer uniforms and the look of the its soldiers in the Stormtroopers. Makeup designers Rick Baker and Stuart Freeborn do excellent work with the look and design of the creatures in Tatooine including the little Jawas and some of the aliens at the Mos Eisley Cantina. Special visual effects supervisors John Dykstra and John Stears do phenomenal work with the special effects in the way the lightsabers look and the way lasers are presented as well the battle scenes set in space.
Sound designer Ben Burtt and sound editor Sam F. Shaw do incredible work with the film‘s sound work from the way R2-D2 and other droids sound as well as some of the sound effects of how TIE Fighters sound in space as well as other aspects in the film‘s sound work. The film’s music by John Williams is great as it is one of the defining film scores with its orchestral bombast filled with lush string arrangements and vast brass section to play into its many themes along with a few playful pieces.
The casting by Diane Crittenden, Irene Lamb, and Victor Ramos do wonderful work with the film’s casting as it includes notable small roles from Phil Brown and Shelagh Fraser in their respective roles as Luke’s uncle Owen and aunt Beru, Denis Lawson as the rebel X-wing pilot Wedge Antilles, Garrick Hagon as Luke’s friend/rebel X-wing pilot Biggs Darklighter, and Jack Purvis as a chief Jawa. Peter Cushing is superb as the Death Star commander Grand Moff Tarkin as an Imperial governor who tries to get Princess Leia to reveal vital information into the rebel base as well as keep Vader in line.
Anthony Daniels and Kenny Baker are fantastic in their respective roles as C-3P0 and R2-D2 with Daniels providing some unique movements and dialogue that makes the character a fun and sometimes annoying persona while Baker provides just movements that makes R2 such a loveable droid. Peter Mayhew is excellent as the Wookie named Chewbacca as Mayhew brings a unique physicality to the role as well as creating some of his own language that makes him sort of a moral compass for Han Solo. David Prowse is brilliant in bringing the sense of physicality and presence that is Darth Vader that is added by the phenomenal voice work of James Earl Jones who adds a lot of eerie textures to the role of Vader. Alec Guinness is amazing as Obi-Wan Kenobi as a former Jedi knight who helps Luke in saving Princess Leia and carry out the Death Star plans to the rebels as he would also teach Luke the ways of the Force.
Carrie Fisher is incredible as Princess Leia Organa as a princess who is captured by the Empire as she refuses to give information while being a badass with a blaster that makes her a far more compelling character. Harrison Ford is remarkable as Han Solo as this anti-hero who takes part in the journey for money to pay a debt while being someone that is reckless and funny. Finally, there’s Mark Hamill in a marvelous performance as Luke Skywalker as a young farmhand who dreams of flying and being part of the rebellion as he learns about his father and the destiny he is to take part in.
***The Following is Based on the 1997 Special Edition and its Subsequent Revised Editions of the Film***
The film’s 1997 special edition and its subsequent versions not only would feature some new scenes under Lucas’ direction with the contributions of editor T.M. Christopher and sound designer Ben Burtt, along with visual effects supervisors Dave Carson, John Knoll, Joe Letteri, Bruce Nicholson, Alex Seiden, and Stephen Williams,. The changes and added scenes aren’t just controversial but also play into the debate of film revisionism. One notable change that is controversial is a scene where Han shoots Gredo in cold blood as it plays into his anti-hero persona. In the special edition and later versions to follow, it would have Gredo shooting first and Han firing afterwards. It is a change that isn’t very good and certainly messes with Han’s development from anti-hero to hero.
While some of the visual effects do help polish the film as well as new sound effects and design by Ben Burtt to add more layers. There’s elements in the film that don’t work such as the Jabba the Hutt character who would be seen in Return of the Jedi as he appears in a computer-animated format in a scene with Han Solo that was originally deleted from the original film. In this special edition, the scene is restored but with Jabba the Hutt as this creature who is trying to get Solo to pay the debt that he owes him. There’s other scenes that are restored such as a brief conversation between Luke and Biggs before the climatic battle which is a good scene that was added. Then there’s the explosion of Alderaan in the scene where the Death Star displays its power as the original explosion was big but primitive in its 1977 release. In its revised and subsequent versions, it is much bigger with a force field that actually makes it look ridiculous.
***End of Special Editions Tidbits***
Stars Wars is a tremendous film from George Lucas. Armed with a great cast, amazing visual effects, a phenomenal score, and a thrilling story. It is a film that isn’t just one of the finest sci-fi adventure films ever made but it’s also cinema that manages to appeal to audiences of all ages. While the 1997 special edition and its following revised versions are a mixed bag, the original version is still a fascinating yet engrossing film that still holds up and proves to be just as fun to watch as it did back in 1977. In the end, Star Wars is a glorious and sensational film from George Lucas.
Star Wars Films: The Empire Strikes Back - Return of the Jedi - The Phantom Menace - Attack of the Clones - Revenge of the Sith - The Force Awakens - The Last Jedi - The Rise of Skywalker
Related: The Hidden Fortress - Holiday Special - Caravan of Courage - The Battle for Endor - The Clone Wars - Fanboys - The People vs. George Lucas
Star Wars Anthology Films: Rogue One - Solo - (Untitled Star Wars Anthology Film)
George Lucas Films: THX 1138 - (American Graffiti)
© thevoid99 2015
Based on the novel by Pierre Boulle, The Bridge on the River Kwai is the story of a group of POWs in a Japanese camp who are tasked to build a bridge in Thailand during World War II as they deal with their time in the prison camp. Directed by David Lean and screenplay by Carl Foreman and Michael Wilson, the film explores the life of British POWs deal with doing work for the Japanese just as the war is heating up. Starring William Holden, Jack Hawkins, Alec Guinness, and Sessue Hayakawa. The Bridge on the River Kwai is a riveting and engaging film from David Lean.
Set in a Japanese prison camp in the middle of the jungles of Thailand, the film revolves around a group of British POWs who are tasked by the Japanese to build a bridge as their officer tries to help lead the charge to boost morale and to smooth things over with the Japanese. It’s a film that plays into a man trying to maintain a sense of honor and code among officers during the time of war as he is also trying to deal with a Japanese colonel who isn’t familiar nor is he willing to abide by the rules. At the same time, an American prisoner manages to make an escape as he is asked by the British to aid them in a mission that relates to the bridge which he reluctantly agrees to do as he is apprehensive about returning to the place which he escaped. It all plays into the complications of war as some wondered why Lt. Col. Nicholson (Alec Guinness) is willing to help the Japanese build a bridge.
The film’s screenplay starts off with Lt. Col. Nicholson’s arrival as he has been captured where the American POW Commander Shears (William Holden) watches as he’s been in the camp for some time. Under the command of Colonel Saito (Sessue Hayakawa), the prisoners are trying to build a railway bridge on the Kwai river where things aren’t going well as Saito has a deadline to catch on as he needs Nicholson’s officers to do manual labor work but Nicholson says they can’t because of rules that prevent officers from doing manual labor. Saito doesn’t care about those rules where a secret escape attempt made by Shears would have some men killed with Shears being the only one to do so successfully. The second act is about Saito and Nicholson playing a game of wit to see who can do what where the result has Nicholson take charge on the bridge’s construction so that he can look after his soldiers and contend with their morale where he would find a way to get the bridge to work and do it right.
One aspect of the script that is unique is the form of a supporting character in a medic in Major Clipton (James Donald) who is sort of the film’s conscience as he would often watch everything that occurs as he also asks Nicholson into why the bridge needs to be built. It plays into Nicholson wanting the world to know that it was British soldiers that built the bridge though he is aware that questions into treason or collaborating with the enemy might come into play. It then leads into this third act where Shears is asked by Major Warden (Jack Hawkins) to take part in a mission to blow up the bridge as Shears’ reluctance is due to the fact that he doesn’t want to go back to the jungle as it is also a place where things are just as treacherous as the camp that he escaped. The two are joined by a young Canadian officer in Lt. Joyce (Geoffrey Horne) who takes part in the mission despite his lack of actual combat experience. The mission becomes troublesome where Shears tries to comprehend exactly what is going on as its climax involves Warden’s mission in conjunction with the bridge’s completion.
David Lean’s direction is truly grand in not just his approach to create something that feels vast but also in the way it plays into a world where two different cultures and two different ideas have to work together to build this bridge. With its 2:35:1 aspect ratio for widescreen, Lean manages to create a lot of compositions that are very striking in his approach to capture the large number of British POWs with his usage of wide and medium shots. Particularly with scenes of crowd shots as well as a key scene where Japanese soldiers are waiting for Saito to give the order to shoot Nicholson and his officers on a very hot and sunny day. It’s a chilling scene that plays into this battle of wits between Saito and Nicholson where it would continue in some intimate moments where Nicholson is forced to stay inside this small little cell known as the oven for a period of time.
The direction also has Lean use some inspiring tracking shots and other stylistic shots to play into the scenes where the bridge is built as Lean takes advantage of the locations as it is shot in Sri Lanka with a few scenes shot in Britain. Notably as Lean would use the locations as characters of the film including the river where much of the film’s action, aside from the prison camp, takes place as it is showcases what Nicholson is doing as the bridge is sort of a metaphor for what he wants to do with Saito despite being in two different sides of the war. The film’s climax where many of its key characters converge play into not just the fallacy of war but also in the sense of madness as it plays into not just Shears’ own frustrations with war but also in Major Clipton’s own understanding of things. Overall, Lean creates a very engrossing yet exhilarating film about a British officer trying to create peace by helping the Japanese in creating a bridge.
Cinematographer Jack Hildyard does brilliant work with the film‘s cinematography to capture the colorful look of the jungle in the daytime as well as some very stark and low-key lighting schemes for the scenes set at night including the camp interiors. Editor Peter Taylor does excellent work with the editing as it‘s straightforward for the most part with some stylish dissolve transitions plus rhythmic cuts for some of the film‘s action scenes. Art director Donald M. Ashton does amazing work with the design of the prison camps as well as the look and design of the bridge upon its completion as it plays a key part of the story. Sound editor Winston Ryder does terrific work with the sound to play into the tense atmosphere in the camps as well as the sense of chaos in the bridge construction scenes. The film’s music by Malcolm Arnold is fantastic for its orchestral-based score that underplays the drama as well as some military-based music that includes Colonel Bogey march.
The film’s cast includes some notable small roles from Andre Morell as a British colonel who organizes the plan to destroy the bridge, Ann Sears as a nurse Shears spends time with after his escape, Peter Williams and John Boxer as a couple of Nicholson’s officers who help design the bridge, and Geoffrey Horne as the young Canadian officer Joyce who aids Shears and Warden in the mission to blow up the bridge. James Donald is excellent as Major Clipton as an army doctor who is the film’s conscience as he copes with what Nicholson is doing while being baffled about the rules of war. Sessue Hayakawa is amazing as Colonel Saito as the Japanese prison camp leader who is trying to get the bridge made as he’s under a lot of pressure to finish it on time while maintaining some honor in his battle of wits against Nicholson.
Jack Hawkins is fantastic as Major Warden as a British officer who takes charge in the mission as he is someone with an affinity to do dangerous things as he later copes with an injury that plays into the fallacy of war. William Holden is brilliant as Commander Shears as an American POW who escapes the camp as he reluctantly takes part in the mission to blow up the bridge as he copes with the dangers of war and all of its risks. Finally, there’s Alec Guinness in a remarkable performance as Lt. Col. Nicholson as a stubborn and proud officer who tries to instill a sense of honor into his situation as he would take charge in building the bridge with the hope of bringing a sense of peace during a time of war.
The Bridge on the River Kwai is a phenomenal film from David Lean. Armed with a great cast and compelling themes on war and honor in war, it’s a film that manages to explore a lot of things as well as be engaging in the way it portrays life in prison camps. Especially as it’s a film where there are no heroes and villains but rather men caught up in the middle of a war. In the end, The Bridge of the River Kwai is a sensational film from David Lean.
David Lean Films: In Which We Serve - This Happy Breed - Blithe Spirit - Brief Encounter - Great Expectations (1946 film) - Oliver Twist (1948 film) - The Passionate Friends - Madeleine (1950 film) - The Sound Barrier - Hobson’s Choice - Summertime (1955 film) - Lawrence of Arabia - Doctor Zhivago - Ryan’s Daughter - (Lost and Found: The Story of Cook’s Anchor) - A Passage to India - (The Auteurs #74: David Lean)
© thevoid99 2015
Directed and edited by Steven Soderbergh and written by Lem Dobbs, Kafka is the story of an insurance worker who finds himself in the middle of a secret war involving two underground organizations who are wreaking havoc in 1919 Prague. Inspired by the works of Franz Kafka, the film is a mixture of a mystery thriller mixed in with elements of the bio-pic as it explores the life of Franz Kafka as he is played by Jeremy Irons. Also starring Theresa Russell, Ian Holm, Jeroen Krabbe, Joel Grey, Armin Mueller-Stahl, and Alec Guinness. Kafka is a mesmerizing yet very odd film from Steven Soderbergh.
The film is a very weird story where an insurance office drone finds himself in the middle of a conflict between two underground organizations in 1919 Prague. All of which plays into a world that Franz Kafka is in as he struggles to maintain a low profile and live his life only to be sucked in towards a group of anarchists trying to stop a secret organization following the disappearance of a co-worker of Kafka’s. Lem Dobbs’ screenplay uses a lot of references to the works of Kafka that adds a unique narrative that blurs the line between reality and fiction. Much of it plays into ideas of man going against the ideas of conformity as Kafka struggles with not bringing attention to himself despite getting a promotion and endure many expectations of being part of society. Yet, Kafka’s encounters with people being killed and all sorts of strange occurrences lead to questions about what is going and why there is this effort to control things.
Steven Soderbergh’s direction is very stylish as it serves as a homage to German Expressionism in terms of its look and feel. Much of it would feature slanted camera angles as well as some unique compositions to play into the sense of style that would also recall something that is visually-enthralling its look and setting. Shot partially on location in Prague, the film has this feel of something that feels like a world in transition where a new world order is emerging but with elements of the old world where there are still rules. The film opens with a chilling scene of a man being chased by this crazed psychopath as it would set the tone of what is to come. Much of Soderbergh’s compositions include some unique close-ups and medium shots while his approach to wide shots for some of its interior settings are entrancing to watch.
While there’s a few elements in the film that don’t work such as the bumbling assistants who work for Kafka following his promotion. It’s Soderbergh trying to inject bits of humor in a film that is quite serious though some parts of that humor involving a friend of Kafka in Mr. Bizzlebek (Jeroen Krabbe) does work as he is a very effective character. Serving as his own editor, Soderbergh does play into the Expressionist style in a few of the dissolves along with some jump-cuts to play into the drama and suspense. The film’s climax involves a brief sequence where it adds to this element of surrealism where the film is shot in color to showcase the world that Kafka has to penetrate as he sees what they’re about. Overall, Soderbergh creates a very stylish yet evocative film about a man dealing with the constraints of society.
Cinematographer Walt Lloyd does amazing work with the film‘s black-and-white cinematography with its use of lightings and shadows for many of the interior and scenes at night while the brief use of color in its climax is very potent. Production designer Gavin Bocquet, with set decorator Joanne Woollard and art director Leslie Tomkins, does fantastic work with the set pieces from the file rooms as well as the bar that Kafka goes to as well as the strange world inside the mysterious castle. Costume designer Michael Jeffrey does excellent work with the period costumes to play into that look of German Expressionism with its suits and hats for the men as well as the dresses that the women wear
Sound editor Larry Blake and sound designer Mark A. Mangini do superb work with the sound from some of the sound effects that occur in the anarchists‘ secret base to the underground lair that is the secret castle. The film’s music by Cliff Martinez is great as it features bits of electronic music with its low-key synthesizers along with some offbeat pieces with the use of pianos and instruments that play into the sense of the times.
The casting by Susie Figgis is brilliant for the ensemble that is created that includes notable small roles from David Jensen as the psychotic killer, Brian Glover as a henchman in the castle, Maria Miles as a former fiancee of Kafka, Robert Flemyng as keeper of the files, Keith Allen and Simon McBurney as the idiotic assistants of Kafka, and Ian Holm in a terrific small role as the mysterious Dr. Murnau who is seen at the film’s climax. Joel Grey is wonderful as the office supervisor Mr. Burgel who often looms over Kafka to do his work while Alec Guinness is excellent as the insurance director who often asks Kafka about his social life and lack of determination to rise up the corporate ladder.
Armin Mueller-Stahl is superb as Inspector Grubach who investigates the mysterious disappearances as he often asks Kafka about the case and what he thinks happened. Jeroen Krabbe is fantastic as Mr. Bizzlebek as this bar patron who always has some very funny theories as he is likely the only real friend that Kafka has. Theresa Russell is amazing as Gabriela as a co-worker who was the lover of the man who was killed as she is a secret member of the anarchist group as she tries to get Kafka to take part because of his non-conforming persona. Finally, there’s Jeremy Irons in a remarkable performance as Franz Kafka where he plays it straight as someone who is very reserved while dealing with this secret conflict he didn’t want to take part in as it’s a role filled with humility as well as someone who is aware of what it means to be human.
Kafka is an excellent film from Steven Soderbergh that features a fantastic performance from Jeremy Irons. While it’s a film that refuses to define itself into any genre, it is quite compelling in its visual style as well as theme of conformity and individuality. In the end, Kafka is an extraordinarily odd yet rapturous film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros-The Equilibrium - Ocean's Twelve - Bubble - The Good German - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2
© thevoid99 2014
