Boxcar Bertha

Based on the book Sister of the Road by Ben L. Reitman, Boxcar Bertha is the story of two train robbers/lovers who become fugitives when the titular character is charged with the murder of a gambler while they deal with the plight of railroad workers in the American South. Directed by Martin Scorsese and screenplay by Joyce H. Corrington and John William Corrington, the film is a low-budget crime drama produced by Roger Corman that play into the exploit of two lovers who rob trains while wanting to maintain a life without complications. Starring Barbara Hershey, David Carradine, Barry Primus, Bernie Casey, John Carradine, Harry Northup, and Victor Argo. Boxcar Bertha is an exciting and compelling film from Martin Scorsese.

The film is about a young woman who meets a union organizer as they fall in love and later rob banks with a couple of friends following the murder of a gambler. It’s a film that is a dramatic take of the real life criminal who gets involved with crime accidentally as she has a resentment of those who control the railroad and the rich who didn’t suffer as it all takes place during the Great Depression. The film’s screenplay by Joyce H. Corrington and John William Corrington is largely straightforward in its narrative and how the titular character (Barbara Hershey) was brought into crime after her brief encounter with the union organizer Big Bill Shelly (David Carradine) who helps her settle matters relating to her father while later meeting up with a gambler in Rake Brown (Barry Primus) as she accidentally kills another gambler in defending Brown. Bertha, Brown, Shelly, and a friend in Von Morton (Bernie Casey) would start a gang to rob trains and banks though they would get the unwanted attention of H. Buckram Santoris (John Carradine) who wants to stop the gang.

Martin Scorsese’s direction is largely simple in its approach to the direction while he would make some unique compositions throughout the film. Shot on location in Arkansas, the film does play into a period of time during the Great Depression in the American South where everyone is struggling as Scorsese uses a lot of wide shots to get a look at the surroundings that the characters venture into. Scorsese’s direction emphasizes more on close-ups and medium shots to get to know the characters and their situation while using some stylized moments in the compositions. Notably in some of the film’s violent moments where it has bits of style in the way characters are killed but there’s also a sense of drama into the situations that happen. Even in the third act where Santoris’ power starts to come into play where things get serious but there is also moments where Bertha endures not just loss but also uncertainty as she tries to figure out a life after crime and chaos. Overall, Scorsese creates an exhilarating and captivating film about a young woman who takes part in a series of robberies as a way to stick up for the railroad workers.

Cinematographer John Stephens does excellent work with the film’s cinematography as it is largely straightforward in terms of the visuals with its usage of natural lighting for many of the daytime exteriors with some low-key lighting for the interior/exterior scenes set at night. Editor Buzz Feitshans does nice work with the editing as it does have some stylish moments in a few jump cuts for some of the action while maintaining some rhythmic cuts for some of the drama. Sound mixer Donald F. Johnson does terrific work with the sound as it’s straightforward in capturing some of the atmosphere of the locations as well as the sounds of gunfire. The film’s music by Gib Guilbeau and Thad Maxwell is fantastic for its mixture of folk, blues, and country music to play into the period of the times as it has elements of traditional music and contemporary pieces.

The film’s superb cast include some notable small roles from Harry Northup as a gambler that Bertha and Brown encounter whom the former would kill, Victor Argo and David Osterhout as a couple of law enforcers trying to go after Bertha and her gang, and John Carradine in a wonderful performance as the lawman H. Buckram Santoris as a man who is trying to protect the financial interests of the railroad and uphold the law where he would have his own encounters with Bertha and her gang. Barry Primus is fantastic as the gambler Rake Brown as a gambler from the north who befriends Bertha as he is reluctant to take part in robberies only to see the financial benefits of the trade. Bernie Casey is excellent as Von Morton as a friend of Bertha who is loyal and cunning where he helps out Shelly in getting out of jail and take part in the robberies.

David Carradine is brilliant as Big Bill Shelly as a union organizer struggling to help the railroad workers as he endures abuse from the law prompting him to venture into crime while falling for Bertha whom he wants a good life with. Finally, there’s Barbara Hershey in an incredible performance as the titular role as a young woman who is trying to find her way following her father’s death where she finds herself becoming a criminal to support herself as well as go after those that was doing some injustice towards those trying to make a decent living.

Boxcar Bertha is a marvelous film from Martin Scorsese. Featuring a great cast, a compelling story, nice visuals, and a superb music soundtrack, it’s a film that has Scorsese exploring the world of crime but in a different setting while using the limited resources he has to stray from some of the conventions of the B-films that producer Roger Corman is known for. In the end, Boxcar Bertha is a remarkable film from Martin Scorsese.

Martin Scorsese Films: (Who’s That Knocking on My Door?) – (Street Scenes) – (Mean Streets) – Italianamerican - Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York – American Boy: A Profile of Steven Prince - (The Last Waltz) – Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas – Cape Fear (1991 film) - The Age of Innocence (1993 film) - (A Personal Journey with Martin Scorsese Through American Movies) – (Casino) – (Kundun) – (My Voyage to Italy) – Bringing Out the Dead - (The Blues-Feel Like Going Home) – Gangs of New York - (The Aviator) – No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) – (Public Speaking) - George Harrison: Living in the Material World - Hugo (2011 film) - The Wolf of Wall Street - (The Fifty Year Argument) – The Silence (2016 film) - (The Irishman (2019 film)) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2018

The Portait of a Lady

Based on the novel by Henry James, The Portrait of a Lady is the story of an American woman who travels to Europe with her inheritance to confront her destiny while meeting two American expatriates who would change her fortunes for the worse. Directed by Jane Campion and screenplay by Laura Jones, the film is an exploration of an independent woman who seeks to make something of herself only to be trapped by the world that she‘s chosen. Starring Nicole Kidman, Barbara Hershey, John Malkovich, Mary-Louise Parker, Martin Donovan, Viggo Mortensen, Christian Bale, Valentina Cervi, Richard E. Grant, Shelley Winters, Shelley Duvall, and John Gielgud. The Portrait of a Lady is an enchanting yet intoxicating film from Jane Campion.

The film is an exploration into the life of an American woman in the 1870s who craves independence and wants to explore the world as she’s been given an inheritance by her uncle. With her inheritance, Isabel Archer (Nicole Kidman) travels through Europe where she meets Madame Serena Merle (Barbara Hershey) whom she met in England some time earlier as Merle would introduce her to another American expatriate in Gilbert Osmond (John Malkovich). After rejecting several proposals from many suitors including her cousin Ralph (Martin Donovan), Isabel marries Gilbert only for the marriage to be not what it seemed as Isabel becomes concerned for the well-being of her stepdaughter Pansy (Valentina Cervi). Isabel is forced to face the destiny she’s chosen as she finds herself lost while coming to the conclusion that she’s driven away those she was close to but also couldn’t help those who really need her.

Laura Jones’ screenplay creates this very complex story as it plays into the world of Isabel Archer as the first act is about her in England as she’s approached by suitors including Lord Warburton (Richard E. Grant), Boston mill heir Casper Goodwood (Viggo Mortensen), and her cousin Ralph Touchett. They all mean well but Archer wants more as she knows that the world is changing as her friend Henrietta (Mary-Louise Parker) is already acting like a modern woman. Upon meeting Madame Merle and gaining her inheritance, Isabel is convinced that she will get the chance to live a life of great wonderment and independence where she meets Gilbert Osmond who shares her ideas about the world. Much of the first half is about Isabel’s search for herself and meeting Madame Merle and Osmond as they have plans about what to do with Isabel’s inheritance which brings a lot of suspicion from Ralph.

The film’s second half in the story is much darker where Isabel has to deal with not just the decision she made but also the people she unknowingly drove away like Ralph, Henrietta, and the suitors who still wanted her. The men would question about her happiness which Isabel chooses to dismiss them as she finds herself constrained by Gilbert’s world and what he wants as it takes a toll on her and his daughter Pansy who has fallen for a nice young man in Edward Rosier (Christian Bale) whom Gilbert dislikes. With Ralph becoming ill and Isabel realizing what she’s done, she finds herself in conflict about what to do and who to help. Even as she learns some truths about who is Pansy’s mother as well as into why Madame Merle would introduce her to Gilbert.

Jane Campion’s direction is really filled with exotic imagery and ravishing compositions in not just the way she creates the world of late 19th Century Europe but also a world that is changing where a woman like Isabel Archer seems to be part of these changes. It plays into this interesting conflict between the ideas of the Old World and New World where Campion creates a lot of scenes where it feels like the New World is emerging into the Old World and with new ideas. Even as she brings in some unique images in the way she puts the actors into a frame or how she captures a certain location like Italy and Britain where it’s starting to come in to the modern world. Even as Campion would use mirrors and glass to play into Isabel’s emotions as the world is changing where she’s oblivious to how bad things can become.

There’s also some unique visual effects sequences that Campion does that includes a montage of Archer traveling with Merle in different places of the world in surreal black-and-white images. All of which would play into the de-evolution of Archer as Campion’s presentation would become darker. Even as Campion would create slanted camera angles to play into a world that is returning to the old ways where things are becoming more complicated and constrained. Largely as the framing becomes tighter to play out the drama that is unfolding. Even as it would play into an ending where it’s not just about loss but uncertainty. Overall, Campion creates a very ethereal yet haunting film about a woman’s search for her identity in an ever-changing world.

Cinematographer Stuart Dryburgh does fantastic work with the film‘s very colorful cinematography from the use of colors for many of the film‘s first half to play out something natural in some of its exterior and interior settings to more usage of filters in a few scenes set in the winter along with some lighting schemes for the interiors including Pansy‘s cotillion party. Editor Veronika Jenet does brilliant work in the editing as she incorporates a lot of stylistic cuts from the use of dissolves and jump-cuts along with transitional fade-outs to play with its structure. Production/costume designer Janet Patterson and supervising art director Martin Childs do amazing work with the set pieces and costumes from the look of the homes the characters live in to the dresses that Isabel and other female characters wear.

Hair/makeup designer Peter King does terrific work with the hair styles that the women wear in the film along with some of facial hair that some of the men sport. Visual effects supervisor Kent Houston does nice work with some of the film‘s minimal visual effects to play up into Isabel‘s fantasies as well as her trip around the world. Sound designer Lee Smith does superb work with the sound to play into the intimacy of some of the locations and scenes as well as the parties that occur in the film. The film’s music by Wojciech Kilar is excellent for its flourishing and broad orchestral score that features sweeping string arrangements to play out the drama while its soundtrack also includes lots of classical pieces by Johann Strauss, Franz Schubert, and Johann Sebastian Bach.

The casting by Johanna Ray is incredible for the ensemble that is created as it features small yet notable appearances from Shelley Winters as Isabel’s aunt, Shelley Duvall as Gilbert’s flighty yet sympathetic sister Countess Gemini, and John Gielgud as Isabel’s uncle who would be the one to give her the inheritance. Viggo Mortensen and Richard E. Grant are terrific in their respective roles as Isabel’s suitors Caspar Goodwood and Lord Warburton where the latter is offered the chance to marry Pansy while Christian Bale is superb in a small but memorable role as Pansy’s young suitor Edward Rosier. Valentina Cervi is wonderful as Pansy whom Isabel cherishes as she’s a young woman who is confused by what she wants but to also please her father. Mary Louise-Parker is excellent as Isabel’s friend Henrietta who encourages Isabel to be independent only to realize where she ended up as she tries to help the ailing Ralph.

Martin Donovan is amazing as Isabel’s cousin Ralph who is devoted to her as he watches her be wooed by Gilbert from afar while dealing with his illness and what is happening to her. Barbara Hershey is fantastic as Madame Serena Merle as a woman who charms Isabel into confronting her destiny only to have things go too far as she realizes the damage that she caused. John Malkovich is marvelous as Gilbert Osmond as a man who marries Isabel in the hopes to become rich and powerful as he becomes controlling into ensuring what he wants and such. Finally, there’s Nicole Kidman in a tremendous performance as Isabel Archer as she goes from this independent yet ambitious woman wanting to seek new adventures in an ever-changing world only to fall prey by a couple of American expatriates who would trap her into something very dark as she tries to comprehend the decisions she’s made and who to help as Kidman brings a lot of grace and melancholia to her role.

The Portrait of a Lady is an exhilarating yet brooding film from Jane Campion that features an amazing leading performance from Nicole Kidman. Along with a great supporting cast as well as very strong themes on identity, destiny, and modernism. The film isn’t just this fascinating portrait of a woman trying to keep up and embrace the new world but also deal with the ideas of an older world that prove that some things don’t change. In the end, The Portrait of a Lady is a remarkable film from Jane Campion.

Jane Campion Films: Sweetie - An Angel at My Table - The Piano - Holy Smoke! - In the Cut - Bright Star - Top of the Lake (TV miniseries) - (Top of the Lake-China Girl) - The Power of the Dog - The Auteurs #25: Jane Campion

© thevoid99 2013

The Last Temptation of Christ

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

© thevoid99 2012

Hannah & Her Sisters

Originally Written and Posted at Epinions.com on 4/20/06 w/ Additional Edits & Revisions.

Written, directed, and starring Woody Allen, Hannah & Her Sisters deals with an actress/homemaker who deals with her own life and the relationship of her two sisters. Meanwhile, her husband is falling for one of her sisters while the other is trying to get a career going while dealing with her own sobriety from drugs. Another story involves a woman's ex-husband whose neurotic obsession with death leads him to question his own existential issues. With an all-star cast that includes Allen regulars like Mia Farrow, Dianne Wiest, Sam Waterston, Julie Kavner, Tony Roberts, Joanna Gleason, and Julia-Louis Dreyfus plus Michael Caine, Barbara Hershey, Lloyd Nolan, Maureen O’Sullivan, Max Von Sydow, John Turturro, Daniel Stern and Richard Jenkins. Hannah & Her Sisters is a funny, sweet comedy-drama from the always talented Woody Allen.

Hannah (Mia Farrow) is hosting another Thanksgiving dinner in New York City with family and friends while her husband Elliot (Michael Caine) is falling for Hannah's younger sister Lee (Barbara Hershey). Also attending is Hannah's other sister Holly (Dianne Wiest) who also brought her friend April (Carrie Fisher) where the two created appetizers for the dinner that is a hit. This gives Holly and April an idea to start a catering business though Hannah reluctantly gives Holly a loan due to her to inability to pay off loans based on Holly's past drug abuse. Lee returns home to her reclusive lover Frederick as his anti-social behavior has made him bitter as Lee ponders about Elliot's feelings towards her.

Meanwhile, Hannah's former husband Mickey (Woody Allen) is going through another of his hypochondriac behaviors following the departure of his TV show partner (Tony Roberts). Having to deal with various writers, his friend Gail (Julie Kavner) suggests having him visit a doctor about the deafness in his right ear while going to another as Mickey is convinced he's dying. Holly and April's friendship starts to fall apart due to April's sudden fascination with an architect named David (Sam Waterson) whom Holly likes as well. Lee's friendship with Elliot starts to get serious as the two begin an affair after Lee breaks up with Frederick. When Mickey learns that he's going to be fine, he suddenly endures a spiritual crisis that makes him leave his show as he tries to figure out what to do when he is to face death.

Following her falling out with April and many failures to get an acting career going, Holly decides to become a writer as the relationship with the three sisters start to become troubled. With Lee feeling guilty about her affair with Elliot and Holly questioning about Hannah's generosity, complications start to emerge when Holly's finished script leaves Hannah upset. Lee tries to figure out what to do with Elliot as well as her own individuality while Mickey goes into an existential crisis as all of the people in Hannah's life face their own dilemmas.

Inspired by the works of Chekhov, Allen definitely goes for a story where there's layers upon layers with multiple storylines that comes together on a few occasions. What is really amazing is that Allen brings enough stories and little subplots that it doesn't lose sight of its main theme. That main theme is family. While everyone has their dysfunctions and issues with each other, they still come together for one reason or another. While the role of Hannah might have been a breadwinner and is the most stable among her entire family, as the film develops. She still has problems that every other character has, even in a little subplot as she tries to settle issues with her bickering parents. It's Allen's script that is really full of surprises in not just its approach to comedy but drama as well.

While Allen's own segment as the hypochondriac trying to find answers about his own existence is the funniest bit of the film. It's the segment that balances everything else as it gives a break from the often dysfunctional storylines of the film involving Hannah, Lee, Elliot, and Holly. Yet, it's that segment that provides some of the film’s smartest moments about existential and spiritual issues. The storyline about Elliot's affair with Lee is wonderfully handled in the way it reveals this love triangle as Elliot is a bit bored with Hannah's stability while Lee has become frustrated with Frederick's anti-social, cynical view of the modern world. The development of that storyline leads to guilt where Hannah becomes a bigger player about her own role as a wife and sister. Then, there's Holly's storyline where she aims to try to be successful and find a man while she deals with her own insecurity often caused by Hannah's generosity and her own past as a drug addict.

This is one of the reason why Woody Allen is regarded as an amazing artist where its his writing that provides the crutch for all of these storylines to come together. When he's playing a director, he takes the structure of his script and breaks it down to moments where he's trying to have the audience be aware of what's going on. Using his beloved New York City as the backdrop, it couldn't be anymore perfect. There, Allen uses New York City to show the characters in their own unique personalities whether it's the punk club that Holly takes Mickey go to or the bookstore that Lee brings Elliot to. Its Allen in one of his most heartwarming and funny takes on humanity as it truly stands out as one of his best films.

Helping Allen in his vision is longtime cinematographer Carlo di Palma whose lighting in many of the film's interior scenes reveals the lovely feel and atmosphere that is New York City. The work of the late Italian cinematographer is gorgeous to see from the exterior locations he shoots to the diverse world that is New York City. Production designer Stuart Wurtzel and set decorator Carol Joffe also help capture the atmosphere and vibrancy of the city with their detailed look at the posh world of its people to the art world that Frederick lives. Longtime editor Susan E. Morse does great work with cutting many of the film's varied storylines into wonderful little segments and moments while cutting to black backgrounds to help structure Allen's script. Another part that makes Allen's films so interesting is the soundtrack that is filled with not just elements of musical cuts ranging from Bach and Mozart but jazz music featuring a performance of Bobby Short while Allen does something rare by putting a rock band in 39 Steps to convey their post-punk sound.

Finally, there's the film's large cast which include some small, early appearances from the likes of John Turturro, Julia-Louis Dreyfus, Joanna Gleason, and Richard Jenkins plus Tony Roberts in an un-credited cameo as Allen's ex-partner. Also making cameos are the scores of children that were adopted by Mia Farrow including Allen's future wife, Soon-Yi Previn. Daniel Stern makes a funny appearance as a kooky art collector while Julie Kavner does excellent work as Allen's producing partner.

Sam Waterson is wonderful as the architect, opera-loving David while Carrie Fisher is also great as Holly's flirtatious friend and business partner April. Max Von Sydow gives a fantastic performance as the anti-social Frederick whose ills against the modern world and its pop culture plays against him when Lee decides to break up with him. In his final film role, Lloyd Nolan is great as the frustrated, compulsive Evan while Mia Farrow's real-life mother Maureen O'Sullivan is also great in the role of Norma whose boozy, crazed personality brings a perfect tone as both characters stand out.

Barbara Hershey is amazing in the role of Lee, a young woman whose life with a reclusive, intelligent artist has trapped her emotionally as she finds comfort in Elliot. Hershey brings a lot of warmth and sympathy to a woman who later finds guilt and her own role in life as Hershey brings a true complexity to the character. Mia Farrow is also great as the eldest of the three sisters, Hannah. Farrow brings a lot of stability to her character until the third act when all of her generosity and supportive gestures backfires as she becomes a woman who is in need and trying to understand her role. It's one of Farrow's best performances while her co-star Dianne Wiest gives the film's best performance as Holly. Weist brings a lot of complexity as a woman whose cheerfulness exterior is balanced by her internal struggle to get by as an actress only to turn to writing. While her character has the most showy role of the female cast, she brings a lot of charm and excitement to the role as it stands as one of her best performances.

Michael Caine brings in one of his best performances as Elliot with his subtle, flirtatious behavior and charming personality. He carries his performance with ease and innocence as a man who is just smitten by his sister-in-law only to develop into a man driven by guilt and confusion. Caine brings all the right notes and reactions to his performance as he has great chemistry with Hershey and Farrow in their respective scenes. Woody Allen also gives a great performance as Mickey with his neurotic, funny take on a hypochondriac who goes a quest for spiritual and existential answers. Allen brings his comic timing and reaction to a role that only he can do best. It's truly one of Woody Allen's finest performances.

Released in early 1986, Hannah & Her Sisters was a hit as it was also hailed by fans and critics as another triumph from Woody Allen. The film went on to win three Oscars for Best Screenplay to Allen and Supporting Acting honors to Michael Caine and Dianne Wiest. While it maintains to be one of Allen's most successful features, it would only be topped three years later with 1989's Crimes & Misdemeanors. Still, Hannah & Her Sisters offers something for fans of Woody Allen while newcomers will find this to be enjoyable for its humor and realistic take on family. Thanks to a great cast and Allen's talents, Hannah & Her Sisters is a true, heartwarming film.

Woody Allen Films: What's Up, Tiger Lily? - Take the Money & Run - Bananas - Everything You Always Wanted to Know About Sex (But Were Afraid to Ask) - Sleeper - Love & Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer Night's Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Radio Days - September - Another Woman - New York Stories-Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows & Fog - Husbands & Wives - Manhattan Murder Mystery - Don't Drink the Water - Bullets Over Broadway - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet & Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra's Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)

The Auteurs #24: Woody Allen: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2011

Black Swan

Darren Aronofsky scored a major hit with 2008’s The Wrestler about an aging professional wrestler dealing with aging and not having to wrestle again in the wake of a legendary rematch that would give him a comeback. The film helped resurrect the career of its star Mickey Rourke while Aronofsky won back some acclaim following the mixed reaction towards 2006’s The Fountain. For his fifth feature film, Aronofsky enters into the world of ballet as he creates a companion piece for The Wrestler. Except this time around, it’s about a young ballerina who finally gets the top role for Swan Lake only to have her role threatened by another young ballerina and her own state of mind for the film entitled Black Swan.

Directed by Darren Aronofsky with a screenplay by Mark Heyman, Andres Heinz, and John McLaughlin that is based on Heinz’s original story. Black Swan follows a young ballerina who works for the New York City ballet company as her chance to play the lead for the production of Swan Lake is happening. While she is known to be talented and has all the elements to play the White Swan, a new ballerina emerges in the company as she has all of the elements to play the Black Swan. While dealing with her overbearing mother, a former ballerina, and a demanding ballet director. The young woman would suddenly descend into madness. Starring Natalie Portman, Mila Kunis, Barbara Hershey, Winona Ryder, Benjamin Millepied, and Vincent Cassel. Black Swan is a surreal yet eerie film from Darren Aronofsky.

Nina Sayer (Natalie Portman) is a young ballerina in her early 20s who spends her days working for the New York City ballet company with Thomas Leroy (Vincent Cassel) as its director. Though Nina still lives with her mother Erica (Barbara Hershey), a former ballerina, Nina dreams of being the lead in a ballet. Then when the news came that veteran ballerina Beth MacIntyre (Winona Ryder) is leaving the company after a falling out with Leroy. Leroy announces plans to create a new ballet for Swan Lake as he searches for the lead. With Nina having all of the elements to play the White Swan, she doesn’t have the qualities to play the Black Swan.

While Leroy chooses Nina to play the Swan Queen, Leroy tries to get the technically-proficient Nina to loosen up in order to play the Black Swan. Even as Leroy is starting to look at a new ballerina in Lily (Mila Kunis), who has all of the sensual qualities and passion that is needed for the Black Swan. With Nina still struggling to get into the role with Leroy’s creepy suggestions which include for her to masturbate. Nina notices that she has scratch marks all over herself along with cuts. Even as Erica becomes concerned almost to the point of insanity while Nina becomes uncomfortable with Lily’s presence though Lily tries to help Nina for the role of Black Swan.

With Nina becoming more overwhelmed with her attempt to go into the character along with the mysterious scratches and cuts she’s having. Lily tries to offer Nina some relaxation where the two go clubbing and partying one night where everything become surreal. When Nina is late for a rehearsal, it becomes clear that Leroy is already thinking of using Lily as an alternate which only upsets Nina. Even as her relationship with her mother deteriorates along with her own perception of reality. With the night of Swan Lake approaching and Erica becoming more concerned for Nina’s state of mind, Nina decides to do Swan Lake despite Lily’s presence and Leroy’s demands.

While the film can be perceived as a character study of sorts, it’s really a study about madness and how far creativity can destroy the mind. The screenplay dwells into the world of ballet where a director is trying to recreate Swan Lake while trying to get his lead ballerina to go all the way to play the role of the Swan Queen. Yet, it would require two key elements. Technical proficiency and sensuality. Unfortunately for Nina Sayer, she lacks the latter.

Nina starts off a young woman with a child-like personality of sorts as she lives with her mother and lives in a room filled with girlish objects including a ballerina music box and stuffed animals. While there’s no back story about her years of dancing, there's no need for back story as the audience knows that she is a young dancer that has worked for years. While she is seen as an innocent dancer that doesn’t like to go into rumors or insult other dancers. It’s also her flaw when she tries to audition for the lead role of Swan Lake through an innocent form of flirtation towards Leroy.

Once she gets the part, not everyone is happy about the news. Notably the character of Beth MacIntyre, the former ballerina lead who is on her way out as Nina tries not to insult or hurt her. Erica meanwhile, is a troubled stage mother who makes these strange, dark paintings for a living while is extremely concerned about Nina’s fingernails and cuts along with the mysterious rash on her back. This would eventually affect Nina’s state of mind as everything that she is would start to unravel through Leroy’s attempts to get her to be sensual as well as the presence of Lily.

Lily is first seen as someone who is more social, more outgoing, and is willing to engage into conversations. While she is also a great dancer, she isn’t as disciplined or as technically-proficient as Nina. Yet, she is able to win over many peers though Nina feels threatened despite Lily’s good-natured persona. Lily would try to break Nina out of her shell but it would have repercussions as the world surrounding Nina would be confusing. While there were early hints of Nina seeing a double, it would intensify along with the mystery of the rash she is having. Even as it came to the climatic Swan Lake dance where it would go into a world of surrealism.

While the screenplay explores its central character as well as the demanding world of ballet. It’s the direction of Darren Aronofsky that really brings the story to life. While with any film that is about ballet will always have a reference to the Michael Powell-Emeric Pressburger 1948 classic The Red Shoes. Aronofsky doesn’t use many of those reference except a few key shots. Notably when Nina spins around from her point of view. Yet, Aronofsky is more interested in what ballet dancers do for their body and how dedicated they are into honing their craft. Even as he has shots of Nina’s feet as it’s on the ground spinning along with the movement of the ballet. The climatic ballet scene is shot as if the audience is in the middle of the ballet as a participant.

Aronofsky’s engaging direction really goes into the mind of the protagonist as she is falling apart. Even when he knows when to use humor at the right places. Still, he is intent on trying to figure out what is happening to this young girl. Nina in many ways is like some of the other characters that Aronofsky had featured in his previous films. She has the obsessive nature of Pi’s Max Cohen and the determination of The Wrestler’s Randy “The Ram” Robinson. Yet, she will also have manic mind of Requiem for a Dream’s Sara Goldfarb. While Aronofsky said that this film is a companion piece to The Wrestler. There are similarities since both Randy and Nina use their bodies and physicality to express their art form. While Randy and the character of Beth MacIntyre are individuals who are on their way out due to aging. Nina is at a place where she’s arrived.

Aronofsky uses very deep close-ups into Nina’s body to see how the body reacts to her changes. Even with the use of visual effects where Nina goes into this literal transition into the character she plays whether its real or not. Aronofsky’s take on surrealism is a bit dream-like as the film starts off with a nice dream and then becomes a nightmare. Aronofsky even has to use his camera to play mind games with the audience about whether what Nina is seeing or feeling is real or a fantasy. He leaves all of that to interpretation while he is more interested in seeing this young woman descend into madness. The result isn’t just Aronofsky upping his game as a visual-minded director but also as a storyteller as he creates what is definitely a mesmerizing yet hypnotic film.

Aronofsky’s longtime cinematographer Matthew Libatique does an amazing job with the film’s photography that is mostly straightforward for many of the film’s exterior NYC settings and the interior scenes at the ballet rehearsal studio and at Nina’s home apartment. Even as it features a bit of grain to give it a rougher look while for the film’s more dazzling scenes like the club scene and the final ballet. The camera work is truly a marvel in the way the lighting plays to the film’s protagonist emotions as there is some natural lighting early on to more artificial, stylish images for her descent. Libatique’s work is truly the highlight of the film’s technical department.

Editor Andrew Weisblum does an excellent job with the film‘s editing as it is paced in a mostly leisurely approach for the non-ballet scenes. When it came by to do the ballet, it becomes rhythmic as it plays to the movement and music. Weislbum’s cutting also plays to the element of suspense with jump-cuts, dissolves, and other fade-to-black transitions to create an element of confusion in the mind of its protagonist. It is definitely some masterful work by Weisblum.

Production designer Therese DePrez, along with set decorator Tora Peterson and art director David Stein, creates some fantastic set pieces for the film. Notably Nina’s room that is filled with girlish objects while Erica’s room is filled with paintings. The set for the ballet of Swan Lake is definitely dazzling for its look as it would play up to the surrealistic tone of the film. Costume designers Kate Mulleavy, Laura Mulleavy, and Amy Westcott do a spectacular with the film‘s costumes from the more innocent, casual look that Nina sports with light clothing to the black clothing that Lily wears. Even as the costumes in the ballet scene and in the parties would play to the personalities that goes on throughout the film as is another of the film’s technical highlights.

Visual effects supervisor Dan Schrecker does some brilliant visual effects for some of the film‘s surreal images as the character of Nina starts to transform into a literal version of the Black Swan, whether it was real or not. Even with the way the skin appears on her to move is dazzling as it great effects done in a very minimal way. Sound designers Brian Emrich and Craig Henighan create some great sound design sequences for the film. Notably in the way it plays up to the film’s suspenseful tone as the sound helps set the mood for Nina’s emotional/mental descent.

Longtime Aronofsky music composer Clint Mansell creates a dazzling yet enchanting score to the film while providing some fantastic arrangements to Pytor Ilyich Tschaikovsky’s composition for Swan Lake. Mansell creates some lush themes for Nina’s innocence along with more broader and heavier themes for Nina’s descent. The use of Tschaikovsky’s music is more intensified for its performance as well in playing the drama of Nina’s world. The soundtrack features some hypnotic electronic music that includes pieces by the Chemical Brothers that heighten the relationship between Nina and Lily in the club scene.

The casting by Mary Vernieu is definitely amazing as the film features cameos from Aronofsky regulars Mark Margolis and Aronofsky’s parents as ballet patrons who attend a party while Stanley Herman reprises his perverse role of Uncle Hank from Requiem for a Dream. Other notable small roles include Ksenia Solo as a gossip-talking ballerina, Benjamin Millepied (who is also the film’s choreographer) as the lead ballet dancer, and as club suitors, Toby Hemingway and Sebastian Stan are very good in their small roles. Winona Ryder is great in a small but terrifying role as Beth, a veteran dancer who is on her way out as she deals with being replace to the point of becoming an extremely psychotic woman trying to bring fear to Nina.

Barbara Hershey is also really good as Erica, Nina’s mother who is obsessed with Nina wanting to get her part as way to fulfill her own missed opportunities only to realize how far Nina is descending. There’s times where Hershey can become creepy and at times, scary yet she brings some unexpected sympathy to her character who is really worried about her daughter unaware that she is probably responsible for the way she constrained her daughter. It’s a remarkable performance from the veteran Hershey as she is getting a real, meaty role. Vincent Cassel is awesome as the creepy yet demanding Thomas Leroy. While his idea of direction can range from just being helpful when Nina feels despondent while he can also be cruel. It’s a very complex role from Cassel, who really sells the idea of a man that can go too far when he is trying to get Nina to become sexually open. There’s a crudeness to this role as Cassel is superb in playing someone who is trying to create a great work only to realize that he can destroy someone’s persona.

Mila Kunis gives what is definitely her finest film role of her career as Lily. Kunis exudes all of the sexuality, the passion, the joy, and liveliness that is needed for the Black Swan. Even off the set where she is just fun, full of life, and even being sympathetic as she offers Nina friendship. Kunis also brings some light humor to the role while also reveling into the dark side when she tries to get Nina to chill out. It’s a real spectacular role from Kunis, who had been known for many as Jackie Burkhart from That 70’s Show for eight seasons and then breakout in the Judd Apatow-produced comedy Forgetting Sarah Marshall. With this performance, this is Kunis finally stepping as an actress that can really prove she can bring a lot more to the table when its needed.

Finally, there’s Natalie Portman in what is definitely a tour-de-force performance as Nina Sayer. Portman really goes into this young woman’s troubled mind where she does start out as this child-like woman. When she tries to break out of that child-like persona, Portman truly exemplify Nina’s innocence as well as her curiosity. When she is trying to get into the role of the Black Swan, it is done with a natural awkwardness as she tries to masturbate at one point while begins to show fear as she sees this dark persona. Portman really sells the fear of her character while is more at ease in playing her dark doppelganger whenever she pops up for a few seconds during the film. It’s a really strange yet mystifying performance from Natalie Portman as it is also one of her most defining roles of her career.

Black Swan is an eerie, hypnotic, and exhilarating film from Darren Aronofsky that features top-notch performance from Natalie Portman and Mila Kunis. While it may not have the hyperactive visuals of Requiem for a Dream nor the grit of The Wrestler. It is a film that is Aronofsky stepping up his game as a director who can truly warp the minds of his audience. Fans of Natalie Portman will no doubt rank her performance very high while the film also gives Mila Kunis a real breakout performance. In the end, Black Swan is a haunting yet dazzling film from Darren Aronofsky.

Darren Aronofsky Films: Pi - Requiem for a Dream - The Fountain - The Wrestler - Noah - mother!

Related Reviews: The Red Shoes - The Auteurs #2: Darren Aronofsky

© thevoid99 2010