Saving Private Ryan

Directed by Steven Spielberg and written by Robert Rodat, Saving Private Ryan is the story of an Army captain and his squad who trek through World War II-era France to find a lost paratrooper as he is the last-surviving brother of a group of servicemen. The film is a World War II story where a man and his team trek through treacherous battlefields and events to get a young man back home during a very tense moment during the war. Starring Tom Hanks, Edward Burns, Tom Sizemore, Vin Diesel, Jeremy Davies, Giovanni Ribisi, Barry Pepper, Adam Goldberg, and Matt Damon as Private James Ryan. Saving Private Ryan is a thrilling yet visceral film from Steven Spielberg.

The film is a simple story set in World War II in France in the aftermath of D-Day where an Army captain is assigned to retrieve a young private whose brothers had already been killed as he is to return home. Joined by his squad, Captain John Miller (Tom Hanks) treks through war-torn France to find Private James Ryan as they travel by foot. During this treacherous journey, the men endure many chilling events as well as false discoveries where they would eventually find Private Ryan who is bewildered into why he has to go home and not everyone else. Robert Rodat’s screenplay definitely plays into the scary themes of war and the sacrifices men make as Captain Miller and his men are just normal men that also want to go home but know they have a duty to their country. Even as not everyone is on board to sacrifice their lives to bring one man home as does Captain Miller but knows he has a duty to get Private Ryan home.

The film’s screenplay doesn’t start off with the actual story but opens with a present-day scene of an old man (Harrison Young) in modern-day France as he looks into the Normandy American Cemetery Memorial as it would then shift to the actual battle that Captain Miller and his squad were fighting in. The main story comes in when Captain Miller is asked by his superior in Lt. Col. Anderson (Dennis Farina) to retrieve Pvt. Ryan after three of his older brothers had been killed in different parts of the war as the orders are from General George C. Marshall (Harve Presnell). Though it’s a big deal, Captain Miller takes the mission with his small squad as it would include a newcomer in Corporal Upham (Jeremy Davies) who is an accomplished interpreter but lacks combat experience as he is treated with some disdain by the squad he joins in because of his inexperience. Still, they all have to work together as they would encounter some horrible moments in battle as they would fight Germans through dark parts of France where not everyone is able to cope with.

Steven Spielberg’s direction is definitely intense in terms of his depiction of the battles and war scenes. Though it does start off in a somber manner, it then shifts into what is truly one of the most visceral sequences ever that is the battle at Omaha Beach in Normandy where Captain Miller and various soldiers go into battle. It’s 23 minutes that is definitely uneasy to watch as it is war at its most horrific as Spielberg definitely makes no qualms into how gruesome it is in terms of the impact of its violence. One of the aspects of the film that is interesting is how he is able to shift tones into one sequence into another yet maintain a balance as he does shoot many scenes in very different ways. The scenes of war and engagement are shot with hand-held cameras and frenetic cuts to play into its sense of terror and uncertainty. Spielberg’s usage of close-ups and wide shots into that sequence and other moments of battles with some slanted camera angles definitely add something that feels real where it does imply that war is indeed hell. While much of the film is shot partially in Normandy, much of the battle scenes including the Omaha Beach sequence were shot in Ireland yet Spielberg does manage to make it feel like it’s the actual battle.

While it is a war film, Spielberg does balance that aspect of war’s horror with elements of sentimentality as it plays to what is at stake in Captain Miller’s mission. Notably as Spielberg isn’t afraid to create something intimate whether it’s scenes set in the U.S. involving Private Ryan and his family to the moments where Captain Miller and his squad are walking through France. Spielberg’s approach to close-ups, medium shots, and wide shots definitely add to this feeling that it’s a film about brothers but men who are willing to put their lives for one another. Even as that bond becomes intense in its third act where the men eventually find Private Ryan who is also trying to do his own duty in this band of brothers as he and Captain Miller would have to work together to fight against the German in a climatic battle. Overall, Spielberg creates a very exhilarating yet rapturous film about war and a man trying to fight for his life to bring a young man back home.

Cinematographer Janusz Kaminski does incredible work with the film‘s cinematography as Kaminski brings a desaturated look to its colors from its very harrowing Omaha Beach sequence to some striking lighting for some nighttime interior scenes where the men rest during their journey to find Private Ryan. Editor Michael Kahn does phenomenal work with the film‘s editing with its frenetic approach to cutting for some of the battle scenes including the Omaha sequence as well as some more methodical and straightforward cuts for the dramatic moments including a montage which plays into the decision to bring Private Ryan home. Production designer Thomas E. Sanders, with set decorator Lisa Dean and supervising art director Daniel Dorrance, does brilliant work with the look of destroyed buildings in France as well as the battle trenches for the Omaha Beach sequence. Costume designer Joanna Johnston does excellent work with the costumes from the design of the uniforms as well as the officer uniforms for the scenes in the U.S.

Makeup work by Lois Burwell, Conor O’Sullivan, and Daniel C. Striepeke do amazing work with the look of war in terms of its chaos where soldiers would lose limbs or have major wounds to play into its horror. Visual effects supervisors Stefen Fangmeier and Roger Guyett do fantastic work with some of the film‘s minimal visual effects in terms of the battle sequences including the very gruesome look of the Omaha Beach sequence. Sound designer Gary Rydstrom and sound editor Richard Hymns do spectacular work with the film‘s sound to create that horrific atmosphere of war from the sound of gunfire, cannons, and grenades to play into its chaos while going for more low-key sound effects in the non-battle scenes. The film’s music by John Williams is superb for its triumphant yet melancholic score as it features some lush string arrangements as well as drum cadences to play into the sense of war and duty as it’s one of his finest scores.

The casting by Denise Chamain is wonderful as it features notable small roles from Amanda Boxer as Pvt. Ryan’s mother, Dale Dye and Bryan Cranston as two officers from the war department, Harve Presnell as General George C. Marshall, Joerg Stadler as a German soldier the men would capture whom Cpl. Upham would converse with, Leland Orser as a glider pilot Miller meets during his journey, and Nathan Fillion as a young soldier who also has the same surname in Ryan. Other noteworthy small roles include Dennis Farina as Captain Miller’s superior in Lt. Col. Anderson and Ted Danson as a captain whom Captain Miller meets during a battle as two men who understands the severity of what Captain Miller has to endure, Max Martini is terrific as a corporal in Ramelle that Pvt. Ryan fights with while Paul Giamatti in a funny performance as a staff sergeant who also fights in a battle as he complains about his feet. Harrison Young is excellent as the old man in the beginning of the film and Kathleen Byron is radiant as that old man’s wife.

Giovanni Ribisi is fantastic as the medic Wade who is trying to make sure all of his band of brothers stay alive as he has a great scene involving a mother he meets in a church. Vin Diesel is superb as Pvt. FC Carpazo as an Italian-American rifleman who looks tough and is quite funny but also display some sensitivity as he is someone that is loyal to his squad. Adam Goldberg is amazing as Jewish rifleman Private Mellish who takes Corporal Upham under his wing to show him what to do in battle as he also has some very big reasons to keep on fighting. Barry Pepper is brilliant as the sharpshooter Private Jackson who is a man of faith as he always prays before he shoots as he’s a skilled marksman that does whatever it takes to protect his band of brothers. Edward Burns is great as the cynical Pvt FC Reiben as he is a BAR gunner that isn’t happy about taking on the mission as he definitely gets the ire of Captain Miller yet does have some valid reasons into why they shouldn’t do the mission.

Tom Sizemore is incredible as Sergeant Horvath as Captain Miller’s second-in-command as someone who had been through all sorts of battle with a massive collection of dirt as he is seen by the squad as the older brother. Jeremy Davies is phenomenal as Cpl. Upham as an interpreter/cartographer who may outrank most of the squad but his inexperience in combat showcases someone who is scared of fighting as he copes with the horrors of being in the battlefield as it’s a really chilling performance of someone who displays the sense of fear in war. Matt Damon is marvelous as Private James Ryan as the young man Captain Miller and his squad had to retrieve as Damon displays some charm as well as a stubbornness as someone that wants to keep on fighting and do his duty as a soldier. Finally, there’s Tom Hanks in an outstanding performance as Captain Miller as this man who is tasked to bring a young private home as he copes with the severity of his mission and wonders if he will get to go home. Hanks also displays a sense of leadership in his role where he manages to be the big guy but also one that carries respect and cares for those in his squad as it’s one of his most iconic performances.

Saving Private Ryan is a magnificent film from Steven Spielberg. Armed with a great ensemble cast as well as some amazing technical achievements, the film is undoubtedly one of the finest war films ever created in terms of displaying its sense of duty and the fear of being in a war. It’s also a film that displays the concept of brotherhood as soldiers do whatever to fight for each other in a war. In the end, Saving Private Ryan is a triumphantly powerful and riveting film from Steven Spielberg.

Steven Spielberg Films: (Duel (1971 film)) - (The Sugarland Express) - (Jaws) - (Close Encounters of the Third Kind) - (1941) - (Raiders of the Lost Ark) - (E.T. the Extraterrestrial) - (Twilight Zone: the Movie-Kick the Can) - (Indiana Jones and the Temple of Doom) - (The Color Purple) - (Empire of the Sun) - (Always) - (Indiana Jones and the Last Crusade) - (Hook) - (Jurassic Park) - Schindler’s List - (The Lost World: Jurassic Park) - (Amistad) - (A.I. Artificial Intelligence) - (Minority Report) - Catch Me If You Can - (The Terminal) - (War of the Worlds (2005 film)) - (Munich) - (Indiana Jones and the Kingdom of the Crystal Skull) - (The Adventures of Tintin: The Secret of the Unicorn) - (War Horse) - (Lincoln) - (Bridge of Spies) - (The BFG)

© thevoid99 2014

Flags of Our Fathers

Based on the book by James Bradley and Ron Powers, Flags of Our Fathers is the story of the three surviving servicemen who raised the flag during the battle of Iwo Jima as they deal with the aftermath of war as well as being called heroes. Directed by Clint Eastwood and screenplay by Paul Haggis and William Broyles Jr., the film is part of a double-feature that both concern the battle of Iwo Jima as this film focuses on the American side as three men deal with the war and its aftermath. Starring Ryan Phillippe, Jesse Bradford, Adam Beach, Paul Walker, Jamie Bell, Barry Pepper, John Benjamin Hickey, Joseph Cross, John Slattery, Neal McDonough, Melanie Lynskey, Thomas McCarthy, and Robert Patrick. Flags of Our Fathers is a harrowing yet gripping war-drama from Clint Eastwood.

The film is about the iconic image of six men raising the American flag on the Japanese island of Iwo Jima as it’s told from the perspective of a former Navy serviceman who thinks about the battle and its aftermath where he and his surviving Marine fighters went on tour to help sell war bonds. It’s a film that moves back-and-forth from the battle of Iwo Jima to what John “Doc” Bradley (Ryan Phillippe) would encounter during his tour of the U.S. selling war bonds with surviving Marines in Rene Gagnon (Jesse Bradford) and Ira Hayes (Adam Beach). Throughout the course of the film, Bradley recalls memories of the battle of Iwo Jima where he lost a lot of friends while trying to save those as the Navy doctor. At the same time, he thinks about the tour he is in with Gagnon and Hayes as the latter descends into grief and alcoholism while controversy arises over who were the other three that raised the flag.

The film’s screenplay doesn’t aim for a conventional narrative as it’s partially-nonlinear in order for the older Bradley (George Grizzard) to reflect as his son James (Thomas McCarthy) would look into the stories about his father and why his dad had never told him about the war. Yet, the young Bradley would be the most reserved person who goes on tour as he just maintains a low profile while Gagnon and Hayes would both diverge into different paths as the former hopes the tour would give him opportunities after the war. Still, Bradley and Hayes are haunted by the battle in Iwo Jima as they reflect on their encounter and how their friends were killed. The film’s second act has a parallel storyline in which the survivors go on tour while James Bradley goes on his own journey to find out what happened in Iwo Jima as well as stories about the men who raised that flag on Mount Suribachi.

The script doesn’t just explore the world of war bonds as well as men’s struggle with the aftermath of war. It also plays into the mystery of that iconic image where one soldier’s name is mistaken as it creates some confusion until Hayes and Bradley would clear it up as it would make things more uncomfortable. Upon the script’s third act where Hayes’ descent becomes more evident as well as the growing discomfort among himself and Bradley in being called heroes. There is also the fates that plays into the three survivors as well as what James Bradley would discover as well as why his father had been very silent for so many years.

Clint Eastwood’s direction is quite versatile considering what he wanted to do where it is a war film in respect but it’s also a drama where he does maintain a balance with the different tones and multiple stories in the narrative. There is a sense of brutality that emerges in the battle scenes where Eastwood uses hand-held cameras and steadicams to capture its intensity and terror. While Eastwood isn’t trying to say anything new that’s been seen or heard before, he does however maintain that idea about war and its after-effects where many who fought in battle refuse to call themselves heroes. For the scenes where Bradley, Gagnon, and Hayes go on the road to sell war bonds, there is an intimacy in the direction but also an understated melancholia that is prevalent.

There is an elegance to the way Eastwood creates some of the moments of the tour as it’s quite lavish but also unsettling considering what the three survivors have to endure as they’re being pushed into the public spotlight. Eastwood wouldn’t go for close-ups as he would favor medium shots and wide shots to capture the period of the times as well as putting his actors into a frame to see how they react to certain situations. Particularly as Eastwood would convey that intimacy for James Bradley’s story as it would piece everything together as well as showcase the sacrifice Bradley’s father made for his country and for the people who would never have to fight a war. Overall, Eastwood crafts a very poignant yet powerful film about war and their reaction to being called heroes.

Cinematographer Tom Stern does excellent work with the film’s stylish cinematography with his tinted, blue-green look for some of moments in the tour while maintaining a gritty look for its battle scenes as it’s shot on hand-held cameras while taking great stock into the dark look of the land. Editor Joel Cox does brilliant work with the editing to his seamless approach to transitions and piece together the different narratives while going for unique rhythms towards the battle scenes in the film. Production designer Henry Bumstead, along with art directors Adrian Gorton and Jack G. Taylor Jr., does amazing work with the look of some of the buildings and such for the tour as well as the tents and camps in Iwo Jima.

Costume designer Deborah Hooper does nice work with the costumes with a lot of the mid-1940s uniforms and clothes many of the characters wear. Visual effects supervisor Michael Owens does terrific work with the visual effects such as some parts of the battle scenes along with some set dressing to create some of the buildings and such in the 1940s. Sound editor Bud Asman, along with sound designers Charles Maynes and Steve Ticknor, does superb work with the sound from the way it plays into the terror of war as well as the intimate atmosphere that goes on during the war bonds tour. Clint Eastwood’s music score is wonderful for its somber pieces to play into the drama while going for more bombast and ominous orchestral arrangements to play into the terror of war while the music soundtrack includes songs from the 1940s.

The casting by Phyllis Huffman is incredible for the ensemble that is created as it features some notable small roles from Judith Ivey as Harlon Block’s mother, Ann Dowd as Mike Strank’s mother, Beth Grant as Gagnon’s mother, Melanie Lynskey as Gagnon’s fiancee Pauline, Neal McDonough as Captain Severance, Robert Patrick as Col. Chandler Johnson who leads the battle, Ned Eisenberg as the photographer Joseph Rosenthal who would take the iconic picture, George Grizzard as the old Doc Bradley, John Slattery as the slimy and greedy war bonds publicist Bud Gerber, Chris Bauer as a war bonds commandant, and John Benjamin Hickey as the Marines publicist Sgt. Keyes who understands the grief and torment that Hayes is going through. Other noteworthy small roles include Benjamin Walker as the humorous Harlon Block, Joseph Cross as the naïve Franklin Sousley, and Paul Walker as the tough and outgoing Hank Hansen as the other three who raised the flag. Barry Pepper is terrific as Sgt. Mike Strank whom Ira idolized as he was considered to be the older brother of the platoon.

Jamie Bell is excellent as Iggy Ignatowski who was Doc Bradley’s fellow medical officer who deals with the chaos of war. Thomas McCarthy is superb as Doc’s son James who would piece the stories that his father had been avoiding to tell him as he goes on his own journey to find out about his dad. Jesse Bradford is brilliant as Rene Gagnon as this young Marine who sees the war bonds tour as a chance to get some big money as Bradford has the look and humility to play a man caught up in the world of celebrity. Adam Beach is fantastic as Ira Hayes as a Native American Marine who is ravaged and grief-stricken by war as he descends into alcoholism to cope with his newfound attention. Finally, there’s Ryan Phillippe as Doc Bradley as this Navy medic who saw the war and all of its horrors while trying to maintain a sense of composure as he deals with the war bonds tour as it’s a very astonishing performance as Phillippe brings a great restraint to his role.

Flags of Our Fathers is a remarkable film from Clint Eastwood. Armed with a great cast, a powerful story, and amazing technical work. It’s definitely a war film that plays into the idea of heroism as well as the horrors of war in its aftermath. It’s also a film that pays tribute to the men who fought in World War II in Iwo Jima as it is a fitting companion piece to Eastwood’s other Iwo Jima film in Letters from Iwo Jima. In the end, Flags of Our Fathers is a phenomenal film from Clint Eastwood.

Clint Eastwood Films: (Play Misty for Me) - High Plains Drifter - (Breezy) - (The Eiger Sanction) - (The Outlaw Josey Wales) - (The Gauntlet) - (Bronco Billy) - (Firefox) - (Honkytonk Man) - Sudden Impact - Pale Rider - (Heartbreak Ridge) - (Bird) - (White Hunter Black Heart) - (The Rookie) - Unforgiven - (A Perfect World) - (The Bridges of Madison County) - (Absolute Power) - (Midnight in the Garden of Good and Evil) - (True Crime) - (Space Cowboys) - (Blood Work) - (Mystic River) - Million Dollar Baby - Letters from Iwo Jima - Changeling - (Gran Torino) - (Invictus) - (Hereafter) - (J. Edgar) - (Jersey Boys) - American Sniper - (Sully) - (The 15:17 to Paris) - (The Mule)

© thevoid99 2014

The Three Burials of Melquiades Estrada

Originally Written and Posted at Epinions.com on 5/15/08 w/ Additional Edits & Revisions.

Directed and starring Tommy Lee Jones, The Three Burials of Melquiades Estrada tells the story of an aging cowboy who discovers the body of his dead immigrant friend as he captures his killer and take him on a long, horseback journey from Texas to Mexico to bury the body. Written by Guillermo Arriaga, the writer of films like Amores Perros, 21 Grams, and Babel for director Alejandro Gonzalez Inarritu. The film is a part western, part-journey that is also inspired by the story of Don Quixote. Also starring Barry Pepper, Julio Cedello, Dwight Yoakam, January Jones, Melissa Leo, Vanessa Bauche, Cecilia Suarez, and Levon Helm. The Three Burials of Melquiades Estrada is an enchanting yet haunting film from Tommy Lee Jones and company.

Herding goats near the Texas-Mexico border is a man named Melquiades Estrada (Julio Cedello) where he shoots at a coyote as the two gunshots are heard by a new border patrolman named Mike Norton (Barry Pepper) who shoots Estrada to death and later buries him. After Estrada's body is found by patrolmen, local sheriff Belmont (Dwight Yoakam) calls Pete Perkins (Tommy Lee Jones) to reveal that Estrada is found dead as Perkins asks Belmont who killed Estradas as he would recall the times he met Estrada where they became friends. Particularly when they out with a couple of women including Pete's married girlfriend Rachel (Melissa Leo) who is also having an affair with Belmont. Meanwhile, Mike Norton is dealing with his troubled marriage to Lou Ann (January Jones) who feels bored by her new surroundings despite finding a friend in Rachel where she went on a double-date with Pete and Melquiades some time ago. Mike's new job as a border patrolman has become troubled due his violent attitude towards Mexican where he becomes distant following Estrada's death. 

After Belmont buries Estrada at another place, Rachel reveals to Pete that Mike Norton is the one who killed Estrada. When Belmont refuses Pete's request to arrest Norton due to issues with the border patrol, Pete decides to take matters into his own hands by breaking into the Nortons' home trailer where he ties up Lou Ann and kidnaps Mike. Forcing Mike to dig Estrada's body, Pete decides to make a vow to bury his friend at his birth home of Jiminez, Mexico as he also takes Mike on a treacherous journey on horseback as an act of revenge. While Belmont decides to go after Pete, pete is at the other side of the mountains forcing Belmont to let the border patrol and its Captain Gomez (Mel Rodriguez) to handle things but they're unable to capture Pete and Mike. Back in Texas, Lou Ann makes a decision about her marriage as she reveals to Rachel what she will do. With the journey to Mexico where Pete and Mike later encounter a blind man (Levon Helm), Mike tries to escape where he gets bitten by a rattlesnake as he's later saved by a group of U.S. bound Mexicans led by Lucio (Ignacio Guadalupe) to a small town where Pete also arrives at the town. 

At the town, Mike is treated by a woman named Mariana (Vanessa Bauche) whose nose Mike had broken weeks ago while Pete makes a call to Rachel to come to Mexico and get married. Melancholia eventually seeps into both Pete and Mike as they continue towards their journey to Jiminez as many locals claim the place doesn't exist. Finally meeting a woman (Cecilia Suarez) Pete thinks is Melquiades' wife, Pete wonders if everything his friend had said is true or not as he and Mike try to find the place called Jiminez.

The film is essentially about a man vowing to keep a promise to a friend of his while seeking justice and honor in his death. The character of Pete Perkins is someone who is seeking companionship in his lonely life whether it's through a married woman like Rachel or his friend Melquiades Estrada. When Melquiades is taken away, he tries to seek justice by capturing a man as ignorant as Mike Norton. When Norton becomes a prisoner, he is being punished not just physically but also emotionally and mentally as he goes on his own personal journey about himself.

Director Tommy Lee Jones and writer Guillermo Arriaga create a unique structure to the film to the film. Especially with Arriaga's unique narrative style as he separates the film into four parts. The first half is told through flashbacks and present time back and forth about the first two burials of Melquiades Estrada and Perkins seeking justice. The second half of the film involves the journey and the people back in Texas that concludes with the third and final burial of Melquiades Estrada. The film also involves a melancholic tone as Perkins tries to deal with his own alienation following Estrada's death as he tries to take care of his body as its decaying while being eaten by ants and such. The theme of alienation is very prevalent not just in Perkins but also the supporting characters as they all deal with boredom in this little Texan town with Lou Ann couldn't cope with living in small town Texas despite her friendship with Rachel.

Jones' direction works to convey the tone of fantasy and reality with that ode to Man of La Mancha where Jones' character is Don Quixote and Mike Norton is Sancho Panza. The location in Texas is truly inspiring as Jones uses it to great heights from its mountains to its beautiful scenery of water and desert truly gives the film a worldly feel. Jones' approach to the ending might seem baffling to some audience but again, it's him delving into a kind of realism mixed in with fantasy relating to Perkins. Jones use of compositions, scenery, and themes to convey the film is truly magnificent as it shows that he has a great future in being a director.

Cinematographer Chris Menges does some amazing work in the use of exteriors from the skylines to the dark, moody nighttime scenes to convey the film's melancholic mood. The interiors are also wonderful from the blue-green look of the diner Rachel works at to the Mexican bar mixed in with red lights and blue that Perkins is in to call Rachel. Menges' cinematography is astonishing as is his shots of the Texan mountains and hills. Editor Roberto Silvi does an excellent job with the film's present-day/flashback cutting to give the film a nice, unique pacing that works to convey the film's first half while the second half is more straightforward and intense. Production designer Merideth Boswell and art director Jeff Knipp do an amazing job in creating the look of the homes and places that Perkins and Norton go into, notably a cantina that is filled with wonderful lights and such.

Costume designer Kathy Kiatta does a fantastic job in the look of the costumes from the men's clothing filled with belts, cowboy boots, and cowboy hats to the dresses of the women as well as casual gear that is filled with wonderful colors. Sound recordist Loic Gourbe and mixer Mark Weingarten do a wonderful job in capturing the atmosphere of each location shot as well as the sounds of gunshots and animals in the desert. The film's music by composer Marco Beltrami is amazing in its understated tone with the use of acoustic instruments that has an intensity in the guitars to convey a feel of the western. Beltrami's score also does well in the suspense and melancholia as it's another highlight of the film. The soundtrack mostly consists of country classics by Merle Haggard, Hank Williams Jr., Freddy Fender, Roger Miller, and Dwight Yoakam as well as some Mexican, ranchero music.

The film's cast assembled by Jeanne McCarthy is wonderfully superb with small performances from screenwriter Guillermo Arriaga as a cowboy whom Perkins and Norton run into, Rene Campero as a local Don who Perkins talks to if he knew Melquiades, Celia Suarez as a woman who Perkins thinks is Melquiades' wife, and Vanessa Bauche as Mariana, a woman whom Mike had broken her nose during an immigration chase who would later return the favor. Ignacio Guadalupe is good as Lucio, a Mexican who accompanies Perkins and Norton to town while befriending the old cowboy. Mel Rodriguez is also good as border patrol captain Gomez who tries to control Mike while doing his job to try and capture Perkins. Legendary drummer for the Band, Levon Helm is amazing as a blind man who takes Perkins and Norton for dinner and company as he asks them a favor that is morally wrong that neither are wanting to do.

Melissa Leo is excellent as Rachel, a married woman who has numerous affairs with both sheriff Belmont and Perkins as she tries to keep the young Lou Ann company while being confused in her affairs while January Jones is pretty good as the neglected and lost Lou Ann. Julio Cedello is great in his small role as Melquiades Estrada who is just a simple man that becomes the unwittingly victim of his own death while his body is being carried around in a treacherous journey.

Country singer Dwight Yoakam is excellent as the cantankerous Sheriff Belmont who has a real dislike towards Perkins while trying to maintain his role as sheriff only to find comfort in Rachel. Barry Pepper is brilliant in his role as Mike Norton, an angry, naive, ignorant man who has committed murder only to be dragged and tortured physically and emotionally into a journey as he tries to seek redemption and understanding. Pepper's performance is a real highlight as he endures many physical and mental challenges for his character while being a great foil for Jones.

Then there's Tommy Lee Jones in one of his finest performances yet. In his role as a laconic, melancholic rancher is just amazing to watch as Jones' understated, minimalist performance is shown a wide range of emotion and humor as he plays a man trying to make a promise. Jones also brings a wonderful presence to his character as if he is Don Quixote that makes his performance more worldly and grand as it's a great character for the actor to play.

The Three Burials of Melquiades Estrada is a truly superb film from Tommy Lee Jones and writer Guillermo Arriaga with a great cast led by Jones and Barry Pepper. With a wonderful supporting cast that includes Melissa Leo, Dwight Yoakam, and the late Levon Helm, it's a very unique and exotic film that plays into the world of the western and its theme of redemption. Fans of Jones' acting will no doubt consider this one of his finest work as well as be surprised by what he's able to do as a filmmaker. So in the end, for anyone that wants a mesmerizing western mixed in with fantasy, The Three Burials of Melquiades Estrada is the film to see.

(C) thevoid99 2012

25th Hour

Originally Written and Posted at Epinions.com on 2/23/04 w/ Additional Edits.

Directed by Spike Lee and written by David Benioff based on his book, 25th Hour tells the story of a man spending the last 25 hours of his life before going to prison.  Set in the post-9/11 world of New York City, the film follows the man with his friends, his girlfriend, and father while wondering where did it all go wrong as he is about to go to prison.  The film also marks a departure of sorts as Lee is directing a cast mostly filled with white actors as opposed to his usual African-American actors that he's worked with for a large portion of his career.  With a cast led by Edward Norton along with Rosario Dawson, Barry Pepper, Philip Seymour Hoffman, Anna Paquin, Tony Siragusa, and Brian Cox. 25th Hour is one of Spike Lee's enriching films to date.

The film begins when a young drug dealer named Montgomery "Monty" Brogan (Edward Norton) and his Ukranian accomplice Kostya (Tony Siragusa) find a battered dog in a highway in New York City as the kidnap him and Monty makes him his dog that he named Doyle. Years later, Monty is now facing a seven-year prison sentence after being busted by feds. On his final day of freedom, Monty decides to go some people for one final day. He decides to meet the first of his two childhood buddies, Jacob Elinsky (Philip Seymour Hoffman) who is now an English teacher in a NYC school. Monty visits him during a class session one day just to tell him about tonight's final romp as he later calls his other buddy, Frank Slaughtery (Barry Pepper) who is a commodities broker. Frank gets a call about the night as he does his usual swagger of making deals and slacking off. Jacob meanwhile, is having problems as one of his students named Mary D'Annunzio (Anna Paquin) wants to talk to him about a grade she got over one of her papers.

With the day looming, Monty goes home to his apartment where he meets with his Puerto Rican girlfriend Naturelle (Rosario Dawson) as he suspects her of being the one who ratted him out to the feds. Naturelle notices the quiet tone Monty has taken to her as he reflects on the day he got busted and how the feds told him it was her that ratted him out. With the day going by after having a meeting with Kostya about a final meeting with his uncle Nikolai (Levani Outchaneichvili), Monty reflects on what has happened to him. He goes back to thinking of his days dealing, the day he first met Naturelle when she was just 18 and still in school. He later has a final dinner with his father James (Brian Cox) as they talk about the last day. Monty goes to the bathroom where he sees himself insulting everything including himself. Monty goes back as he and his father talk about what went wrong with them as James felt, this was going to be the last time he would ever see his son.

Jacob meanwhile goes to Franks's apartment, which is nearby the area of what once was the World Trade Center. The two look at ground zero as they reflect on what has happened to Monty. Jacob insists he'll see him after he's out of jail but Frank meanwhile wants to but felt that Monty put himself into all of this and couldn't bring himself to give any sympathy. Later in the night, the two discuss about sex and how Frank is pretty good at flirting with women while the insecure Jacob admits to having troubles. They later see Monty and Naturelle as she joins Jacob and Frank for a drink knowing that they'll never see Monty again. They all decide to go to the club where Monty is supposed to meet Nikolai.

They go to the club where trying to get in was Mary as she sees Jacob and he's in shock that she's out on a school night. Monty decides that she can go in as she joins the gang for the party. Naturelle and Mary dance the night away to Grandmaster Flash & the Furious Five's classic White Lines as Monty decides to give Doyle to Jacob since Doyle always liked him. Monty also has a meeting with Frank as Monty wonders what will happen to him after he's in jail. He feels all those years of dealing cost him not just his freedom but a chance at a future as Frank is trying to figure out how to help him. Mary meanwhile tries to seduce Jacob as they engage in a kiss while Frank and Naturelle have a talk where Frank finally lets out all of his frustrations on her since he felt she was the one who ratted him out.

With the night looming, Monty sees Nikolai and Kostya as Monty is now officially out of Nikolai's business as he learns the truth about the bust. For Monty, it was a strange night as he feels more down in the dumps as he ponders all that is left for any sense of hope.

While 25th Hour isn't up to par with classics like Do the Right Thing or Malcolm X, it is still one of Spike Lee's finer efforts. Being a master of drama Lee brings in a structure of emotional, cerebral moments for the film's central protagonist. Using David Benioff's script as a guideline, Lee definitely uses the elements of humanist drama to portray the complexity of the characters while displaying its flaws, notably the backdrop of post 9/11 NYC that still shows its prejudices and despair while showing the vibrant American spirit that is prevalent throughout. For Spike Lee, it's another endearing tribute to New York City while showing the spirit of the city's residents and the characters in the film.

Capturing a colorful, grainy look to New York City wonderfully is cinematographer Rodrigo Prieto, who definitely gives a dark, classical look to the film, especially showing only blue colors in the dance club scenes and the dark, wooden tone for the bar and outer club scenes. Prieto's work is truly one of the film's technical highlights thanks to eerie cinematography.  Another amazing element to the film is the score by longtime Lee contributor Terence Blanchard, who brings in a haunting, grandiose score with a sprawling orchestra arrangement and an ominous Arabian chant in the background while using the music of Grandmaster Flash and Bruce Springsteen for the film's emotional and fun moments.

With many of Lee's past films, there's always a great cast and here, it's no exception. Edward Norton is excellent as the troubled Monty by showing a sense of intelligence and sympathy of a man gone wrong and seeking any sort of redemption. Since breaking through with his Oscar-nominated performance in Primal Fear, Norton has been one of those actors who can instill a sense of compassion, fear, and intelligence and as Monty Brogan, he brings in a stellar performance. Topping Norton in performance is Barry Pepper as Frank by bringing in a swagger and cynicism that is relevant but also showing signs of sympathy and pain, especially in the film's final moments. Philip Seymour Hoffman is always great as the often-insecure characters and in 25th Hour, he still pulls off another amazing performance by displaying elements of self-loathing as well as compassion as he insists, he will see Monty again.

Rosario Dawson delivers her best performance to date as Naturelle by not just bringing an element of classical sexiness but a display of street smarts and intelligence to her character. She does more than just play Norton's girlfriend by adding her own sense of individuality, especially in a scene with Pepper as the two start a conflict with each other. While Anna Paquin does a good job as a Lolita-like role to Hoffman's character, she still at times has trouble delivering a NYC accent, notably in the club scenes. While this role is miles away from her Oscar-winning breakthrough in The Piano where she looked great in a sweating glow, she still needs to perfect her American accent while try to find more ways to break away from ingenue type roles as it was recently perfected by fellow young-acting peer Scarlett Johansson.

While the roles of DEA agents by Tony Devon and Isiah Whitlock Jr. are hilarious in the bust and interrogation scenes, the film's funnier moments come from Tony Siragusa. While he tries not to play the stereotypical Soviet fat man, Siragusa definitely brings some funny moments that annoy Norton's character while displaying elements of smarts as far as business is concerned. Levani Outchaneichvili as Nikolai is menacing but also noteworthy as he tells Norton's character to watch his back when he's prison as he strays away from a typical mob role. Finally, there's the always-amazing Brian Cox as Edward Norton's father. In a year where he played a screenwriting guru in Adaptation and a tough highway patrol captain in Super Troopers, Cox delivers a stellar performance as Norton's guilt-ridden father as he brings in a performance that I think the Academy has overlooked, especially in the film's final moments where he brings in moments of clarity and moral convictions that was needed. For the versatile Cox, this is one of his best performances to date.

While 25th Hour has a few predictable moments and some flaws, it's still a stellar, enduring film from Spike Lee. Fans of the filmmaker will love Lee's masterful approach to dramatic structure and emotionally intense scenes. Newer fans will find the performances of the actors more appealing while giving a nice introduction to Lee's masterful direction. With amazing performances from Norton, Pepper, and Cox that leads the cast, 25th Hour works not just as a great tribute to NYC but also showing the struggle of a human being regardless of color, which is what Lee wanted to show. In the end, 25th Hour is one of the best films of 2002 coming from one of the most seminal African-American filmmakers in the past 20 years.

Spike Lee Films: (She’s Gotta Have It) - (School Daze) - Do the Right Thing - Mo' Better Blues - Jungle Fever - (Malcolm X) - Crooklyn - (Clockers) - (Girl 6) - (Get on the Bus) - 4 Little Girls - (He Got Game) - Freak - Summer of Sam - (The Original Kings of Comedy) - (Bamboozled) - (A Huey P. Newton Story) - (Jim Brown: All-American) - (She Hate Me) - (Inside Man) - (When the Levees Broke: A Requiem in Four Acts) - (Miracle at St. Anna) - (Kobe Doin’ Work) - (Passing Strange) - (If God is Willing and Da Creek Don’t Rise) - (Red Hook Summer) - Bad 25 - Mike Tyson: Undisputed Truth - (Oldboy (2013 film)) - (Da Blood of Jesus) - (Chi Raq) - Michael Jackson's Journey from Motown to Off the Wall - BlacKkKlansman - Da 5 Bloods - (American Utopia)

© thevoid99 2011

True Grit (2010 film)

In 1968, an American author named Charles Portis published a book called True Grit.  The story of a young girl who turns to an aging, drunken marshal named Rooster Cogburn to avenge the death of her father by a drifter.  With help from a Texas ranger named La Boeuf, the three go after the drifter.  The Western story captivated actor John Wayne as he was able to get a film made for director Henry Hathaway as Wayne would win an Oscar for Best Actor as Rooster Cogburn.  In 2010, another adaptation of True Grit emerges as it’s in the hands of Joel and Ethan Coen.

Written for the screen and directed by Joel and Ethan Coen, their adaptation of True Grit is based more on the book rather than the 1969 Henry Hathaway film that starred John Wayne.  Particularly on the fact that the book was told from the perspective of the 14-year old girl Mattie Ross.  With this new perspective, the Coen Brothers go for a darker yet grittier Western that is less romanticized in Hathaway’s film.  With The Big Lebowski’s Jeff Bridges taking on the role of Rooster Cogburn and Matt Damon as La Boeuf.  The film also stars Coen Brothers regular Josh Brolin plus Barry Pepper, Dakin Matthews, Leon Russom, Paul Rae, and introducing Hailee Steinfeld as Mattie Ross.  True Grit is a gritty, humorous, and breathtaking film from the Coen Brothers.

In Fort Smith, Arkansas in 1877, a drifter named Tom Chaney (Josh Brolin) killed a man named Frank Ross and stole two horses plus two gold pieces.  Ross’ 14-year old daughter Mattie comes to collect her father’s belongings as well as settle some business.  She also wants vengeance for his father’s death as she knew it was Chaney as she asks about who should she turn to.  Learning about the reputation of Rooster Cogburn, Mattie turns to the grizzled, drunken marshal for help but he rebuffs her.  After a few days of businesses including getting money over the lost horses from Colonel Stonehill (Dakin Matthews), she meets a Texas Ranger named La Boeuf who is also after Chaney over the death of a Senator.

Though she rejects La Boeuf’s offer, she tries to go Cogburn again with an offer which he accepts.  On the day she was to join Cogburn, he sends her a note to go home as she later follows him where he’s joined by La Boeuf.  Though Cogburn takes Mattie to the journey with reluctance, La Boeuf goes on his own as Cogburn and Ross go on Chaney’s trail.  After finding a gold piece, they go to the home of a couple outlaws where they ask about Chaney but trouble happened when the two outlaws turned on each other.  After getting some information from the younger outlaw, they learn that Chaney has joined the gang of “Lucky” Ned Pepper (Barry Pepper) whom they were waiting for.

Cogburn and Ross hide to wait for Pepper and his gang where they see La Boeuf riding ahead as he’s cornered by Pepper’s gang.  Though Cogburn was able to save La Boeuf, he did accidentally shoot La Boeuf as the Ranger joins Cogburn and Ross.  With the trio of Cogburn, Ross, and La Boeuf trying to find Chaney and Pepper, the journey becomes difficult as another argument between La Boeuf and a drunken Cogburn leads to despair for Mattie.  Then one day, she sees Chaney as she confronts him while Chaney takes her to the crazed Pepper as Cogburn sees what happen.  With Pepper using Mattie as a tool to lure Cogburn, it all leads to a climatic showdown.

The film is essentially about vengeance for a young girl who lost her father in the hands of a drifter.  Yet, she wants justice as she turns to a merciless but drunken marshal and a young Texas Ranger to help her in the journey to find this drifter named Tom Chaney.  While the 1969 film by Henry Hathaway was more about Rooster Cogburn than Mattie Ross.  The Coen Brothers chose to stick to the original source material and in doing so.  They tell it from the perspective of Mattie Ross.

The film opens with a voiceover narration by an older Mattie Ross (Elizabeth Marvel) where the narration appears again near the end of the film where the older Ross is finally seen 25 years later.  Since she is a character that is very tough with the people she meets in terms of business.  She is also someone that wants to have justice for her father while finding some way to get things the right way.  Even in making sure Tom Chaney is brought to justice.  That’s when she turns to Rooster Cogburn, a one-eyed marshal who has done a fair share of killing while has a penchant for drinking whiskey.  Then there’s La Boeuf, a Texas Ranger who plays by his own set of rules and is the most disciplined though is reluctant in taking Mattie to the journey to find Chaney.

When the journey takes place throughout the entirety of the second act, the relationship between the three does develop.  Though Cogburn’s alcoholism is an issue along with La Boeuf’s way to do things himself.  They later find a mutual respect of sorts towards each other as well as their relationship with Mattie.  Though she is seem as a nuisance to them, La Boeuf would have respect for her later on while Cogburn also becomes an unlikely caretaker to her.  The Coen Brothers’ interest in relationships and the journey is important to the story as they add a few of their own brand of humor into the film.  Notably a scene where Mattie and Cogburn encounter a man wearing bear skin (Ed Corbin).

The script the Coen Brothers create is faithful while it allows them to put their own spin to the story by adding some humor.  The direction of the Coens is truly intoxicating.  While the Coens maintain a certain grit that is more realistic than Henry Hathaway’s 1969 film.  It’s also one of the more straightforward films the Coens have made since they’re creating a Western that doesn’t just play to formula where there’s a climatic showdown near the end.  It’s also about the journey where the Coens often have the camera following the trio as well as go into the woods and desert.  A lot of which is shot on location in Santa Fe and parts of Texas.  Even as they use tracking shots and steadicams for some of the film’s intense action sequences.   Overall, it’s the Coen Brothers at their finest as they bring their own style into their take into the Western genre.

Longtime collaborator Roger Deakins does a phenomenal job with the film’s lush, hypnotic cinematography.  Deakins’ work for many of the film’s exterior recalls some of the work he did for Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford.  Yet, Deakins chose to maintain the grittiness of the film by surrounding himself in dirtier locations.  Even in the interiors, the photography is more intimate with some amazing shading in the courtroom scene where Cogburn testifies.  The nighttime exteriors also have a dreamlike look that is gorgeous to watch as Deakins’ work is definitely the film’s technical highlight.

The editing by the Coen Brothers, under the alias Roderick Jaynes, is definitely superb for its leisurely-paced rhythm and stylized use of dissolves and transitional cuts.  Notably the way the transitions cut to black and then goes to a new scene where it’s the Coens creating a mood for the film.  When it comes to the more active, shootout scenes, the Coens definitely picks up the pace as it’s definitely editing at its finest.

Production designer Jess Gonchor, along with set decorator Nancy Haigh and art directors Stefan Dechant and Christina Ann Wilson, does an amazing job with the recreation of late 19th Century Fort Smith with buildings, saloons, and hotels where it feels like a real place.  Even the cabins that the main characters encounter have an authentic feel to it as the art direction is outstanding.  Costume designer Mary Zophres, another longtime Coen Brothers collaborator, is superb with her late 19th Century clothing filled with dresses and old cowboy clothes the men wear along with the jangly spurs that La Boeuf wears as Zophres continues to create great costumes.

Longtime Coen Brothers sound editor Skip Lievsay and sound designer Craig Berkey do a spectacular job with the film’s sound.  Whether it’s the hollow atmosphere of the courtroom that Cogburn was testifying in or the calm landscape where Cogburn, Ross, and La Boeuf are.  The sound work is definitely masterful for what is needed.  Even with the shootout scenes as the gunshots play to the story of what the characters needed to do.  Longtime Coen Brothers’ music composer Carter Burwell does a fantastic job with the few score pieces he creates.  Notably some intense, dramatic pieces for the climatic shootouts and a few other key scenes.  Yet, the soundtrack is mostly surrounded by hymns and other traditional pieces along with the song Leaning On the Everlasting Arms that is sung by Iris DeMent in the closing credits.

The casting by longtime Coen Brothers cohort Ellen Chenoweth plus Jo Edna Boldin and Rachel Tenner is definitely inspiring not just for its cast of big actors but also for its use of lesser-known actors.  In small but memorable roles, there’s Ed Corbin as a man wearing a bear skin, Jarlath Conroy as an undertaker, Leon Russom as the sheriff, Peter Leung as Cogburn’s Chinese friend Mr. Lee, Orlando Smart as a stable boy, Candyce Hinkle as the landlady, and Joe Stevens as a cross-examining lawyer at the trial Cogburn is testifying at.  Other notable small supporting roles that are very memorable include Paul Rae and Domhnall Gleeson as the two men at the cabin that Cogburn confronts, Elizabeth Marvel as the 40-year old Mattie Ross, and Dakin Matthews in a very funny performance as Col. Stonehill.

Barry Pepper is great as the dirty, nasty-looking “Lucky” Ned Pepper as a brutish man who is a criminal with a code of honor.  Even as he faces off against Cogburn in a fight while they do some talking before the battle as Pepper definitely shines in his brief role.  Josh Brolin is superb as Tom Chaney, the drifter who killed Mattie Ross’ father.  Brolin brings a terrifying presence as well as a guy who is just a simple criminal and a fuck-up with no sense of remorse as it’s definitely a phenomenal performance from Brolin.  Matt Damon delivers a truly solid yet comical performance as La Boeuf.  Damon plays up to the character’s individuality and no-nonsense attitude while often sneering at Cogburn over his age and personality.  While Damon gets to be funny, he also is someone who understands the sense of honor in the West as he makes La Boeuf into a complex everyman that audiences can relate to.

In the role that won the legendary John Wayne his only Academy Award for Best Actor in 1969.  The character of Rooster Cogburn needed someone that personifies everything that is great about American cinema and no actor represents that better than Jeff Bridges.  Though Bridges doesn’t try to imitate John Wayne in terms of creating a grand presence and personality.  Instead, he makes Cogburn into his own by playing up to his haggard, drunken persona as well as someone who has honor though doesn’t always have the right intentions.  Even as Bridges brings a bit of the Dude to make the character humorous while he’s also the kind of man you don’t want to face in a duel as it’s definitely a towering follow-up to his performance in 2009’s Crazy Heart which he won the Best Actor Oscar that year.

Finally, there’s Hailee Steinfeld in what is definitely a magnificent debut performance.  Playing the role of Mattie Ross, Steinfeld has all of the character’s no-nonsense attitude about business and vengeance.  Even as she outsmarts all of the people who were dealing her father’s dealings as well as even someone like Cogburn and La Boeuf.  Though Steinfeld is restrained at times, she is mostly lively as she is someone hell-bent on going after Tom Chaney while having great chemistry with veterans as Jeff Bridges and Matt Damon.  Even where she out-performs them at times where its clear that the veterans are intimidated by her.  It’s definitely one of the best discoveries of 2010 and what a way to be discovered in a film by the Coen Brothers with Jeff Bridges and Matt Damon.

The Coen Brothers’ adaptation of True Grit is definitely one of the brothers’ most phenomenal and entertaining films of their career.  Featuring superb performances from Jeff Bridges, Matt Damon, Josh Brolin, Barry Pepper, and newcomer Hailee Steinfeld.  Though it may not have some of the grittiness of their other films like Blood Simple, Fargo, Miller’s Crossing, and No Country for Old Men, it is a film where the Coens play it straight but show what they can do with the Western genre.  Featuring some great technical work including Roger Deakins’ gorgeous cinematography.  It’s a film that still proves that the Western is alive and well as it’s something fans of that genre can enjoy.  In the end, True Grit is another spectacular film from the Coen Brothers.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller’s Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn’t There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2011