Gattaca

Written and directed by Andrew Niccol, Gattaca is the story of a young man who hopes to travel to outer space despite dealing with prejudice as he hides his genetic imperfections in a futuristic world where science determines who can succeed or not. The film is a mixture of sci-fi with elements of drama and mystery as it also relates to this young man who pretends to be another as he becomes a murder suspect. Starring Ethan Hawke, Uma Thurman, Jude Law, Loren Dean, Alan Arkin, Ernest Borgnine, Blair Underwood, Xander Berkley, Tony Shalhoub, Elias Koteas, and Gore Vidal. Gattaca is a riveting and evocative film from Andrew Niccol.

Set in a futuristic world where science determines one’s fate and when will that person die, the film revolves a young man who was conceived with genetic imperfections as he pretends to be another man in the hopes that he can travel to outer space. At the same time, he becomes a suspect over the death of mission control director as he learns that his younger brother is the detective leading the case. It’s a film that plays into this man who tries to prove that anything is possible in a world where one’s blood-type, urine sample, and such don’t determine one’s outcome. Yet, it is told from this man whose real name is Vincent Freeman (Ethan Hawke) who would take the guise of another man in Jerome Morrow (Jude Law) who would aid Vincent in achieving his dream.

Andrew Niccol’s screenplay is told largely from Vincent’s perspective as it begins with him learning that is one week away from actually achieving his dream to go into outer space. Yet, a simple eyelash found during the murder of the mission control director would be the one thing that might stop him as its first act reveals not just Vincent’s conception but also how he was already determined by science into when he will die and what ailments he will have. Once his younger brother Anton (Loren Dean) is born and is promised all of the things that Vincent will never have because Anton was conceived through genetic selection instead of the natural conception that brought Vincent into the world. Yet, it would be a simple swimming game of chicken where Vincent realizes that anything is possible as he would meet the paralyzed Jerome who was once a swimming star and take on Jerome’s identity while the real Jerome would provide the urine and blood samples Vincent would need.

Once Vincent’s story into how he became Jerome takes up much of the film’s first act, the second act does have a shift in tone where it becomes a mystery as Vincent not only deals with being a suspect but also falls in love with a co-worker in Irene Cassini (Uma Thurman) who is a valid but is unable to travel due to her own heart issues. Yet, she would learn firsthand about who Vincent really is just as Anton suspects that his own brother is the killer due to the loose eyelash from Vincent though Anton isn’t sure since he believes his brother had already died. Especially as his partner Hugo (Alan Arkin) looks into other possibilities as it relates to the prejudices that is hinged upon society where even Jerome was affected by it as he had all of the potential in the world to succeed but failure only made him bitter and depressed. Even as he copes with the pressure that was put upon him making him and Vincent equal of sorts.

Niccol’s direction is truly mesmerizing in terms of not just the compositions but also in presenting a futuristic sci-fi film without the need to make it totally futuristic. Much of it has Niccol shooting on various locations in California through some amazing architectural designs that does give the film a somewhat futuristic look. Niccol’s rich compositions and the way he places some of the wide shots definitely add something that a look that sort of makes it futuristic while he also goes for these kind of intricate crowd shots of exactly what Vincent does when he’s at work as it sort of plays into something that feels bureaucratic in some respects. Especially as Vincent would get a glimpse of how those with perfect genes would live and how he as an invalid would have to live and work where he would start off cleaning windows and then find his way to be part of this space program.

Niccol’s approach to close-up and medium shots are also entrancing as it also includes a few handheld moments such as a chase scene involving Vincent, Irene, and Anton. It plays into not just some of the mystery but also the drama and romance as well as Niccol’s approach to framing the actors where the flashback scenes involving a young Vincent and Anton where Vincent is in the foreground while Anton and their parents are in the background. It establishes how disconnected Vincent is with his own family as well as the world he lives in as the third act showcases him not only trying to reveal some truth to those close to him. Especially as it revealed exactly how he managed to defy the odds in a world that prevents him from achieving his dreams. Overall, Niccol creates a compelling and ravishing film about a young man prejudiced in a futuristic world where science determines one’s fate.

Cinematographer Slawomir Idziak does phenomenal work with the film’s very colorful cinematography with its usage of filters and lighting schemes for some of the film’s interiors while maintaining something that is quite ethereal in its images as it’s among one of the film’s major highlights. Editor Lisa Zeno Churgin does excellent work with the editing as it is quite stylish with some of its rhythmic cuts and usage of dissolves to play into the drama and suspense. Production designer Jan Roefls, with set decorator Nancy Nye and art director Sarah Knowles, does amazing work with the set design from the look of Jerome‘s home as well as the building where Vincent would work as Jerome along with the nightclubs and such the two would go to. Costume designer Colleen Atwood does fantastic work with the costumes from the suits that Vincent and Jerome would wear as well as the trench coat/fedora look of Anton‘s partner Hugo and the dresses that Irene would wear.

Makeup supervisor Ve Neill and key hair stylist Bette Iverson do terrific work with the look of Vincent prior to meeting Jerome and how they would have the same haircut. Visual effects supervisor Jerry Pooler does nice work with some of the minimal visual effects as it relates to spaceship that Vincent wants to board into. Sound editor Richard King does superb work with the sound to play into some of the chaotic elements of the film along with some of the textures that Vincent would endure in his training. The film’s music by Michael Nyman is incredible for its lush orchestral score with elements of minimalist and soft piano textures as it plays into the drama

The casting by Francine Maisler is marvelous as it features notable small roles from Dean Norris as a beat cop, Ken Marino as a sequencing technician, Maya Rudolph as a delivery nurse, Gabrielle Reece as a trainer where Vincent works at, Vincent Nielson and William Lee Scott in respective versions of the adolescent and teenage Anton, Mason Gamble and Chad Christ in the respective version of the adolescent and teenage Vincent, Blair Underwood as a geneticist, Jayne Brook as Vincent and Anton’s mother who loves both sons as she ponders what Vincent will do, and Elias Koteas as Vincent and Anton’s father who seems to favor Anton more than Vincent as he wants his eldest to be more realistic in his dreams. Tony Shalhoub is terrific in a small role as a mysterious man who would help Vincent attain the look and genetics to be Vincent.

Ernest Borgnine is superb as an invalid named Caesar who leads the clean-up crew as he tells Vincent not to clean too well as he would later provide evidence into who might be the killer not knowing that Jerome is really Vincent. Gore Vidal is excellent as the mission flight director Josef who tries to deal with the murder in his building while aiding the detectives. Xander Berkley is amazing as Dr. Lamar who would interview Vincent for the job as he looks into many background checks as it’s a very low-key yet mesmerizing performance. Alan Arkin is fantastic as Detective Hugo as an old-school detective who aids Anton into finding the killer as he initially suspects the invalid Vincent while he goes into looking for other clues. Loren Dean is brilliant as Anton as Vincent’s younger brother who has become a detective as he realizes Vincent is a suspect while wondering if his brother is really alive when he was supposed to.

Jude Law is incredible as Jerome as a former swimming star who has become paralyzed as he aids Vincent in achieving his dream while revealing what happened when he became paralyzed as it showcased how much he and Vincent have in common. Uma Thurman is remarkable as Irene as a woman who works with Vincent as she falls for him unaware of who he really is as she would also make some major discoveries of her own while revealing her own flaws in her genes despite being valid. Finally, there’s Ethan Hawke in a phenomenal performance as Vincent Freeman as a man who was conceived naturally with genetic flaws as he is determined to buck an unjust system while coping with his own ailments as well as what he had to do to overcome them.

Gattaca is a spectacular from Andrew Niccol that features great performances from Ethan Hawke, Uma Thurman, and Jude Law. It’s a film that isn’t just a compelling and provocative sci-fi drama but also a film that explores the ideas of what happens if science determines one’s fate. In the end, Gattaca is an enchantingly rich and tremendous film from Andrew Niccol.

© thevoid99 2015

The Sicilian

Based on the novel by Mario Puzo, The Sicilian is the story of a notorious bandit named Salvatore Giuliano who tried to liberate Sicily from Italy in the late 1940s as he would also defy the Mafia and other forces who would have him killed. Directed by Michael Cimino and screenplay by Steve Shagan with contributions from Gore Vidal, the film is an unconventional bio-pic that plays into the rise and fall of Giuliano as he is played by Christopher Lambert. Also starring John Turturro, Joss Ackland, Barbara Sukowa, Richard Bauer, Ray McNally, and Terence Stamp. The Sicilian is a rich yet gripping film from Michael Cimino.

The film is about the life of Salvatore Giuliano who was considered to be modern-day Robin Hood for the people of Sicily in the 1950s who defied the rich, the Mafia, and others in power. In the course of his journey from being this simple bandit to being the ultimate enemy for Italy, there is this story of a man who had survived death and tragedies but would eventually become his worst enemy as he thinks he is a savior to the people of Sicily. Instead, he ends up angering those with power including a Mafia leader in Don Masino (Joss Ackland), who wants to become an ally, as it would lead to his death in 1950. Yet, Giuliano’s death wouldn’t just happen because of himself but also in how the world works where Giuliano thinks that the people of Sicily wants land but things become more complicated as the people eventually lose faith in him.

The film’s screenplay that is largely re-written by Gore Vidal plays into that world of a man falling for his own myth yet it begins and ends with Giuliano’s mentor in Professor Hector Adonis (Richard Bauer) who would meet the man that killed Giuliano. The first act is about Giuliano’s rise and how he believes he is immortal as he is joined by his cousin Gaspare “Aspanu” Pisciotta (John Turturro) in stealing bread for the poor. Giuliano’s action in being a bandit forces him to realize he has to do more for the people in Sicily as he would take on the Mafia, the rich, and the corrupt world of politics and religion. Giuliano’s actions would get Don Masino’s attention as he wants to meet him through Adonis but Guiliano would often refuse in an act of defiance. The film’s second act is about Giuliano becoming this mythic figure as he would gain some allies as well as detractors in Italian minister Trezza (Ray McNally) as well as the intrigue of Sicily’s Prince Borsa (Terence Stamp) whose wife Camilla, Duchess of Cortone (Barbara Sukowa) would be seduced by Giuliano.

One aspect of the script that is unique is Vidal’s dialogue which is very stylized and direct where it does play into some of the film’s campy tone in some respects though it’s not overly camp. One aspect of the script that doesn’t work involves some of the character development where much of the women characters like Camilla and Giuliano’s girlfriend Giovanna (Giulia Boschi) are underwritten while some of Giuliano’s motivations definitely become one-note as his development isn’t as smooth or as intricately-written as it could’ve been. Fortunately, characters like Adonis, Pisciotta, and Don Masino manage to be fleshed out more as Don Masino is an unconventional antagonist since he admires Giuliano’s determination while wanting to ensure that he doesn’t get harmed where there is this very strange father-son relationship between the two. Yet, it’s a relationship that Giuliano doesn’t want and it would eventually regret it once it becomes clear that Giuliano doesn’t have the power he once had as politicians and religious organizers come together to stop him.

Michael Cimino’s direction is very sprawling in the way he presents the film as an epic of sorts set in Sicily. Shooting on location in the island, much of Cimino’s approach is to go for something that plays to not just his love for epics with his use of the wide shots and shooting on vast locations with a lot of coverage. Some of it is a homage to some of the Italian epics in terms of the compositions and settings that Cimino wanted to create. There’s also some unique close-ups and medium shots that Cimino would use to play into the drama and suspense as some of the violence is quite brutal including some very terrifying execution scenes where Giuliano kills those who betray him. There is a fluidity to not just the tracking shots and hand-held camera shots that Cimino creates throughout the film but also in how it plays into some of these scenes where it is about the situations and the characters involved.

The element of camp isn’t told in a comical manner but rather in a style that is a bit over-the-top in terms of the delivery of some of the film’s dialogue along with a few scenes where there’s some dancing. It’s one of the few aspects of the film that doesn’t work where Cimino wanted to inject something more light-hearted in a film that is often quite grim and operatic. Notably as the tone of the film gets much darker in the third act when Giuliano is tasked to stop Communist party members from voting where his intention was to scare them. Instead, something tragic happens where it plays into Giuliano’s fall as well as the reality of what he’s facing as it becomes clear over who is really in charge and how out of touch he has become with the people he wants to help. All of which would lead to the inevitable as its aftermath would only play into Giuliano’s legend. Overall, Cimino crafts a very engaging and mesmerizing film about a bandit’s rise and fall.

Cinematographer Alex Thomson does brilliant work with the film‘s cinematography from the gorgeous yet naturalistic look of the locations around the Sicilian mountains as well as some stylish usage of lights for some of the nighttime interior/exterior scenes including some of the shots in Palermo. Editor Francoise Bonnot does excellent work with the editing in creating some unique rhythmic cuts to play into its action and suspense as well as some of the drama. Production designer Wolf Kroeger and art director Stefano Maria Ortolani do amazing work with the set pieces from the lavish home of Prince Borsa to the many places in Palermo where many of the characters go to.

Costume designer Wayne A. Finkelman does terrific work with the costumes with most of the rugged look of Giuliano and his men to the more lavish dresses that Camilla wears. Sound editor Fred J. Brown does superb work with the sound from the gunfire sounds from afar as well as some of the chaos that goes on with crowds and also in some of gunfights that occur. The film’s music by David Mansfield is fantastic for its orchestral-driven score that is operatic at times but also somber with some themes that play into Giuliano and Giovanna’s relationship while the soundtrack includes a lot of music of the late 1940s.

The casting by Deborah Brown is great as the cast features some notable small performances from Ramon Bieri as the town mayor Quintana, Andreas Katsulas and Derrick Branche as a couple of Giuliano’s men who were former mob enforcers, Joe Regalbuto as a priest who warns Giuliano of what he is doing, Michael Wincott as an army corporal who joins Giuliano, Barry Miller as a professor who arrogantly defies Don Masino, Stanko Molnar as Giovanna’s Communist brother, Trevor Ray as a barber Giuliano knew as a boy, Justin Clark as a young boy who would become part of Giuliano’s band of brothers, and Ray McNally as a scheming minister who tries to stop Giuliano only to push buttons and eventually take some drastic matters into his own hands. Giulia Boschi is pretty good as Giuliano’s girlfriend Giovanna who tries to cope with his actions while having her own views about the way things work.

Barbara Sukowa is terrific as the Duchess Camilla who is wowed by Giuliano’s determination as she becomes a supporter of sorts for his cause. Richard Bauer is excellent as Giuliano’s mentor Professor Hector Adonis as someone who tries to guide Giuliano into taking a path while dealing with Don Masino as they both realize how crazed Giuliano has become. Terence Stamp is wonderful in a small yet noteworthy role as Prince Borsa as this rich figure in Sicily who often sees everything from afar while getting to know Giuliano where the two strike a deal of their own. Joss Ackland is brilliant as Don Masino as this revered and intimidating Mafia head who has a strange admiration for Giuliano as he tries to protect him from the rich and powerful in Italy only to realize how troubled he’s become. John Turturro is fantastic as Aspanu who is very loyal to his cousin Giuliano while doing all sorts of things only to realize how crazy it’s becoming.

Finally, there’s Christopher Lambert in a superb performance as Salvatore Giuliano as this bandit who wants to rebel against the rich and powerful in Italy to help the people of Sicily only to lose sight of his original intentions. Though it’s a performance that is flawed as Lambert would often be seen as stone-faced for much of the film, he does manage to convey some charisma and determination into the character.

The Sicilian is an excellent film from Michael Cimino. Thanks to a great cast and some amazing visuals, the film is one of Cimino’s finer films though it is quite flawed. Yet, it is a film that captures a world that is quite fascinating in a time period where old Italy is to meet a new world. Especially one that is much more violent and unforgiving as it is shown through Cimino’s eyes in its uncut 146-minute version. In the end, The Sicilian is a superb film from Michael Cimino.

Michael Cimino Films: Thunderbolt and Lightfoot - The Deer Hunter - Heaven’s Gate - Year of the Dragon - Desperate Hours (1990 film) - The Sunchaser - To Each His Own Cinema-No Translation Needed - The Auteurs #35: Michael Cimino

© thevoid99 2014

Roma

Originally Written and Posted at Epinions.com on 8/12/07 w/ Additional Edits.

Directed by Federico Fellini and co-written with Bernardino Zapponi, Roma tells two stories based on Fellini's own life. The first narrative is about Fellini's life as a young man in the early 1940s while a second narrative is about a director making a film about his beloved city. With appearances from Peter Gonzalez as the young Fellini along with such longtime associates as Anna Magnani, Gore Vidal, Feodor Chaliapin, and Fellini as himself. Roma is a charming, delightful love-letter to the city where Fellini made a name for himself.

It's the 1930s as a group of school kids are being taught by the world of Rome and its rich history. For a young boy named Federico, he would discover the world of Rome through the medium of the cinema. The boy’s life was changed as by 1940, he arrived in Rome where he sees the city in all of its wonders. Living with a large family in an apartment, he sees the culture that is Rome. Now it's 1971 and Rome has changed but not for the better. The real Federico Fellini is staging a shoot on a traffic jam to Rome where his film crew captures the rainy city on the road with shots of ruins and other places.

Fellini is now being asked into his approach into making his film about Rome, some are believing that in showing the bad side, it will make people to not go. Yet, there are those who feel tired of the commercial look of the city as the times are now changing. Even as Fellini recalls his own experience in a theater he once frequented to. During the war back in the early 40s, the young Fellini was a regular seeing performances and acts on stage including a man named Alvaro doing a Fred Astaire routine. Yet, despite heckles from a few unruly men, the show was always wonderful. Unfortunately, it's the middle of the war as Fellini and the patrons are forced to hide underground during an air raid. When it's over, everyone believes the worst is over but unfortunately, the sirens are heard yet again as the young man is forced to watch horror from afar.

Back in the 70s, there is a disdain for so-called hippie generation as Fellini again recalls his own memories of free love vs. paid love as he remembers the underground world of brothels from the working-class brothels that featured semi-attractive women to the more posh brothels that Fellini and a friend attended that were both ran by women. The world that Fellini remembers is very different to what his film crew saw as they went underground where they discovered a 2000-year old house buried under the city with its paintings starting to fade. Back in the 40s, Fellini attends a ceremony with an old princess that becomes this exotic stage presentation concerning the Pope while returning back in time to see how the city has changed through the times.

While the film doesn't have much of a plot, it is however a love-letter to the city of Rome. While a lot of scenes in the film's flashback sequences are based on Fellini's own life, the film is about Rome through its days as an Empire to the early years in the 20th Century where it was a town of promise. When the film shifts through the 1970s, it is a very different city as tourists arrive to see its wonders but not the reality. Even as its surrounded by hippies and its idealism, the idea of what is to be Roman seems lost through the changing times as modernism through technology and things has arrived. While the film lags a bit due to pacing issues, Fellini makes the most of it through his eye-wielding vision and lavish presentation about the old times. The film also includes what has to be one of the best endings involving the great landmarks of Rome itself.

Cinematographer Giuseppe Rotunno brings a wonderful look to the film from the naturalistic look early in the film to the extravagant lighting in some of the film's Rome sequences, notably the interiors to shots of the city itself. Rotunno's camera captures the beauty and also decaying look of Rome with its wonderful exteriors. Production designer Danilo Donati and set decorator Andrea Fantacci also do a wonderful job with the film's unique look from the stage designs of the variety show in the theater to the runway show young Fellini sees near the end of the film that is filled with amazement. Donati also does the film's costumes that are just as lavish and exotic as its director. Editor Ruggero Mastroianni brings some excellent cutting, especially in shifting sequences to convey the film's unconventional structure. Sound mixer Renato Cadueri also works to convey the film’s atmosphere in the sequences, notably the air raid sirens in one sequence to the film's ending.

Longtime collaborator Nino Rota brings a variety of music to the film ranging from traditional, Italian folk music to big-band 40s as well as some of his own orchestral work. Rota's score is filled with magic and elegance to convey the romanticism of Rome in the film's early sequences to the loss of that innocence through its 70s sequence. It's one of the film's finer highlights though it's minor compared to his other work with Fellini.

The film's cast is largely an ensemble with very few people standing out. The only actors who do stand out are Peter Gonzales as the 18-year old Fellini and Stefano Mayore as the boy Fellini. Those performances are very memorable and joyful in emphasizing the innocence of Fellini from boyhood to manhood. Other performances that included Pia De Doses as a princess and Renato Giovannoli as a cardinal in the runway scene are memorable while cameos from writer Gore Vidal, Italian actress Anna Magnani, Alvaro Vitali as a Fred Astaire impersonator, Feodor Chaliapin, and in the rarely-seen, longer Italian version, Alberto Sordi and Marcello Mastroianni. The film also includes cameos from then-unknowns like Dennis Christopher and Cassandra "Elvira" Peterson as hippies.

While this might be considered to be minor Fellini in comparison to some of his other, earlier films, Roma still has something to offer from the great Italian director. Despite a lack of a plot, standout performances, or lagging pacing issues, it's a film that is enjoyable to watch. Even for those interested in the city of Rome and how Fellini sees it. Yet, it is still a film that Fellini fans might enjoy, even some of the references that relate to his other films. In the end, Roma is a delightful love-letter to the city of Rome by the always interesting Federico Fellini.

Federico Fellini Films: (Variety Lights) - The White Sheik - I, Vitelloni - (L'amore in Citta-Un'agenzia matrimoinale) - La Strada - Il bidone - Nights of Cabiria - (La Dolce Vita - (Boccaccio '70-Le tentatzoni di Dottor Antonio) - 8 1/2 - Juliet of the Spirits - Histoires extraordinaires-Toby Dammit - (Fellini: A Director's Notebook) - Fellini Satyricon - (I Clowns) - Amarcord - Casanova - Orchestra Rehearsal - City of Women - And the Ship Sails On - Ginger and Fred - (Intervista) - (The Voice of the Moon)

© thevoid99 2012