Directed and co-starring Mel Brooks and screenplay by Brooks, Evan Chandler, and J. David Shapiro from a story by Chandler and Shapiro, Robin Hood: Men in Tights is the story of a royal who returns to Britain as he tries to reclaim his land from an evil prince and his sheriff with the aid of villagers. The film is a spoof on many variations of the Robin Hood story as it play into the legend and put a witty spin on it while making fun of other films as the titular character is played by Cary Elwes. Also starring Richard Lewis, Roger Rees, Amy Yasbeck, Isaac Hayes, Tracey Ullman, and introducing Dave Chappelle as Ahchoo. Robin Hood: Men in Tights is a delightful yet flawed film from Mel Brooks.
The film is essentially a spoof on the Robin Hood story as it plays with the origin story but also infuse it with anachronistic humor and other quirks. Yet, it does faithfully follow the original story about a man who loses his family home and land upon his return from the Crusades as an evil prince and sheriff have taken over England where they raise taxes. This would force Robin Hood to gather some local villagers to steal from the rich and give back to the poor as well as lead a revolt against Prince John (Richard Lewis) and the Sheriff of Rottingham (Roger Rees) while winning the heart of the fair Maid Marian (Amy Yasbeck). The film’s script would put in some quirks such as the fact that Robin Hood is a bit smug as he would go into long speeches that gets old very fast while the Sheriff of Rottingham often speaks in spoonerism. Prince John often sports a fake mole unaware that he has one while the character of Friar Tuck is remained as a rabbi (Mel Brooks).
Mel Brooks’ direction is quite straightforward as it play into this world of medieval times where it was shot in various locations and studio lots in Southern California while it also has recurring gags that often breaks down the fourth wall accidentally. While much of the compositions are simple in the way he shoots close-ups and medium shots as it relates to the way he present characters and situations. There are a few wide shots in the film to establish some of the locations as Brooks is more about presenting the humor and do whatever he can to bring laughs. Some of it doesn’t work such as scene rapping merry men as well as other bits relating to 90s culture that ends up being very dated. Still, Brooks does manage to find way to create moments that are still funny as well as put in bits and references from his own films. Even as it help tell the story while doing whatever he can to make it fun. Overall, Brooks makes a enjoyable though flawed film about a man who revolts against an evil prince while trying to woo a maiden wearing a metallic chastity belt.
Cinematographer Michael D. O’Shea does nice work with the film‘s cinematography from the way many of the daytime exteriors are presented as well as some of the nighttime interior scenes. Editor Stephen E. Rivkin does excellent work with the editing with its stylish usage of dissolves for a musical sequence involving Maid Marian as well as some jump-cuts to play into some of the humor. Production designer Roy Forge Smith, with set decorator Ronald R. Reiss and art director Stephen Myles Berger, does fantastic work with the design of the sets from the prison in Jerusalem to what was once the Loxley castle until it was moved because of owed back taxes. Costume designer Dodie Shepard does wonderful work with the costumes from the design of Maid Marian’s chastity underwear belt to the clothes the men wear including the tights.
Visual effects supervisor Mat Beck does OK work with the few visual effects such as a major sequence involving an archery contest. Sound editors Gary S. Gerlich and Gregory M. Gerlich, with Harry E. Snodgrass, do terrific work with the sound in the way some of the sound effects are heard as well as how the arrows sound when they‘re shot into a target. The film’s music by Hummie Mann is superb for its orchestral-based score that is triumphant and playful while the film also feature some original songs written or co-written by Mel Brooks that are funny though the rap song isn‘t very good.
The casting by Lindsay Chag and Bill Shepard is great as it feature some notable small appearances and cameos from Robert Ridgely sort of reprising his hangman role from Blazing Saddles, Dick Van Patton as the abbot, Joe Dimmick as a Clint Eastwood look-alike assassin in Dirty Ezio, Steve Tancora as a champion archer in Filthy Luca, Brian George as a Jerusalem dungeon maitre d’, Avery Schreiber as a tax assessor, Megan Cavanagh as Maid Marian’s lady-in-waiting Broomhilde, and Patrick Stewart in a brief appearance as King Richard. Other noteworthy small roles include Isaac Hayes as Ahchoo’s father Asneeze that Robin meets at the Jerusalem dungeon, Dom DeLuise in a hilarious spoof of Marlon Brando’s Don Corleone character in Don Giovanni, and Mel Brooks as Rabbi Tuckman who joins Robin Hood in dealing with Prince John. Tracey Ullman is fantastic as Latrine as a sorceress/cook for Prince John who is willing to help him but what she wants is the Sheriff of Rottingham. Eric Allan Kramer and Matthew Porretta are terrific in their respective roles as Little John and Will Scarlett O’Hara with the former being a big but dimwitted ally of Robin Hood while the latter is good with knives.
Mark Blankfield is superb as Robin’s blind servant Blinkin who is a comic relief that often is in some sort of mishap due to his blindness. Dave Chappelle is excellent as Ahchoo as Robin’s right-hand man who would say some funny things but also come up with some inspiring plans. Amy Yasbeck is brilliant as Maid Marian as a virginal maiden who is trying to find her true love as well as the one who can get rid of her chastity belt underwear. Richard Lewis is amazing as Prince John as an evil royal who has a hard time trying to rule England as well as do bad things where Lewis is very funny. Roger Rees is hilarious as the Sheriff of Rottingham as a spoonerism-spouting sheriff who says offbeat things and put himself into very hilarious situations. Finally, there’s Cary Elwes in an incredible performance as the titular character as a royal who is eager to reclaim his land and help the poor while being the Robin Hood that can speak with an English accent.
Robin Hood: Men in Tights is a witty though flawed film from Mel Brooks. Despite some dated jokes, the film does offer plenty of laughs thanks to a great cast and some funny gags. In the end, Robin Hood: Men in Tights is a stellar film from Mel Brooks.
Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - Young Frankenstein - (Silent Movie) - High Anxiety - (History of the World, Part 1) - Spaceballs - (Life Stinks) - (Dracula: Dead and Loving It)
© thevoid99 2017
Directed by John Carpenter and written by Carpenter and Nick Castle, Escape from New York is the story of a former soldier who is tasked to rescue the President of the United States of America in a crime-ridden world in 22 hours. Set in a futuristic and dystopian New York City, the film is an exploration into the world of terror and chaos where a man named Snake Plissken has to save the day as he’s played by Kurt Russell. Also starring Lee Van Cleef, Ernest Borgnine, Isaac Hayes, Adrienne Barbeau, Harry Dean Stanton, and Donald Pleasance as the President. Escape from New York is a riveting and exciting film from John Carpenter.
After a massive rise in crime in America which led a mass evacuation of Manhattan Island in New York City where the island has become a prison. The film revolves around a former soldier who is asked to rescue the President of the United States of America whose plan has crashed in Manhattan Island after it was hijacked by a terrorist group. It’s a film that isn’t just a rescue movie but also a dystopian film of sorts as it plays into this renegade named Snake Plissken who has 22 hours to save the President who is supposed to give a speech in the hopes of ending a conflict with China and the Soviet Union. Upon arriving to Manhattan where he is also carrying a virus that would kill him if he doesn’t bring the President in time, Plissken also has to endure the many things that goes on in Manhattan including a prison leader known as the Duke (Isaac Hayes).
The film’s screenplay by John Carpenter and Nick Castle play into the stakes of what is going on as it is clear how troubled the United States is where everything outside of Manhattan Island is surrounded by a wall. Attempts to escape the island means certain death as anyone who is in the island is stuck no matter who that person is. This would add a lot to what is happening in the film as retrieving the President in an island full of criminals as he’s not the only one that isn’t safe but anyone else who tries to help him is safe. This prompts the country’s top police chief in Hauk (Lee Van Cleef) to bring in Plissken who was a former soldier that was just convicted for a robbery attempt on a Federal Reserves building. Plissken however is reluctant to do the job which plays into the complexity of his character as he is essentially a loner that is very distrustful of government and authority.
Once the second act is set in the island, it is clear that Plissken is in a world that is very different but is able to deal with the situation. It’s just that he’s dealing with people who are essentially nutcases as well as someone like the Duke who runs the city though there are a few such as a cab driver (Ernest Borgnine), an old friend of his named Brain (Harry Dean Stanton) who is the Duke’s advisor, and Brain’s girlfriend Maggie (Adrienne Barbeau). There, Plissken would have to survive with their help to save the President but it’s not just the life of the President that is at stake but also what he is carrying his briefcase which would play to the fate of the world.
Carpenter’s direction is very entrancing from the way he opens the film to the moment he reveals what goes on when a couple of men try to escape the island. It sets the tone for what is to come as there is this element of suspense once it becomes clear that the President is in the island and being held hostage. While much of the film is actually shot on locations in St. Louis and Los Angeles plus a few moments in New York City and Atlanta with additional scenes set in soundstages. It would play into the sense of despair that is in Manhattan where it looks like a city in complete ruins and being out on the street at night is very dangerous where no one is safe. Carpenter’s usage of wide and medium shots help play into that sense of danger while he also knows how to build suspense into what Plissken is saying.
While the film may be a futuristic sci-fi dystopian film, it has elements of the western since it involves some showdowns and a man’s instinct to survive. At the same time, Carpenter creates these moments where the violence is disconcerting but not really graphic as it’s more about what could happen and how far some are willing to go. The film’s climax where Plissken and the President are escaping is quite thrilling as it plays to not just the sense of danger of the island itself but what will happen there are those who will try to find a way to try and reach the wall. It does lead into an aftermath that plays into not what Plissken was doing but also into the fact that he realizes that there is a bigger picture which doesn’t really involve him. Instead, it plays into his own cynicism and how he would contend with that. Overall, Carpenter creates a gripping yet adventurous film about a renegade who goes to Manhattan to save the President from a bunch of crazed thugs.
Cinematographer Dean Cundey does excellent work with the film‘s very dark yet eerie cinematography which plays into many of the interior/exterior scenes where a lot of it is set at night with some more vibrant colors for some of the daytime sequences. Editor Todd Ramsay does amazing work with the editing as much of it is straightforward to help build up the film‘s suspense along with some fast-paced rhythmic cuts for the action sequences. Production designer Joe Alves and set decorator Cloudia Rebar do fantastic work with the look of New York City as well as the scenes set in the prison base.
Costume designer Stephen Loomis does nice work with the costumes as it‘s quite stylish in the ragged looks of Plissken and the characters at the island. Special effects supervisor Roy Arbogast and the visual effects work of William L. Arcane do terrific work with some of the effects for some of the film‘s action scenes as well as some computer-based images that includes some contributions by James Cameron on the special effects. Sound editor Warren Hamilton Jr does superb work with the sound to play into some of the sound effects and eerie tone for the scenes set in the island to play up its suspense. The film’s music by John Carpenter and Alan Howarth is brilliant as it is largely an electronic-based score with low-key yet brooding synthesizers to play into the mood of the film while the soundtrack features the swing classic Bandstand Boogie which the cab driver likes to play.
The film’s cast is incredible as it features some notable small roles from wrestler Ox Baker as a man Plissken must fight in the island, Frank Doubleday as the Duke’s assistant Romero, Tom Atkins as Hauk’s assistant Rehme, Charles Cypher as the Secretary of State, Season Hubley as young woman Plissken meets at the island, and voice appearances from producer Debra Hill as a computer and Jamie Lee Curtis as the film’s opening narrator. Adrienne Barbeau is fantastic as Maggie as Brain’s girlfriend who aids Plissken in getting the President while Harry Dean Stanton is superb as Plissken’s old friend Brain who also helps as he realize what is at stake while being one of the few that knows how to get out of the island. Ernest Borgnine is excellent as an old cab driver Plissken encounters as he knows where to go and such as he would also provide some key things in the rescue.
Lee Van Cleef is brilliant as Bob Hauk as the prison supervisor who asks for Plissken’s help knowing that he’s the only one that can do the job right as he also deals with the situation that is at hand. Isaac Hayes is amazing as the Duke of New York as a gang leader who holds the President hostage as he uses him as bait so he can get amnesty for himself and the other prisoners. Donald Pleasance is marvelous as the President as the leader who becomes a hostage as he tries to hold on to the contents of the briefcase which plays into what he really wants to do to end a worldwide conflict. Finally, there’s Kurt Russell in a phenomenal performance as Snake Plissken as this former soldier turned criminal who reluctantly takes the job to save the President for a pardon as he deals with his situation as well as what is at stake as he also carries a virus that will kill him. It’s a performance from Russell that is full of restraint but also a sense of cool as it is one of his most iconic performances of his career.
Escape from New York is a spectacular film from John Carpenter that features a tremendous performance from Kurt Russell. The film isn’t just one of the most intriguing rescue/dystopian films ever made but also one of the most exciting in terms of its action and suspense. Even as it features one of the greatest anti-heroes to be presented in cinema in the character of Snake Plissken. In the end, Escape from New York is a rapturous film from John Carpenter.
John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Vampires - Ghosts of Mars - The Ward
The Auteurs #60: John Carpenter Pt. 1 - Pt. 2
© thevoid99 2015
Originally Written and Posted at Epinions.com on 2/10/07 w/ Additional Edits.
Written and directed by Craig Brewer, Hustle & Flow tells the story of a pimp from Memphis decides to become a rapper hoping to find a better life for himself. A film about starting over and redemption, Brewer explores the world of Memphis hip-hop as well as the culture that surrounds it. Starring Terrence Howard, Taryn Manning, Anthony Anderson, Taraji P. Henson, D.J. Qualls, Paula Jai Parker, Elise Neal, Isaac Hayes, and rapper Chris "Ludacris" Bridges. Hustle & Flow is a superb film of music and redemption from Craig Brewer.
Hustling through the streets of Memphis as a pimp, Djay (Terrence Howard) is still trying to make ends meet. Though being a pimp has brought him a bit of power and money, it only covers barely of what he is doing where he still lives in the ghettos of Memphis with a couple of prostitutes, Nola (Taryn Manning) and Shug (Taraji P. Henson) who is pregnant. Helping to make money as well is Lexus (Paula Jai Parker), but is often ungrateful towards him. While Djay is still a down-home boy to the locals, including bartender Arnel (Isaac Hayes), he ponders life without having to be a pimp. Even when he learns that a rapper he knew years ago named Skinny Black (Ludacris) has now made it big. After getting a little keyboard from a customer for cheap, Djay starts to become obsessed with music.
Running into an old school friend named Key (Anthony Anderson), he learns that Key is a recording producer who often produces church music to make a decent living. Djay realizes that Key is the chance he needs where he goes to his house and plays him a demo he made from the little keyboard as Key decides to be involved. Though Key's wife Yvette isn't sure about this, she understands it's a break from the monotonous job he’s doing. With help from a white musician named Shelby (D.J. Qualls), Key and Shelby create beats while Djay begins to flow whatever comes out of his mouth. Though Lexus didn't thing Djay's new thing would happen, Shug and Nola are intrigued. Eventually, Djay begins to evolve more despite some creative tension that’s settled by Shug. Shug's presence helped things where she created a hook for a song they've been working on and it becomes great although Key realizes they need better equipment to make it sound better.
Djay does some hustling with Nola to get a new microphone but Nola feels useless and frustrated with her role. Djay tells her that if they make it, Nola will become someone more important. With a new microphone, things start flowing as Djay's demo is nearly completed. Learning that Arlen is going to throw a private party that Skinny Black will be attending, Djay feels it's his chance to get that demo sent to Black. Arriving at the party with a new look and a gold chain, Djay hopes to make a chance thinking there's some history between him and black. Yet with the reality and Black's crass behavior, Djay wonders how far will it take for his dreams to come true.
The theme of redemption is a big engine that drives the plot of this film where it revels in its realism but also offers hope to audience. Writer/director Craig Brewer understands what it takes to make it into the music business in all of its harshness. Yet, it's really more about a man who makes a living dealing drugs and pimping hookers trying to see if there’s something more. Sure, Djay isn't a nice guys at times, making women vulnerable or being abusive towards them. Still, he tries to make something of himself and find some support from the people that surrounds him. Even if they’re dysfunctional, which is common in the South. Plus, Brewer's vision of a pimp reveals that not all of them wear suits or look intimidating and aren't always abusive towards their women. There's a complexity to the character of Djay while the support he has are characters that audiences can relate to. It's in Brewer's script and gritty, observant direction that really holds true.
Even in the environment of somewhere like Memphis, it really presents of what it's really like in the ghettos. There’s moments where it's crazy and it can be peaceful at times. Brewer shows both sides while he explores the world of music where in Memphis, it's very diverse. There's hip-hop, country, blues, and soul in this melting pot called Memphis and in parts of the film, there's a conversation of Southern hip-hop in relations to the blues and it makes perfect sense. Even in what D.J. Qualls character says that there's really a lot of similarities to a song like Backdoor Man to Back That Ass Up. While it may be a debate about the purity of Southern hip-hop among its fans and purists, it can't be denied of where it roots come from. Brewer understands that immediately and hip-hop is true definition of where that culture comes from. Even to the film’s plot where the music carries it to bring some excitement and entertainment to its audience.
Cinematographer Amy Vincent does excellent work in capturing the look of Memphis with it gritty, colorful camera work where it's not all bright or flashy. It's very real as is the art direction from production designer Keith Brian Burns and art director Alexa Marino. The look of the film from the dark bars, the streets, and the home of Djay where cup holder trays are used as sound proof walls are a fantastic touch to the film's authenticity. Costume designer Paul Simmons adds to that grittiness with these leather, short skirts that Nola wears or the kind of dirty, torn clothes that everyone else with the clean-like look that Key and Yvette wears. Editor Billy Fox does excellent work in the film's editing including a sequence with a lot of jump-cuts that involved Djay's supposed association with Skinny Black. Sound editors Greg Hedgepath and Frank Smathers with sound designer Brian W. Jennings do excellent work in capturing that atmosphere of recording and the world known as the South with train horns blaring and cars which speaks true to its environment.
Then there's the music that is a big part of the movie. Score composer Scott Bomar adds a moody, rhythmic texture to the score that adds the sense of tension and melancholia of where the film is. The rest of the film's soundtrack is dominated by touches of country music, blues, and soul music courtesy of the likes of Al Green and Buddy Guy. Then there's the hip-hop which features tracks written by Al Kapone, Lil' Jon, and Three-6 Mafia. The stuff that is performed by Terrence Howard like Whoop That Trick and the Oscar-winning It's Hard Out Here For A Pimp are catchy and memorable. The music is definitely inspiring and will make any audience go “Aww yeah!!!”
Then we have the film's cast that includes notable small performances from Josey Scott of Saliva as a store clerk, members of Three-6 Mafia as locals, and the legendary Isaac Hayes as the sympathetic bartender Arlen. Elise Neal is good as Key's supportive wife who doesn’t understand the ghetto world and believes to be neglected only to realize what's going on. Paula Jai Parker is pretty good as the combative, ungrateful Lexus who serves as an antagonist for Howard. Anthony Anderson and D.J. Qualls, both of whom are known for their comedic talents, give excellent performances that show more of their range in drama. Anderson as the more moralistic, cautious Key and Qualls as the more experimental, pot-smoking Shelby are two excellent, memorable characters that show the good and the bad of creativity.
Established rapper Ludacris gives a fine performance as the crass, egomaniac Skinny Black who seems friendly though he seems to be distracted by his own fame. Ludacris, who also appeared in Paul Haggis' Crash with Terrence Howard, proves that he can be a solid actor. Even in this performance of a rapper who seems to have betrayed his roots. Taryn Manning is wonderful as Nola, Djay's top earning hooker who is trying to find her footing as her character develops from a naive hooker to a woman who finds her own footing. Taraji P. Henson is great as the pregnant, supportive Shug whose vulnerability in her usefulness proves to have power when she sings. Henson shows a lot of development as someone insecure to someone who feels empowered when she sings.
Finally, there's Terrence Howard in what is truly an amazing role of not just 2005 but one of the best of the decade. Howard's complex, realistic, and engaging performance is truly inspiring to watch as a man who goes into this mid-life crisis and then, finds hope. Howard brings in all of the struggles, swagger, frustration, and warmth to a character that could've been sleazy since he is a pimp/drug dealer. Howard manages to find the humanity in the character to the point that he is relatable. When he's rapping and doing music, there is such joy in the performance that it looks like he's having a lot of fun. It's a fantastic performance from the talented Terrence Howard.
Hustle & Flow is a fantastic film from Craig Brewer that features a riveting performance from Terrence Howard. The film is definitely not just an inspirational story of redemption but also one that explores the world of Southern hip-hop and the world that is the American South. In the end, Hustle & Flow is a phenomenal film from Craig Brewer.
Craig Brewer Films: (The Poor and the Hungry) - Black Snake Moan - (Footloose (2011 film)
© thevoid99 2014
