Based on the novel by Christopher Koch, The Year of Living Dangerously is the story of a group of foreign correspondents who report the chaos in 1965 Indonesia where two reporters engage into an affair during the event. Directed by Peter Weir and screenplay by Weir and David Williamson, the film follows the chaos of the events of September 1965 in Jakarta at a time during an attempted coup where foreign reporters try to understand what is going on. Starring Mel Gibson, Sigourney Weaver, Linda Hunt, Bill Kerr, Michael Murphy, and Noel Ferrier. The Year of Living Dangerously is a riveting and evocative film from Peter Weir.
Set during the events of 1965 in Jakarta amidst a growing division in politics, the film revolves around an Australian journalist who goes to the city to cover the events with the aid of a Chinese-Australian dwarf while falling for an assistant to a revered British official. It’s a film that play into a lot of drama that occurs in Indonesia during a tumultuous period of civil and social unrest where foreign correspondents try to understand what is going on as they’re aided by this dwarf who knows what is happening but is also trying to carry a sense of hope for Indonesia. The film’s screenplay by Peter Weir and David Williamson is told mainly from the Chinese-Australian dwarf Billy Kwan (Linda Hunt) as he lives in Jakarta and knows what is happening as he would be a guide for the Australian journalist Guy Hamilton (Mel Gibson) who is reporting for an Australian network.
Hamilton is just among a group of reporters trying to cover this chaos in Jakarta and other parts of Indonesia as they also try to find time to relax and enjoy the local scene that include parties at other foreign embassies. When he meets Jill Bryant (Sigourney Weaver) at the British embassy as she’s an aide for the diplomat Colonel Henderson (Bill Kerr), he is smitten by her where he turns to Kwan for help as he has information on everyone which makes Hamilton uneasy. Still, Kwan is able to get Hamilton contacts with those who are involved in this conflict but has a hard time trying to understand what is going on just as he’s being torn in his job and his growing love for Bryant. It would later get more dangerous for Hamilton as he gets a scoop that ends up being a major revelation about what is really happening in Indonesia.
Weir’s direction is definitely entrancing for many of the visuals that he is able to capture as well as setting during a tumultuous moment in time. Shot on various locations in Australia and the Philippines, Weir’s direction definitely captures an intimacy into the marches and protests that emerged on the streets as well as the scenes at the rural areas in the city or outside of the city. Weir does display that disconnect of how foreigners who live in comfortable hotels and posh embassies while the locals are struggling to get by as they live in decayed homes on the streets or near river canals with polluted water. Weir would use the wide and medium shots to capture the chaos of the protests as well as a look into the landscapes outside of Jakarta. Weir would also use the medium shots and close-ups for scenes involving the characters as they all talk about their assignment or relaxing at a party.
Even in some of the intense moments in the film where it play into that disconnect of what is happening in Jakarta and at these embassies where Hamilton and Kwan do get a closer look as the latter knows what is happening as there is an element of disillusionment that would occur in the third act. Even as the chaos really starts to come ahead forcing Hamilton to come to terms with what is really happening and face some harsh truths about the world’s influence in Indonesia. Overall, Weir crafts a gripping and haunting film about a foreign correspondent covering the chaotic events of Indonesia in the mid-1960s.
Cinematographer Russell Boyd does brilliant work with the film’s cinematography as it play into the naturalistic daytime exteriors of the countryside locations while maintaining something gritty and direct for the scenes set in the streets for the day and nighttime. Editor William M. Anderson does excellent work with the editing as it uses rhythmic cuts to play into the drama and suspense along with a surreal montage that plays into a nightmare sequence for Hamilton. Art director Herbert Pinter does fantastic work with the look of Kwan’s home in Jakarta to play into the wallpaper of pictures and such that is similar to the home of the locals which is a sharp contrast to the spacious and comfortable hotel rooms and suites that the foreign correspondents live in. Costume designer Terry Ryan does nice work with the costumes as it is largely casual with the exception of the colorful shirts that Kwan wears that contrasts the more posh look of some of the foreigners including Bryant.
Special makeup effects designers Judy Lovell and Bob McCarron do amazing work with the look of Kwan in its attention to detail to make the character look manly but also full of life. Sound editor Andrew Steuart does superb work with the sound as it play into the intense atmosphere of the protests and marches on the streets as well as the eerie calm for the scenes in the countryside outside of Jakarta. The film’s music by Maurice Jarre does incredible work with the film’s score as it mixtures elements of orchestral music with traditional Asian string pieces to play into some of the suspense and drama while the music soundtrack consists a mixture of pieces ranging from classical, rock n’ roll, pop, and other music from Richard Strauss, Little Richard, Jerry Lee Lewis, Vera Lynn, Vangelis, Gene Vincent, and Jimmy Reed.
The film’s wonderful cast include some notable small roles from Ali Nur as Hamilton’s driver, Mike Emperio as the Indonesian president Sukarno, Noel Ferrier and Paul Sonkkila as a couple of foreign correspondents in their respective roles in Wally O’Sullivan and Kevin Condon, Kuh Ledesma as a secretary working for Hamilton and Kumar, and Bembol Roco in a terrific performance as Hamilton’s assistant Kumar who is an Indonesian that has a full understanding of what is going on as he shows Hamilton the chaos of what is happening as well as his own political allegiance. Michael Murphy is superb as the American journalist Pete Curtis who is a rival of sorts for Hamilton as he is more interested in having a good time rather than do his job. Bill Kerr is fantastic as Colonel Henderson as a British diplomat living in Jakarta who is more concerned with maintaining a social status and ensuring Britain’s influence on Indonesian politics rather than help out the people of Indonesia.
Sigourney Weaver is brilliant as Jill Bryant as Colonel Henderson’s assistant who falls for Hamilton though not initially as she is also a friend of Kwan where she understands what is happening and tries to give Hamilton a scoop which would serve as a plot point for the film. Linda Hunt is tremendous as Billy Kwan that has Hunt play a Chinese-Australian dwarf who is a guide for Hamilton while having his own personal interest for the people in Jakarta where he deals with the chaos as well as the empty promises of those in power as it is a defining performance for Hunt. Finally, there’s Mel Gibson in an amazing performance as Guy Hamilton as an Australian reporter covering the events as he’s torn in his job and his love for Bryant where he is forced to see some of the realities of what is happening instead of providing an angle for those with influence.
The Year of Living Dangerously is a phenomenal film from Peter Weir that features great performances from Mel Gibson, Sigourney Weaver, and Linda Hunt. Along with its gorgeous visuals, Maurice Jarre’s haunting score, and its look into an unruly conflict seen from outsiders trying to make sense of everything. It’s a film that play into the chaotic events of mid-1960s Indonesia and its attempt to stray from the influences of the Western world seen from those who unknowingly created that sense of civil disobedience. In the end, The Year of Living Dangerously is a sensational film from Peter Weir.
Peter Weir Films: (3 to Go-Michael) – (Homesdale) – (Whatever Happened to Green Valley?) - (The Car That Ate Paris) – Picnic at Hanging Rock - (The Last Wave) – The Plumber (1979 TV film) - Gallipoli - (Witness) – (Mosquito Coast) – Dead Poets Society - (Green Card) – (Fearless) – (The Truman Show) – Master and Commander: Far Side of the World - The Way Back
© thevoid99 2018
Directed by Peter Weir and screenplay by David Williamson from a story by Weir, Gallipoli is the story of two Australian runners who join the service in the hope they can be heroes during World War I unaware of what lies ahead. The film is a look into the ideas of war and the element of romanticism in being part of the military where two men cope with their decisions to join the service and be part of a campaign that ended up killing thousands of Australians. Starring Mel Gibson, Mark Lee, and Bill Kerr. Gallipoli is a mesmerizing and intense film from Peter Weir.
Set in 1915, the film revolves around two men who meet a running competition as they both enlist in the Australian army in the hope to become heroes in the war unaware of what is happening in the peninsula of Gallipoli in Turkey. It’s a film that explore the romantic ideas of war where two different men from different backgrounds bond through their love of running as well as the idea of heroism during World War I. David Williamson’s screenplay opens with the lives of these two different men in the 18-year old stockman/sprint-runner Archy Hamilton (Mark Lee) and the unemployed railroad worker Frank Dunne (Mel Gibson) as they both would meet at a race as they befriend each other with similar ideas about joining the service. Though Archy is too young to join and Frank is inexperienced in riding horses to join the Light Horse cavalry infantry, the two would help each other as Frank would be joined by other railroad workers in the war.
They all have these motivations revealed in the second act set in Cairo that play into these romantic ideas of being a soldier where being a soldier means taking part in adventures, travel, and do so many different things. That portion of the film is brief as it relates to what Frank, Archy, and many others have to do once they arrive in Gallipoli as all of these romantic ideas is completely swept away. It’s not just the harsh reality of their environment they have to deal with but also the fact that Australians are treated with a sense of disdain since they’re considered second-class by the British Empire who rule over them.
Peter Weir’s direction is definitely entrancing for the vast locations he is able to go to in presenting this vast world of romanticism for much of the film’s first two acts. Shot largely on location in South Australia with the scenes in Cairo shot on the actual city, Weir creates a film that starts off in Southwest Australia where Archy is practicing to be a runner and make his family proud while Frank is just at a railyard with a few friends as they talk about joining the service which Frank is reluctant to do at first since he isn’t fond of the British Empire. Weir would use a lot of wide shots to capture the scope of the locations including the scenes in Cairo which is also shot in medium shots for the sequence at the shops and brothels. There are some close-ups to play into the growing friendship between Archy and Frank as well as this idea of gorgeous romanticism in the way the two would interact with upper-class society in Australia which is different from the way they’re treated by the British. There are elements of comedy during the second act in which Frank and his railroad worker friends mock the British cavalry as it showcases the tension between the British and Australians where the latter really work hard to combat the enemy.
The film’s third act that is set in Gallipoli is a complete removal of everything that Weir would do in the first two acts as it relates to the romanticism of being a soldier. Upon the arrival in Gallipoli, Archy and Frank believe it’s something that is adventurous where everything is fine until a skinny-dipping where a soldier is hit by stray artillery shells. It sets up these moments where reality slowly creeps in as the camera would suddenly shake whenever an artillery shell hits the ground to play into this reality. The film’s climax that involves the battle is definitely intense as it have these anti-war elements that play into a lot of the mistakes that happened as it also showed who was in charge and how their arrogance would play into the loss of innocence of these men trying to fight for survival. Overall, Weir crafts an evocative and eerie film about two young men whose idealism about war is shattered by its dark reality.
Cinematographer Russell Boyd does brilliant work with the film’s gorgeous and sunny photography for many of the exteriors set in the day as well as the usage of low-key natural lighting for some of the scenes in Cairo as well as some artificial lighting for the scenes at night. Editor William M. Anderson does excellent work with the editing in its usage of rhythmic cuts to play into some of the action and lively moments as well as the intensity of the battle during the film’s climax. Art director Herbert Pinter does fantastic work with the look of some of the places the characters go to in Australia and Cairo as well as the look of the tents and trenches in Gallipoli.
Costume designers Wendy Stites and Terry Ryan do nice work with the costumes as it play into the period of the times with some of the fancy dresses the women wore in Australia as well as the look of the uniforms the soldiers wore. Sound editor Greg Bell does amazing work with the sound in the way artillery cannons sound as well as the sound of gunfire to play into the intensity of battle and how powerful it can hit the ground to give it that sense of realism. The film’s music by Brian May is superb for its mixture of electronic synthesizers with some string flourishes to play into the drama while much of the soundtrack feature an array of pieces by Jean Michel Jarre in the running scene as well as Georges Bizet’s Pearl Fishers’ Duet for the film’s climax.
The casting by Allison Barrett is great as it feature some notable small roles from John Morris as the arrogant British colonel Robinson who orders the fatal attack in Gallipoli, Peter Ford as the Australian officer Lt. Grey who is aware of the flaw in Robinson’s plan, Ron Graham and Gerda Nicolson as Archy’s parents, Harold Hopkins as a bullying farmhand in Les that dislikes Archy, Diane Chamberlain as Major Barton’s wife, and Charles Yunupingu as Archy’s Aborigine friend Zac who helps out Archy’s family. The trio of Robert Grubb, Tim McKenzie, and David Argue in their respective roles as Bill, Barney, and Snowy are fantastic as Frank’s friends who also share Frank’s romantic idealism of war where they would be the first to encounter a reality that none of them expected. Bill Hunter is excellent as Major Barton as an Australian military leader who is determined to lead his troop to victory as he also knows that he is put into a dangerous position knowing that he and his troop would face death in the hands of the enemy.
Bill Kerr is brilliant as Archy’s Uncle Jack as a man who trains Archy to be a great racer but has worries about his nephew joining the service though he wishes him luck. Mark Lee is amazing as Archy Hamilton as an eighteen year-old runner that is eager to join the war hoping he would become a hero and endure a lot of the glories of war only to face reality that is just traumatizing. Finally, there’s Mel Gibson in an incredible performance as Frank Dunne as an unemployed railroad worker who joins the service for the romantic ideals of being a soldier where he is also a top runner that can go fast as he finds a friend in Archy where they both deal with the realities of war as it’s a role filled with charm and anguish as it’s one of Gibson’s early triumphs.
Gallipoli is a tremendous film from Peter Weir that features top-notch performances from Mel Gibson and Mark Lee. Along with its gorgeous cinematography, eerie music score, and intense action scenes, it’s a film that explores men’s reality with war as well as showcasing a moment in history that no Australian have to relive ever again. In the end, Gallipoli is a spectacular film from Peter Weir.
Peter Weir Films: (3 to Go-Michael) – (Homesdale) – (Whatever Happened to Green Valley?) - (The Car That Ate Paris) – Picnic at Hanging Rock - (The Last Wave) – The Plumber (1979 TV film) - The Year of Living Dangerously – (Witness) – (Mosquito Coast) – Dead Poets Society - (Green Card) – (Fearless) – (The Truman Show) – Master and Commander: Far Side of the World - The Way Back
© thevoid99 2018
Directed by George Miller and screenplay by Miller, Terry Hayes, and Brian Hannant, Mad Max 2: The Road Warrior is the story of a man driven by loss as he reluctantly help a group of settlers deal with marauders wreaking havoc during a post-apocalyptic period in Australia. The film is a sequel to the 1979 film in which Mel Gibson reprises his role as Max Rockatansky as he tries to cut himself off from humanity only to realize what he needs to do to regain. Also starring Bruce Spence, Vernon Wells, Emil Minty, Michael Preston, and narration by Harold Baigent. Mad Max 2: The Road Warrior is a thrilling and high-octane film from George Miller.
The film follows a man who would go on the road with his dog as he finds himself dealing with crazed marauders where he later finds a small village with lots of gasoline that is being threatened by marauders as gas is now the biggest currency in this post-apocalyptic environment. It’s a film that forces a man to deal with the demons from his past as he struggles to survive with just by himself as he knows that there are marauders just creating havoc and doing whatever they can for one bit of gasoline. The film’s screenplay that feature opening and closing narration by Harold Baigent as an unknown character who describes the events that led to what has happened showcases a world that has lost its way.
Max Rockatansky is just passing by trying to salvage whatever he can find as he would encounter a gyro pilot (Bruce Spence) where he would show him an oil refinery that is constantly attacked by the marauders. He agrees to help them retrieve an oil rig in exchange to get his car fixed and with his own supply of oil in return. Yet, things become complicated due to the marauders including a crazed henchman named Wez (Vernon Wells) who just likes to kill no matter what while he also wants revenge for the death of his companion in the hands of a feral boy (Emil Minty) that befriends Max.
George Miller’s direction starts off with a montage filled with stock footage and images from the previous film as it relates to the chaos that lead to the events in the film as this opening montage is presented in a full-frame 1:33:1 aspect ratio before being presented in a widescreen format in the 2:35:1 aspect ratio. Shot on location near the mining town of Broken Hills, New South Wales in Australia, the film play into this world that is quite desolate and chaotic where it’s cars that kind of rule the land as they’re used as weapons all in the need to get oil so the marauders can wreak havoc. There are some wide and medium shots Miller uses to capture the scope of the location while he would use close-ups for a few moments in the action but most of its usage is on the characters in the non-action scenes as a lot of those shots are straightforward.
In the action scenes, Miller maintains a realism in the way stunts are performed as well as the intensity of the action where much of it is on the road with some of it on the air. Miller also maintain some focus on what is at stake as well as identifying the people at the oil refinery who just want to live and restart their lives with Max unsure if he wants to help them. The film’s climax is intense as it play into the stakes as well as what Max has to do to help these settlers find hope. Overall, Miller crafts an exhilarating yet intense film about a loner trying to help settlers deal with marauders in a post-apocalyptic world.
Cinematographer Dean Semler does brilliant work with the film’s cinematography with the natural approach to the daytime exterior scenes as well as the usage of low-key lights and fire for the scenes at night. Editors Michael Balson, David Stiven, and Tim Wellburn do excellent work with the editing as it captures the energy of the action with some jump-cuts as well as some transition wipes and dissolves to help play into the non-action scenes. Art director Graham “Grace” Walker does amazing work with the look of the cars as well as the oil refinery which looks a bit like a fortress. Costume designer Norma Moriceau does fantastic work with the costumes as some of the marauders wore some kind of strange leather gear with spikes and masks.
Makeup supervisor Lesley Vanderwalt does nice work with the makeup from the look of some of the characters as well as the Mohawks of some of the marauders. Sound editor Bruce Lamshed does terrific work with the sound in capturing the atmosphere of the action as well as the sound of gun fire and engines as it add to the film’s chaotic tone. The film’s music by Brian May is superb for its bombastic orchestral score that add to the action and suspense as it is a major highlight of the film.
The film’s marvelous cast include some notable small roles from Arkie Whiteley as the captain’s girlfriend whom the gyro pilot is fond of, Max Phipps as a marauders crier Toadie, Virginia Hey as a woman warrior who isn’t fond of Max at first, Michael Preston as the settlers’ idealistic leader Pappagallo, and Kjell Nilsson as the marauders’ charismatic leader Lord Humungus who is never seen without his mask as someone that wants to bargain with the settlers or else would cause mayhem. Emil Minty is fantastic as the feral kid who wields a boomerang that can kill people as he is fascinated by Max despite the fact that he never says anything other than scream and bite.
Vernon Wells is excellent as Lord Humungus’ henchman Wez as this Mohawk-sporting marauder who is quite wild and vicious as he shoots arrows from his arms. Bruce Spence is brilliant as the gyro captain as a gyro-copter pilot who is kind of the film’s comic relief as a wanderer that is trying to survive as he would eventually be an ally of Max. Finally, there’s Mel Gibson in an incredible performance as Max Rockatansky as a loner with an Australian Cattle Dog who is just moving along to not deal with anything as he reluctantly help some settlers as a way to get him back in touch with reality as it’s a very restrained yet chilling performance from Gibson.
Mad Max 2: The Road Warrior is a phenomenal film from George Miller that features a great performance from Mel Gibson. Armed with dazzling visuals, high-octane action sequences, and a chilling story of survival in the post-apocalyptic world, it’s a film that offers so much in terms of what is expected in action films but also provide something more as it’s about a man trying to come to grips with loss and his reluctance to reconnect with humanity. In the end, Mad Max 2: The Road Warrior is a spectacular film from George Miller.
George Miller Films: Mad Max - (Twilight Zone: Nightmare at 20,000 Feet) – (Mad Max Beyond Thunderdome) – (The Witches of Eastwick) – (Lorenzo’s Oil) – (40,000 Years of Dreaming) – (Babe: Pig in the City) – (Happy Feet) – (Happy Feet Two) – Mad Max: Fury Road - (Three Thousand Years of Longing) - Furiosa: A Mad Max Saga - (Mad Max: The Wasteland)
© thevoid99 2017
Directed by George Miller and screenplay by Miller and James McCausland from a story by Miller and Byron Kennedy, Mad Max is the story of a man living in dystopian world where an energy crisis has created chaos in his homeland. The film is a post-apocalyptic film set in a future where society has lost all control as a man tries to make sense of his surroundings in this world of absolute turmoil. Starring Mel Gibson, Joanne Samuel, Hugh Keays-Byrne, Steve Bisley, Tim Burns, and Roger Ward. Mad Max is a riveting and terrifying film from George Miller.
Set in a not-too distant future where the energy crisis has crumbled the Australian landscape, the film revolves around a cop who is trying to maintain order in a world that has gone completely chaotic. Especially as a motorcycle gang has run rampant all over the country forcing the police to take action as its top officer is a man named Max (Mel Gibson). It’s a film that plays into a man trying to maintain some law and order in a world where no one is safe as Max is just a simple family man who was just trying to do his job when he managed to take down a notorious biker named Nightrider (Vincent Gil) which would set a series of catastrophic events to emerge. Especially as Max’s life is in danger as the biker gang that is terrorizing the land wants to kill Max for taking down Nightrider as it’s a film that isn’t just about vengeance but also a man coping with his responsibilities and to deal with men who just want to scare everyone.
The film’s screenplay by George Miller and James McCausland has a very offbeat structure where its first half is about Max taking down Nightrider in the first ten minutes and the reaction from the gang whose leader Toecutter (Hugh Keays-Byrne) is a complete anarchist who believes in taking anything that he needs and bring fear to people. Upon learning what happened to his friend Nightrider, he decides to just amp up his thirst for chaos by sending out his young protégé the Boy (Tim Burns) to cause trouble as he would gain the ire of Max’s partner Goose (Steve Bisley). The film’s second half would be more about Max and his reaction to Toecutter’s attacks as he would try to escape from his work to spend time with his family. Even as Max and his family would have some uneasy encounters with Toecutter’s gang as it would prompt Max to go on a quest of his own.
Miller’s direction is quite stylish as he shoots the film on location in remote small towns and areas near Melbourne, Australia where it has this sense of a world that is in crisis. Since it does take place in a not-too distant future, it is a film that does feel like it is still set in the 20th Century where not much progress has happened leaving for Toecutter and his gang to run rampant in many places. Miller’s usage of wide and medium shots definitely help play into the visual aspect of the film in terms of making these locations integral to the story as well as these very intense camera work into the chase scenes. Much of it has Miller employing some unique angles and close-ups to the cars and tires as they go very fast to play into a sense of danger.
Miller’s compositions and his approach to close-ups add to the drama as well as the tense moments in key scenes such as Max’s wife Jessie (Joanne Samuel) and her encounter with Toecutter as it would set for some very chilling moments in the third act. Especially as it would play into Max’s own development from this loving family man with a sense of duty into someone that becomes hell-bent on taking the law into his own hands. The sense of violence does intensify as the film progresses where there’s elements of suspense as it plays into the sense of anarchy that emerges in these chase scenes where a baby would stand in the middle of the road unaware of what is happening. It is among these moments in the film that showcases a world where law and order is gone and no one is safe forcing a man to take action. Overall, Miller creates a gripping yet harrowing film about a man trying to bring some order to a dystopian world.
Cinematographer David Eggby does amazing work with the film‘s cinematography to bring in something natural to the locations while using some low-key lights for some of the interiors and nighttime interior/exterior scenes. Editors Tony Peterson and Cliff Hayes do brilliant work with the editing with its approach to fast-cuts to play into the intensity of the chase scenes as well a few transition wipes and other stylish cuts to play into the film‘s suspense and drama. Art director John Dowding does terrific work with the design of some of the places such as the police headquarters and bars to play into a world that is in ruin where those who stand for good are trying to keep it vital.
Costume designer Clare Griffin does nice work with the costumes from the leather uniforms the cops wear as well as the wild clothes of Toecutter and his gang. The sound work of Ned Dawson, Byron Kennedy, Roger Savage, and Gary Wilkins is fantastic for its array of sound effects and textures to play into the sense of violence and chaos that looms all over the film. The film’s music by Brian May is excellent for its bombastic orchestral score that plays into the action and suspense along with somber pieces for its drama as it adds to the intensity of the film.
The film’s incredible cast include some notable small roles from Brendan Heath as Max and Jessie’s baby son, Nico Lathouris as a mechanic Max would meet during his vacation, Robina Chaffey as a nightclub singer, Sheila Florence as Jessie’s elderly friend May, Jonathan Hardy as the police commissioner, and Vincent Gil as the notorious cop-killer yet speed-racer Nightrider. Roger Ward is terrific as the police leader Fifi as a man who is quite tough but also has a sensitive side as it relates to plants while Geoff Parry is superb as Toecutter’s brutal lieutenant Bubba Zanetti. Tim Burns is excellent as the cowardly yet trouble-making Johnny “the Boy” Boyle as a man who took part in a couple’s rape and managed to get away with it. Steve Bisley is brilliant as Max’s partner Goose as a cop who is good at riding motorcycles as he isn’t happy about the Boy’s release in his own desire to set things right.
Joanne Samuel is wonderful as Max’s wife Jessie who would have an encounter with Toecutter and his gang as she starts to fear for her own life while dealing with the nightmares Max had early on following Toecutter’s wrath in the film’s first half. Hugh Keays-Byrne is fantastic as Toecutter as this leader of a ruthless biker gang who wreaks havoc around everything that is around him as he is a man with very little remorse while displaying some twisted charm. Finally, there’s Mel Gibson in a magnificent performance in his breakthrough role as Max Rockatansky as a simple family man who displays a sense of duty and responsibility as he copes with the sense of disorder around him as Gibson brings something that is crazy but also balance it with some sensitivity to make Max a very unique character.
Mad Max is a phenomenal film from George Miller that features a tremendous breakthrough performance from Mel Gibson. Not only is the film one of the most enthralling action-suspense films of the late 70s but also one of the most gripping road/chase films ever made. Even as it plays into elements of dystopia with a sense of nihilism that wouldn’t be for everyone yet manages to have enough elements for all kinds of audiences. In the end, Mad Max is an incredible film from George Miller.
George Miller Films: Mad Max 2: The Road Warrior - (Twilight Zone: The Movie-Nightmare at 20,000 Feet) - (Mad Max Beyond Thunderdome) - (The Witches of Eastwick) - (Lorenzo’s Oil) - (40,000 Years of Dreaming) - (Babe: Pig in the City) - (Happy Feet) - (Happy Feet Two) - Mad Max: Fury Road - (Three Thousand Years of Longing) - Furiosa: A Mad Max Saga - (Mad Max: The Wasteland)
© thevoid99 2015
Directed by Richard Donner and screenplay by Channing Gibson from a story by Alfred Gough, Jonathan Lemkin, and Miles Millar, Lethal Weapon 4 is the story of Martin Riggs and Roger Murtaugh leading an investigation into a Chinese smuggling ring involving slave laborers and other things involving triad gangs. The fourth and final film of the series has Riggs and Murtaugh not only deal with personal changes in their life but also aging as it’s finally catching up with Riggs as Mel Gibson and Danny Glover reprise their roles as Riggs and Murtaugh, respectively, while being joined by series regulars Joe Pesci, Rene Russo, Darlene Love, Traci Wolfe, Damon Hines, Ebonie Smith, Mary Ellen Trainor, and Steve Kahan. Also starring Chris Rock, Kim Chan, Eddy Ko, Calvin Jung, and Jet Li. Lethal Weapon 4 is a good though very messy film from Richard Donner.
The fourth film has Martin Riggs and Roger Murtaugh not only get promoted as captains due to a technicality over the years of chaos and destruction the two caused as they lead an investigation into a Chinese criminal syndicate involving slave labor and smuggling. During their investigation into the world of Chinese triad gangs, Riggs and Murtaugh also endure some changes in their personal life as the former learns he is going to be a father while the latter is going to be a grandfather. While Murtaugh tries to find out who is the father of his new grandchild that only Riggs, Lorna Cole (Rene Russo), and Murtaugh’s family know, Riggs ponders about being a father as well as marrying Lorna as he wonders if it will dishonor the union he previously had with his first wife a long time ago. Yet, the two are joined by Detective Lee Butters (Chris Rock) in the case with help from friend Leo Getz (Joe Pesci) who has become a private detective in uncovering this Chinese smuggling ring as they deal with a ruthless triad negotiator in Wah Sing Ku (Jet Li).
The film’s screenplay retains many elements of the first three films that were very lively and fun yet it lacks substance where it wants to be funny as well as be an action film. There’s no balance to the script which really hurts the story while some of the humor at times can get meandering such a scene where Butters and Getz complain about cell phones that goes on for too long. It’s among the issues that the film has as well as gags about some of the extra money that Murtaugh has been carrying which Riggs has been asking about. Still, there’s aspects of the script that is compelling such as Riggs’ anxiety about having a family as well as the fact that he is getting older which makes him insecure about his duties as a cop. With Murtaugh there for him, Riggs copes with these changes as he also helps Murtaugh cope with becoming a grandfather. There’s also a subplot where Murtaugh finds a Chinese family whom he takes in as he feels like he’s making a difference. All of which leads to this showdown between the LAPD and this Chinese triad organization.
Richard Donner’s direction is quite frenetic in terms of its action sequences as it opens with this rainy scene where Riggs and Murtaugh try to subdue a pyromaniac. It all plays into the sense of elaborate approach to action with doses of humor as it’s clear that Donner wants to kick the film off with a bang. While Donner wants to maintain that balance between humor, action, and suspense in his compositions and set pieces, he doesn’t succeed entirely due to the messiness of the script. Though many of the shots he creates doesn’t do anything new, some of it does feel uninspired where Donner wants to put more humor where it tends to drag the film at times. Still, there’s elements of the film that are engaging such as Murtaugh bonding with a Chinese man whose family he took in as well as Riggs dealing with the expectations of fatherhood and being there for Lorna who occasionally helps out in the investigation. Yet, Riggs and Murtaugh have to do whatever to protect those they care about in a very sprawling climax involving gunfights and kung fu as it shows that if they’re going to do something stupid. They’ll do it together and do it with style. Overall, Donner creates an enjoyable though overly familiar film about two guys leading the way to face off a Chinese criminal organization.
Cinematographer Andrzej Bartkowiak does excellent work with the look of the nighttime exterior scenes such as the opening sequence while taking the advantage to use stylish lighting schemes for some of its interiors. Editors Frank J. Uroste, Dallas Puett, Kevin Stitt, and Eric Strand do nice work with the editing as it‘s straightforward in terms of its fast-paced cutting approach to action while slowing things down for the suspenseful moments of the film. Production designer J. Michael Riva, with art directors David F. Klassen and Richard F. Mays and set decorator Lauri Gaffin, does fantastic work with the renovated looks of Riggs‘ trailer home and Murtaugh‘s home as well as the Chinese restaurants in Chinatown.
Costume designer Ha Nguyen does terrific work with the costumes as it‘s mostly casual with the exception of the clothes that Ku wears that is more traditional Chinese gear to display his ferocity. Visual effects supervisor Michael L. Fink does wonderful work with the minimal visual effects which involves much of the film‘s action sequences including the opening scene. Sound designer John Pospisll, along with sound editors Mark A. Mangini and George Simpson, does superb work with the layers of sound from the waves of explosions and fisticuffs as well as the layers of gunfire and things that occur in the different locations of the film. The film’s music by Eric Clapton, Michael Kamen, and David Sanborn is pretty good for its mixture of blues, orchestral, and jazz to play into some humor and suspense along with some blues-based cuts by Clapton while the film‘s soundtrack features songs from War and Van Halen with vocals by Gary Cherone.
The casting by Marion Dougherty is brilliant as it features notable small roles from Conan Lee as a triad leader that Ku wants to free, Eddy Ko as a man named Hong that Murtaugh meets as he takes him and his family to his home, Kim Chan in a hilarious performance as a triad boss named Uncle Benny, Calvin Jung as a detective who knows a lot about the Chinese world and their tactics, Ebonie Smith and Damon Hine in their respective roles as Murtaugh’s younger children Carrie and Nick, Traci Wolfe as Murtaugh’s eldest daughter Rianne who is pregnant, and Mary Ellen Trainor as Dr. Stephanie Woods whom Riggs decides to harass in a humorous manner after she refuses to help him. Steve Kahan is terrific as Captain Murphy who would promote Riggs and Murtaugh to captains in the hope they can do less damage and lead the investigation due to insurance reasons. Darlene Love is excellent as Murtaugh’s wife who would help Lorna and Rianne with their pregnancies as well as deal with the Chinese family that is staying with them as she raises question about all the money she and her husband have been giving away.
Rene Russo is superb as Lorna Cole as Riggs’ girlfriend as she ponders if he will marry her as she begins to embrace the idea of motherhood while helping Riggs and Murtaugh with bits on the case. Jet Li is fantastic as the ruthless Triad negotiator Wu who is a true master of kung fu as he proves to be a very challenging opponent for everyone involved. Chris Rock is pretty good as Detective Lee Butters who aids Riggs and Murtaugh in the case as he provides some funny moments while making Murtaugh uncomfortable in how affectionate he is towards him suggesting that Butters is gay. Joe Pesci is wonderful as Leo Getz as a longtime friend turned private detective who also help out in finding clues while being put into some very dangerous and funny situations. Finally, there’s Mel Gibson and Danny Glover in amazing performances in their respective roles as Martin Riggs and Roger Murtaugh as two men who not only cope with old age but also personal changes in their lives as they try to take down a Chinese criminal organization in the only way they can which is through mayhem.
Lethal Weapon 4 is an entertaining yet flawed film from Richard Donner that features excellent performances from Mel Gibson and Danny Glovers. Along with a strong supporting cast that features Jet Li in his American film debut, it’s a film that has things that made audiences love those character though the story is lacking in times in terms of creating a tighter story as it ends up being more of a comedy than an action film. In the end, Lethal Weapon 4 is a worthwhile yet messy film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - Lethal Weapon 2 - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Richard Donner and screenplay by Jeffrey Boam and Robert Mark Kamen from a story by Boam, Lethal Weapon 3 is the third film of the film series where Martin Riggs and Roger Murtaugh team up with an internal affairs officer in pursuit of a former LAPD detective who has turned into an arms dealer. The film has Riggs and Murtaugh not only deal with a former cop who is selling guns to young men but also for the fact that the latter is retiring as Mel Gibson and Danny Glover reprise their respective roles as Riggs and Murtaugh while being joined by franchise regulars Joe Pesci, Darlene Love, Traci Wolfe, Damon Hines, Ebonie Smith, Jack McGee, Mary Ellen Trainor, and Steve Kahan reprising their roles from previous films. Also starring Rene Russo, Gregory Millar, and Stuart Wilson as Jack Travis. Lethal Weapon 3 is a sensational film from Richard Donner.
The film has Martin Riggs and Roger Murtaugh not only deal with a former cop who has become an illegal arms dealer to fund his own real estate venture as they’re joined by an internal affairs officer who is investigating the case. Meanwhile, Murtaugh is set to retire in less than a week as he isn’t just coping with the need to retire but is also confronted with the severity of his case which involves armor-piercing bullets known as “cop-killers”. Teaming up with the internal affairs officer Lorna Cole (Rene Russo) and getting help from friend Leo Getz (Joe Pesci), Riggs and Murtaugh not only take on the case but also deal with how intense it is as their antagonist is Jack Travis who is a man that knows every police code and how to get around them. Yet, he is driven by greed and chaos as he used to be one of the good guys only to be so corrupt that he was kicked out of the force.
The film’s screenplay, which features additional contributions from Carrie Fisher, doesn’t just explore these two cops trying to uncover this case of illegal arms dealing but also for the fact that young African-American men are the ones who are buying these guns. Even as Murtaugh would shoot a young man with one of those guys who is revealed to be one of his son’s friends as he becomes consumed with guilt as he would withdraw himself from everyone including his own family. This would force Riggs to continue the investigation with Cole for a while as the two develop a rapport with one another over their love of violence and the Three Stooges. Once Riggs gets Murtaugh back in the game as he reveals how Murtaugh’s retirement affects Riggs, it becomes clear how special this partnership is as Riggs knows Murtaugh is teetering on the edge as he would protect him.
By the film’s second half, Murtaugh starts to display a bit of craziness as his grief becomes the driving force to confront those who had been dealing weapons as it would lead to some discoveries about Travis’ real-estate ventures as they seek Getz’s help. Getz’s appearance in the film definitely adds a lot of humor as he has reinvented himself as a real estate dealer as he tries to sell Murtaugh’s house while he is someone that can get connections about Travis’ line of work which does lead to this explosive third act where Riggs, Murtaugh, and Cole confront Travis and his men not only to save their friends in the police force but also stop Travis from killing men on the force.
Richard Donner’s direction starts off with a bang where Riggs and Murtaugh try to defuse a bomb only to make things worse as it plays to that mix of action and humor. Especially as it takes place in the span of more than a week as Murtaugh is spending his final days as a detective until he retires. Much of the compositions are simple as Donner keeps much of the humor light-hearted and natural for gags such as Riggs trying to quit smoking or Murtaugh dealing with an admirer he met during a chase. Still, there is a balance to the humor and action in the way Donner plays out as well as some light-hearted moments where Riggs is definitely part of Murtaugh’s family as he would be the one to find Murtaugh at his lowest as it’s one of the most powerful moments of the film.
The direction is also sprawling in terms of the action set pieces from the opening sequence of a bomb destroying a building to some chase scenes. Notably a chase scene in the third act where Riggs and Murtaugh save Captain Murphy from Travis as Riggs borrows a motorcycle to chase Travis and one of his goons onto an unfinished highway. All of which leads to this very violent and elaborate climax that shows why Riggs and Murtaugh are the last two cops that should be messed with. Add Cole to the mix and there is more trouble as she is a total ass-kicker as the result is an explosive climax that also includes bits of humor. Overall, Donner creates a very exciting and funny film about two detectives who are joined by an internal affairs officer in taking down a former cop who has gone bad.
Cinematographer Jan de Bont does excellent work with the cinematography to capture the sunny look of the scenes set in Los Angeles including the nighttime climax scene with its use of fire and elaborate lights. Editors Robert Brown and Battle Davis do brilliant work with the editing with its use of rhythmic cuts to play into the action and suspense including the chase scenes as well as some of the film‘s funnier moments. Production designer James H. Spencer, with set decorator Richard C. Goddard and art director Greg Papalia, does fantastic work with the look of Murtaugh‘s home as well as Riggs‘ trailer home in a renovated state as well as some of the places such as the precinct where Riggs and Murtaugh work at.
Sound editor Robert G. Henderson does nice work with the sound to play into the sense of chaos that goes in the gunfights as well as some scenes set in the Los Angeles subways and at a hockey game. The film’s music by Eric Clapton, Michael Kamen, and David Sanborn is superb as its mixtures of blues, orchestral music, and jazz play into the air of suspense and action as well as some humor that includes variations of the Three Stooges theme while the soundtrack features songs by Sting and Elton John.
The casting by Marion Dougherty is incredible as it features notable small roles from Andrew Hill Newman as a jaywalker Riggs and Murtaugh harass, Gregory Millar as an associate of Travis in Tyrone, Nick Chinlund as an arms dealer working for Travis, Jason Rainwater as a young rookie cop that would help in saving Captain Murphy, Mark Pellegrino as an associate of Travis who gets arrested early in the film, Bobby Wynn as Nick’s friend Darryl, Jack McGee reprising his role as the carpenter from the previous film as he helps Riggs renovate his home, Delores Hall as the bank security driver who is attracted to Murtaugh, and Mary Ellen Trainor as the police psychiatrist Dr. Stephanie Woods who keeps asking Murtaugh to come see her in a very awkward moment with him and Riggs.
Ebonie Smith and Damon Hines are terrific in their respective roles as Carrie and Nick Murtaugh who are hoping for the dad would retire while Traci Wolfe is wonderful as the eldest daughter Rianne who is trying to make it as an actress as she asked Riggs to find her dad when he didn’t come home over the shooting of Darryl. Darlene Love is excellent as Murtaugh’s wife Trish who is anxious about her husband’s impending retirement as, in the extended cut of the film, has him not forget his bulletproof vest while asking Riggs to keep her husband out of trouble. Steve Kahan is superb as Captain Murphy who knew Travis when he was once a cop as he is later captured by Travis in order to get access to some weapons. Stuart Wilson is fantastic as Jack Travis as this former cop who has become an arms dealer in order to fund his own real estate ventures as he is a really fun and sly antagonist.
Rene Russo is great as Lorna Cole as this internal affairs officer who leads the investigation over what Travis is doing as she proves to be an absolute ass-kicker who doesn’t take shit from anyone making Riggs fall for her. Joe Pesci is brilliant as Leo Getz as he brings in that great sense of humor as he tries to help Murtaugh sell his house while aiding them in finding clues relating to the case. Finally, there’s Mel Gibson and Danny Glover in marvelous performances in their respective roles as Martin Riggs and Roger Murtaugh as the two maintain that sense of chemistry of mayhem and hilarity while also showing their vulnerable side during an intense moment involving a grief-stricken Murtaugh. Even as the two switch personas for a bit where Murtaugh gets a bit crazy and Riggs being the straight man as Gibson also displays a lot of humor in his performance that includes a very funny scene where he tries to win over a guard dog by acting like a dog.
Lethal Weapon 3 is a remarkable film from Richard Donner that features thrilling performances from Mel Gibson and Danny Glover plus strong supporting performances from Rene Russo, Joe Pesci, and Stuart Wilson. The film isn’t just one of the finest action blockbusters of the 1990s but also one of the funniest. It’s a film that has something for everyone while also having something for the smart audiences as well as audiences that want some excitement. In the end, Lethal Weapon 3 is a phenomenal film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - Lethal Weapon 2 - (Radio Flyer) - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Richard Donner and screenplay by Jeffrey Boam from a story by Shane Black and Warren Murphy, Lethal Weapon 2 is the follow-up to the previous film from 1987 where Martin Riggs and Roger Murtaugh who are tasked to protect a federal witness who is involved with a smuggling operation from South African dealers who are protected by diplomatic immunity. The film is another mixture of action with buddy comedies as Mel Gibson and Danny Glover reprise their respective roles as Riggs and Murtaugh as they‘re joined by Darlene Love, Traci Wolfe, Mary Ellen Trainor, Damon Hines, Ebonie Smith, and Steve Kahan who all reprise their roles from the previous film. Also starring Joe Pesci, Patsy Kensit, Derrick O’Connor, and Joss Ackland. Lethal Weapon 2 is an explosive and enthralling film from Richard Donner.
When a group of South African dealers catch the attention of Martin Riggs and Roger Murtaugh and the rest of the LAPD, what happens becomes a war between good and bad in a film where these two men try to do whatever to get these men despite their protection under diplomatic immunity. Once they are reassigned to protect an obnoxious federal witness in Leo Getz (Joe Pesci) who is connected to this smuggling case involving these South African government officials led by this consulate. Riggs and Murtaugh do whatever to nab these men and find evidence that can allow them to be tried under American jurisdiction but complications ensue once these men make the war with the LAPD very personal which only push Riggs and Murtaugh to the edge.
The film’s screenplay definitely shows these two mismatched partners not only becoming closer and bring out the best in each other but also give them a chance to have an element of balance into their different personalities. Especially as Riggs often goes to Murtaugh’s home where he reveals to Murtaugh’s wife Trish (Darlene Love) about his wife’s death years ago which shows Riggs opening up more to Murtaugh and his family. Upon getting assigned to protect Getz, the element of comedy starts to get more into play where Riggs and Murtaugh find a foil in the often irritating Getz who is this accountant that always curse and complain about things as he also knows a lot as he proves to be a vital asset to Riggs and Murtaugh in their case.
The antagonist in these South African smugglers and criminals led by this consul-general named Arjen Rudd are men who are driven by money and power as they transport illegal currency to apartheid-era South Africa. Even as the case would have revelations about Riggs’ own past in laundering money for smugglers which he wasn’t proud of as it played into his decisions to join the police force. Rudd and his men not only use devious tactics to intimidate Riggs and Murtaugh where they would break-in the latter’s home to scare him and his family. Even the rest of the LAPD get pushed to the breaking point as Riggs and Murtaugh’s superior Captain Murphy (Steve Kahan) wants to go after them but various jurisdiction issues prevent them from doing what is right. Once the film’s third act had the LAPD pushed to the breaking point where both Riggs and Murtaugh realize that these men don’t respect the law. The two would do whatever it takes to carry out their own brand of justice.
Richard Donner’s direction is quite extravagant in terms of action sequences and the fact that he has something to say about the idea of apartheid. Even where he would put some humor such as a scene where Murtaugh and Getz enter the South African consulate embassy where they would harass officials in order to get Riggs to antagonize and confront Rudd and his men. While much of the humorous moments are shot in intimate manners as it would include some very funny gags such as reaction to Murtaugh’s daughter Rianne (Traci Wolfe) making her acting debut in a condom commercial. It is balanced by this air of suspense and action that plays out in the film where it adds to the stakes of what Riggs and Murtaugh have to deal with.
The action sequences are very explosive that includes this montage where Rudd’s men do horrific things to try and wipe out the LAPD as there’s some dark elements that play into the drama. Even as Getz becomes a target which adds to Riggs and Murtaugh to take the law into their own hands where it’s third act features some of the most elaborate sequences ever created. Presented in a wide shot with some unique camera angles, it is definitely a highlight that would be followed by a major climax as it reveals that diplomatic immunity or not. One must never ever fuck with Riggs and Murtaugh. Overall, Donner creates a very thrilling and compelling film about two guys going up against a group of politically-racist criminals.
Cinematographer Stephen Goldblatt does excellent work with the cinematography from the usage of lights for many of the scenes set at night to the array of interior lights for the cold offices that Rudd works at. Editor Stuart Baird does brilliant work with the editing from the fast-paced cuts of the opening chase sequence to the slower moments for its humor and suspense. Production designer J. Michael Riva, with art directors Richard Berger and Virginia L. Randolph and set decorator Marvin March, does amazing work with the set design from the look of Rudd‘s home as well as the office he has in the South African embassy.
Sound editor Robert G. Henderson does superb work with the sound from the layer of sounds of gunfire and explosions to the quieter moments involving conversations and in some of the film‘s humor. The film’s music by Michael Kamen, Eric Clapton, and David Sanborn is fantastic for its mixture of orchestral bombast courtesy of Kamen to the sound of blues and jazz from Clapton and Sanborn to play into the humor and drama while the soundtrack features a cover of Bob Dylan‘s Knockin‘ on Heaven‘s Door by Clapton, Sanborn, and Randy Crawford and songs by the Beach Boys and George Harrison.
The casting by Marion Dougherty and Gail Levin is great as it features notable small roles from Jack McGee as a carpenter fixing Murtaugh‘s home, Dean Norris and Jenette Goldstein as a couple of fellow detectives, Traci Wolfe, Damon Hines, and Ebonie Smith as Murtaugh‘s three children, and Mary Ellen Trainor in a wonderful role as the police psychiatrist Dr. Stephanie Woods who is treated with humor by Riggs. Steve Kahan is terrific as Captain Murphy who tries to make sure Riggs and Murtaugh keep themselves in check as they will be in big trouble if they interfere with Rudd who is protected by diplomatic immunity. Darlene Love is superb as Murtaugh’s wife Trish who accepts Riggs into her family as she learns about what happened to his wife. Patsy Kensit is fantastic as Rudd’s secretary Rika who secretly despises Rudd and his views as she would fall for Riggs and his antics. Derrick O’Connor is excellent as Rudd’s henchman Pieter Vorstedt who is a man that proves to be extremely devious with his own tactics as he also has some revelations for Riggs which would motivate him for vengeance.
Joss Ackland is brilliant as Arjen Rudd as this consul official for the South African government who masterminds many of the schemes for the sake of profit as he carries an air of arrogance over how’s protected by diplomatic immunity. Joe Pesci is hilarious as Leo Getz as this accountant whom Riggs and Murtaugh has to protect as he knows a lot about what Rudd is doing as he brings a lot of charm to his role as well as the fact that he is a great foil for both Riggs and Murtaugh. Finally, there’s Mel Gibson and Danny Glover in remarkable performances in their respective roles as Martin Riggs and Roger Murtaugh. Gibson maintains the very crazy and funny approach to his character while also revealing elements of how sensitive he is. Glover continues in playing the straight man as well as bring very funny as he and Gibson continue to have this electric chemistry.
Lethal Weapon 2 is a marvelous film from Richard Donner that features great performances from Mel Gibson, Danny Glover, and Joe Pesci. The film isn’t just a sequel that manages to just as good as its predecessor as well as be very entertaining. Even as it play into the world where two guys trying to beat up the bad guys in some of the most explosive moments in the film. In the end, Lethal Weapon 2 is phenomenal film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
Directed by Richard Donner and written by Shane Black, Lethal Weapon is the story of two very different Los Angeles detectives who become partners as they battle a retired general who has become a drug smuggler and his psychotic enforcer. The film is a strange mixture of the buddy comedy films with high-octane action as it is led by two men who have nothing in common as Mel Gibson plays the crazed, suicidal Martin Riggs and Danny Glovers as the straight-laced veteran Roger Murtaugh. Also starring Gary Busey, Mitchell Ryan, Darlene Love, Traci Wolfe, Tom Atkins, Mary Ellen Trainor, and Steve Kahan as Captain Murphy. Lethal Weapon is an explosive yet extremely entertaining film from Richard Donner.
What happens when a middle-aged family man who is straight as an arrow is teamed up with a lonely and crazed man with a death wish as they go around chasing bad guys? That is basically the premise of the film as it plays into this odd world where two guys who have nothing in common other than being part of the LAPD as they deal with a drug smuggler who was once a general in the Vietnam War who also has an enforcer that is extremely insane in terms of dealing with situations. Especially as the veteran Roger Murtaugh is asked to investigate the death of a young woman whose father is an old friend of Murtaugh as he and Martin Riggs deal with many revelations about the drug trade that is connected with this woman’s death. During this investigation, Riggs and Murtaugh would become this unlikely duo that takes name and kick some ass as they also find more to like about each other outside of their work.
Shane Black’s screenplay definitely has this strange mix of action, suspense, and humor all rolled into a story that is offbeat but also filled with a lot of excitement. At the heart of the script is this unlikely partnership between Riggs and Murtaugh as they’re different in many ways not just in age, personalities, skills, morals, backgrounds, and in lifestyles. Yet, this duo manage to become partners that get things done as well as be there for one another. In Murtaugh, he’s this middle-aged veteran who lives in the suburbs as he’s been in the force for many years as he has three children as one of whom in Rianne (Traci Wolfe) is becoming a young woman. In being this veteran, he copes with being middle-aged as he often states that he’s too old for this shit which is among the many aspects of the film’s humor.
In Riggs, there’s a man who is an absolute mess as he is known for being very crazy in his tactics where he has no qualms in killing criminals as he has an offbeat sense of humor inspired by the Three Stooges. Yet, he’s also someone that is suicidal due to the death of his wife as he would often put himself or anyone else near him in danger. Having these two men as partners definitely seems like a combustible partnership but once they deal with revelations of this young woman’s death as well as it plays into this world of drug smuggling run by General Peter McAllister (Mitchell Ryan) whose enforcer in Joshua (Gary Busey) is a man that doesn’t just get things done but he has tactics that are far more brutal. Even as it would involve Murtaugh’s family which would have Riggs and Murtaugh go into great lengths to stop these two men at any cost.
Richard Donner’s direction starts off with a bang as it opens with aerial shots of Los Angeles and moves into a close-up of a drugged-out young woman in her hotel room as she would then jump off the building. It sets up the tone of what kind of film it would be as Donner infuses a lot of style from high-octane aerial shots as well as some unique camera angles to play into the action. Much of the action is often intense as it also include some moments of dark humor as it relates to the mismatched partnership of Riggs and Murtaugh in the things they would encounter. While many of the action sequences are elaborate in its presentation with wide shots and stylistic camera angles to play into the vast look of the film. It is balanced by the intimate approach to humor and suspense for the film.
Donner’s use of close-ups and medium shots play into the humor as well as the developing friendship between Riggs and Murtaugh as the former gets to know the latter and his family. It adds to something that feels very intimate as well as special into something that Riggs is in need of as he is a man that lives in a trailer on a beach with his dog. Once the two are in great danger as they meet their adversaries, the sense of drama and suspense do intensify where Murtaugh would realize that he needs to play dirty if he is to make sure the world is a safer place. It adds to the dramatic stakes where Riggs needs Murtaugh to keep him in control and Murtaugh needs Riggs to push his buttons. Overall, Donner creates a very riveting yet exhilarating film about two mismatched detectives who work together and kill some bad guys.
Cinematographer Stephen Goldblatt does excellent work with the cinematography from the colorful and sunny look of the scenes set in the daytime in Los Angeles and the Californian deserts to more stylish usage of lights for its nighttime interior/exterior scenes. Editor Stuart Baird does brilliant work with the editing with its usage of stylish slow-motion cuts as well as jump-cuts to play into the action and suspense. Production designer J. Michael Riva and set decorator Marvin March do terrific work with the set pieces from the look of the homes of some of suspects as well as the different homes of Riggs and Murtaugh to play into their different lifestyles.
Costume designer Mary Malin does nice work with the clothes to play into the different looks of Riggs and Murtaugh with the former wearing street clothes and the latter wearing a shirt and tie. Sound editors Robert G. Henderson and Alan Robert Murray do amazing work with the sound to play into layers of gunfire as well as explosions and other moments to play into the film‘s humor and action scenes. The film’s music by Michael Kamen, Eric Clapton, and David Sanborn is superb for its mixture of Kamen‘s soaring orchestral music to play into the film‘s suspense while Clapton brings in some blues-based guitar to showcase the sense of melancholia surrounding Riggs and Sanborn bringing some snazzy jazz with his saxophone for some of the film‘s humorous moments.
The casting by Marion Dougherty is phenomenal for the ensemble that is created as it features some small performances from Jackie Swanson as the young woman who would jump off a building in the film’s opening sequence, Grand Bush and Jack Thibeau as a couple of fellow detectives, Blackie Dammett as a thug Riggs beats up early in the film, Lycia Naff as a hooker Riggs and Murtaugh interrogate, Al Leong as Joshua’s man of torture, and Sally Field in an un-credited cameo as a TV news reporter. Other notable small roles include Ebonie Smith and Damon Hines in their respective roles as Murtaugh’s younger children Carrie and Nick, Mary Ellen Trainor as the police psychiatrist Dr. Stephanie Woods, and Steve Kahan in a terrific performance as Riggs and Murtaugh’s superior Captain Murphy.
Traci Wolfe is wonderful as Murtaugh’s teenage daughter Rianne who has a crush on Riggs while taken hostage by McAllister. Darlene Love is excellent as Murtaugh’s wife Trish who is has this sense of warmth and comfort that intrigues Riggs while being the person that grounds her husband from doing dangerous things. Tom Atkins is superb as Michael Hunsaker as the old friend of Murtaugh who asks for his help following his daughter’s death as he would reveal some things about why his daughter jumped off a building to her death. Mitchell Ryan is fantastic as General Peter McAllister as a once-revered army leader who decides to go into the world of drug smuggling as he sees money in the operation and will do anything to be rich.
Gary Busey is brilliant as the devious enforcer Joshua who knows Riggs via reputation as he is very insane guy who can push people’s buttons and do things to get the job done. Finally, there’s the duo of Mel Gibson and Danny Glover in incredible performances as Martin Riggs and Roger Murtaugh. Gibson brings that mix of craziness and vulnerability to his character as this man that is teetering on the edge as he tries to find something to live for. Glover is the perfect straight man as he has these little moments that make him very funny as well as very serious in the way he does his job. Gibson and Glover have a chemistry that is often fun to watch in the way Riggs makes Murtaugh tick or how Murtaugh tries to show Riggs how it’s done as they are the heart and soul of the film.
Lethal Weapon is an outstanding film from Richard Donner that features top-notch performances from Mel Gibson and Danny Glover. Featuring an inventively witty script from Shane Black as well as a noteworthy supporting performance from Gary Busey. The film is definitely a standard bearer for not just buddy cop films as well as action-comedies but it’s also one of the most enjoyable films that still holds up since its initial release. In the end, Lethal Weapon is a gloriously enthralling and exciting film from Richard Donner.
Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - (Scrooged) - Lethal Weapon 2 - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)
© thevoid99 2014
