Mighty Aphrodite

Written, directed, and starring Woody Allen, Mighty Aphrodite is the story about a man who wants to know who is the real mother of his adopted son as he learns that she’s a prostitute where he decides to give her a better life. Inspired by George Bernard Shaw’s play Pygmalion, the film explores a man’s desire to improve a young woman’s life as it is told by a Greek chorus. Also starring Helena Bohnam Carter, Mira Sorvino, Michael Rapaport, Peter Weller, and F. Murray Abraham. Mighty Aphrodite is a charming yet exhilarating film from Woody Allen.

The film revolves around a sports writer who is amazed by his adopted son’s intelligence as he wants to know who is his real mother. Upon learning that she’s a prostitute, he decides to help giving her a better life in the hopes that his adopted son would be proud of her if ever meets her. It’s a film where a man is eager to help this ditzy but kind-hearted prostitute/porn actress get the chance for a better life. Even as he’s dealing with a marriage that is losing its passion as his wife is being drawn to an art dealer. All of it is told by a Greek chorus who pops into the story every once in a while to help this man do something or to warn him of the consequence he might bring.

Woody Allen’s script is filled with some humor and drama as it is largely driven by its protagonist Lenny Weinrib (Woody Allen) as he was someone who was hesitant about having a child until Max (Jimmy McQuaid) comes into his world as he enjoys fatherhood. With his marriage to Amanda (Helena Bohnam Carter) kind of losing its luster, Lenny goes on the journey to find out who is Max’s mother as it is revealed in the form of this prostitute named Linda Ash (Mira Sorvino). Linda is a very interesting character as she is someone who isn’t very bright as she comes from a very dysfunctional family but has aspirations to go to Broadway but still does trick and a porn gig every once in a while. It prompts Lenny to do something to help this young woman to have a good life where he would try to set her up with a boxer named Kevin (Michael Rapaport) where Lenny’s own life would have some revelations of its own.

Allen’s direction is quite straightforward though there’s elements of styles in some of the long shots he creates as well as the scenes of the Greek chorus as it’s shot in Sicily. The Greek chorus scenes are filled with some dance numbers choreographed by Graciela Daniele as it’s often lively but also help to tell the story. Even as the Greek chorus leader (F. Murray Abraham) would pop in the story to give Lenny some advice. It adds the sense of a man wanting to do something for this young woman who seems to go nowhere while not telling her that he’s the adopted father of her son. Though it’s a film that doesn’t play with traditional structure in order to play with the idea of reality and fiction. It does manage to find a balance in the story that it wants to tell as the overall result is a very fascinating yet heartfelt film from Woody Allen.

Cinematographer Carlo Di Palma does excellent work with the film‘s cinematography from the low-key yet colorful look of some of the film‘s interiors to the more straightforward exterior scenes in the film. Editor Susan E. Morse does nice work with the editing from the transitions to go from the main story to the Greek chorus to a few montages to play up Linda‘s evolution. Production designer Santo Loquasto, with set decorator Susan Bode and art director Tom Warren, does amazing work with the set pieces from Linda‘s apartment to the place where the Greek chorus tell their story.

Costume designer Jeffrey Kurland does brilliant work with the costumes from the clothes that Linda wears to the robes the Greek chorus wears. Sound editor Robert Hein does terrific work with the sound to create an atmosphere in the locations as well as the scenes involving the Greek chorus. The film’s soundtrack consists of traditional Greek music mixed in with jazz and classical music to play up some of its humor and drama.

The casting by Juliet Taylor is fantastic for the ensemble that is created as it features appearances from Paul Giamatti as an adoption agent, Tony Sirico as a boxing trainer, Jimmy McQuaid as Lenny and Amanda’s adopted son Max, and Claire Bloom as Amanda’s mother. F. Murray Abraham is excellent as the Greek chorus leader while Olympia Dukakis, Jack Warden, costume designer Jeffrey Kurland, Danielle Ferland, and David Odgen Stiers make wonderful appearances as famous Greek gods commenting on the story or revealing some news that would impact the story. Peter Weller is terrific as an art dealer who tries to woo Amanda while Michael Rapaport is superb as a boxer who is set up to meet Linda.

Mira Sorvino is brilliant as Linda Ash as this very ditzy but well-meaning young woman who is very uncertain about her life until she meets Lenny where she becomes a proper lady as it’s really a majestic breakthrough for Sorvino. Helena Bohnam Carter is amazing as Amanda as a woman dealing with the changes in her marriage to Lenny while being wooed by this art dealer as she’s unsure if she’s in love with Lenny or the art dealer. Woody Allen is great as Lenny Weinrib as a man whose concern for his son’s future has him going into a journey where Allen brings a sense of wit and warmth to his role as it’s one of his finest performances.

Mighty Aphrodite is a remarkable film from Woody Allen that features a radiant Mira Sorvino in her breakthrough performance as well as an incredible cast that includes Helena Bohnam Carter, Michael Rapaport, and F. Murray Abraham. The film is a nice mix of humor and drama where it has a bit of non-conventional storytelling but also a sweetness that is endearing to watch. In the end, Mighty Aphrodite is a fabulous film from Woody Allen.

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

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

© thevoid99 2013

Barcelona

Written and directed by Whit Stillman, Barcelona is the story of two American men who go to Barcelona who deal with cultural differences in Spain as it’s emerging in the aftermath of Fascist-Spain while falling for the women in the country. It’s a film that explores men’s idea about women as well as about themselves in a foreign land. Starring Taylor Nichols, Chris Eigeman, Mira Sorvino, and Tushka Bergen. Barcelona is a charming yet captivating film from Whit Stillman.

In the scheme of finding the right person in life, there is always an idea about what that person should be. For the film’s protagonist in Ted Boynton (Taylor Nichols), it’s about someone who isn’t physically attractive but rather someone who offers something more. Yet, he goes into a lot of his challenges as an American salesman living in Barcelona who is already going through issues in his work thinking he’s about to be fired. Adding to the complication is the unexpected arrival of his cousin Fred (Chris Eigeman) who is a U.S. naval officer trying to handle public relations for the U.S. who are having issues with Spain. While the two men contend with each other over their own ideas of the world while trying to handle this sense of anti-American attitude towards them. They still are able to find women they’re attracted to in Marta (Mira Sorvino) and Montserrat (Tushka Bergen) only to find ways to ruin these relationships through acts of confusion, selfishness, and misplaced idealism.

Whit Stillman’s screenplay is set in the early 1980s where Spain has just come out of post-Francisco Franco era just as it was transitioning to a more democratic state. Yet, the film opens with an American library being bombed that is inter-cut with images of Barcelona in a modern setting while someone throws a stone at an IBM computer store. For Fred who is waiting for his fleet to arrive, he is shocked by this wave of anti-American propaganda that is emerging thinking he is going to help smooth relations. Yet, he is believed to be a spy for the CIA as he is just trying to understand what is happening while being in a relationship with Marta. Still, the story is told largely from Ted’s perspective as he is this neurotic salesman who has done good but is receiving some terrible news that he thinks will lead to his termination.

Upon meeting Montserrat, Ted believes he has found someone that just doesn’t exude the qualities he wants in a woman but is also someone who is incredibly attractive. Yet, she is dating an anti-American journalist named Ramon (Pepe Munne) who writes all of these things that Americans did forcing Ted to finally lash out. It would eventually cause him trouble as it would Fred who becomes paranoid. Still, there are many complications for these two cousins who detest each other at times as Fred is more outgoing while Ted is an introvert. Even as they both have to deal with a lot of the tension towards them as Americans where Europeans despise their consumerist attitudes and other ideals. While Fred tries to defend these ideals, he also believes that maybe the Europeans are right about the Americans though Ted isn’t as sure. The script would change its tone a bit in the third act in a moment that brings the two men together but also provide revelations about everything they had been facing.

Stillman’s direction is truly engaging for the way early 1980s Barcelona is presented with this mixture of a very modern Europe coming into the world with women walking around in red coats while being inter-cut with images of anti-American attitudes. There are some amazing compositions that Stillman creates to present this kind of awkwardness in the ideas of Americans living in Barcelona. Notably as Ted and Fred often speak English for a large portion of the film as they don’t know much Spanish where they get of lot of disdain from Spaniards. While the film features some voice-over narration from Ted as he reflects on the events he encounters while pondering about his ideas on love and life. While he has to contend with the more patriotic Fred who often borrows money without asking or saying the wrong things. Ted still has to be with him so that neither of them could get in trouble about who they are though Ted would often put things in risk.

Stillman uses a lot of medium shots to create a lot of the group conversations and some wide shots for bigger group scenes to capture a sense of togetherness or a scene reflecting one’s isolation such as a visit to Ramon’s house outside of Barcelona. The city of Barcelona is a character in the city as it plays out this world where the old world meets modern Europe as someone like Ted could thrive there. Yet, there is also something off as he is unsure about his place in the world as well as what to do when it comes to love. Stillman’s approach to the humor is quite subtle while having a few elements of slapstick as it brings some energy to the film including an awkward moment when Fred tries to change the music of the party only to realize that he almost ruined the party. Overall, Stillman creates a very fascinating and exhilarating film about love and idealism.

Cinematographer John Thomas does excellent work with the film‘s cinematography from the beautiful daytime exteriors of the city to the gorgeous nighttime exterior scenes at night as well as some wonderful scenery in some of the interior scenes. Editor Christopher Tellefsen does fantastic work with the editing by using rhythmic cuts to capture the humor as well as some dramatic moments while keeping things straightforward for the most part while using fade-outs to help structure the film. Production designer Jose Maria Botines does nice work with the look of the apartment that Ted lives in as well as a few of the places Ted and Fred go to as well as some of the anti-American propaganda that is written on the walls around the city.

Costume designer Edi Giguere does some terrific work with the costumes from the stylish clothes the women wear to the naval uniform that Fred wears. Sound editor Catherine Benedek does superb work with the sound to capture the atmosphere of some of the parties as well as some of the more intense moments in the film such as a couple of bombing scenes. The film’s music by Mark Suozzo is brilliant as it is largely a low-key electronic score to capture the mood of uncertainty in the characters while its soundtrack is a mixture of jazz and Spanish pop music with some American disco that Ted and Montserrat love.

The casting by Billy Hopkins and Simone Reynolds is just amazing as it features some notable small roles from Jack Gilpin as an American consul Fred deals with, Thomas Gibson as a co-worker of Ted whom he feels threatened by, Nuria Badia as a friend of Marta in Aurora, Hellena Schmeid as Aurora’s friend Greta that Ted later meets late in the film, and Pepe Munne as the anti-American journalist Ramon whom Montserrat had a relationship with. Mira Sorvino is wonderful as Marta whom Fred goes out with as she tries to explain to Fred and Ted the anti-American sentiment in Spain while being more outgoing than Montserrat. Tushka Bergen is great as Montserrat as a woman that Ted falls for as she displays the kind of ideals and beauty he craves as she is confused over her own feelings for Ramon.

The duo of Taylor Nichols and Chris Eigeman are the true major highlights of the film in their respective roles as cousins Ted and Fred Boynton. Nichols displays a terrific sense of comic timing as a man who is somewhat socially-awkward in his ideas of love while trying to deal with his own issues as a man and hold on to his own ideas in the world of business. Eigeman is phenomenal as the more outspoken Fred as a man who is baffled by this anti-American sentiment in Spain while dealing with the cultural differences he’s facing as Eigeman also displays a subtle vulnerability to a man whose patriotism is in danger while being accused of being a spy as he also makes some startling revelations on his own life. Nichols and Eigeman together are the heart and soul of the film as they really bring life to characters who could’ve been very inaccessible.

Barcelona is a marvelous film from Whit Stillman that features rich performances from Taylor Nichols and Chris Eigeman. The film is definitely one of the smarter yet more engaging romantic comedies that refuses to play by the rules while not being afraid to speak out against some of the political inequalities of the world. It’s also a film that explores men dealing with their own flaws as they try to win over women from a different country who also hold a very different idea about life. In the end, Barcelona is an exhilarating film from Whit Stillman.

Whit Stillman Films: Metropolitan - The Last Days of Disco - Damsels in Distress - Love & Friendship - The Auteurs #21: Whit Stillman

© thevoid99 2013

Mimic/Mimic (Director's Cut)

Based on the short story by Donald A. Wollheim, Mimic is the story of a scientist who creates an insect that ends up creating a new breed of giant insects that terrorizes the NYC subways. Directed by Guillermo del Toro and adapted into script by del Toro and Matthew Robbins, with additional work from John Sayles and Matt Greenberg, the film is an exploration with del Toro’s fascination with creatures and how humans try to play with science. Starring Mira Sorvino, Jeremy Northam, Alexander Goodwin, Giancarlo Giannini, Josh Brolin, Charles S. Dutton, and F. Murray Abraham. Mimic is a chilling yet stylish horror film from Guillermo del Toro.

In order to stop an epidemic that would leave part of New York City sick, an entomologist named Susan Tyler (Mira Sorvino) carries a new cross-breed of termite and praying mantis to kill the cockroaches carrying the disease. The plan is a success as she and CDC agent Peter Mann (Jeremy Northam) become heroes until three years later when a series of mysterious deaths occur. With Susan working at a lab and Peter still working with the CDC with friend Josh (Josh Brolin) uncover mysterious bacterial droppings at a church. When a couple of boys present Susan with a mysterious bug, she discovers it was the Judas Bug that she had created but couldn’t believe since it wasn’t supposed to live for more than six months.

When she and Peter go to the subway to find where the boys found the bug, they’re stopped by transit police officer Leonard (Charles S. Dutton) who wants a permit. While Susan turns to her old mentor Dr. Gates (F. Murray Abraham) for advice, Peter and Josh bring permits to uncover what was found as Leonard reluctantly helps them. When Susan’s colleague Remy (Alix Koromzay) reveals something that her friend Jeremy (Norman Reedus) found, Susan realize what is going on. Meanwhile, an old man named Manny (Giancarlo Giannini) tries to find his autistic son Chuy (Alexander Goodwin) who he believes has been kidnapped down to the subways. After discovering what is going on, Peter, Josh, and Leonard realize that something isn’t right while Susan later gets kidnapped by one of the bugs at the subway.

After Susan later meets up with Manny and the rest of the party, Susan reveals what has happened to the Judas Bug and how it evolved. Hiding in a subway, the gang realizes what they must do to survive and how to end this growing horde of Judas Bugs that might be wreaking havoc all over New York City.

The film is essentially a horror story about a scientist who intention to stop a breed of disease-carry cockroaches only has her dealing with a bug that would mimic its prey to survive and evolve. When she and her husband along with a few people realize what it’s doing, they have to stop it or else it would create new generations of creatures that would wipe out humanity. It’s a story that is sort of typical of horror films where people play with science, despite good intentions, only to have to kill what they create. Screenwriters Guillermo del Toro and Matthew Robbins do manage to create moments where they know how to build suspense and create characters that are compelling. The only character that doesn’t work is the autistic kid Chuy who is this MacGuffin for one character to try and retrieve but ends up causing lots of trouble for some of the characters to survive.

Guillermo del Toro’s direction is indeed very stylish for the way he creates an atmosphere for the look of the film. Notably as it plays to his interest with monsters and insects as the film does have an air of innocence to the way Susan reacts to these creatures until her encounter with this baby version of the Judas Bug. Featuring entrancing yet claustrophobic compositions of the subway scenes as well as lush crane shots of some of the locations. The direction of del Toro does know how to maintain suspense and create these chilling moments. The only problem is that there’s not enough for del Toro to go more out there despite some of the dramatic stakes that happens in the film. While it’s a film that is quite typical of a lot of late 90s horror films, del Toro was able to create a film that is engaging and scary.

Cinematographer Dan Laustsen does excellent work with the film‘s colorful style that is awash with blue and yellow lighting schemes for many of the film‘s dark interiors along with some entrancing shots for its exterior shots. Editors Patrick Lussier and Peter Devaney Flanagan do nice work with the editing by utilizing stylish rhythmic cuts to play up the suspense along with slow cuts to help build up the suspense. Production designer Carol Spier, along with set decorator Elinor Rose Galbraith and art director Tamara Deverell, does brilliant work with the set pieces created such as the subways and the dark tunnels to help create a world that is truly a fright to be in.

Costume designer Marie-Sylvie Deveau does good work with the costumes as it‘s mostly casual with exception of the uniform worn by Leonard. Visual effects supervisor Brian Jennings does terrific work with the design of the Judas Bug creatures that look nearly human while they also have this very disgusting look to them with the actual makeup that is created. Sound editors Phil Benson and Robert Shoup, along with sound designers Randy Thom and Steve Boeddeker, do superb work with the sound to help create suspense as well as some eerie sound effects for the noise of the bugs. The film’s score by Marco Beltrami is wonderful for the bombast orchestral flourishes it creates for some of the film’s intense moments as well as more calm yet brooding pieces to build up the suspense.

The casting by Kerry Barden, Billy Hopkins, and Suzanne Smith is incredible for the ensemble that is created as it includes James Costa and Javon Barwell as two young bug collectors Susan befriends along with Norman Reedus as the eccentric Jeremy, Alix Koromzay as Susan’s friend Remy, future del Toro collaborator Doug Jones as one of the creatures, and F. Murray Abraham as Susan’s wise mentor Dr. Gates. Josh Brolin is very good as Peter’s CDC friend Josh who often has some funny lines about his job while Giancarlo Giannini is also good as Chuy’s shoeshine father Manny. Alexander Goodwin is OK as the young autistic boy Chuy although it’s a performance that becomes annoying towards the third act as he is just this unnecessary MacGuffin.

Charles S. Dutton is wonderful as transit cop Leonard who always has some funny lines while being the guy who reluctantly helps Peter and Susan fight off the bugs. Jeremy Northam is excellent as Peter Mann who tries to discover about the creatures while having to be this nerd that has to fight off these creatures. Finally, there’s Mira Sorvino in a superb performance as Susan Taylor who tries to figure out these bugs while realizing what she’s done to create all of this chaos.

***The Following 3 Paragraphs are Tidbits on the Film’s 2011 Director’s Cut Release***

Exclusive for a Blu-Ray release, the Director’s Cut of Mimic is a reconstruction of sorts from Guillermo del Toro to present the film that he wanted to show instead of the theatrical cut shown back in 1997. Whereas the original cut had a running time of 105 minutes, the director’s cut expands the film a bit with six additional minutes. Though not much has changed story wise, there are a few things del Toro added to the story while taking away a lot of second unit shots and some minor dramatic subplots to add more weight to the story.

A lot of the changes occur in the film’s first half where there’s a few additional scenes involving Peter Mann and Josh finding more things in the church that includes an extended conversation with an Asian cop over what was seen. Plus, there’s a few additional scenes such as a different introduction to the Remy character without her man drama as well as a small scene where Peter and Susan have lunch before he leaves for work. There’s also an additional scene where the baby Judas bug is introduced in a different scene as well as a couple of more minor scenes with Norman Reedus’ Jeremy character and how discovers a dead creature in the sewers. Another minor scene that adds dramatic weight is an expanded piece of Susan and Jeremy awaiting a pregnancy test where the results are revealed.

It’s not just some of the dramatic elements of the story that del Toro improves a bit as well as removing a lot of second unit work that was partially shot by Robert Rodriguez. The film’s original look was drenched with a lot of sepia coverage that added a more entrancing style to the film. For the director’s cut, del Toro strips away a lot of that in the non-dark subway scenes to add a more straightforward look that is still beautiful. The visual effects improve a bit as it’s more polished in its look though retains some of its wobbliness. The pacing in the film remains the same though it does move a bit faster without making it much longer. Overall, the director’s cut of the film does slightly improve things a bit in terms of its look and more focus on the story. Still, it doesn’t improve on the other flaws of the film such as the Chuy character which is still an annoying MacGuffin.

Mimic is a decent horror-suspense film from Guillermo del Toro that does feature some noteworthy performances from Mira Sorvino, Jeremy Northam, Josh Brolin, Giancarlo Giannini, and Charles S. Dutton. While it is definitely the weakest film of del Toro’s film career, it is still a film that does a lot more than what is expected in the genre. Of the two versions available, the one to get is the director’s cut though there’s not much difference from what is presented in its original theatrical version other than its look and a bit more weight in its dramatic tone. In the end, Mimic is a pretty good and enjoyable horror film from Guillermo del Toro.

Guillermo del Toro Films: Cronos - The Devil's Backbone - Blade II - Hellboy - Pan's Labyrinth - Hellboy II: The Golden Army - Pacific Rim - Crimson Peak - The Shape of Water - Nightmare Alley (2021 film) - Pinocchio (2022 film) - The Auteurs #10: Guillermo del Toro

© thevoid99 2012

Summer of Sam

Originally Written and Posted at Epinions.com on 2/3/07.

The summer of 1977 in New York City was definitely the hottest and chaotic summers the city has known for. It was a year the New York Yankees were being led by Reggie Jackson. The year were a black-out ensued leading to riots in the poorer parts of the city. Meanwhile further downtown in Manhattan, two clubs were re-defining pop culture. There was the chic, glamorous world of Studio 54 with its disco music, anything goes behavior, and debauchery that was exclusive to those who wanted to be part of the in-crowd. The other club was down in the Bowery at CBGB's were it was the epic-center of the punk rock movement where it was the antithesis of everything Studio 54 stood for. That summer was also known for something far darker as many people were scared to go outside because of a serial killer named the Son of Sam who shoot people at night and sometimes, in their car. Fortunately, the Son of Sam whose real identity was David Berkowitz was captured. In 1999, Spike Lee directed a film chronicling that troubling summer for his film Summer of Sam.

Written by Spike Lee with Victor Colicchio, and The Sopranos' Michael Imperioli, Summer of Sam tells the story of an Italian neighborhood in the Bronx in danger of the killer known as the Son of Sam. Revolving around a womanizing hairdresser and his punk-rock loving friend, everyone in the neighborhood tries to find out who the killer is while dealing with the hot summer, blackouts, and the Yankees trying to win another season. Starring John Leguizamo, Adrien Brody, Mira Sorvino, Jennifer Esposito, Michael Rispoli, Brian Tarantina, Ben Gazzara, Arthur J. Nascarella, Anthony LaPaglia, Roger Guenveur Smith, Patti Lupone, Mike Starr, Bebe Neuwirth, Jimmy Breslin, with Michael Badalucco, and the voice of Lee regular John Turturro. Summer of Sam is an excellent, stylish portrait of the dark summer of 1977.

It's 1977 in the Bronx at a disco where Vinny (John Leguizamo) and his wife Dionna (Mira Sorvino) are hanging out a disco with their friends including bartender Joey T. (Michael Rispoli). When Dionna's Italian cousin Chiara (Lucia Grillo) wants to go home, Vinny was asked to take her home. Vinny and Chiara have sex in a car where another car was behind them. Returning to the disco, Vinny thinks nothing is going wrong until on his way home, he sees the same car he saw earlier where a couple was dead with gunshot wounds. Vinny realized that the Son of Sam might've seen him. Filled with guilt and paranoia, Vinny turns to Joey T. and the rest of their Italian buddies Brian (Ken Garito) and Anthony (Al Palagonia) are hanging out in their spot. Arriving onto their spot with a new look is Vinny's old childhood friend Richie (Adrien Brody) sporting a punk-rock look that's freaked out the rest of the gang. Brian's half-sister Ruby (Jennifer Esposito) notices Richie's new look which brings her some new excitement.

It's been a year that the Son of Sam has been killing people as Detective Lou Petrocelli (Anthony LaPaglia) and his partner Curt Atwater (Roger Guenveur Smith) turn to local mob organizer Luigi (Ben Gazzara) for help into catching the killer. Luigi, at first, doesn't but because of the letter Lou found, he decides to help out. Vinny meanwhile, wants to do right by not having affairs though he still has a fling with salon boss Gloria (Bebe Neuwirth). After getting kicked out in his mother's home and forced to live in the garage, Richie gets some surprising support from Ruby, who wants to ditch her disco look for the new punk look. Especially since she knows the Son of Sam is going after women with brunette hair. Dionna begins to wonder on how to satisfy Vinny sexually thinking he's cheating on her. Vinny professes his love to her while becoming paranoid over the Son of Sam. With Ruby's help, Richie gets a job dancing in gay clubs run by Midnite (Michael Imperioli) and doing porno films as the two hope to start a punk band.

Things only get worse as a heat wave arrives on New York City causing blackouts as a riot ensued in Harlem where John Jeffries (Spike Lee) is reporting on the riots while Luigi believes that the Son of Sam is trying to attack on that night during the blackout. Fortunately, he didn't while Joey T. with Brian, Anthony, and Woodstock (Saverio Guerra) make a list of suspects where Woodstock claims the killer is Reggie Jackson. During a night out in which, Dionna wears a blond wig, she and Vinny stop to see the club CBGB's at the Bowery which disgusts both of them because Ruby and Richie are there. Instead, they go to Studio 54 hoping to get in where they meet a photographer named Simon (John Savage) where they take part in an orgy that causes some repercussions.

Richie's appearance in the neighborhood including diners have made the locals uncomfortable. Though Ruby, his mother (Patti Lupone), and stepfather (Mike Starr) disagree, the neighborhood thinks Richie is a suspect where Joey T. thinks he's the Son of Sam. Especially after receiving a tip from their gay, transvestite friend Bobby (Brian Tarantina) who saw him at the gay club. With Vinny's life falling apart, he turns to drugs where he begins to think that his best friend could be the Son of Sam when really, a mailman named David Berkowitz (Michael Badalucco) is revealed to be the killer with .44 caliber pistol.

Spike Lee, like another New York director Martin Scorsese, knows full well of what it was like being in New York City in all of its different cultures and locations. Since he’s going back in time to 1977, Lee chooses to explore a different world than his typical world of African-American life in previous films. While there’s a few admitted stereotypes in the Italian-American characters that are known to be idiotic at times and maybe carried away. Lee and his writers do present some positive aspects of the characters since it's all about community and how they badly react to outsiders. More importantly, Lee and his writers do excellent work in creating the atmosphere of what it was like back in the summer of 1977 with brief insight into his own Bedford-Stuy neighborhood where a murder from the Son of Sam occurred.

While Lee's direction is filled with some great moments including the close-ups and moving platform shots that's a trademark of Lee. There's even some great scenery with a few music sequences as it plays well to the time. One sequence that is notable in all of its grittiness is the stuff involving David Berkowitz who claims he was ordered by a dog named Harvey (voiced by John Turturro). The film adds a bit of horror and black-humor while the scenes of murder are horrifying to watch, particularly a sequence with the voice of Yankees announcer Phil Rizzuto doing play-by-play as Berkowitz hits his target. The only thing that Lee and his writers don't get right is the punk rock scene and references. While the Who are considered to be one of the influences of punk, especially through the mind of Richie. In 1977, the Who were regarded as dinosaurs in the punk community. Plus, those in the punk rock scene didn't wear nose rings or had spiky hair at that time. That's the film's only real flaw was its inaccurate depiction to the punk rock movement since it's a place that not many people, including those in that scene, want to exploit.

Helping Lee in his visual presentation is cinematographer Ellen Kuras whose stylish, colorful camera work adds an arty feel to the film. Where most of the film's exterior, Bronx scenes are wonderfully colored; the sequences with Berkowitz, including a disco orgy scene, are shot with grainy camera work to play to the film's emotions and intensity. Kuras' lighting on some of the interior scenes and sequences are superb as she is truly one of the best cinematographers out there. Production designer Therese DePrez and art director Nicholas Lundy do great work in capturing the look of the disco scenes and clubs as well as the authentic look of Italian Bronx 1977. Costume designer Ruth E. Carter also does great work with the film's 70s clothing while the punk look was outrageous despite its inaccuracies. Editor Barry Alexander Brown does excellent work with the film's editing giving the film a sense of rhythm with its jump-cuts and perspective cuts where it adds to the style that Lee wants. Sound editor Ken Lee also does great work in bringing the tense atmosphere of the times with the layers of gunshots to create suspense.

Longtime Lee collaborator Terence Blanchard brings a wonderfully symphonic film score to play to the film's drama and the suspense towards the times. The film's soundtrack is filled with a large array of disco classics from ABBA, Thelma Houston, Marvin Gaye, the Emotions, Barry White, Chic and MFSB. Also included are cuts from the Who, Elvin Bishop, Elton John, Edith Piaf, Frank Sinatra, and a very appropriate cut from the Talking Heads.

The cast is wonderfully assembled with memorable small performances from Brian Tarantina, Ken Garito, Saverio Guerra, Al Palagonia, and Lucia Grillo despite the stereotypes they play. Other small roles from Mike Starr, Michael Imperioli John Savage, Patti Lupone, Bebe Neuwirth, and Arthur J. Nascarella as Dionna's father Luigi are better with Anthony LaPaglia and Roger Guenveur Smith as the cops bringing excellent support. Ben Gazzara is excellent and subdued as the wise mob boss Mario while the film also features some notable cameos from Spike Lee as a reporter, his sister Joie as a resident of Bedford-Stuy, Evander Holyfield as a person in the riots, John Turturro as the voice of a dog, and Jimmy Breslin who opens and closes the film with some narration on that dreadful summer. Michael Rispoli is excellent as the tough but cautious Joey T. despite the fact that he's an idiot at times while he's just wanting to do what's right though his intentions are wrong.

Though he's only in the film briefly and playing the role of the Son of Sam/David Berkowitz, Michael Badalucco does great work in bringing the insanity of Berkowitz while trying to hide his face and identity throughout the film. Jennifer Esposito is excellent as the lush, vibrant Ruby whose newfound sense of individuality brings energy to the film as she is one of the female character who try something new while having some great chemistry with Adrien Brody. Mira Sorvino is in excellent form as the scorned wife who wonders what she wants from her husband only to develop into a woman who realizes that she had done nothing wrong at all. Sorvino, who hasn't done a lot of great work since winning the Oscar for Woody Allen's Mighty Aphrodite, remains to be an underrated actress.

John Leguizamo is also in excellent form as the cheating, pill-popping, paranoid Vinny whose sense of morality is question as he becomes the most easily manipulated character in the film through his friends (except Richie) and his own penis. Finally, there's Adrien Brody in a fantastic role as Richie. The misunderstood punk kid who is trying to do his own thing despite what people think he is. Though his affiliation with punk is a bit mis-guided, Brody owns the role with his wit and charm while doing some cool dances at the gay club sequences.

Though Summer of Sam isn't a perfect film, it is still an excellent chronicle of that infamous summer by the always-brilliant Spike Lee. With an excellent cast led by Adrien Brody, John Leguizamo, Mira Sorvino, and Jennifer Esposito, it's a film that is part nostalgia, part suspense. While it's not one of Spike Lee's classic films, it's still notable for the fact that it's a change of pace from his study of African-American life as he reveals to be a humanist director despite some of his cynical views. In the end, Summer of Sam is an excellent portrait of the infamous summer of '77 from one of NYC's finest, Spike Lee.

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

© thevoid99 2011

Beautiful Girls

Originally Written and Posted at Epinions.com on 10/2/03 w/ Additional Edits.

In January of 2002, filmmaker Ted Demme died of a heart attack at age 37. By then, he was already one of the promising filmmakers around with such acclaimed films like The Ref and 2001’s Blow. Demme was also responsible for creating the show Yo! MTV Raps in the late 80s that helped put hip-hop in the mainstream and with filmmaking uncle Jonathan, Ted was a practitioner for music and comedy since he directed comedy specials for Denis Leary and making a hip-hop film Who’s the Man? in 1993. In 1996, Ted Demme released one of his most acclaimed films to date with the nostalgic, buddy-comedy Beautiful Girls.

Beautiful Girls is about a young man in his mid-30s attending a high school reunion in a small town in Massachusetts. With his array of high school buddies, they talk about their relationships with women as well as the trouble around them. While the film recalls elements of the 1983 Lawrence Kasdan film The Big Chill, Beautiful Girls doesn't sway into the nostalgia of that film to encompass a more working class, modern tone to the film. Written by Scott Rosenberg and directed by Ted Demme, Beautiful Girls is a fun, heartwarming comedy with a lot of laughs and a lot of heart.

Willie Conway (Timothy Hutton) is a NYC bar pianist who decides to go to a high school reunion in his small hometown. Willie ponders about  his job as a pianist since he’s done little success and isn’t sure if he wants to get married to his girlfriend Tracy (Annabeth Gish). Once he arrives, he meets up with old pal Michael “Mo” Morris (Noah Emmerich), a family man with loving kids and caring wife Sarah (Anne Bobby).  After some time with Mo, Willie returns home to see his widowed father Dick (Richard Bright) and dim-witted brother Bobby (David Arquette) who are still troubled by the death of Willie's mother. Willie encounters his neighbor, a 13-year old girl named Marty (Natalie Portman) where they struck up a friendship as she wonders about the Conway’s sad household.

Willie also meets up with the rest of his buddies led by snowplow chief Tommy (Matt Dillon), quiet guy Kev (Max Perlich), and loudmouth Paul (Michael Rapaport). Tommy is a former jock who has a loving girlfriend Sharon (Mira Sorvino) while is cheating on her with a married woman named Darian Smalls (Lauren Holly). Paul meanwhile, is having relationship troubles as well as his girlfriend Jan (Martha Plimpton) since he’s suspecting her of sleeping with the meat cutter at her job at a local restaurant. Willie feels happy with his pals since they’re having relationship troubles except for Mo as they often hang out at a bar owned by their pal Stinky (Pruitt Taylor Vince). Paul tries to propose marriage to Jan but it becomes a failure as he suspects her of her affair with meat cutter as their relationship ends. Tommy meanwhile, is having some trouble with his relationships with Sharon and Darian.

Willie befriends Marty as he asks what the kids do nowadays which isn’t much as she is going out with some boy named Andrew.  Willie feels a bit jealous since he finds himself enchanted by Marty. After meeting with Paul in Tommy’s apartment, Willie and Tommy meet up with Sharon’s friend Gina (Rosie O’Donnell) as she talks about what men want from women. During a birthday party for Tommy, Darian makes her presence felt as Sharon learns what is going on and she finds herself being unhappy and breaks up with Tommy. Then one night at Stinky’s, his cousin Andrea (Uma Thurman) visits as the men serenade her with the Neil Diamond classic “Sweet Caroline”. Paul finds himself trying to make moves on Andrea, just to piss off Jan.

Paul nabs a date with Andrea while Willie has an encounter with Marty at a skating rink where Marty tells him that he’s her new boyfriend. Willie likes the idea but is afraid things will change and references Winnie the Pooh about changing as Marty is given time to think about whatever relationship they might have. Tommy meanwhile, is feeling guilt from his breakup with Sharon as he learned what a cold bitch Darian really is as he later gets in trouble with her husband Steve (Sam Robards). Paul's date with Andrea becomes a disaster leading Paul to have a rant about women to Willie the next day.  After a conversation with Andrea, Willie ponders his own relationship issues as Tracy finally arrives where he realize what he wants while wanting to help out his friends with their own issues.

What makes Beautiful Girls such an appealing film is its chemistry with the cast. Ted Demme and screenwriter Scott Rosenberg crafted a story that couples could relate to as well as smart-alecks about men and women. Even as it includes a great monologue about how men are attracted to plastic models by Rosie O'Donnell that is one of the film's highlights. Even as it features commentary on men about their own immaturity. Demme even gives the film a working class tone in its small town as something a bit real with wonderful cinematography from Adam Kimmel and Tony Janelli. The music in the film is also worth noting since it’s soundtrack is very diverse with old-school classics from Neil Diamond, the Rolling Stones, Kiss, Jethro Tull, and Billy Paul to more modern stuff from Afghan Whigs, Pete Drodge, Split Enz, Ween, Morphine, and Chris Issak.

The performances in the film are all top-notch led by the enigmatic Timothy Hutton who leads the film with his masterful portrayal as a man in his mid-30s struggling with his identity with women. Matt Dillon is excellent as the hard-nosed jock Tommy while Noah Emmerich plays the film’s sweet conscious that is well utilized. The smaller male roles of David Arquette, Richard Bright, Max Perlich, Sam Robards, and Pruitt Taylor Vince are also well used while Michael Rapaport steals the show with his comedic rants and one-liners. Bringing the film some balance is the female performances. Mira Sorvino brings a lovely performance as the neglected Sharon while Uma Thurman brings a lovely performance as Stinky’s cousin who plays the men’s attraction but brings brains to the role. Rosie O’Donnell is easily the most hilarious performance of the film since she rants a lot about men and stuff while Lauren Holly is excellent as the cold bitch who really doesn’t know how mean she is to men. The smaller roles of Annabeth Gish, Martha Plimpton, and Anne Bobby standout as well while Natalie Portman brings the film’s best performance as the precocious, innocent Marty, who was named after a grandfather she never knew.

Beautiful Girls is an excellent, heartwarming comedy from the late Ted Demme that shines from its cast and script. Though the film at times has predictable moments, it overcomes that through its humor and chemistry from the cast. Fans of comedy will enjoy the rants of Rapaport and O’Donnell while more dramatic fans will love the performances of Hutton and Portman. The film has something for everyone. Sadly, Ted Demme won’t be making any more films like this but at least he captured something magical with Beautiful Girls.

(C) thevoid99 2010