The Lion Has Wings

Directed by Adrian Brunel, Brian Desmond Hurst, Alexander Korda, and Michael Powell and written by Hurst and E.V.H. Emmett from a story by Ian Dalrympe, The Lion Has Wings is a British documentary-propaganda film made just after the start of World War II. It’s a film that showcases what Britain has to do in light of the recent events as they had to prepare for war. Starring Merle Oberon, Ralph Richardson, June Duprez and narration by E.V.H. Emmett. The Lion Has Wings is a compelling and engaging film from producer Alexander Korda.

Released two months after the invasion of Poland by Nazi Germany that officially started World War II, the film is a call to arms to remind Britons on what is at stake for the war. It’s a film that is part-drama and part-documentary under the supervision of producer Alexander Korda as is one of four directors in this project that is ensure the British public about the life they were having just after the Great Depression and before the war and why they must fight to keep all of those things despite the claims in the narration that poverty and unemployment is being eradicated. Through the works of Korda, Adrian Brunel, Brian Desmond Hurst, and Michael Powell, the direction is largely straightforward in the way it dramatizes certain events and ideas of what officers and others go through with Ralph Richardson playing the role of a top officer and Merle Oberon as his wife.

Much of the dramatic elements of the film with this story of the officer, his wife, and many others including a dramatic re-creation of an early aerial battle have the directors use simple compositions of close-ups and medium shots to play into this idea of realism that is a little far-fetched in some spots of the film. Notably in some of the documentary footage as it play into how Britain could defeat the Germans and such even though some of the strategy they use including a dramatic recreation of an attempted invasion by the Spanish armada from the past was able to be thwarted by villagers from a scene from the film Fire Over England by William K. Howard and produced by Korda. The usage of that film as well as footage from Leni Riefenstahl’s Triumph of the Will does play into this idea of what Britain is trying to show itself against the Germans in their militaristic persona. Even as the film showcases what Britain must do and make claims that they have the best weapons in the world though they were ready for the Germans despite what they would face. Overall, Korda crafts an entertaining film that helps Britons get ready for war.

Cinematographers Osmond Borradaile, Bernard Browne, and Harry Stradling Sr. do excellent work with the film’s black-and-white photography as well as maintain that blur of dramatization and reality into the footage they capture including scenes of the Royal Air Force in the air. Editors Henry Cornelius, Charles Frend, Hugh Stewart, and Derek N. Twist do terrific work with the editing with its stylish usage of transition wipes as well as gathering all sorts of stock footage and such to play into the dangers the British forces might deal with. Art director Vincent Korda does fantastic work with the look of the home of one of the officers as well as a base where they watch over an attempted bombing invasion from the Germans. The sound work of John W. Mitchell and A.W. Watkins is superb for its sound effects as well as how engines sound and the sounds of factories. The film’s music by Richard Addinsell is brilliant for its musical score as it play into the beauty of Britain with some heavy themes that play into the serious elements of the film.

The film’s wonderful cast feature some notable small roles from Flora Robson as Queen Elizabeth I from Fire Over England and June Duprez as a young woman who is a friend of the officer’s wife. Ralph Richardson and Merle Oberon are amazing in their respective roles as Wing Commander Richardson and Mrs. Richardson with the former being a RAF officer trying to strategize things with the latter being the wife at home who would also be a nurse.

The Lion Has Wings is a marvelous film from producer Alexander Korda as well as co-directors Adrian Brunel, Brian Desmond Hurst, and Michael Powell. While it is a film of its time and is a propaganda film for Britain in the early days of World War II. It is still a fascinating piece of history that explores what the British government and film industry wanted to show to its people and what is at stake despite the lack of realism they would endure later on in the war. In the end, The Lion Has Wings is a remarkable film from producer Alexander Korda.

© thevoid99 2019

Chimes at Midnight

Based on five different plays by William Shakespeare and Holinshed’s Chronicles by Ralph Holinshed, Chimes at Midnight is the story of a knight and his relationship with a prince who is forced to make a decision on whom he should be loyal to. Written for the screen, starred, costume designed, and directed by Orson Welles, the film is an unconventional take on the work of Shakespeare with Welles playing the role of Sir John Falstaff as it explores friendship and loyalty. Also starring Keith Baxter, Margaret Rutherford, John Gielgud, Jeanne Moreau, Norman Rodway, Marina Vlady, Fernando Rey, and narration by Ralph Richardson. Chimes at Midnight is a rapturous and evocative film from Orson Welles.

The film is set during the final days of Henry IV of England (John Gielgud) as it revolves around his son who spends much of his time with the knight Sir John Falstaff into a world of mischief as he is primed to be next in line for the throne despite opposition from relatives who want to have Edmund Mortimer released as he is the true heir to the throne. It’s a film that explores not just destiny but also a young man torn between two figures who are guiding him into manhood. Orson Welles’ screenplay is filled with a lot of the monologues and character study that William Shakespeare is known for in the plays that Welles would compile into the script. All of which play into the idea of identity and all of the glories an identity could bring where Falstaff is at the center of everything as he wants to be an influence to Prince Hal (Keith Baxter) knowing he is next in line. Yet, Hal does want to get the approval of his father where he would try to win it during a battle against a rebellion where he would go up against a prominent knight. Unfortunately, he would also see what Falstaff wants as it adds to this internal conflict that Hal would endure.

Welles’ direction is definitely stylish for the air of theatricality that he would maintain throughout the film as it would play into this world of 15th Century decadence with an air of 20th Century energy. Shot on location in Spain, Welles would use the desert landscape to play into the scope of the world that the characters are in. Notably with the castles and the tavern where much of the action occurs in the latter as it is a place where Falstaff and his band of brothers can enjoy themselves. While Welles would use some wide shots of the tavern to showcase the liveliness whether it’s in a big group dance or in a conversation scene involving Falstaff and Hal as there’s characters in the background such as a young page (Beatrice Welles), the tavern hostess Mistress Quickly (Margaret Rutherford), and the prostitute Doll Tearsheet (Jeanne Moreau). He would also create some close-ups and medium shots to capture some of the emotional aspects in the film including shots in the battle scenes.

The battle scenes is a highlight as it has a lot of action but also some offbeat humor as it relates to the armor that Falstaff is wearing which is designed by Welles who would also be the film’s costume designer. While there is a lot of stylistic elements that Welles would include in the film, he does maintain the theatricality needed in scenes where there are these long monologues such as the one Henry IV gives in the aftermath of the battles as it play into his own mortality as well as what the future holds. The third act is where Welles shines as a filmmaker where he would use some low camera angles to play into Hal’s acceptance into the role he is in but also what he had to sacrifice as it relates to Falstaff and his influence. Notably as what Falstaff would have to see when Hal becomes king as it would mark the end of something that he is forced to accept as well. Overall, Welles creates an intoxicating yet compelling film about a young man trying to cope with his destiny and the influence of a decadent knight.

Cinematographer Edmond Richard does brilliant work with the film’s black-and-white photography to play into the look of some of the interiors inside the castles as well as the scenes at the tavern and the exterior shots set at night. Editors Fritz Mueller, Elena Jaumandreu, and Peter Parasheles do excellent work with the editing as it is stylized with some jump-cuts in its approach to the action and conversations involving different characters. Production designer Mariano Erdozia and set decorator Jose Antonio de la Guerra do amazing work with the look of the tavern as well as some of the interior of the different castles including Henry IV’s palace. The sound work of Luis Castro is terrific for the way the sound is captured in the tavern and at the castles along with the chaos during the battle scene. The film’s music by Angelo Francesco Lavagnino is superb for its orchestral bombast and flourishes along with some somber string pieces to play into the drama.

The film’s incredible cast feature some notable small roles and appearances from Tony Beckley and Patrick Bedford in their respective roles as Falstaff’s friends Ned Poins and Bardolf, Walter Chiari as Justice Silence, Michael Aldrige as another friend of Falstaff in Pistol, Jose Nieto as the Earl of Northnumberland who rebels against Henry IV, Alan Webb as another country justice official in Justice Shallow who is a friend of Falstaff, Fernando Rey as the Earl of Worcester that is Northnumberland’s brother that is trying to get his cousin Edmund Mortimer in line for the throne, Beatrice Welles as Falstaff’s page who helps him with a few duties, Marina Vlady as Hotspur’s wife Kate Percy, and Norman Rodway as Northnumberland’s son Hotspur who is trying to aid in the rebellion where he would face off against Hal. Margaret Rutherford is fantastic as Mistress Quickly as the tavern hostess who is trying to maintain order in her tavern which is a place of escape for Falstaff and his friends.

Jeanne Moreau is excellent as Doll Tearsheet as a prostitute who lives in the tavern that is a lover of Falstaff as she deals with the chaos around him as well as spout insults at others while displaying elements of sentimentality over what will happen to Hal. John Gielgud is incredible as King Henry IV as a man that is trying to deal with the rebellion as well as Falstaff’s influence on his son where he would deal with his own mortality in a monologue that is just engaging to watch. Keith Baxter is brilliant as Prince Hal as a young man torn between his duties as prince but also the influence of Falstaff whom he sees as a father figure where he wonders if he’s being used. Finally, there’s Orson Welles in a phenomenal performance as Sir John Falstaff as a knight that is literally larger than life as a man that is the embodiment of decadence where he hopes to become a nobleman unaware that times are changing with him having no role in this new world.

Chimes at Midnight is a sensational film from Orson Welles. Featuring a great cast, gorgeous visuals, a sumptuous music score, and a script that meshes many of William Shakespeare’s play into a study of loyalty, identity, and ambition. It’s a film that display many of Welles’ hallmarks of grand visuals to play into a man who tries to influence a younger man into a world of decadence instead of duty. In the end, Chimes at Midnight is a tremendous film from Orson Welles.

Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Strangers (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin – Touch of Evil - The Trial (1962 film) - The Immortal Story – F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2017

The Sound Barrier

Directed by David Lean and written by Terence Rattigan, The Sound Barrier is the story of a test pilot who takes part in an experiment with aircraft designers to try and break the sound barrier where its owner is hoping for the experiment to succeed. The film is a mixture of drama mixed in with documentary footage about the attempts to break the sound barrier in the aftermath of World War II. Starring Ralph Richardson, Ann Todd, Nigel Patrick, John Justin, and Denholm Elliott. The Sound Barrier is a riveting film from David Lean.

The film follows the son-in-law of a wealthy aircraft design company owner who becomes a test pilot as they embark on breaking the sound barrier. It’s a film with a simple premise yet it is more about a man’s obsession with wanting to do the impossible just as World War II is about to end as he sees that his daughter’s new husband might be the right person to break the sound barrier. Terence Rattigan’s screenplay explore the sense of ambition as well as the desire to do something new and see if the impossible can be overcome. Yet, there is also some conflict over these ambitions where the protagonist in the owner John Ridgefield (Ralph Richardson) who is looking into the future as he is already on board on the emerging jet engine at the time.

Though he had plans for his son Chris (Denholm Elliott) to be the test pilot, it would be his new son-in-law Tony Garthwaite (Nigel Patrick) that would take on the role but becomes conflicted as he has just started a blissful life with Ridgefield’s daughter Susan (Ann Todd). The heart of the film is this conflict between Susan and her father as the former disapproves of her father’s ambitions just as she and Tony are making a life of their own with a child on the way. Tony is caught in the middle of this conflict as he wants to do the things as a test pilot but is also aware of the risks when he reads about a test pilot’s death in the second act. Even as the events in the third act where Susan and her father become estranged due to the former’s disdain for what her father wants showcase some of the fallacies of ambition despite Ridgefield’s good intentions.

David Lean’s direction is definitely stylish in some respects where it has some gorgeous compositions for the dramatic moments in the film while the aerial scenes are exquisite in its mixture of documentary footage and in re-created fashion. Much of the film is shot at Shepperton Studios with some of it shot on various locations in the British countryside near airfields as the scenes set in the ground have an intimacy in its close-ups and medium shots in how some look into the way planes are being flown as well as the meetings between the family. Especially in scenes where there is tension looming between Susan and Ridgefield as it play into this conflict of Susan wanting something where men in her family don’t have to live under the shadow of her father which is something Chris struggles with. The aerial scenes definitely have this vast look where Lean would use not just documentary footage of Britain’s own experiment with jet engines but also try and create moments where it could happen as some of it is inspired by actual events. Notably the film’s climax where a test pilot would try to break the sound barrier as it proves into what could be done. Overall, Lean crafts an engaging yet thrilling film about an aircraft owner’s desire to see the sound barrier broken.

Cinematographer Jack Hildyard does brilliant work with the film‘s black-and-white photography for the gorgeous look of some of the aerial scenes including the shots overlooking some of the locations as well as some of the interior scenes set at night along with the exterior nighttime scenes. Editor Geoffrey Foot does excellent work with the editing as it is straightforward with some intricate rhythmic cutting for some of the aerial sequences. Art director Joseph Bato does amazing work with the look of the airfield including Ridgefield‘s office and his home which is quite lavish as it play into his big personality. Costume designer Elizabeth Hennings does nice work with the costumes from the air force uniforms and suits as well as the clothes that Susan wears. The sound work of John Cox and sound editor Winston Ryder is incredible for the way jet engine sounds as well as some of the sparse moments at the homes of some of the characters. The film’s music by Malcolm Arnold is superb for its orchestral score that is bombastic with its string arrangements as well as in some of the somber moments for the dramatic aspects of the film.

The film’s wonderful cast include some notable small roles from Joseph Tomelty as aircraft designer Will Sparks, Dinah Sheridan as one of the test pilot’s wife in Jess Peel, John Justin as an inventive test pilot in Philip Peel, and Denholm Elliott as Susan’s brother Christopher who is reluctant to be his father’s premier test pilot. Nigel Patrick is excellent as Tony Garthwaite as an accomplished war pilot who is hoping for a great life with his new bride Susan while given the chance to do the impossible where he isn’t sure about taking such a grand risk. Ann Todd is brilliant as Susan as the daughter of an aircraft design mogul who is eager to start a new life with her husband while coping with the massive expectations and ambitions of her father as it relates to her husband and brother. Finally, there’s Ralph Richardson in a phenomenal performance as John Ridgefield as an aircraft design mogul who is eager to look into the future as he hopes he can give the British air force something new as well as break the speed barrier unaware of his faults in his thirst to see the impossible become possible.

The Sound Barrier is a remarkable film from David Lean. Featuring a great cast, exhilarating aerial sequences, and a compelling story of ambition and glory. It’s a film that explore the emergence of the modern world as well as man’s desire to do make the impossible possible. In the end, The Sound Barrier is a sensational film from David Lean.

David Lean Films: In Which We Serve - This Happy Breed - Blithe Spirit - Brief Encounter - Great Expectations (1946 film) - Oliver Twist (1948 film) - The Passionate Friends - Madeleine (1950 film) - Hobson's Choice - Summertime (1955 film) - The Bridge on the River Kwai - Lawrence of Arabia - Doctor Zhivago - Ryan's Daughter - (Lost and Found: The Story of Cook’s Anchor) - A Passage to India - (The Auteurs #74: David Lean)

© thevoid99 2017

Watership Down

Based on the novel by Richard Adams, Watership Down is the story of community of rabbits who are being threatened by modern forces in a dystopian world. Written for the screen and directed by Martin Rosen, the film is a look into the concept of the Apocalypse from the viewpoints of rabbits as the film is narrated by Michael Horndern. Featuring the voices of John Hurt, Richard Briers, Denholm Elliott, Ralph Richardson, Simon Cadell, Michael Graham Cox, Harry Andrews, and Zero Mostel. Watership Down is a gripping and mesmerizing film from Martin Rosen.

Set in a modern world, the film revolves a group of rabbits who are forced to flee their home and find a new one after one of them has an apocalyptic vision. Along the way, they contend with the harsh world of nature as well as other creatures and a community of rabbits who represent a totalitarian view of the world. It’s a film that is sort of a dystopian film but it’s also a film about survival as these rabbits not only cope with the reality of man destroying their land for themselves but also realize what they have to do to ensure their own survival as it relates to female rabbits. Martin Rosen’s script doesn’t just emphasize a lot on survival but also the idea of a community that is free and doesn’t want to adhere to rules that are suppressive. It also opens with a fable about the species of the rabbit and why they’re considered prey in the animal food chain which does add a lot into their quest for survival.

Rosen’s direction is quite intoxicating in not just the way he creates these dazzling images set against the backdrop of the English countryside. It also has this sense of style in the animation that is very engaging with an air of realism that makes it more ravishing in its look. With the aid of animation director Tony Guy and supervisor Philip Duncan, the look of the two-dimensional, hand-drawn animation does bring a lot of life to not just the look of the characters but also in the way these rabbits deal with their situations including some very dark moments involving violence. The fact that it’s an animated film that has this very realistic and gripping take on violence with images of blood does manage to bring a lot of weight into the film as well as the theme of survival. The film opens with a sequence that was helmed by the film’s original director John Hubley (who died during production) which is presented in a more innocent fashion as it relates to the fable of the rabbits including its main figurehead who would create that sense of tension between rabbit and other animals.

The direction also create these intense imagery that play into the idea of death and terror thanks in part to some dazzling sequences created by Luciana Arrighi for moments that do play into what one of the rabbits see. With the aid of layour artists Gordon Harrison, Peter See, and Ted Pettengell, the film maintains that look of the countryside as well as the look of the rabbit holes to play into where the rabbits want to seek shelter. It also would add to the film’s climax as it relates to the group of totalitarian rabbits led by half-blind general battling against a rabbit who briefly joined the group as a spy in the hope he can get the group of female rabbits to join his community and feel free. Rosen would also maintain a sense of atmosphere that plays a lot into the drama as the animation would feature these gorgeous images of rain as if they look real but in some of the intense moments as it relates to its climax. Overall, Rosen creates an evocative and riveting film about a community of rabbits trying to survive in finding their new home.

Editor Terry Rawlings does brilliant work with the editing as it is very straightforward in terms of some of the rhythmic cutting that plays out in the film‘s suspenseful and dramatic moments. Sound effects mixer Ray Mervin does excellent work with the film‘s sound effects in the way thunderstorm sounds as well as the way machines sound in some scenes. The film’s music by Angela Morley and Malcolm Williamson is amazing for its orchestral-based score that adds a lot to the dramatic and suspenseful moments of the film with additional work by music director Marcus Dods in supervising the soundtrack that includes the song Bright Eyes by Mike Batt and sung by Art Garfunkel for one of the film’s mesmerizing moments.

The film’s incredible ensemble voice cast features contributions from narrator Michael Hordern in one of the runaway rabbits in Frith, Joss Ackland as the mysterious grim reaper-like character in the Black Rabbit, Hannah Gordon as a female rabbit who is enslaved by the totalitarian group in Hyzenthlay, Denholm Elliott as a rabbit leader the group meets in Cowslip, and Harry Andrews as the evil leader of the totalitarian rabbits in Woundwort. Zero Mostel is fantastic as a wounded gull named Kehaar who would be an ally to the group of rabbits while Ralph Richardson is superb as the group’s old chief who doesn’t believe in one of the visions that a rabbit claims to see.

John Bennett is excellent as an aging rabbit who was an associate of the chief who later joins the group after his own dangerous encounter. Richard Briers is brilliant as Fiver as the one who sees these strange visions as he gets help from his brother in aiding the escape. Michael Graham Cox is amazing as Bigwig as the toughest rabbit who was close to their leader as he aids the community in many ways. Finally, there’s John Hurt in a phenomenal role as Hazel as Fiver’s big brother who helps his brother in the escape while being the unlikely leader as well as the one that is willing to rally everyone and provide the plans to escape and such.

Watership Down is a sensational film from Martin Rosen. Featuring a great voice cast, gorgeous visuals, top-notch animation, and a fantastic score, the film isn’t just a gripping animation film that appeals to more than just children but also offers a glimpse into the world of totalitarianism and dystopia into a setting that is simple and to the point. In the end, Watership Down is a tremendous film from Martin Rosen.

© thevoid99 2016

Time Bandits

Directed by Terry Gilliam and written by Gilliam and Michael Palin, Time Bandits is the story of a boy who goes on an adventure with a group of time-traveling dwarves where he travels to different periods in time. The film is an exploration into the world of fantasy and man trying to fight the impossible as it is the first part of a trilogy of films about dreamers. Starring John Cleese, Sean Connery, Michael Palin, Shelley Duvall, Ralph Richardson, Ian Holm, Katherine Helmond, Peter Vaughn, and David Warner. Time Bandits is a funny yet enjoyable fantasy film from Terry Gilliam.

A young boy named Kevin (Craig Warnock) enjoys reading adventures about all sorts of things while his parents (David Daker and Sheila Fearn) are more obsessed with household appliances and TV shows. One day, a gang of time traveling dwarf bandits come out of his closet looking for a time hole as they carry a map that get them through each time hole in order to steal riches from different periods of time. Leading the pack is Randall (David Rappaport) as he admits to stealing the map from the Supreme Being (Ralph Richardson and the voice of Tony Jay) as Kevin finds himself being part of the adventure. There, Kevin and the bandits land in the Napoleonic wars where the bandits find themselves having to entertain Napoleon Bonaparte (Ian Holm) where they successfully steal some treasure.

After finding themselves in the Middle Ages where they meet Robin Hood (John Cleese) where they end up having their take being given to the poor, Randall and the bandits ponder where to go next. Unaware that a sorcerer known as Evil (David Warner) is watching them, the bandits continue their journey where they’re being chased by the Supreme Being as Kevin finds himself in Mycenaean Greece where he saved the life of King Agamemnon (Sean Connery). Being happy around King Agamemnon, Kevin hopes to stay there until the bandits finally appear to steal more riches and take Kevin where they find themselves in the 20th Century on a ship. Randall believes that through the map that there’s a place into the unknown that can lead them to something that is considered to be the most fantastic object of the world. Kevin reluctantly joins them where they encounter more trouble where Kevin realizes what is going on forcing he and the bandits to fight Evil.

The film is essentially the story about a young boy who joins a group of time-traveling dwarves into an adventure into different periods of time where they steal riches while going after something that is to be even better than riches unaware that they’re watched by an evil sorcerer. That’s pretty much what the story is about though it is a film that is about a boy trying to find a place where he belongs as he feels out of place with the modern world as his parents are just obsessed with the technologies of the times. Throughout this adventure with this gang of dwarves that likes to steal and do things, this young boy would encounter worlds that are very different from the modern world as he feels like he belongs there.

The screenplay by Terry Gilliam and his Monty Python cohort Michael Palin does have a traditional structure into the motivations of how young Kevin sees things throughout his journey. Notably as the journeys he takes would play into his development and understanding of the world itself. He enjoys going back in time but he doesn’t like what the dwarves do as things get more complicated in the third act when the dwarves begin to doubt Randall over his obsession with going into this mysterious world. Particularly as they’re all unaware that they’re being watched by this evil sorcerer who wants the map they can carry to spread evil into the world. While the script is essentially a fantasy story, it’s also very comical since a lot of the situations are absurd and things do very silly such as the fact that the characters often drop in on a couple (Michael Palin and Shelley Duvall) and ruining their moment.

Terry Gilliam’s direction is definitely big in terms of its presentation where it is all about these elaborate set pieces, different locations, and all sorts of hi-jinks the characters encounter. Through some amazing compositions where Gilliam puts a lot into the frame in order to establish the world the characters encounter. He also makes sure that it’s about this group of dwarves and this young boy while he does take his time to establish what the evil sorcerer wants to do. The direction also includes some vast wide shots of some of these elaborate set pieces where things often feel offbeat such as the climatic world in the third act. Still, Gilliam manages to find a way to keep things offbeat in its humor and intentions while creating something that can appeal to a young audience. Overall, Gilliam creates a fantastic film that plays up to world of imagination and the yearn to escape from the doldrums of the modern world.

Cinematographer Peter Bizou does excellent work with the film’s cinematography from the very sunny and vast look of the King Agamemnon sequence to the more dreary look of the dark world that the sorcerer lives in. Editor Julian Doyle does wonderful work with the editing by creating some unique rhythms for the film’s action scenes along with some stylish slow-motion cuts for some of its intense moments. Production designer Milly Burns and art director Norman Garwood do amazing work with the vast set design that is created from the look of King Agamemnon’s palace, the castle where Napoleon is being entertained, and the dark underworld where the sorcerer lives in.

Costume designer James Acheson, with additional work from Hazel Cote, does terrific work with the costumes to capture the many different periods from the robes of King Agamemnon, the look of Robin Hood, and uniform worn by Napoleon. Hair and makeup work by Maggie Weston and Elaine Carew is superb for the look of some of the characters including the evil sorcerer that is over the top. The sound work of Allen Hurd is very good for the atmosphere that is created in parts of the films including the party scene at King Agamemnon’s hall. The music by Mike Moran is a delight to hear not just for its bombastic orchestral score but also for its playfulness as it serves as a great accompaniment to the film’s humorous moments. The music also includes a song by one of the film’s executives producers in George Harrison that plays up to the film’s whimsical charm.

The film’s cast is incredible for the ensemble that is created as it features some noteworthy small roles from Jim Broadbent as a game show host, Peter Vaughn as an ogre named Winston, Katherine Helmond as the ogre’s wife, David Daker and Sheila Fearn as Kevin’s parents, and Michael Palin and Shelley Duvall as a loving couple often interrupted by the appearances of the dwarves. Other appearances that are definitely played for laughs include Ian Holm as Napoleon Bonaparte and John Cleese as a somewhat dim-witted Robin Hood. Sean Connery is superb as King Agamemnon where he displays a great sense of prestige in his role. David Warner is terrific as the sorcerer Evil who is very over-the-top while Ralph Richardson is wonderful as the very witty Supreme Being.

The performances by the dwarves in Tiny Ross, Mike Edmonds, Jack Purvis, Malcolm Dixon, and Kenny Baker are definitely amazing to watch as well as Jack Rappaport as the conniving leader of the gang in Randall. Finally, there’s Craig Warnock in a marvelous performance as Kevin who is intrigued by the world of adventure and imagination as he deals with his journey as well as the evil forces that he later has to fight.

Time Bandits is an extraordinary yet witty film from Terry Gilliam. Armed with a great ensemble cast and amazing set pieces, the film is definitely among one of Gilliam’s best films. Notably as it’s also a very accessible film that offers something more to a wide audience including children. In the end, Time Bandits is a whimsical yet adventurous film from Terry Gilliam.

Terry Gilliam Films: Jabberwocky - Brazil - The Adventures of Baron Munchausen - The Fisher King - 12 Monkeys - Fear and Loathing in Las Vegas - The Brothers Grimm - Tideland - The Imaginarium of Dr. Parnassus - The Zero Theorem - The Auteurs #38: Terry Gilliam

© thevoid99 2013

Doctor Zhivago

Based on Boris Pasternak’s novel, Doctor Zhivago tells the story of a Russian doctor/poet whose life is changed when he has an affair with a political activist during the Russian Revolution. Directed by David Lean and script adaptation by Robert Bolt, the film is among one of Lean’s great epics as he explores a man’s relationship with his wife and lover in a tumultuous period. Starring Omar Sharif, Julie Christie, Geraldine Chaplin, Rod Steiger, Tom Courtenay, Klaus Kinski, and Alec Guinness. Doctor Zhivago is an exhilarating yet sprawling film from David Lean and company.

Yuri Andreyevich Zhivago (Omar Sharif) is a young doctor/poet living in Moscow with his adoptive parents Alexander (Ralph Richardson) and Anna Gromeko (Siobhan McKenna) along with their daughter Tonya (Geraldine Chaplin) who is returning from Paris. In another part of Moscow, a 17-year old dressmaker named Lara (Julie Christie) works with her mother (Adrienne Corri) as they deal with their corrupt advisor Victor (Rod Steiger). With Lara in love with the politically-driven Pasha (Tom Courtenay), Victor disapproves as he tries to seduce Lara. When Lara’s mother attempts suicide, Victor calls for Alexander and Yuri for help where Yuri sees Lara for the first time.

Humiliated by Victor, Lara borrows Pasha’s gun as she shoots Victor at a Christmas party held by the Gromekos. Yuri wouldn’t see Lara until years later during World War I where he is a doctor while she’s a volunteer trying to Pasha who has gone missing. The two becomes friends only to part again with the news of the Czar’s overthrow as Yuri returns to Moscow to find his famiy home inhabited by people. With he, Tonya, their son Sasha (Jeffrey Rockland), and Alexander trapped, they’re saved by a Bolshevik official named Yevgraf (Alec Guinness), who is Yuri’s older half-brother. Yevgraf arranged for Yuri and his family to travel to Yuriatin at the old Gromeko estate where they travel by train with various people and soldiers including a raspy intellectual named Amoursky (Klaus Kinski). During the trip, a train carrying a revolutionary named Strelnikov passes them as Yuri meets the mysterious man realizing who he really is.

Arriving at the Gromeko estate they realize the place is closed as they live in the cottage that is close to the estate. At the nearby town of Yuriatin, Yuri sees Lara for the first time in years as the two begin an affair. Torn with his love for Lara and Tonya, Yuri is more unsure when Tonya is pregnant as he seeks to end the affair. He’s then later captured by Communist troops under the command of Liberius (Gerard Tichy) where he serves as a doctor for two years. After deserting the army and returning to Yuriatin, he meets Lara again who takes care of him while learning that Tonya and their children along with Alexander has left for Paris. Living with Lara and her daughter Katya (Lucy Westmore) by taking them to the abandoned Gromeko estate, they live quietly until a man from their past returns with a warning about Lara as he gives them an ultimatum to save their lives. This would prompt Yuri to make the biggest sacrifice of his life.

Spanning from the early 1910s to post-Stalin Soviet Union, the film is told from the perspective of Yevgraf to a young woman (Rita Tushingham) whom he believes is the illegitimate daughter of half-brother. There, Yevgraf through brief moments of narration tells the story of his brother from his childhood to the last time he would see him. What happens is that the story takes place into a love triangle amidst the chaos of the Russian Revolution where characters go through various changes and such. Yet, the film begins and ends with scenes in the 1950s with Yevgraf and this young woman who could be his grand-niece.

Robert Bolt’s script is very engaging not just for its time span but also for the development of characters and situations that happens. Among them is its titular protagonist whose life starts off tragically with the death of his mother as all he inherited is a balalaika whom he would carry throughout the entirety of the film. Yet, Yuri Zhivago is a man that always uses poetry as an outlet to express his feelings amidst the chaos of political changes where his writing is considered subversive. During the course of the film, he is often surrounded by Tonya who is clearly devoted to him though feels a bit threatened by Lara where she only meets her briefly from afar with the exception of an unseen meeting mentioned in a letter.

Lara is a woman who is very different from Tonya as far as social orders and struggles are concerned. Still, both women provide a sense of warmth and energy that Yuri is attracted to. The fact that he loves both of them tears him up inside where he doesn’t want to hurt either of them while both women seems to know about what is going on. The love story aspect truly balances a lot of the political elements of the film where in the scene where Yuri and his family come home to the Gromeko estate. Alexander realizes it’s closed up because of the revolution where he has a hard time living without the things he’s worked so hard for. Characters like Victor and Pasha are two different men from different ideals as they progress into different figures.

Bolt’s script is great for its development of characters and settings while not using a lot of exposition to advance the story. Instead, he lets action and emotions drive everything as well as the political situations to motivate characters. It is truly a captivating screenplay that doesn’t do too much while keeping things a bit simple in some places as well as complex in other places.

David Lean’s direction is truly phenomenal in the way he creates a world that is oppressive but also evocative for its large story. Shot on location in Spain throughout the film with parts of it show in Canada and Finland since it was impossible to shoot in the Soviet Union at the time. Lean creates a world that progresses as Moscow starts out and ends as a world where things are in order and open despite its different periods while progressing it to a place ravaged by chaos. When the film moves to a different location, the feel becomes grittier and darker while there is still an element of beauty to these locations despite the harsh political tone of the film.

Lean’s striking compositions filled with wide shots of landscapes and intimate close-up shots truly presents a film that is stylized but also engrossing for its look of the film. Lean, like a lot of big epic films of 1960s, opens the film with an overture and adds an intermission for a film that is more than three hours long. Yet, Lean keeps the film very methodical in its pacing without moving things too fast. Instead, he gets the audience be engaged by all that is happening from scenes where Yuri is walking home through treacherous snow or the brief moment of innocence when he’s walking around the forest before meeting Strelnikov. Lean creates what is truly a dazzling yet glorious film that is truly romantic and epic in its story and in its presentation.

Cinematographer Freddie Young, with additional work from Nicolas Roeg, does an incredible job with the film‘s colorful, lush photography as he captures many of the snowy scenes with great beauty and a harsh realism for some of the film‘s darker scenes. Young also creates some amazing shots for scenes in the forest and landscapes along with the wonderful use of red to capture the political tone of the film. Editor Norman Savage does excellent work with the editing as he maintains a very straightforward approach to the cutting while using transitional dissolves and fade-outs to maintain the film’s leisured pace.

Production designer John Box, with set decorator Dario Simoni and art director Terence Marsh, does a great job with the set pieces created such as the Moscow home of the Gromekos and other posh places to empty places that the characters frequent throughout the film. The art direction and set design are truly spectacular in scope and to help create a place in time that was a long time ago. Costume designer Phyllis Dalton does a superb job with the costumes from the dresses the women wear to the suits the men along with the fur and ragged clothing during the war and other harrowing scenes. Sound editor A.W. Watkins does very good work with the sound from the way gunshots sound from afar to the roar of crowds in the protest scenes and chaos with soldiers attacking officers.

The film’s magnificent score by Maurice Jarre is definitely one of the film’s big highlights as his sweeping orchestral arrangements mixed in with Russian string instruments and choir-driven vocals. Jarre also provides lush themes such as Lara’s Theme with its brimming balalaikas and soothing strings to help convey the romantic aspects of the film. There is also big bombastic pieces that help drives the film in its more intense, action scenes as Jarre’s work is truly outstanding.

The casting by Irene Howard is fantastic for the ensemble that is assembled for this massive film. Notable appearances include Tarek Sharif as the young Yuri, Mercedes Ruiz as the young Tonya, Lucy Westmore as Lara’s daughter Katya, Geoffrey Keen as Yuri’s professor, Bernard Kay as a Bolshevik agent, Jack MacGowran as the Gromeko’s old groundskeeper, Gerard Tischy as an army leader, Siobhan McKenna as Tonya’s mother, Adrienne Corri as Lara’s mother, and Rita Tushingham as the young woman Yevgraf talks to in the beginning and ending of the film. Other notable small roles includes the legendary Klaus Kinski in standout performance as a smarmy intellectual who worships Strelnikov along with Ralph Richardson as Alexander Gromeko who is dismayed the changes as he loses nearly all of the things he worked for.

Rod Steiger is superb as Victor, the corrupt lawyer whom Yuri dislikes for personal reasons as Steiger brings in a brash, charismatic performance as a brutish man who loves Lara but for all the wrong reasons. Tom Courtenay is great as Pasha, an idealistic man who loves Lara as he hopes to win her only to be changed drastically by the politics of the time. Alec Guinness is wonderful as Yevgraf, the film’s narrator and Yuri’s half-brother as he is a calm authority figure who helps out Yuri while telling the young girl about him and everything he sees in a very understated performance. Geraldine Chaplin is radiant as Tonya, Yuri’s wife who tries to deal with his absence and the presence of Lara. While it’s not fully-realized character, Chaplin does Tonya a captivating figure who provides a sense of warmth and motivation for Yuri.

Julie Christie is amazing as Lara, a woman who tries to find her own way in the world as she falls for Yuri while dealing with the fact that they’re both married. Christie also plays things quietly while being a woman who starts out as a victim to Victor’s advance only to become someone very strong and defiant as it’s one of Christie’s best performances. Omar Sharif is excellent as Yuri Zhivago, a man who dreams of great things only to be hit by the revolution as he is torn with the two women he loves. While it may not be as great as the performance he gave in Lawrence of Arabia, Sharif does manage to be a very compelling lead as he has great chemistry with Julie Christie and Geraldine Chaplin.

Doctor Zhivago is a towering yet evocative film from David Lean that features top-notch performances from Omar Sharif, Julie Christie, and Geraldine Chaplin. While it may not be as exciting as Lawrence of Arabia, it is among one of Lean’s finest films as well as one of the great romantic films of the 1960s. It’s a film that is very ambitious and allows its audience to be engaged by the scenery and events that happens in the film. It may not be perfect but the ambition that Lean goes for with this is film is something that is missed in a lot of films of the 2010s. In the end, Doctor Zhivago is a brilliant romantic epic from the always revered David Lean.

David Lean Films: In Which We Serve - This Happy Breed - Blithe Spirit - Brief Encounter - Great Expectations (1946 film) - Oliver Twist (1948 film) - The Passionate Friends - Madeleine (1950 film) - The Sound Barrier - Hobson’s Choice - Summertime (1955 film) - The Bridge on the River Kwai - Lawrence of Arabia - Ryan’s Daughter - (Lost and Found: The Story of Cook’s Anchor) - A Passage to India - (The Auteurs #74: David Lean)

© thevoid99 2011