Set mainly at a house in a peninsula in a South American country that just freed itself from years of dictatorship, the film revolves around a woman whose husband has been picked up by a man driving on the way to their house as she believes that this was the man who tortured her some years ago. It is a film that explores trauma as a woman who was once a political activist with her husband set to possibly work for the new president of their country that is reforming itself as they meet this man who maybe her tormentor. The film’s screenplay by Ariel Dorfman and Rafael Yglesias is largely straightforward as much of the action takes place in and out of this house during a stormy night where the power is out and only candles are lighting the house.
The script features a lot of monologues and conversations between its three principle characters in Paulina Escobar, her lawyer husband Gerardo (Stuart Wilson), and this man in Dr. Roberto Miranda (Ben Kingsley). Paulina is at home making dinner as Gerardo is late as he’s meeting the new president about a new job he has yet to accept while his car had a flat where he is picked up by Dr. Miranda. Dr. Miranda and Gerardo get along immensely yet Paulina recognizes Dr. Miranda’s voice and smell as she would steal his car and destroy it and then take Dr. Miranda hostage with Gerardo watching in horror as Paulina confronts Dr. Miranda about his past. Revelations are upon unveiled with Gerardo also trying to make sense of what happened including his own role as an activist back then as he and Paulina were lovers during that time she was taken prisoner where she was raped and tortured.
Roman Polanski’s direction is largely intimate for the fact that much of it takes place in a house near this cliff side area as it’s shot on location in Chile as it is based on the country’s then-recent history of dictatorship under the rule of Augusto Pinochet that had ended in 1990. While the film opens and ends with a string quartet playing Franz Schubert’s piece in which the film is named after as the piece is also a crucial plot point in the film. While there are wide shots to establish some wide shots in some of the film’s location outside of the house including a lighthouse shown from afar. Much of Polanski’s direction emphasizes on close-ups and medium shots to play into the space of the house as well as having gazing long shots that last a few minutes to play into the monologues and conversations between the characters. The usage of tracking shots and camera pans add to the visual language of the film where Polanski makes sure every room in the film is presented with great detail but also playing into this sense of claustrophobia as the tension rises between Dr. Miranda and Paulina. Polanski also play into the suspense and drama as the power outage and usage of candle lights add to the visual tone where it does feel chilling as it includes a moment where Dr. Miranda needed to pee as it is this uncomfortable yet humorous moment in the film.
There are bits of humor that Polanski puts as much of it is dark though the first act where Dr. Miranda and Gerardo are talking and getting drunk as it’s just this moment in the film where Polanski does loosen things up as it does humanize Dr. Miranda even though it is uncertain if he was Paulina’s tormentor. Even as Dr. Miranda is someone who isn’t sure what Paulina is talking about but he does feel bad for her as Gerardo is stuck in the middle as he gets answers from both of them as it adds to this dramatic tension. Even in the film’s climax as it moves out of the house and at a cliff where Gerardo is trying to reach someone who knows Dr. Miranda to prove his innocence as it is followed by these revelations as it play into what did happen. The ending returns to the same theatre where the string quartet performs yet it is more about who is there and the aftermath of everything as it is an ambiguous ending that raises more questions than answers. Overall, Polanski crafts an engaging yet haunting film about a woman questioning a man who supposedly was her tormentor some years ago.
Cinematographer Tonino Delli Colli does brilliant work with the film’s cinematography as it is largely straightforward with its emphasis on low-key lights as well as natural lighting for many of the interior scenes as it is a highlight of the film. Editor Herve de Luze does amazing work with the editing as it is straightforward with a few jump-cuts while knowing when not to cut during some of the monologues as it adds to the film’s visual tone. Production designer Pierre Guffroy and art director Claude Moesching do excellent work with the design of the house as well as the rooms as it play into some of the claustrophobic elements of the film.
Costume designer Milena Canonero does fantastic work with the costumes as it is largely a bit casual from a red dress that Paulina wears, the suit that Dr. Miranda wears, and a robe that Gerardo is wearing as it adds to the chaos in the film. Sound editor Laurent Quaglio does superb work with the sound as it play into atmosphere of the location as well as the sound of what is happening outside of the home. The film’s music by Wojciech Kilar is wonderful for the haunting and understated music pieces that play into the suspense and drama as well as the usage of the music piece by Franz Schubert.
The casting by Patsy Pollock and Mary Selway is terrific as the film feature some appearances from Jonathan and Rodolphe Vega as Dr. Miranda’s son via pictures, Krystia Mova as Dr. Miranda’s wife via picture, and Karen Strassman as a voice on a telephone. Stuart Wilson is incredible as Gerardo Escobar as a lawyer who was a former activist that is set to possibly take an important job as he deals with the chaos of his wife’s accusations towards Dr. Miranda while also seeking answers about what happened when Paulina was taken and did Dr. Miranda did those things.
Ben Kingsley is great as Dr. Roberto Miranda as a man who picks Gerardo up as he later returns a spare tire as he befriends Gerardo while baffled about Paulina as well as the questions she’s giving him where Kingsley display that sense of confusion as well as remorse as someone who is imperfect but also play up the ambiguity of whether or not he was Paulina’s tormentor. Finally, there’s Sigourney Weaver in a sensational performance as Paulina Escobar as a former activist who was captured and taken to prison where she was raped and tortured as a woman still dealing with trauma as she confronts Dr. Miranda where Weaver brings an intensity to her performance as a woman that could be paranoid or is really seeking out the truth as it is one of Weaver’s great performances as a woman in need of answers and closure no matter how unethical she can be at times.
Death and the Maiden is a phenomenal film from Roman Polanski that features great performances from Sigourney Weaver, Ben Kingsley, and Stuart Wilson. Along with its enchanting visuals, intimate setting, eerie usage of music, and its study of trauma and torment. It is a film that explores a woman confronting her past in this man who could be her tormentor with her husband watching as he’s trying to make sense of everything that happened at a time when their home country is reforming itself. In the end, Death and the Maiden is a spectacular film from Roman Polanski.
Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac – The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) – Chinatown - The Tenant – Tess (1979 film) - (Pirates) – Frantic - Bitter Moon - The Ninth Gate - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage (2011 film) - (Venus in Fur) – (Based on a True Story) – (An Officer and a Spy) - (The Palace)
© thevoid99 2021
Based on the novel by Edith Wharton, The Age of Innocence is the story of a man who is about to get married only to fall for his fiancee’s cousin as it causes a lot of problems in the world of upper-class New York City in the 1870s. Directed by Martin Scorsese and screenplay by Scorsese and Jay Cocks, the film is an exploration of a love triangle where man falls for a woman who is known for having a very bad reputation as it is told by Joanne Woodward who serves as the film‘s narrator. Starring Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Michael Gough, Robert Sean Leonard, Norman Lloyd, Richard E. Grant, Mary Beth Hurt, Stuart Wilson, Miriam Margoyles, and Geraldine Chaplin. The Age of Innocence is a ravishing and evocative film from Martin Scorsese.
Set in 1870s New York City, the film plays into the life of a lawyer who is engaged to a woman who is prim and proper as her cousin makes a return to the city as the man falls for her and sense of individuality. It’s a film that does play into ideas of a love triangle but it’s also a film that explores a world that is changing as certain behaviors and ideas that is part of the norm of society forces this man to wonder if that’s the way to live. Even as this woman he falls for is a woman with an already scandalous reputation as she is seeking to divorce a count she is married to. It’s a film that plays into a lot of things as it’s told by this unseen narrator who often comments about the behavior and feelings of Newland Archer (Daniel Day-Lewis) and his relationship with May Welland (Winona Ryder) as well as his feelings for May’s cousin Countess Ellen Olenska (Michelle Pfeiffer).
The film’s screenplay by Martin Scorsese and Jay Cocks definitely explores a world where there are expectations to fit in to the conventions of upper-class New York City society. It’s something that May has been doing and seems comfortable with as she never really has an opinion about anything but rather maintain that idea of conformity. Archer definitely loves May as he knows that she is a woman that can be a great wife but upon meeting Ellen, he begins to question about what he wants in his life. Especially as Ellen is someone that is quite opinionated and doesn’t play into the idea of conventionality as she knows she is the subject of gossip due to her relationship with a count. That individuality is what attracts Archer to Ellen as it has him looking at the world in a different way but also has him obsessing about Ellen who is trying to lead her own life.
The script also explores that sense of two people wanting to be in love as Archer and Ellen are aware that May is in the middle as she is someone they don’t want to hurt. Even as there’s moments where Archer and Ellen want to say something but there’s many other things that happen which often has Ellen leaving Archer for different reasons. Plus, they’re hiding the relationship around people that are close to them as there’s other characters involved in the story such as Ellen’s grandmother Mrs. Mingott (Miriam Margoyles) who is a powerful woman of New York society with very strong opinions as she is admired by nearly everyone. Even as she would be an influence to May and several other characters as well as Archer where he would have to make a major decision on what he wants to do with his life and who to be with.
Martin Scorsese’s direction is definitely exquisite in terms of is total attention to detail in the way he captures 1870s New York City as it’s shot mostly in the city itself with scenes shot in Paris and other locations in Philadelphia. Much of it plays into a world that is very refined with a set of rules about how to live in upper-class New York society where everyone goes to the opera and are sitting in seats as the men are in one booth and their wives are in another booth. The usage of wide and medium shots play into that vast world while Scorsese also uses some stylish camera movements such as tracking shots and cranes to play into a world that sort of feels constrained by its rules only for someone like Ellen to come in and kind of break things down bit by bit. Even as Scorsese goes for close-ups to capture the sense of desire that looms between Archer and Ellen as well as extreme close-ups of their faces and hands.
The direction also has Scorsese utilizing many elements that are very stylistic in his approach to framing in the way he would light certain moments or to capture something where Archer and Ellen are in their own world that is detached from everything else. It adds to something that plays to a world that is changing though the people in Archer and Ellen’s world are quite oblivious to it because they’re protected by their environment. Yet, things would crash down once reality starts to come in for Archer and Ellen where Archer would have to make a decision as it also relates to May who does start to display elements of her own self to emerge late in the film. Overall, Scorsese creates a very intoxicating yet heart-wrenching film about a man caught in a complicated love triangle.
Cinematographer Michael Ballhaus does brilliant work with the film‘s very colorful and lush cinematography to capture the many layers of colors that is in display for some of the film‘s interior scenes while using some low-key lights for scenes at night. Editor Thelma Schoonmaker does incredible work with the editing with its usage of jump-cuts, flourishing montages, dissolves, and other stylish cuts to play into the sense of dramatic tension as well as longing between Archer and Ellen. Production designer Dante Ferreti, with art director Speed Hopkins and set decorators Robert J. Franco and Amy Marshall, does amazing work with the set design from the look of the houses and rooms where the characters are in to the ballrooms and opera houses as it displays great attention to detail to capture a period in time.
Costume designer Gabriella Pescucci does excellent work with costumes from the hats and suits the men wear as well as the lavish dresses that the women that plays into that period in time. Hair designer Alan D’Angerio and special effects makeup artist Manilo Rocchetti do fantastic work with the look of the characters from the hairstyles of the women to the beard and sideburns of some of the male characters. Sound editor Skip Lievsay does superb work with the sound to capture some of the atmosphere of the social gatherings along with low-key sound work in the dramatic moments of the film. The film’s music by Elmer Bernstein is wonderful for its lush and orchestral score to play into the period of the times as well as the romantic tension between Archer and Ellen while the soundtrack features music from that period including some opera and classical pieces.
The casting by Ellen Lewis is great as it features notable appearances from Charles and Catherine Scorsese as an old couple walking out of a train station, Martin Scorsese as a wedding photographer, Domenica Scorsese as a young woman Archer meets in Newport when he’s trying to find Ellen, Alexis Smith as Louisa van der Luyden, Sian Phillips as Archer’s mother, Alec McCowen as the Archer family friend Sillerton Jackson, Jonathan Pryce as a Frenchman Archer met in London in Riviere, Robert Sean Leonard as Archer’s adult son Ted in the film’s final moments, and Norman Lloyd as Archer’s mentor Mr. Letterblair who would counsel him about Ellen’s own attempts to divorce her husband. Mary Beth Hurt is wonderful as Regina Beaufort who feels shamed by her husband’s bad real estates deal while Stuart Wilson is terrific as Julius Beaufort who would often visit Ellen which raises suspicions in Archer that he’s one of her lovers. Richard E. Grant is superb as Archer’s friend Larry Lefferts as a man who is known for exquisite tastes as he is wowed by Ellen’s appearance.
Michael Gough is excellent as Archer’s family friend Henry van der Luyden who is giving Archer some advice on life while being very gracious towards May whom he likes a lot. Geraldine Chaplin is brilliant as May’s mother who is always warm towards Ellen while preparing May for the wedding and other family/social gatherings. Miriam Margoyles is amazing as Mrs. Mingott as Ellen’s grandmother who is always on a chair surrounded by little dogs as she is a person of power and influence while not afraid to speak her mind just like her granddaughter. Winona Ryder is remarkable as May Welland as a very kind and warm young woman who represents the form of innocence as she is the kind of woman that Archer should marry but manages to be so much more as Ryder just has this evocative presence that is a joy to watch.
Michelle Pfeiffer is incredible as Countess Ellen Olenska as this woman who is a free-spirit of sorts but is tormented by the mistakes she made in her past while is trying not to be judge as she finds comfort in Archer though she doesn’t want to hurt May. Finally, there’s Daniel Day-Lewis in a phenomenal performance as Newland Archer as a lawyer who is tormented by his love for May but is in love with Ellen as it’s a very restrained yet mesmerizing performance of a man who is torn between two women as well as realizing that the world he’s lived in is a façade of sorts but one that can protect him.
The Age of Innocence is an enchanting and sensational film from Martin Scorsese. Armed with a great cast led by Daniel Day-Lewis, Michelle Pfeiffer, and Winona Ryder as well as amazing technical contributions from its crew. The film is definitely a period piece that manages to be so much more in its study of characters, motivations, and ideals in late 19th Century New York City. In the end, The Age of Innocence is a tremendously rich and rapturous film from Martin Scorsese.
Martin Scorsese Films: (Who’s That Knocking on My Door?) - (Street Scenes) - Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn’t Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - Cape Fear (1991 film) - (A Personal Journey with Martin Scorsese Through American Movies) - (Casino) - (Kundun) - (My Voyage to Italy) - Bringing Out the Dead - (The Blues-Feel Like Going Home) - Gangs of New York - (The Aviator) - No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) - (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The 50 Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)
© thevoid99 2015
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
