LAMB Movie of the Month: Bronson

Bronson is about the life of Michael Gordon Peterson who became one of the most notorious criminals in Britain as he led most of his prison sentence in solitary confinement. Directed by Nicolas Winding Refn and written by Refn and Brock Norman Brock, the film is an exploration of the man’s life from the son of a respectable family to one of the most infamous men of the British criminal world. For the role of Peterson, Tom Hardy plays the man who also calls himself Charles Bronson after the famed actor. Also starring Matt King, James Lance, Amanda Burton, and Jonathan Phillips. Bronson is an extraordinary yet unflinching portrait of a disturbed man from the vision of Nicolas Winding Refn.

Ever since he was a boy, Michael Gordon Peterson was a lad who caused trouble whether getting into fights with kids or teachers in school while later growing up to work at a chip shop where he commits his first crime. After getting married to woman named Irene (Kelly Adams) and having a child, Peterson robs a post office where he gets a 7 year prison sentence. Prison however, turned out to be a place that Peterson can call home where he’s popular with the prisoners and hated by the guards he always fight with. Yet, he gets transferred from one to another before finally going into a psychiatric hospital where he’s been sedated from fighting.

When a pedophile (Richard Jones) suggests to Peterson about doing something awful, Peterson is unable to fight back until the sedative wears off where he was able to do something. Transferred again to another psychiatric hospital, all hell breaks loose as Peterson causes more trouble where he gains notoriety and freedom. Back in the outside world with his parents (Andrew Forbes and Amanda Burton), Peterson travels back to Luton to live with his uncle Jack (Hugh Ross) where he becomes a bare-knuckle boxer through connections from a former prison mate in Paul (Matt King). Though he’s a success and has a new girlfriend in Alison (Juliet Oldfield), it doesn’t last as he returns to crime and back to prison.

Yet, prison would be his playground as he goes by the name he’s given as a boxer in Charles Bronson. In order to challenge the authority of the prison governor (Jonathan Phillips), Bronson creates an array of crazy stunts while finding another outlet through the help of an art teacher (James Lance). Through this new outlet, Bronson would find his way to even more infamy.

The film is about the life of a notorious British prisoner told from the perspective of the man as he imagines himself talking about his life story on the stage to an imaginary audience. Throughout the film, he comments about his own situations as well as revealing his love for the world of prisons which he feels is his home. Yet, Charles Bronson is not a typical man who doesn’t fit in by the rules of society as he is someone that is set out to make his own rules. He’s not an entirely bad man but a real misunderstood individual that just likes to create chaos through any means.

The screenplay works well into how it studies Bronson from this petty thief who is just trying to support a family and fulfill his own violent desires into someone who finds a home in the prison sentence. There, he can fight guards and act all rowdy but when he’s transferred to this psychiatric hospital. He’s doing things against his will where he would find a way to get out of the hospital and later use his notoriety to be free. When he returns to society, it becomes a problem which would eventually lead to prison where he would find his true calling in life.

The direction of Nicolas Winding Refn is truly visceral in terms of the way violence is present but also in a humorous yet whimsical tone throughout the entirety of the film. Refn always makes sure that the Bronson character is in the frame whether it’s in a close-up or from a huge distance. At the same time, Refn doesn’t choose to play nice when it comes to the violence whether it’s from Bronson or the people attacking him. The camera is always moving to the rhythm of what Bronson is doing whether it’s a slow-motion presentation for stylistic reasons or to simply build momentum for something crazy to happen.

For the scenes on the stage where Bronson is on stage telling his story, it’s the humor of Bronson’s presentation that makes it very engaging as he doesn’t sugarcoat nor exaggerate the stories he’s telling. Yet, he is also not afraid to make fun of himself nor be unflinching as he is often seen through makeup at times or is inside a cage. There’s an intimacy to it that is quite entrancing to watch in the way Refn directs these scenes while knowing that when he’s out of the cage. All hell is going to break loose as Refn truly creates what is definitely a mesmerizing yet uncompromising film about a notorious figure that craves any kind of attention he can get.

Cinematographer Larry Smith does an excellent job with the film‘s stark but colorful cinematography that is mixed in with a bit of static grain for some of the darkly-lit scenes. Smith’s photography also plays it rough while adding some stylish lights for some of the interiors to emphasize the mad world of Bronson. Editor Matthew Newman does a great job with the editing in the use of jump-cuts and dissolves to help the film move unconventionally for the fight scenes or some other stylish dramatic moments in the film.

Production designer Adrian Smith and art director Jane Levick do some fine work in the set pieces such as the cheesy strip club where Paul hangs out at as well as the grimy prisons and hospitals that Bronson encounters along with the stage where he tells his story. Costume designer Sian Jenkins does a nice job with the costumes from the suits that Bronson wears in his stage performance and in the outside world to the more rough-house look that he sports in the prison scenes. Makeup designer Niamh Morrison does some amazing work for the look of Bronson with its mustache and some of the strange makeup that he sports for his stage performances in the film.

The animation of Britt Dunse, which is based on Bronson‘s artwork, is truly a joy to watch for the brief animation sequence presented as a form of dark humor to represent Bronson‘s personality. Sound designer Christian Conrad and sound editor Dominik Schleier do some superb work with the sound work to capture the stark intimacy of the prisons and hospitals as well as its chaotic atmosphere in some of the violent moments of the film. Music supervisor Lol Hammond does a brilliant job with the film’s diverse yet hypnotic soundtrack that includes an array of classical music to electronic music from acts like New Order, Pet Shop Boys, and Glass Candy. The latter of which to emphasize the world of the 1980s but also plays as a very dark accompaniment to Bronson’s world as the overall soundtrack is fantastic.

The casting by Des Hamilton is wonderful as it features some notable appearances from Andrew Forbes and Amanda Burton as Bronson’s parents, Hugh Ross as the lavish Uncle Jack, Kelly Adams as Bronson’s first wife Irene, Juliet Oldfield as Bronson’s mid-period girlfriend Alison, William Darke as the 13-year old Bronson, and Richard Jones as the pedophile that Bronson meets. Other memorable performances from supporting players include Jonathan Phillips as the prison governor, Phil Danielson as the art teacher, and Matt King as the flamboyant Paul who gives Peterson the name Charles Bronson.

Finally, there’s Tom Hardy in an outstanding yet harrowing performance as Michael Gordon Peterson aka Charles Bronson. Shaving his head and putting on more than 40 pounds of muscle, Hardy exudes the man who is truly a one of a kind. He brings a disturbing yet engaging sense of humor to the character while proving that he is someone that no one should get into a fight with. Hardy truly makes this man one of the most interesting characters ever presented around the world as it’s a definite breakthrough performance for the young British actor.

Bronson is a powerful yet thrilling film from Nicolas Winding Refn featuring a tour-de-force performance from Tom Hardy. The film is definitely not easy to watch due to some of the violent and disturbing content presented while it plays up to the haunting visual style that Refn has been known for in his recent films. For people that are new to Tom Hardy, this is the film to check out as his performance is definitely one for the ages. In the end, Bronson is a sensational yet visceral film from Nicolas Winding Refn.

Nicolas Winding Refn Films: Pusher - Bleeder - Fear X - Pusher II - Pusher 3 - Valhalla Rising - Drive - Only God Forgives - The Neon Demon - The Auteurs #12: Nicolas Winding Refn

© thevoid99 2011

The Boss of It All

Originally Written and Posted at Epinions.com 3/11/09.

After the release of Manderlay in 2005, which was the second part of Lars von Trier's USA-Land of Opportunities trilogy. The eccentric yet controversial Danish director decided to take a break from his trilogy due to its budget as well as trouble to get the third part Wasington going for development. Instead, the director decided to experiment once again with new technology while making something completely different from any of his other films. Breaking away from his more dramatic work for a comedy, von Trier decided to make a film about a company boss selling his copy due to the fact that he has no superior to work for. The film is entitled Direktoren for det hele (The Boss of It All).

Written and directed by Lars von Trier, Direktoren for det hele is an experimental comedy about an information technology superior asking an actor to play his boss in hopes to sell his company. Using the Automavision software in which allows the computer to choose the shot of choice and to move the camera with the director watching. It's an experimental film that allows von Trier to play with technology while doing something less ambitious than his previous film trilogies. Starring Jens Albinus, Peter Gantzler, Fridrik Thor Fridriksson, Benedikt Erlingsson, Henrik Prip, Mia Lyhne, Casper Christensen, Iben Hjejle, Louise Mieritz, Anders Hove, Sofie Grabol, and von Trier regular Jean-Marc Barr. Direktoren for det hele is an eccentric, unconventional, and exhilarating film from Lars von Trier.

An IT boss named Ravn (Peter Gantzler) is planning to sell his company to an Icelandic company and its boss Finnur (Fridrik Thor Fridriksson). The only problem is that Ravn is not a traditional boss as his employees don't take him seriously because of his heartwarming persona. Ravn instead hires an actor named Kristoffer (Jens Albinus) to play the fake boss named Svend E. Kristoffer takes the job offer for some money but wanted more information to play his character. In the role of Svend, he meets his six main employees where he gets attacked by one of them named Gorm (Casper Christensen). Turning to Ravn for help, Kristoffer continues to develop the character of Svend while one of its senior officers in Lise (Iben Hjejle) suspects that he isn't who he really is as she tries to seduce him. Svend listens to the plans of Gorm and Nalle (Henrik Prip) about some patents while another employee named Heidi (Mia Lyhne) has a crush on him.

When Svend returns to his office one day as he expects another sexual session with Lise, he gets a surprise visit from his ex-wife Kisser (Sofie Grabol), who works as a lawyer for Finnur. Kristoffer turns to Ravn as things start to get troubling while Kristoffer becomes concerned for all of his employees including the despondent Mette (Louise Mieritz) and the American officer Spencer (Jean-Marc Barr). During a meeting with Finnur with a translator (Benedikt Erlingsson), Svend makes moves that would upset Ravn. Realizing of Ravn's intentions to sell the company along with information he heard from Kisser, Lise and other employees, he decides to expose Ravn for who he really is.

The film in von Trier's words is a comedy yet it's a film that doesn't have much humor when really, it's von Trier being the deconstructionist of a film about a company boss hiring an actor to play his boss for a deal. Then the actor takes on the role very seriously as he plays boss in hopes to expose the real boss of it all. The film's plot and story is simple though its approach is very unconventional as von Trier plays the film's narrator for a few scenes between the film to introduce new characters and such. Therefore, the fourth wall is broken, even in the beginning of the film with a shot of von Trier on a crane camera talking to his reflection on the building windows.

The direction is very unconventional as von Trier uses a computer for a lot of the shots he chooses. Also serving as the film's uncredited cinematographer, von Trier mostly goes for intimate shots where the look of the film would change from normal, white lights to a shot in light blue with filters in the office scenes. The film is shot mostly in a real office building with several locations for the meetings between Kristoffer and Ravn. It's clear that what von Trier is doing as a director is deconstruct the idea of a film as he's using technology to create a film that is unsettling and unpredictable. Though at times it doesn't work and does distorts its pacing, it's clearly a film that has von Trier being the unpredictable prankster that he is.

Editor Molly Marlene Stensgard does excellent work to the film's unconventional tone with a large use of the jump-cuts to create an unsettling, rhythmic feel to the film to make it seem jerky and baffling the audience a bit in terms of its dramatic tension. Set decorator Simone Grau does nice work with the look of the offices with its marker boards, desks, and various office decorations. Sound specialists Kristian Eidnes Andersen and Ad Stoop do nice work in capturing the intimate sounds of the film's interior locations along with the broad sound of the exterior locations where Ravn and Kristoffer meet.

The casting is phenomenal with mostly Danish and Icelandic actors filling in the role including Anders Hove as a man waiting to have a meeting with the head boss of the company. Longtime von Trier cohort Jean-Marc Barr is funny as an American trying to speak Danish throughout the film while Benedikt Erlingsson is good as Finnur's translator. Henrik Prip is good as the mild-mannered Nalle along with Louise Mieritz as the despondent, emotional Mette who often screams when the copy machine turns on. Casper Christensen is very good as a senior officer who gets upset over bad rural comments made by the boss while Mia Lyhne is excellent as Heidi, an officer who has a crush on Svend, especially over emails they shared. Sofie Grabol is fine as Kristoffer's ex-wife Kisser who knows what is really going on while annoying him eating peanuts with the peanut shells.

Fridrik Thor Fridriksson is pretty good as Finnur, an Icelandic company boss who despises the Danish people while hoping to get a deal so he can make changes out of anger. Iben Hjejle, famous for her work in Stephen Frears' High Fidelity, is great as Lise, a senior officer trying to figure out what's going on while seducing Svend for her own gain and to see if he's not a homosexual. Peter Gantzler is brilliant as Ravn, a sentimental, loveable boss who can't discipline or be mean to people as he turns to Kristoffer for help. Instead, when Kristoffer turns the tables on him, he suddenly becomes furious as he realizes what Kristoffer tries to do. Finally, there's Jens Albinus in an amazing role as Kristoffer. An actor who plays a role that doesn't become fully developed as the film progresses where he takes on the role fully while talking about the Gambini method throughout the entire film.

Direktoren for det hele is an excellent yet unconventional film from Lars von Trier. With a great cast and experimental approach to the film, it's one of von Trier's most interesting films to date. Though it's not an easy film to watch with its lack of a really strong story and lack of conventional humor. It's a film that has von Trier being the deconstructionist in how he views genres and storytelling. Even though it's a minor film from the director, Direktoren for det hele is still a film worthy to see from the brilliant yet unconventional prankster that is Lars von Trier.

Lars von Trier Films: The Element of Crime - Epidemic - Medea - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2-Idioterne - Dancer in the Dark - The Five Obstructions - Dogville - Manderlay - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2011

Finding Neverland

Originally Written and Posted at Epinions.com on 11/28/04 w/ Additional Edits & Revisions.

The story of J.M. Barrie's Peter Pan has been beloved by many children all over the world since it arrived as a play in the early 1900s. Since then, many film adaptations had come across the board. The most famous was by Walt Disney in his animated version of the film while most recently; Australian director P.J. Hogan shot a new version in late 2003. Yet, not many knew the story of how Peter Pan became created through the imaginative mind of J.M. Barrie. In 2004, Monster's Ball director Marc Forster told the tale of J.M. Barrie's creation based on a book by Allan Knee about the family that inspired Barrie to create Peter Pan entitled Finding Neverland.

Directed by Forster with an adapted script by David Magee, Finding Neverland is a film about Barrie's relationship with Llewelyn-Davies family where he meets them in a park one day with his imagination leading the helm. While finding time to get to know the mother and her four young sons, Barrie's relationship becomes a question amidst London's high society. While Barrie creates his story and play, he tries to balance his life as an artist and as an adult with the heart of a child while dealing with the realities of the world. Starring Johnny Depp, Kate Winslet, Julie Christie, Dustin Hoffman, Radha Mitchell, Ian Hart, Kelly MacDonald, along with newcomers Freddie Highmore, Joe Prospero, Nick Roud, and Luke Spill. Finding Neverland is a movie that lives up to the imaginative world of Peter Pan and its creator.

It's 1903 London as playwright James Matthew Barrie (Johnny Depp) watches the premiere of his new play that receives lukewarm reviews as Barrie was disappointed with the results. Meanwhile, his wife Mary (Radha Mitchell) wants to rise up to the world of the upper-class in high society London as Barrie tries to figure out what to do next. Taking his dog Porthos for a walk to the park, he comes across a family playing in the park led by their mother Sylvia Llewelyn-Davies (Kate Winslet). With the four boys in the eldest George (Nick Roud), Jack (Joe Prospero), Peter (Freddie Highmore), and the youngest Michael (Luke Spill), Barrie is intrigued by the family as he gets to know them as Sylvia is familiar with Barrie's writing. Though Peter isn't impressed by Barrie's imaginative ideas, the rest are as Mary learns that Barrie has met Sylvia in hopes to meet Sylvia's mother Emma (Julie Christie) for her own social status.

The dinner with Llewelyn-Davies doesn't go well due to Barrie's playfulness with the children as he spends more time with Sylvia and her sons seeking ideas for his new projects. While he gets a lots of suspicious rumors swirling around from his friend/noted author Arthur Conan Doyle (Ian Hart), Barrie maintains that it's all innocent as he invites Sylvia and her sons to his cottage home in the country. Turning to his producer in American businessman Charles Frohman (Dustin Hoffman) for help to gather actors for his new play. When Sylvia becomes ill and Peter feeling very upset about it, Barrie takes them home to Emma who is not impressed by Barrie's presence as too is Mary who felt left out.

Finally coming up with the ideas from his time with Sylvia and her sons as he calls the play Peter Pan while George, Jack, and Michal visit the rehearsal. Barrie talks with George about what to do as he realizes that George needs to be the man in the family. With his play set to open and the high-society crowd is set to see this new play, Barrie decides to leave some seats open for a different audience. With an actress (Kelly MacDonald) playing the role of Peter Pan while Peter watches the show, it would become a hit as Barrie shows the Llewelyn-Davies family a world that could exist through their imagination.

While it's not a perfect film, Finding Neverland does succeed in its balance of a character-driven story of a man trying to find inspiration for a play that he wants to present to children. Marc Forster brings a wonderfully inspiring directing style where he plays with camera angles and shots while leaving everything with a sense of childlike imagination. It's not just a wonderful family drama but the film has a bit of comedy and adventure that both children and adults can enjoy. While David Magee's script does drag a bit on some spots, it succeeds in its characters development and sentimentality that is very understated through Forster's imaginative directing. Even though the Peter Pan character never grew up, in the movie, everyone grows up a bit but still retaining that innocent childlike feeling.

Helping Forster with its dreamy, spectacular visuals is cinematographer Robert Schafer with his wonderfully uses of colors in the stage and imaginative sequences while giving the film a wonderful look in the period scenes. The visual effects by Stuart Brisdon also helps in the film's dreamier, stage sequences along with the production design work of Gemma Jackson and art director Peter Russell for not just the detailed look of early 1900s but also the world of Barrie along with the detailed look of costumes from designer Alexandra Byrne. With Matt Chesse's wonderfully paced editing style, the film looks magnificently gorgeous. Jan A.P. Kaczmarek's lush, orchestral score really gives the film a sweeping feel without feeling melancholic and having that nice, dreamy feel to the dreamier sequences of the movie.

Making this film one of the best family films of the year goes to an extremely talented cast of actors with small performances from Kelly MacDonald, Ian Hart, and Angus Barnett as the actor who plays the dog Nana in the stage play. Radha Mitchell is excellent in James' social-climbing wife that could've been a character cliche but Mitchell thankfully, chose to get away from the traps and brought a sympathetic view to her character since she often feels left out in James' world while she has great scenes with Johnny Depp. While Luke Spill and Joe Prospero are wonderful in their respective roles as Michael and Jack Llewelyn-Davies, Nick Roud stood out more as the eldest brother George whose character gets to shine when he has a very poignant scene with Depp that shows a transition from boy to man.

The best supporting performance in the whole film clearly goes to Freddie Highmore as Peter thanks to his melancholic performance as a disillusioned young child who refuses to believe in imagination. Highmore's best scenes are with Depp in an older-younger brother kind of combo that is so emotionally powerful as Highmore is the film's emotional core as this young lad is proving himself among the greats like Julie Christie and Dustin Hoffman along with the talented Depp and Kate Winslet. Dustin Hoffman is the film's restrained comic relief in the film as Barrie's producer and guide while delivering some great lines in the movie. Hoffman is truly magnetic in his scenes with Depp while playing the role as a father figure of sorts who is afraid of losing money though he believes in Barrie's vision.

Julie Christie is amazing in the role as the stern, disciplined grandmother who is trying to protect her daughter from being hurt while trying to deal with her social standing. Christie brings a classical grace to her performance as well as a bit of comedy in a sequence where she talks like a pirate with a hook on, as it's wonderful to see the legendary Christie in a film. Kate Winslet, again, proves herself to be one of the best actresses of her generation in a motherly like performance that is filled with maturity and dignity. After coming off the Charlie Kaufman/Michel Gondry quirky comedy Eternal Sunshine of the Spotless Mind, Winslet proves to be prolific in her work as she has wonderful chemistry with Depp without lying to the point of romance but as a woman who doesn't have a lot of time left leaving her imagination to be her strength. This isn't just one of Winslet's most enduring performances but one that truly shines in the film.

Then there's Johnny Depp who provides another great leading performance after coming off a Best Actor Oscar nod as the kooky Jack Sparrow in Pirates of the Caribbean: The Curse of the Black Pearl. Depp does a bit of his pirate stuff in the film while balancing his eccentric side with his dramatic, fatherly tone in a performance that is rich and complex. While we see Depp do things that are funny with the heart of a child, we also see a man who knows that he is an adult and a writer while trying to find a balance for it where he knows that he has to be a man. It's truly one of Depp's most realistic and charming performances as this film is likely to guarantee him another Oscar nomination for Best Actor.

Despite a few minor flaws, Finding Neverland remains one of the year's best films thanks to Marc Forster's inspiringly-awe direction and top-notch performances from Johnny Depp, Kate Winslet, Julie Christie, Dustin Hoffman, and newcomer Freddie Highmore. Thanks to some spectacular visuals, a lush score, and a mix of sentimentality, drama, and comedy, it's purely one of the best family films of the year. Anyone who loved the story of Peter Pan will find this film to be very informative while being entertained at the same time. If you believe in your imagination, Finding Neverland will fulfill all those dreams.

Marc Forster Films: (Everything Put Together) - (Monster's Ball) - (Stay (2005 film)) - Stranger Than Fiction - (The Kite Runner) - Quantum of Solace - (Machine Gun Preacher) - (World War Z)

© thevoid99 2011

The Illusionist (2010 film)

Directed by Sylvain Chomet and based on an un-produced screenplay by the late Jacques Tati, L’Illusionniste (The Illusionist) is the story about the life of a magician who meets a young lady who is convinced he is the real thing as he struggles to find work during visit to a small town. With a screenplay written by Chomet and Tati’s longtime collaborator Henri Marquet, the hand-drawn animated film is a tribute to the work of Tati as well as giving an audience a chance to revisit the work of one of France’s greatest filmmakers. L’Illsionniste is a charming yet heartwarming film from Sylvain Chomet.

A magician who goes by the stage name Tatischeff is trying to make it as a magician as he ends up entertaining to a very small audience in small theaters in France. With the world changing during the late 1950s, there is little time for work as a magician as he goes to Britain for work where it’s even harder as he has to follow a rock band at one point. After working at a party, the magician meets a drunken Scottish man who takes him to his small town for to provide entertainment for a pub. Watching the magician perform is a young girl named Alice who is amazed by the magician whom she meets later on as he gets her a pair of red shoes to replace the decayed shoes she’s wearing.

With the magician seeking more work around Scotland, he travels to Edinburgh as Alice joins him as he gets a job working for a small theater. While they live at a hotel with a ventriloquist, a clown, and a trio of acrobats, work for the magician starts to struggle as Alice becomes amazed by the city as she desires to look and act like a woman. With the magician taking on various jobs on the side, things begin to look grim while Alice becomes more drawn to the modern world as she falls for a young man. The magician then realizes what is happening to Alice as he tries to come to terms with everything that is going on around him.

While the film is meant to be a project the late Jacques Tati was to do with his youngest daughter Sophie (whom he had never met), it was also rumored to be a film where Tati wanted to reconcile with his eldest daughter Helena in whom he abandoned when she was just a baby. While the motives for wanting to do this project remains unsure, the film has a father-daughter relationship of sorts. Still, it’s about a young girl who admires this amazingly gifted magician in a world where he’s not in favor as much while she is more drawn to it.

While the film doesn’t have a lot of dialogue as the voices for the magician and Alice are provided by Jean-Claude Donda and Eilidh Rankin, respectively, are a mix of various languages. It’s a film that is more of a tribute to Tati as the magician character has a look and persona that is reminiscent of some of the characters that Jacques Tati has played. The film also features a scene where the magician walks into a theater where Tati’s 1958 film Mon Oncle is playing as a clip of that film is shown while the magician mimics the same movement as Tati.

Chomet’s direction is done with an amazing style and look that is distinctive of his work while he also putting some of Tati’s directing style into the film for the way the humor is set up and emphasizing more on action rather than dialogue. While the story might be considered sentimental, it does dwell into that but not that heavily as he puts a lot of humor into the film. Chomet’s animated, hand-drawn style does create a look that is very wondrous and rich for the way characters look as well as the surroundings.

Serving as both the film’s editor and music composer, Chomet’s approach to the former is straightforward by using a few dissolves and jump-cuts to keep the film’s rhythm going. For the music, Chomet plays into the Tati musical style of playful-driven pieces while also going for a more somber score for the dramatic moments of the film. Along with some amazing sound work from Carl Goetgheluck and the look of the set pieces created for the film by production designer Jacques Arhex and art director Bjarne Hansen. The film has a look that is very rich while creating a world that is seemingly modern through its sound. The overall work that Chomet does in his direction is superb and marks as a great tribute to the work of Jacques Tati.

L’Illusionniste is a charming yet touching film from Sylvain Chomet that brings Jacques Tati’s un-produced story to life. While it may not have the more whimsical charm of The Triplets of Belleville, it is still an engaging yet lively film to watch while proving that hand-drawn animation can still weave some magic. For people new to the works of Jacques Tati, the film is a decent introduction though Monsieur Hulot’s Holiday is a much better introduction. In the end, L’Illusionniste is an extraordinary tribute to Jacques Tati from the imaginative mind of Sylvain Chomet.

Sylvain Chomet Films: (The Old Lady and the Pigeons) - The Triplets of Belleville - Paris Je T'aime-Tour Eiffel

© thevoid99 2011

Eternal Sunshine of the Spotless Mind

Written and Posted at Epinions.com on 3/31/04 w/ Additional Edits & Extensive Revisions.

Did you just get off a nasty breakup? Did the bad memories of the person you loved getting to you? Well, here in Lacuna, Inc., we decide to help remove those awful memories so you can get a chance to live a happier life without pain and heartbreak. There’s only one problem; Lacuna, Inc. doesn’t exist because it’s from the crazed imagination of screenwriter Charlie Kaufman and director Michel Gondry in their 2004 film Eternal Sunshine of the Spotless Mind. Starring Jim Carrey and Kate Winslet about a couple who both just gone to a nasty breakup and decided to remove their memories of each other when one of them all of a sudden doesn’t want to anymore. With a fine supporting cast that includes Tom Wilkinson, Kirsten Dunst, Elijah Wood, and Mark Ruffalo, Eternal Sunshine of the Spotless Mind is a surreal, wondrous romantic-comedy that bends the idea of love.

After an awful break-up, Joel Barish (Jim Carrey) tries to deal with his heartbreak as he learns that his longtime girlfriend Clementine Kruczynski (Kate Winslet) has left him for another guy. When he tries to talk to her, she claims to have no recollections of who he is. Turning to his friends Rob (David Cross) and Carrie (Jane Adams), Rob gives Joel a card which revealed that Clementine has erased all of her memories of him. Joel decides to do the same as he meets Lacuna, Inc. chief Dr. Howard Mierzwiak (Tom Wilkinson) for the procedure as he ultimately decides to get rid of Clementine from his memories. With help from Howard's secretary Mary (Kirsten Dunst) and his two geeky technicians in Stan (Mark Ruffalo) and Patrick (Elijah Wood), things start to become surreal as Joel starts to look into his memories.

In his subconscious, Joel starts to see all of memories of Clementine starts to disappear as he immediately starts to regret what he's doing. Meanwhile in the real world, Joel is asleep as Stan and Patrick are removing his memories at Joel's apartment. Mary later shows up to help as Patrick leaves to go on a date with his new girlfriend that he calls Tangerine. Joel meanwhile, begins to examine the moments when he and Clementine weren't getting along as he then reflects on the good times as he talks with her in his memory as she learns what is going on. With Patrick out with his new girlfriend, Mary parties with Stan as things get weirder when the two learn that Joel is doing things inside his subconscious as they call Howard for help.

Howard finally arrives to help out as he sees what is going on as things become complicated over his feelings towards Mary. Back in Joel's subconscious, Clementine helps Joel to try and salvage all of the remaining memories left as Joel begins to regret what he's done. Meanwhile, Mary learns something about her own past in relation to Howard as his wife Hollis (Deirdre O'Connell) makes an appearance leaving everyone to question what they're doing.

Directed by Michel Gondry based on a story that he, Charlie Kaufman, and Pierre Bismuth came up with Kaufman writing the screenplay, Eternal Sunshine of the Spotless Mind isn’t just a vast improvement over their first collaboration together for the uneven but funny 2001 film Human Nature. It’s also Kaufman’s best work since 1999’s Being John Malkovich that was directed by Spike Jonze who also did 2002’s Adaptation with Kaufman. In the illustrious words of film critic Roger Ebert, Charlie Kaufman is one weird dude. There’s probably no screenwriter as famous as Charlie Kaufman since he comes up with stories of surrealism that are fascinating yet human. His screenplay for this film is filled with ambiguities and unpredictable moments where it’s like when did this happen or why is this character here? At first, it might seem inconsistent but Kaufman makes sure things don’t move to fast so the audience can get a chance to know what’s going on.

Michel Gondry definitely brings his training from his days as a music video director up to par for film. Where he had some fine moments in Human Nature, he finally gets his chance by manipulating visual techniques and bring this element of suspense as if you’re wondering what’s going to happen next or what’s going to drop. With the dizzying yet colorful cinematography of Ellen Kuras, Gondry brings up all of these elements of weird symbolism to heighten the suspense of a romantic comedy while belting out some strong dramatic moments from the actors. For Gondry, this is clearly not just his breakthrough film but he will indeed become a director to watch for. If Kuras’ blurry, colorful cinematography gives the film a lush look, the film score by Jon Brion of atmospheric, melancholic textures plays up to the film’s quirkiness and drama as well as songs from Beck, Electric Light Orchestra, and the Polyphonic Spree. Already, this is the first candidate for the best film soundtrack of 2004, so far.

If the screenplays of Kaufman always had a stellar cast, this one shines in its performances. While the smaller roles of David Cross, Jane Adams, and Deirdre O’Connell are fun to watch and do serve well, the film really pays more attention to principle cast of six actors. Though Elijah Wood wasn’t shown a lot in the film, he is excellent as the manipulative Patrick who tries to worm his way into Joel’s mind by scoring in order to score with women. After the success of his role as Frodo in the Lord of the Rings trilogy, Wood scores with this performance by playing the role sensitively despite his intentions. Mark Ruffalo is funny as the geeky Stan with his brainiac mind and sensitivity as he plays around in his underwear with Kirsten Dunst while showing some sympathy later on in the film’s final act relating to Dunst’s character.

Kirsten gives a radiant yet exciting performance in the role of Mary. While Dunst is a master in comedy in her scenes when she’s stoned and dancing around in her underwear, Dunst displays some restrained dramatic performances in her scenes with Tom Wilkinson as she learns a secret about her while trying to prove to everyone she isn’t this dumb secretary. Dunst really shines in this film as she balances comedic theatrics and restraint drama. Tom Wilkinson brings in a masterful, charming performance as Dr. Howard Mierzwiak by playing the role in an American accent with a sense of humor and drama that shows Wilkinson’s range. There is probably no one better to play Mierzwiak better than Wilkinson since he is definitely someone that can do both comedy and drama.

The film’s two best performances easily go to Jim Carrey and Kate Winslet. Whereas Carrey has been known for playing crazy roles and Winslet in more restrictive, dramatic roles, the two definitely do the opposite in their performances. The chemistry with Carrey and Winslet are moving and fun as both play off their performance with spontaneity and romanticism. Kate Winslet delivers probably her best performance to date, as she feels relaxed and free with the punk-hair color changes and exuberance as she brings a wild personality to her performance. Winslet proves that she could be funny while displaying a touching moment in the film’s final act. Jim Carrey delivers his best performance overall even though he’s done drama before in Peter Weir’s The Truman Show. Carrey’s performance is extremely moving with his bowled, messy haircut, and puppy-dog sadness as he uses his comedic talents in a few scenes that are funny, especially when he acts like a child. In the dramatic moments, he definitely moves you with his mood as he brings in a performance that outshines all. Both Carrey and Winslet right now deliver the best performances of the year and hopefully, don’t get overlooked at the Oscars.

Eternal Sunshine of the Spotless Mind is one of the year’s brightest and most original romantic comedies in the past five years. With its colorful cinematography, an offbeat screenplay, Michel Gondry’s surreal direction, and a great ensemble cast led by the romantic performances of Jim Carrey and Kate Winslet. Eternal Sunshine of the Spotless Mind clearly stands as one of the best films of 2004. For Charlie Kaufman, it’s right now his best screenplay while Michel Gondry proves himself as a director who knows how to manipulate images and minds with its quirky screenplay that surprises you right to the end. For a romantic film that is funny and moving, Eternal Sunshine of the Spotless Mind is the film to see.

Michel Gondry Films: Human Nature - Dave Chappelle's Block Party - The Science of Sleep - Be Kind Rewind - Tokyo!-Interior Design - (The Thorn in the Heart) - The Green Hornet - The We & the I - Mood Indigo - (Is the Man Who is Tall Happy?) - (Microbe & Gasoline)

© thevoid99 2011

A Kid in King Arthur's Court

Based on the Mark Twain novel A Connecticut Yankee in King Arthur’s Court, A Kid in King Arthur’s Court is a modern take on Twain’s novel as a young boy who goes back in time to the world of King Arthur as he helps the legendary king retain his power. Directed by Michael Gottlieb and screenplay by Michael Part and Robert L. Levy, the film is essentially a family film that brings a lot of childish humor to this take on Twain’s story. Starring Thomas Ian Nicholas, Art Malik, Paloma Baeza, Ron Moody, Kate Winslet, Daniel Craig, and Joss Ackland as King Arthur. A Kid in King Arthur’s Court is an uninspired and extremely silly family film that just tries too hard to be entertaining.

With King Arthur’s court in danger by unrest, Merlin (Ron Moody) via a magical water creates a spell to find a savior. What he gets is 20th Century young teenage kid named Calvin Fuller (Thomas Ian Nicholas) to arrive in the 6th Century where he stopped a mysterious black knight. After being captured by Arthur’s guards, Calvin meets King Arthur as he also meets Arthur’s longtime advisor Lord Belasco (Art Malik) who believes Calvin is a dark force sent to stop Arthur. Instead, the king is charmed by the boy as he takes him as he’s to be trained as a knight as Calvin meets Arthur’s youngest daughter Katey (Paloma Baeza) who is intrigued by him.

Under the tutelage of Master Kane (Daniel Craig), Calvin learns to be a knight which was difficult as Katey helps out as she wants to know more about where he’s from and what is it like in the future. Meanwhile, Calvin goes to a blacksmith (Barry Stanton) to help invent earlier versions of the modern objects he has while finding himself being threatened by Belasco. With Arthur becoming more attached to Calvin, Belasco plans to take over and hopes to get Arthur’s eldest daughter Sarah (Kate Winslet) as his bride. By staging a kidnap on Katey and claiming that she’s been killed by Calvin, Belasco hopes to make Arthur stop Calvin. Instead, Arthur and Calvin go on a journey to rescue Katey as Arthur realizes what has happened as they get some unexpected help for an upcoming tournament.

The film is essentially a modern take A Connecticut Yankee in King Arthur’s Court with some changes to be suited for a modern audience in hopes for some light-hearted family entertainment. Well, it seems like a nice idea on paper but the final results that director Michael Gottlieb and his screenwriters create is truly lazy and messy. While there are very few moments where it does allow the film to become a total disaster such as Arthur’s reflective conversation about his own failures plus some development for himself and Calvin. There’s not enough of those moments to keep the film interesting as it plays by the rules too much in order to entertain the audience.

Michael Gottlieb’s direction is typical of medieval times films that is mixed in with modern pop culture references. Yet, there’s nothing in Gottlieb’s direction that stands out nor is there anything that is remotely interesting. It’s all done in the mechanics of a typical adventure film made for families. Throughout the film, there has to be moments of humor that is prevalent throughout the film but it doesn’t seem to work. A lot of the pop culture references and objects that Calvin brings such as the CD walkman, rollerblades, and bubblegum where many of these references, as of 2011, seems to be very dated. At the same time, the modern-day dialogue told in this period seems to spoken very awkwardly by many of the characters.

The film’s script has some issues where one of the key elements of the film revolves around the mystery of the black knight. Though it’s revealed towards the end, it doesn’t make sense as the character who is revealed to be the black knight is in one location while the knight is at another location. It becomes very confusing and leaves a huge hole in the film’s plot. While it’s not a film meant to be taken seriously and be seen as light-entertainment, it really doesn’t do anything at all. Plus, there’s not a lot of technical aspects of the film that is noteworthy nor does the score of J.A.C. Redford that is just a re-hash of a lot of scores of these type of films. Overall, Gottlieb creates what is definitely a dull and un-exciting film.

The cast for the film is really more of who is in this film as there isn’t a lot to be wowed about. Ron Moody just appears in a haggard look as Merlin that is hampered by the weakness of the script while Art Malik just plays a very one-dimensional villain that is just very angry about Calvin and tries to charm Kate Winslet in the most pathetic manner. Speaking of Kate Winslet, she delivers an OK performance though due to the bad script. She’s not really given much to do but be very dramatic or to try and be funny where it doesn’t really work while she looks quite thin. Kate Winslet is not meant to be thin! She’s fucking Kate Winslet!! There’s also Daniel Craig in the role of Master Kane as he too, tries to give something that is a performance but ends up looking quite ridiculous with that awful pageboy haircut that he’s given. James Bond in a pageboy haircut?

Paloma Baeza is pretty unremarkable as the love interest as she just tries to be charming, funny, and be kidnapped while Joss Ackland is just embarrassing for the way he makes King Arthur to be all adventurous as the funny lines he’s given aren’t very good at all. Yet, Ackland is also forced to be very mopey though he does not make himself go over-the-top in that approach to the performance. Thomas Ian Nicholas is a very good actor but this is pretty much terrible as it’s just an awful rehash of the character he played in Daniel Stern’s much-beloved 1994 film Rookie of the Year. The only difference was that the character he played in that film was engaging and was someone kids could relate to. In this film, there isn’t any of that other than to be silly and to try and look cool while it’s also clear that Nicholas’ voice at the time had just hit puberty which made the performance seem very awkward.

A Kid in King Arthur’s Court is a forgettable and silly film that takes itself way too seriously while providing very little for people to be entertained by. It’s not the worst kind of film out there for families to see but it’s certainly a film that isn’t very memorable. For fans of Kate Winslet and Daniel Craig, as those two would go on to have greater careers, it’s nothing more than a chance to see what they were doing before they became mega-famous. In the end, A Kid in King Arthur’s Court is a very silly film that is just very ridiculous as the best way to spend 90 or more minutes is to watch the much-beloved Monty Python and the Holy Grail. Spam, spam, spam, spam…

© thevoid99 2011

Epidemic

Originally Written and Posted at Epinions.com on 3/10/06 w/ Additional Edits & Revisions.

After the international breakthrough for his 1984, post-noir debut feature The Element of Crime, Lars von Trier had become a savior the Danish film scene while being the new enfant terrible for European cinema. For the young von Trier, The Element of Crime was the start of an ambitious trilogy chronicling the disintegration of Europe in its culture and society through post-apocalyptic surroundings. For von Trier's next feature, he attempted to make a horror feature with his Element co-writer Niels Vorsel which ended up being about a film within a film where everything goes all wrong entitled Epidemic.

Written by von Trier and Vorsel, Epidemic is a film about a director and his writer trying to conceive a horror film where an epidemic of a plague virus is spreading worldwide. Blurring the world of reality and fiction, von Trier aims for a strange take on that world by playing the director and a physician in another story who is unaware that he could be carrying the plague virus. Also starring Vorsel, Michael Simpson, Lief Magnusson, Ole Ernst, Olaf Ussing, and in his first of many appearance for von Trier films, German actor Udo Kier. Epidemic, shot in black-and-white 16mm and 35mm film, is one of von Trier’s most hypnotic and ominous film that breaks the conventions of thrillers.

A screenwriter (Niels Vorsel) and his director (Lars von Trier) talks to their producer Claes (Claes Kastholm) about a project called The Cop & the Whore but the actual script is lost due to a computer malfunction as neither know what it's about. Knowing that they can't a create a new script for this project, the two decide to work on a script a plague epidemic that threatens Europe. The two go on a road trip around Europe to research the plagues of Europe from the past as the director envisions the film in his head as plays a doctor going on a mission to stop the epidemic from spreading Europe.

The writer and director work on a storyline with help from the screenwriter's wife (Susanne Ottesen) who sets up a party with a wine expert (Jorgen Christian Krueff) once the two return from their trip. The director has more visions of the doctor going a helicopter ride as a nurse (Caecilia Holbek) watching him go on this journey. Arriving into Germany, the two meet their friend Udo (Udo Kier) who is grieving the death of his mother as he talks about his own life and the circumstances of his mother's death which inspires the two to write up a scene where the doctor meets a priest (Michael Simpson) as the plague worsens leaving the doctor's mission to be more important.

Returning from Germany to Denmark as the writer goes to the hospital for surgery as the director looks into autopsy ideas where things start to get surreal. When the writer reveals a dream he had that as his wife held the party for the producer as the writer brought in a hypnotist (Svend Ali Hamann) and his assistant (Gitte Lind) for entertainment. What would happen would blur the lines between reality and fiction leaving their little epidemic idea into something much bigger.

The idea of suspense, especially in a genre is a way to build momentum where everything has a climax from the beginning, middle, and end. In the way Lars von Trier approaches, he defies those conventions. The result of that does give the film nearly an anti-climatic feel where throughout the entire time, the film moves back in forth to the actual story of Epidemic and the two guys making it. In that unconventional, European style of filmmaking, it gives that presentation a very slow feel. Throughout the entire moment of the director/screenwriter story where both von Trier and Vorsel are basically playing exaggerated versions of themselves. That sequence is often filled with pretentious dialogue that really has nothing to do with anything. That sequence is very pretentious where throughout the entire time, it's shot in 16mm film where everything looks grainy and it seemed that nothing is going to come out of it.

Still throughout the first and second act, there are very interesting moments where in 35mm film, the fantasy sequence of the actual Epidemic is more interesting in what Vorsel and von Trier wanted to present where the film looks clearer and dreamier in black-and-white photography courtesy of cinematographer Henning Bendsten. Even in moments where the film reaches certain elements of despair, the genius of the presentation isn't just von Trier and Vorsel but notably Bendsten for his camera work and through von Trier's camera angles. Even in a scene where the priest is about to meet his fate in a water full of bodies.

Though through von Trier's presentation that works in its non-linear style that is complemented by the editing of von Trier and Thomas Krag, there's a point where by the third act. Nothing comes out of anything until something does happen there. When an audience will watch this for the first time and with 20 minutes left going on, the audience is expected to throw in the towel. Then, something unexpected happen where the result is pure von Trier. Just when you're about to pretty much ready to submit, he'll grab you unexpectedly right at your heart to watch what unfolds. After a second viewing of the film, the audience will seem to have an understanding of what is going on while seeing things that are overlooked. While this is a flawed film, the end result reveals in why Lars von Trier is one of the most interesting directors of all-time.

Helping out von Trier in visualizing the look of the film production designer Soren Gam who does amazing work in creating the desolate, bleak look of the film's fantasy sequences while the locations that were in Denmark and Germany are also wonderful. Gam is also responsible for the film's strange visual effects, especially since the film's title that appears after eight minutes of the film is shown throughout the entire movie in red. With Peter Englesson, editor Thomas Krag, and co-writer Niels Vorsel providing wonderful sound work for the film. The music of the film that appears in many of the fantasy sequence is done by composer Richard Wagner whose pieces help convey the world of fantasy while original music from Peter Bach in the realistic sequences convey the ominous tone of the two men working.

While von Trier has created a perfect cast, it seems clear that in the reality sequence, von Trier, Vorsel, Susanne Ottesen, Jorgen Christian Krueff, Udo Kier, and Claes Kastholm Hansen aren't really acting but do well in playing exaggerated versions of themselves. Lars von Trier though does show some great range in an often silent performance as the doctor who is suspected of carrying the disease in the fantasy sequence with his then-wife Caecilia Holbek playing the nurse. Michael Simpson does dual work in playing a cab driver in an early part of the film while playing the priest in the fantasy sequence. Lief Magnusson, Ole Ernst, and Olaf Ussing do wonderful work playing the superiors of the doctor who suspect him of carrying a disease. Svend Ali Hamann is excellent as the hypnotist while it's Gitte Lind who does great work in a terrifying performance as the woman who becomes hypnotized where her performances is one of the most earth-shattering performances of any of von Trier's films.

After years of being out of print on video and often unavailable for American TV except in clips of von Trier's work. Epidemic has finally arrived on DVD from Home Vision Entertainment. The Region 1 DVD is presented in a new digital transfer for a widescreen format of 1:66:1 ratio format with Danish and English language audio with optional English subtitles. The DVD features a statement from the 1987 press kit for the film where von Trier revealed on how he aimed for a smaller vision that was opposed to the extravagance of his previous film, The Element of Crime and straying away from traditional camera movements where throughout the film. Another statement that is from von Trier that is inside the sleeve is a second manifesto von Trier made in 1987. The statement reveals von Trier's plans for Epidemic as it also reveals von Trier's often pretentious state of mind as he proclaims "LONG LIVE THE BAGATELLE!" While the statements are interesting to read, it also shows the often absurd world of von Trier.

Aside from a director's filmography that spans all the way to The Five Obstructions documentary he made with mentor Jorgen Leth. Two special features appear on the DVD where the first is a full-length audio commentary track from von Trier and co-writer Niels Vorsel. The commentary from the two that was recorded in 2004 just for this DVD is enjoyable since the two feel relaxed and talk about a few of the film's technical pointers on how originally, a different film was supposed to be made for $9 million (in Danish dollars) but ended up making Epidemic for $1 million. The two also reminisce about the experience of making the film which they enjoyed doing and had a good time making as the commentary is a wonderful highlight in the special features.

The second special feature on the DVD is a 2000 53-minute TV documentary called FREEDOGME where a group of documentary filmmakers are doing a real-time interview via satellite with von Trier along with fellow Danish director Lone Scherfig, longtime von Trier associate Jean-Marc Barr, and German director Wim Wenders. With all for directors at their homes each holding handheld digital cameras (a fifth director in Harmony Korine was supposed to be in the broadcast but declined to do the doc) as they all have a discussion about cinema and Dogme 95, the movement von Trier co-founded with Thomas Vinterberg. The overall discussion about Dogme and cinema is fun since the directors are all holding cameras as they talk about the movement, its freedom despite the rules and Wenders love for it due to its technological advantages while von Trier does part of the interview rowing in his canoe. The overall doc is a joy to watch since all four directors give insight into the film and the future which they hope is optimistic, especially since there's more people going towards them.

When the film was released in 1987, the film wasn't as successful as The Element of Crime though it would reveal of what von Trier would do in the future. Many of the film's horror elements would become a precursor for his TV miniseries The Kingdom while many of minimalist techniques would come out into his later work. Still, the film does have its following, many of whom are fans of von Trier. While Epidemic may be the weakest of the three films in the Europa trilogy with The Element of Crime and Europa, it still shares its same themes of paranoia and bleak outlook on European society. In the end, fans of von Trier should look at this film as it stands as one of his most gripping films to date.

Lars von Trier Films: The Element of Crime - Medea - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2-Idioterne - Dancer in the Dark - The Five Obstructions - Dogville - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2011

George Harrison: Living in the Material World (film)

Directed by Martin Scorsese, George Harrison: Living in the Material World is a documentary about the life story of the legendary Beatles guitarist/songwriter and his amazing solo career. Featuring old interviews with Harrison from various archives, the film features interviews from surviving Beatles members Sir Paul McCartney and Ringo Starr plus associates like Yoko Ono and Sir George Martin. Also interviewed for the film are friends like Tom Petty, Eric Clapton, Eric Idle, Terry Gilliam, Harrison’s first-wife Pattie Boyd, and members of his families including his second wife Olivia and their son Dhani. The documentary is an extraordinary film from Martin Scorsese about one of popular music’s greatest figures.

With any kind of documentary on a musician as famous as George Harrison. The idea is to go into the man’s life which has to include stories about the Beatles and various solo albums. Yet, George Harrison’s life was anything but conventional as Martin Scorsese knew that a traditional yet conventional documentary on the man can’t be done like that. Though the narrative for the film is very straightforward in its presentation, it does jump back a bit to either move forward to one brief period in time and then return back to the main narrative.

Since the film largely consists of interviews with friends and family of Harrison including interviews from Beatles associates like Neil Aspinall and Billy Preston (who both died in 2008 and 2006 respectively). The film also features some rare clips and home movies from the archives as it reveals Harrison’s life as it’s really about a musician trying to find some spiritual peace in a world filled with materialism. Through these interviews from the likes of Paul McCartney and Ringo Starr plus various musicians, actors, and other people. They reveal what kind of man Harrison is though they admit, he’s not entirely a saint.

The first half of the film discusses Harrison’s early life in Liverpool with interviews from his brothers Peter and Harry that leads to the formation of the Beatles and their arrival into Hamburg where they meet Astrid Kirchherr and Klaus Voorman. Then the story goes into the world of Beatlemania and what inspired Harrison to write his first song in Don’t Bother Me and eventually to his interest in Indian music and spirituality. Harrison’s first wife Pattie Boyd revealed a lot about Harrison’s devotion to spirituality as she believe the reason he wasn’t able to go further at that time was because of the Beatles. The first half ends with the making of The White Album as Eric Clapton revealed how he was brought in to play guitar on While My Guitar Gently Weeps.

The film’s second half revolves around the dissolution of the Beatles to Harrison’s solo career though not all of his solo albums are discussed. The second half also discusses Harrison’s struggle to spiritual peace at a time when he’s a major music star where rare footage of the 1974 tour for Dark Horse is shown where Harrison sounded rough in his vocal performance. It is around that time he met his second wife Olivia as it revealed more of his emphasis to meditate and chant while he would stumble upon other interests such as Formula 1 racing and films. The latter of which, is about how Harrison formed HandMade Films that released films like Terry Gilliam’s Time Bandits, The Long Good Friday, Mona Lisa, and Withnail & I all because he sold his house to fund the Monty Python film The Life of Brian.

Of course, the film does eventually lead to subjects like the Traveling Wilburys, the infamous stabbing on December of 1999, and his death in 2001. Yet, Scorsese chose to not go overly into these subjects as he is more interested in Harrison as a person and his devotion to spirituality. While it’s clear that people will feel like the film could’ve devoted more to Harrison’s music in the film’s second half. The music is part of Harrison’s world since he invests a lot of his spiritual ideas into the music he made as a solo artist while trying to prepare himself for death.

Through the editing of David Tedeschi and the camerawork of longtime Scorsese collaborator Robert Richardson, along with contributions from other cinematographers like Ellen Kuras and Harris Savides, Scorsese is able to craft a truly engrossing and fascinating documentary that really tells the story of this man’s life. While the first half of the film features some stories that people probably know since it revolves around the Beatles. It’s second half is the strongest portion as it focuses mostly on Harrison’s post-Beatles life and his solo work.

George Harrison: Living in the Material World is a phenomenal documentary film from Martin Scorsese. The film is something that both fans of Harrison and the Beatles will definitely want to watch while those who are less familiar with Harrison’s solo work will find this interesting. Even though it doesn’t cover all of the albums and plays with its narrative a bit in an unconventional manner. Yet, it features some lively interviews from the people who knew him that includes some very funny stories about Harrison. In the end, George Harrison: Living in the Material World is a sensational film from Martin Scorsese.

Martin Scorsese Films: (Who’s That Knocking on My Door?) - 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 Hour - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - Cape Fear (1991 film) - The Age of Innocence - (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 - Hugo - The Wolf of Wall Street - (The Fifty Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2011

Romance & Cigarettes

Originally Written and Posted at Epinions.com 11/9/08.

John Turturro is known to many for his work with the Coen Brothers in such films as Miller's Crossing, Barton Fink, The Big Lebowski, and O Brother, Where Art Thou? where he is considered to be one of their acting regulars. While Turturro has also worked frequently with Martin Scorsese, Woody Allen, and Spike Lee, he remains a devoted collaborator to the Coen Brothers. In 2005, Turturro turned to the Coen Brothers as producers for his third directorial feature in a musical-romance film entitled Romance & Cigarettes.

Written and directed by John Turturro with Joel and Ethan Coen serving as producers, Romance & Cigarettes tells the story of a working class husband whose life spins out of his control when his infidelity puts him into a moral crisis. Therefore, he has to choose between his wife and his seductive mistress while his three daughters are going against him following his affair with his mistress. Part romantic-comedy and part-musical with pop songs being the soundtrack, Turturro creates a film that is definitely in its own world.

With an all-star cast that includes James Gandolfini, Susan Sarandon, Kate Winslet, Mandy Moore, Steve Buscemi, Aida Turturro, Mary-Louise Parker, Christopher Walken, Bobby Cannavale, Barbara Sukowa, Eddie Izzard, Elaine Stritch, Cady Huffman, Adam LaFerve, Amy Sedaris, and Kumar Pallana. Romance & Cigarettes is a whimsical, romantic-comedy, musical film from John Turturro and company.

Nicky Murder (James Gandolfini) had just got caught cheating on his wife Kitty (Susan Sarandon) due to a love letter she found to his mistress Tula (Kate Winslet). His three daughters Rosebud (Aida Turturro), Constance (Mary-Louise Parker), and Baby (Mandy Moore) are all siding with their mother as they refuse to help him or give him any good food. With no support in his own home, he confides in his buddy Angelo (Steve Buscemi) about his affairs as he reveals his attraction toward the red-headed, Scottish woman known as Tula. Kitty meanwhile, turns to her friend Gracie (Barbara Sukowa) as her son Fryburg (Bobby Cannavale) is already dating Baby as Kitty's daughters are part of his band. After some guidance from Father Gene Vincent (Eddie Izzard), Kitty calls her cousin Bo (Christopher Walken) for help in trying to find Tula.

Nicky meanwhile, hears about improvements in his sex life with Tula as he goes to a doctor (David Thornton) for help. Yet, his affair with Tula starts to turn sour due to her crazy demands while Kitty is now dealing with the engagement between Fryburg and Baby. With Kitty getting closer to find about Tula with help from Bo, who is still reeling from his own heartbreak with his wife Ro (Cady Huffman). Baby turns to Nicky for advice where it's clear that despite his differences with Kitty, Nicky seems to agree in what Kitty is thinking about the engagement. A health crisis suddenly hits Nicky while Kitty finally finds Tula as Nicky's mother (Elaine Stritch) reveals harsh revelations. Things gets more revealing during a fight with neighbors (Adam LaFarve and Amy Sedaris) that also makes Kitty think about their troubled marriage.

The film can be described as a lot of things. Yet overall, the genre-bending film with romance, comedy, drama, and as a musical reveals something that audiences can relate to in this story of love gone wrong, infidelity, and other family crises. John Turturro creates a film where the musical elements is more about what a character would do if life was a musical. The approach is that the music does come naturally and without the idea where it feels staged or contrived. While the film doesn't have a real plot, the story about this man trying to figure out his role while coming to terms with his infidelity.

The direction is superb in its staging, musical sequences, and locations where a lot of it is shot on location in New Jersey. The first two acts are very strong in this exploration of infidelity and a woman scorned as she tries to figure out who Tula is. Yet, the third act is uneven in its tone as the exuberance of the first two acts goes away. Though there's music is played, it's more intimate yet it does disrupt the entire tone of the film. Despite the flaws the film has, Turturro does create an interesting film that really bends a lot of genres.

Cinematographer Tom Stern, known for his work with Clint Eastwood, does some excellent work with his camera in capturing the daytime look of New Jersey in its exteriors along with some of greyish work in some of the film's urban locations. The interior shots of the Murders' home is wonderfully intimate with low lights while an amazing, fiery sequence with Kate Winslet has Stern's camera capturing the action with great lighting and wide shots. Editor Ray Hubley does some excellent work with the film's cutting to capture the rhythm of some of the film's exuberance musical sequences that is wonderfully energetic. Though the third act does have pacing issues near the end, Hubley's work is still excellent in capturing the emotion of that act.

Production/costume designer Donna Zakowska along with set decorator Elaine O'Donnell and art director Mario Ventenilla do great work in the look of the glam-like look of the hotel suite for a memorable dance sequence along with the look of New Jersey in all of its dirty yet blue-collar look. Zakowska also creating great costumes for the Murder daughters while the costumes that Kate Winslet wears including a read leathery dress is hot to complement her character. Sound designer Tod A. Maitland and editor Eliza Paley do great work with the location sounds and mixing for some of the musical sequences and such. Choreographer Tricia Brouk does great work for many of the film's choreography in the dance sequences that are theatrical as well as natural while Margie Gillis does an amazing dance sequence for a scene with Christopher Walken and Cady Huffman to the tune of Tom Jones' Delilah.

The music supervised by Chris Robertson is filled with songs by Tom Jones, Engelbert Humperdinck, Bruce Springsteen, and others ranging from 1950s doo-wop music and 60s pop with the actors singing along to various songs as if people do that in real life. With three versions of Piece Of My Heart by Dusty Springfield, Janis Joplin, and Erma Franklin with Susan Sarandon singing along to one of them. The soundtrack includes Mandy Moore singing I Want Candy with other dance sequences to the music of Buena Vista Social Club for the fiery dance scene with Kate Winslet and another Winslet dance number to the tune of Vicky Carr's It Must Be Him. Other music by James Brown, Connie Francis, and Ute Lemper round out the soundtrack while James Gandolfini and Susan Sarandon do a quiet yet wonderful duet of The Girl I Marry.

The casting by Todd Thaler is excellent with John Turturro and real-life wife Katherine Borowitz serving their roles as dancers in one of the film's sequences. John's son Diego makes an appearance as a boy on a tricycle along with Diego's older brother Amedeo as a friend of Fryburg and John's mother Katherine as a choir singer. Yianni Digaletos plays a Greek lover of Bo's wife while Tonya Pinkins as a medic and P.J. Brown as a police officer each have a memorable moment as they also get a chance to sing. Tony Goldwyn makes an appearance as an old lover of Kitty. Kumar Pallana, known for his work with Wes Anderson, is great in a memorable appearance as a flower-card shop owner. Broadway star Cady Huffman is excellent as Bo's cheating wife while Adam LaFarve is good as a loudmouth neighbor. Amy Sedaris is funny as a loudmouth neighbor who likes to badmouth the Murder family. David Thornton is also good in his small role as a doctor Elaine Stritch is very good and funny as Nicky's mother who reveals some shocking stories.

British comedian Eddie Izzard is good as a preacher who brings guidance to Kitty in a wonderful musical sequence to Piece Of My Heart while Barbara Sukowa is funny as Fryburg's mother Gracie who pines for the first love of her life that she hopes return. Steve Buscemi is funny as Nicky's friend Angelo who brings some strange advice while giving his view on infidelity. Bobby Cannavale is great as Fryburg, a guy with a Teddy Bear hairdo who is filled with lots of charms and insults as he's a guy who isn't very smart but loveable. THE GREAT Christopher Walken is amazing as Bo, an oddball cousin who reveals the flaw of men while dealing with his own heartbreak as he helps out his cousin. Walken has scenes where it's clear, he's a natural to the musical sequences as he's having fun and just stealing some moments when he's dancing and singing along to Tom Jones' Delilah.

Aida Turturro, Mary-Louise Parker, and Mandy Moore are great as the three daughters who revolt against their father. Turturro gets to be the more talkative of the trio with Parker being the quiet yet more musical trio of the daughter. Moore gets more to do as her character deals with the idea of marriage while proving she can sing rock. Susan Sarandon is great as Kitty, the scorned woman trying to find the mistress while pondering on why she fell in love with Nicky. Kate Winslet is brilliant as Tula, the fiery Scottish woman that is very sexy and a presence that is dynamic. Sporting a Scottish brogue, Winslet's performance is truly sensational as she just commands every scene she's in along with her dance sequence making her completely bonafide. James Gandolfini is excellent as Nicky Murder, a man trying to ponder his role while seeing whether he should go to his mistress or try to get forgiveness from his wife. It's a performance from Gandolfini that isn't seen much yet proves that he's a solid actor outside of his work from The Sopranos.

While it's not a great film, Romance & Cigarettes is still a very good film that has a lot of redeeming qualities and musical numbers under the vision of John Turturro. Thanks to a great cast and amazing musical numbers, it's a film that is entertaining despite its flaws. This film had the unfortunate of going through distributions problems when in 2006, United Artists and MGM was bought by Sony which led to a legal mess forcing Turturro to distribute the film himself to a small audience. This is a film that should be seen for anyone that likes musicals or romantic comedies as in the end, Romance & Cigarettes is a film that's worth your time in its entertainment factor thanks to the vision of John Turturro.

(C) thevoid99 2011