Review: What's Love Got to Do With It" - The First Time the Oscars Screwed Angela Bassett

TRASH IN MY EYE No. 13 of 2023 (No. 1902) by Leroy Douresseaux

What's Love Got to Do With It (1993)

Running time:  118 minutes (1 hour, 58 minutes)

MPAA – R for domestic violence, strong language, drug use and some sexuality

DIRECTOR:  Brian Gibson

WRITER:  Kate Lanier (based on the book, I, Tina, by Tina Turner and Kurt Loder)

PRODUCERS:  Doug Chapin, Barry Krost, and Kate Lanier

CINEMATOGRAPHER:  Jamie Anderson

EDITOR:  Stuart Pappé

COMPOSER:  Stanley Clarke

Academy Award nominee

BIOPIC/DRAMA/MUSIC

Starring:  Angela Bassett, Laurence Fishburne, Jenifer Lewis, Chi McBride, Vanessa Bell Calloway, Phyllis Yvonne Stickney, Pamela Tyson, Khandi Alexander, Penny Johnson, Richard T. Jones, James Reyne, and RaéVen Kelly

What's Love Got to Do with It is a 1993 biopic and music film directed by Brian Gibson.  It is an adaptation of the 1986 autobiography, I, Tina, by Tina Turner and Kurt Loder and is also based on the life of American music icon and Grammy Award-winning recording artist, Tina Turner.

The film takes its name from Tina's 1984 hit single, “What's Love Got to Do with It,” which was a Billboard magazine “Hot 100” #1 single.  What's Love Got to Do With It the movie is a fictional depiction of Tina's professional and personal life with her former husband, the late Ike Turner (1931-2007), who was a musician, bandleader, record producer, singer-songwriter and Grammy Award winner.  The film follows Tina Turner's life from her upbringing in rural Tennessee (early 1950s), through her rise to music stardom and her abusive marriage to Ike Turner (1960s-70s), and finally, to her career revival as a solo artist (early to mid 1980s).

What's Love Got to Do with It introduces Anna Mae Bullock (Angela Bassett).  In 1958, she moves to St. Louis where she reunites with her elder sister, Alline Bullock (Phyllis Yvonne Stickney), and her mother, Zelma Bullock (Jenifer Lewis). Not long after her arrival, Anna is taken by Alline to a nightclub at East St. Louis where she sees a performance by “Ike Turner and the Kings of Rhythm.”  Ike Turner (Laurence Fishburne) is a charismatic bandleader, and Anna, who likes to sing, wishes she could perform with his wild band, the Kings of Rhythm.

When she finally gets a chance to perform onstage with Ike and his band, Anna impresses him with her singing and her exuberant stage presence.  Ike offers to mentor Anna and to produce her music, and he gives her the stage name “Tina Turner.”  In time, Ike and Anna develop a close relationship and eventually marry.  The musical act, “Ike & Tina Turner” (the “Ike & Tina Turner Revue” when performing live) become stars, but Ike has a dark side.  He is addicted to narcotics and is violent and abusive.  And Tina feels the brunt of his physical abuse.  Will Anna/Tina find the courage to break away from him and forge her own career path?

Until recently, I had never watched What's Love Got to Do with It in its entirety.  I decided to watch it in anticipation of Angela Bassett hopefully winning the “Best Supporting Actress” Oscar at the recent 95th Academy Awards (March 12, 2023) for her performance as “Queen Ramonda” in Disney/Marvel Studios' hit film, Black Panther: Wakanda Forever.  Unfortunately, Bassett did not win, nor did she win the “Best Actress” Oscar for which she was nominated 29 years ago for her performance in What's Love Got to Do with It?

The shame of it is that in the case of What's Love Got to Do with It, it is Bassett's performance, along with Laurence Fishburne's, that carries this film.  Quality wise and in terms of production and execution, What's Love Got to Do with It is a theatrical film that plays like a television movies.  Had What's Love Got to Do with It been a TV movie it would have been a much-talked about “television event,” but the end result would have been an elevated melodrama.

The film's direction, by the late Brian Gibson (1944-2004), emphasizes spousal abuse as style over the substance of plot and character.  The screenplay, written by Kate Lanier (who is also one of the film's producers), suffers from what plagues many biographical films and celebrity biopics.  That is the problem with time.  Rather than focus on a specific and pivotal moment in time, What's Love Got to Do with It, like other biopics, covers multiple decades.  By my estimation, the film covers roughly 1950 to 1983.  The first depiction of Ike abusing Tina is about 55 minutes into the movie, but one of the supporting characters states that this particular incident isn't the first time Ike has hit Tina.  So basically, the film skips over key early moments in Ike and Tina's tumultuous relationship.  [Both Tina and Ike apparently were not happy with the accuracy of this film.]

What's Love Got to Do with It is elevated because of the performances by both Bassett and Fishburne, as well as those of the supporting cast.  Jenifer Lewis proves once again why she is a national film treasure as Anna's mother, Zelma.  The shamefully underrated and underutilized Vanessa Bell Calloway shines in important and key moments of this film.  Laurence Fishburne does more than just make Ike Turner a monster.  He deftly conveys Ike's bitterness and resentment and especially his sense that he has never really gotten what he deserves in terms of financial success, record sales, and industry credit for what he contributed to both the art and business of popular music.

The treasure in What's Love Got to Do with It is, of course, Angela Bassett.  The real-life Tina Turner's voice was dubbed into this movie for the scenes in which Bassett's Turner has to sing.  Still, Bassett offers a richly crafted fictional version of Anna Mae Bullock/Tina Turner.  Her emotions resonate, and her joy and happiness, love and pride, and fear and sorrow come across as genuine.  In this film's quiet, reflective moments, Bassett seems as if she is really thinking Tina's thoughts.  That alone should have earned Bassett an Oscar win back on March 21, 1994 at the 66th Academy Awards.  What should have made Bassett a shoo-in is the physicality of her performance and the way she transformed her body for the role.  It's all superb:  the dancing, posing, and movement on stage; how she mimics the real Tina Turner's facial expressions on stage and when she sings; and the way Bassett carries herself and moves through the trials and tribulations of her life offstage as Ike Turner's wife.

Let's be honest; What's Love Got to Do with It would work better as a TV miniseries.  Let's be real; if Angela Bassett were a white actress, she would have won an Oscar already, probably for What' s Love Got to Do with It.  Not having an Oscar does not change the fact that Bassett has been one of the most versatile and charismatic actors of the large and small screen.  Bassett has also given commanding performances and has been a dominating presence in a number of supporting and small roles in popular films released over the better part of the last four decades.  Although Bassett has not received her Oscar crown, her performance in What's Love Got to Do with It remains her crowning achievement … in a career that should have had more of them since then.

7 of 10

B+

★★★½ out of 4 stars

Sunday, March 19, 2023

NOTES:

1994 Academy Awards, USA:  2 nominations:  “Best Actor in a Leading Role” (Laurence Fishburne) and “Best Actress in a Leading Role” (Angela Bassett)

1994 Golden Globes, USA:  1 win: “Best Performance by an Actress in a Motion Picture - Comedy or Musical” (Angela Bassett)

1995 Image Awards (NAACP): 1 win: “Outstanding Lead Actress in a Motion Picture” (Angela Bassett); 3 nominations: “Outstanding Actor in a Motion Picture” (Laurence Fishburne), “Outstanding Supporting Actress in a Motion Picture” (Jenifer Lewis), and “Outstanding Supporting Actress in a Motion Picture” (Vanessa Bell Calloway)

The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

-------------------------------

--------------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: Original "HOCUS POCUS" Still Casts a Friendly Spell

TRASH IN MY EYE No. 56 of 2022 (No. 1868) by Leroy Douresseaux

Hocus Pocus (1993)
Running time: 96 minutes (1 hour, 36 minutes)
MPAA – PG for some scary sequences, and for language
DIRECTOR:  Kenny Ortega
WRITERS: Mick Garris and Neil Cuthbert (from a story by Mick Garris and David Kirschner)
PRODUCERS:  Steve Haft and David Kirschner
CINEMATOGRAPHER:  Hiro Narita (D.o.P.)
EDITOR:  Peter E. Berger
COMPOSER:  John Debney

FANTASY/COMEDY/FAMILY

Starring:  Bette Midler, Sarah Jessica Parker, Kathy Najimy, Omri Katz, Thora Birch, Vinessa Shaw, Stephanie Faracy, Charles Rocket, Sean Murray, Amanda Shepherd, Larry Bagby III, Tobias Jelinek, Doug Jones, and Jason Marsden (voice) with Garry Marshall and Penny Marshall

Hocus Pocus is a 1993 fantasy, supernatural comedy, and Halloween film directed by Kenny Ortega.  The film focuses on the new boy in town who ignores local Halloween legend and lore and unwittingly awakens a trio of scheming witches who were executed 300 years earlier.

Hocus Pocus opens on October 31, 1693 (All Hallow's Eve), in Salem, Massachusetts.  A boy named Thackery Binx (Sean Murray) tries to save his little sister, Emily (Amanda Shepherd), from the schemes of Winifred “Winnie” Sanderson (Bette Midler) and her two sisters, Sarah (Sarah Jessica Parker) and Mary (Kathy Najimy), who are all witches.  Thackery fails to save Emily, whose life force is drained in order to make the witch sisters young again.  The witches curse Thackery with eternal life and transform him into a black cat.  However, the vengeful townsfolk capture the Sanderson sisters and hang them, but not before Winifred casts a curse.  According to this curse, the Sanderson sisters will be resurrected during a full moon on All Hallows' Eve if a virgin lights the “Black Flame Candle” in their cottage.  Thackery, now a black cat, decides to guard the cottage in order to keep anyone from bringing the witches back to life.

Three hundred years later, it is October 31, 1993 – Halloween.  Teenager Max Dennison (Omri Katz) is the new kid in Salem, where he has moved from Los Angeles with his sister, Dani (Thora Birch), and their mother (Stephanie Faracy) and father (Charles Rocket).  Max's parents force him to take Dani out trick-or-treating.  One of the houses they visit is the home of Allison (Vinessa Shaw), Max's classmate at Jacob Bailey High School and a beautiful teen girl upon whom he has a crush.

Looking to do something different on Halloween, Max, Allison and Dani visit the former Sanderson cottage, which became a museum before it was shut down.  There, Max, a virgin, lights the Black Flame Candle which, in turn, resurrects, Winnifred, Sarah, and Mary.  Now, the three children join the still alive Thackery the black cat (voice of James Marsden), and William “Billy” Butcherson (Doug Jones) the zombie in a bid to stop the Sanderson sisters from sucking the souls out of all the children of Salem, which would give them eternal youth and immortality.

I remember that Walt Disney did mount a somewhat strong marketing campaign for Hocus Pocus upon it original release in 1993, but the film under-performed at the theatrical box office.  [I won't describe it as a box office bomb, as some do.]  In the 1990s, I worked at a video store and our VHS copy of Hocus Pocus was frequently rented, especially during Halloween.  During the last decade and a half, Hocus Pocus has exploded in a popularity due to repeated shows on “The Disney Channel” and what is now known as “Freeform.”  That popularity resulted in the production of a recently released sequel, Hocus Pocus 2 (via the “Disney+” streaming service).  The arrival of the sequel was the impetus I needed to finally watch the original Hocus Pocus from beginning to end, which I had never done, although I had been putting it off literally for decades.

Having finally seen it, I really like it.  Honestly, despite my best attempts, I can't find anything to dislike about it.  Bette Midler, Sarah Jessica Parker, and Kathy Najimy are a riot as the Sanderson sisters, even if Midler is a little too over the top … here and there.  The sisters' costumes and the Halloween costumes worn by the townsfolk are impressive and imaginative, especially the sisters garb.  The sets and art direction are visually perfect, creating a pop Gothic mood and playful macabre sensibility that are pitch-perfect for a family-oriented Halloween film.

The child actors: Omri Katz as Max, Thora Birch as Dani, and Vinessa Shaw as Allison are quite good, and Max ably carries the film.  I do find the emphasis on Max's virginity to be a bit odd.  Billy the zombie and Thackery the black cat are pitch perfect supporting characters for this film.  Hocus Pocus is an impressive bit of directing on the part of Kenny Ortega and also smooth editing on the part of Peter E. Berger.  Hocus Pocus never stops moving; it has a brisk and appealing pace that can make the viewer lose track of time.  I certainly did.

I highly recommend Hocus Pocus for a family viewing night.  It is not a masterpiece of American cinema, but it is simply as perfect and as effective as it can be.  The critics who initially panned Hocus Pocus were sourpusses, and may still be sourpusses … dead or alive.

8 of 10
A
★★★★ out of 4 stars

Sunday, October 2, 2022


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

----------------------

-----------------------

Review: "Army of Darkness" Never Loses its Charm (Happy B'day Sam Raimi)

TRASH IN MY EYE No. 128 (of 2005) by Leroy Douresseaux

Army of Darkness (1993)
Running time: 87 minutes (1 hour, 27 minutes)
MPAA – R
DIRECTOR: Sam Raimi
WRITERS: Ivan Raimi and Sam Raimi
PRODUCER: Robert Tapert
CINEMATOGRAPHER: Bill Pope
EDITOR: Bob Murawski
COMPOSER: Joseph LoDuca

FANTASY/HORROR/COMEDY/ACTION/ADVENTURE

Starring: Bruce Campbell, Embeth Davidtz, Marcus Gilbert, Ian Abercrombie, Richard Grove, Timothy Patrick Quill, Bridget Fonda, and Ted Raimi

The subject of this movie review is Army of Darkness, a 1992 comic horror film from director Sam Raimi. The film, which was released in the United States in February 1993, is the third and final film in The Evil Dead trilogy.

Bruce Campbell reprised the role of Ash, the demon-besieged hero he portrayed in director Sam Raimi’s Evil Dead series, in the 1993 film, Army of Darkness, Raimi’s (kind of) sequel to Evil Dead 2. This time Ash is the head store clerk in the housewares department at S-Mart. As the film opens, Ash narrates the back story of how he and his girlfriend were vacationing in a secluded cabin when all hell (literally) breaks loose. Eventually, demonic time warp sucks Ash and his ’73 Oldsmobile into a vortex that transports them to Dark Ages England, and here the fun begins. To go back to his own time, Ash has to find the Necronomicon (Book of the Dead), an ancient tome bound in human flesh and inked in blood, but Ash doesn’t properly recite an important incantation that goes with the book. This error awakens legions of undead beasts and an army of skeletons, and led by Ash’s diabolical twin, Evil Ash, this army of darkness marches against a small castle and its inhabitants, and only Ash can save them. Will he?

Raimi’s Army of Darkness is a delightful and hilarious sword-and-sorcery mini-epic – a kind of lighted hearted and much smaller version of The Lord of the Rings film trilogy released eight years before LOTR saw the light of day. Bruce Campbell’s Ash is a charming rogue brought together by Campbell’s occasionally hammy acting and his exuberant love of being of in movies; the man never disappoints because he buys into the film fantasy as much as actors way more talented than him.

Sam Raimi was obviously a talent with a knack for filmmaking, as seen in his early low-budget films. Although the Spider-Man film franchise would make him an A-list director, Army of Darkness showed that Raimi loved making movies and always made the best of what he had. I doubt any director other than Raimi (even Spielberg) could, in 1993, make an army of stop-motion skeletons look funny and cool rather than be an embarrassment on the screen, but this was Raimi passing on his joy of making fun fantasy movies to the audience.

For all its hokiness and in spite of its old-fashioned special effects, Army of Darkness is a very good film. Its cheesy looks belie a joyful heart, and I wished more genre filmmakers would deliver movies made by the “seat of their pants” that look like this. Army of Darkness is Saturday matinee gold – pure and simple.

7 of 10
B+

--------------------

Review: "Schindler's List" is Fine Art

TRASH IN MY EYE No. 19 (of 2005) by Leroy Douresseaux

Schindler’s List (1993) – B&W with color segments
Running time: 194 minutes (3 hour, 14 minutes)
MPAA – R for language, some sexuality and actuality violence
DIRECTOR: Steven Spielberg
WRITER: Steven Zaillian (from the novel by Thomas Keneally)
PRODUCERS: Gerald R. Molen, Branko Lustig, and Spielberg
CINEMATOGRAPHER: Janusz Kaminski
EDITOR: Michael Kahn, A.C.E.
Academy Award winner

DRAMA/WAR with elements of thriller

Starring: Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall, Jonathan Sagalle, and Embeth Davidtz

When Steven Spielberg finally won his Oscar for “Best Director,” he also picked up an additional statue as a producer when Schindler’s List won the “Best Picture” of 1993. Schindler’s List is without a doubt one of the greatest films of the last quarter of the 20th century, and it is also truly film as art.

The film’s title character is the real life Oskar Schindler (Liam Neeson), a member of the Nazi Party and a war profiteer. The Czech-born, German businessman made his fortune exploiting cheap Jewish labor in German-occupied Poland. As World War II progresses, Schindler grows more horrified as the Nazi’s step up the process of exterminating Jews, especially after he witnesses the liquidation of the Krakow ghetto in 1943. He convinces a barbaric German commander, Amon Goeth (Ralph Fiennes), to let him have the 1100 Polish Jews he has on a list he created with his longtime partner and Jewish prisoner, Itzhak Stern (Ben Kingsley). This group of Jews are scheduled to be gassed at Auschwitz, but he is allowed to use them to operate a munitions factory at Brinnlitz. The second half of the film follows Schindler as he lavishly spends his fortune on bribes, parties, and gifts on important German officials who will tolerate him using Jewish workers. Schindler’s Jews and their benefactor struggle to stay alive as Germany steadily loses the war because it is at this point that Germany begins to try to hide evidence of the Holocaust.

Although many have criticized the film for being overly-sentimental, propagandistic, and historically inaccurate (Oskar Schindler may have been less charitable and more opportunistic in his quest to save the Jews, and Jewish prisoners may have had to pay their way onto the list, according to some), Schindler’s List is nevertheless a very powerful film. It resonates more than just emotionally and is also a very well made film. In fact, Spielberg’s mixture of classic Hollywood style, black and white photography, and a documentary-like directing technique make for a inimitable and distinctive film. Whenever the film narrative turns to Liam Neeson’s Schindler, Spielberg frames the character as if Schindler were in an archetypal 1940’s Hollywood film noir. When chronicling the Germans’ brutality against the Jews, Spielberg creates a raw, visceral, and immediate art splashed on the wide canvas of a world simultaneously real and dreamlike.

It’s a bravura effort from one of the great film helmsmen. Spielberg makes a compelling film that you can’t help but watch even as he brazenly displays the monstrous cruelty of Germans. Still, that is the way Spielberg emphasizes that the Germans considered their Jewish slaves and prisoners to have no future, that they were merely the tattered remains of a history already forgotten.

It’s a shame Neeson did not win the “Best Actor in a Leading Role” Oscar that year, losing to Tom Hanks. In many ways, Neeson is as important to the film as Spielberg. Schindler is both the foundation upon which this story is built and the axis upon which it turns. Neeson recognizes the faults of the man and subtly pushes Schindler’s less than savory attributes to the surface. He makes him more human than hero. Neeson conveys the sense that there is always something else going on in Schindler’s mind, something quite different from what he tells his friends and adversaries. An actor giving a character that much verisimilitude is rare. That Neeson can make the sly, sneaky, and recklessly flawed Schindler so engaging and intriguing is itself a work of art.

10 of 10

NOTES:
1994 Academy Awards: 7 wins: “Best Picture” (Steven Spielberg, Gerald R. Molen, and Branko Lustig), “Best Director” (Steven Spielberg), “Best Writing, Screenplay Based on Material Previously Produced or Published” (Steven Zaillian), “Best Art Direction-Set Decoration” (Allan Starski and Ewa Braun), “Best Cinematography” (Janusz Kaminski), and “Best Film Editing” (Michael Kahn), “Best Music, Original Score” (John Williams); 5 nominations: “Best Actor in a Leading Role” (Liam Neeson), “Best Actor in a Supporting Role” (Ralph Fiennes), “Best Costume Design” (Anna B. Sheppard), “Best Makeup” (Christina Smith, Matthew W. Mungle, and Judith A. Cory), “Best Sound” (Andy Nelson, Steve Pederson, Scott Millan, and Ron Judkins)

1994 BAFTA Awards: 7 wins: Best Actor in a Supporting Role” (Ralph Fiennes), “Best Cinematography” (Janusz Kaminski), “Best Editing” (Michael Kahn), “Best Film” (Steven Spielberg, Gerald R. Molen, and Branko Lustig), “Best Score” (John Williams), “Best Screenplay – Adapted” (Steven Zaillian), and “David Lean Award for Direction” (Steven Spielberg); 6 nominations: “Best Actor” (Liam Neeson), “Best Actor in a Supporting Role” (Ben Kingsley), “Best Costume Design” (Anna B. Sheppard), “Best Make Up Artist” (Christina Smith, Matthew W. Mungle, Waldemar Pokromski, and Pauline Heys), “Best Production Design” (Allan Starski), and “Best Sound” (Charles L. Campbell, Louis L. Edemann, Robert Jackson, Ron Judkins, Andy Nelson, Steve Pederson, and Scott Millan)

1994 Golden Globes: 3 wins: Best Director - Motion Picture (Steven Spielberg), “Best Motion Picture – Drama,” and “Best Screenplay - Motion Picture” (Steven Zaillian); 3 nominations: “Best Original Score - Motion Picture” (John Williams), “Best Performance by an Actor in a Motion Picture – Drama” (Liam Neeson), and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Ralph Fiennes)

2004 National Film Preservation Board: National Film Registry

-----------------------

Animated Short Review: "The Wrong Trousers" is the Right Thing

TRASH IN MY EYE No. 83 (of 2005) by Leroy Douresseaux

Wallace & Gromit in the Wrong Trousers (1993) – animated
Running time: 30 minutes
DIRECTOR: Nick Park
WRITERS: Bob Baker and Park
PRODUCER: Christopher Moll
EDITOR: Helen Garrard
Academy Award winner

SHORT/ANIMATION/COMEDY/FAMILY/MYSTERY with elements of sci-fi

Starring: (voice) Peter Sallis

Wallace & Gromit in the Wrong Trousers is a 1993 stop-motion animated short film. In 1994, the film, also known as Wallace & Gromit: The Wrong Trousers, won an Oscar for “Best Short Film, Animated” and the BAFTA Award for “Best Animated Film.” Directed by Nick Park (who would go on to co-direct 2000’s Chicken Run for DreamWorks), the film is animated in stop-motion animation using clay figures. The public is familiar with this kind of animation under the brand name “Claymation.” This is the art of modeling characters and props out of clay and using stop-motion photography to give the illusion of the figures and props moving.

Wallace (voice of Peter Sallis) is the oddball inventor with an obsessive appetite for cheese and crackers, and Gromit is his nonchalant and patient dog, the smarter one of this duo. Wallace obviously loves his dog to the point of treating him like a spouse or a third hand (as if Gromit were a Wallace to Wallace’s Sherlock Holmes). Gromit actually keeps things organized and moving in the house.

In this film, Wallace discovers that he is low on finances, so he takes a tenant into his large home in order to get some extra money. However, his lodger, a beady-eyed penguin, is really the thief, Feathers McGraw. Soon, the sly, and silent penguin has moved into Gromit’s room, and has come between master and canine. McGraw’s real plan is to use the enormous mechanical, walking pants that Wallace gave Gromit for his birthday to rob a museum. It’s up to Gromit to save his master from these horribly wrong trousers and a scheming penguin.

There is no one reason to love the Wallace & Gromit cartoons. From the seamless stop-motion animation and to the smooth and easy pace of the story and from the instantly endearing leads to the unflustered way they tackle difficulties, there is something that just rings right about director Nick Park’s fabulous little animated shorts. Maybe, it’s because Wallace & Gromit: The Wrong Trousers is just practically perfect in every way.

10 of 10

NOTES:
1994 Academy Awards: 1 win: “Best Short Film, Animated” (Nick Park)

1994 BAFTA Awards: 1 win: “Best Animated Film” (Christopher Moll and Nick Park)

---------------------------

Review: "Batman: Mask of the Phantasm" is Better Than Some Live-Action Batman Movies (Happy B'day, Kevin Conroy)

TRASH IN MY EYE No. 239 (of 2004) by Leroy Douresseaux

Batman: Mask of the Phantasm (1993) – animated
Running time: 76 minutes (1 hour, 16 minutes)
MPAA - PG for animated violence
DIRECTORS: Eric Radomski and Bruce Timm
WRITERS: Alan Burnett, Paul Dini, Martin Pasko, and Michael Reeves; from a story by Alan Burnett (based upon characters appearing in DC Comics and Batman created by Bob Kane)
PRODUCERS: Benjamin Melniker and Michael E. Uslan
EDITOR: Al Breitenbach

ANIMATION/SUPERHERO/ACTION/MYSTERY with elements of drama

Starring: (voices) Kevin Conroy, Dana Delany, Mark Hamill, Hart Bochner, Stacy Keach, Jr., Abe Vigoda, Dick Miller, John P. Ryan, Efrem Zimbalist, Jr., Bob Hastings, Robert Costanzo, and Marilu Henner

Batman: Mask of the Phantasm is a 1993 animated superhero feature film. It is a spin-off from the Batman: The Animated Series, the Emmy Award-winning television series that ran from 1992 to 1995.

There is a new killer in Gotham City, a costumed murder dubbed The Phantasm (Stacy Keach, Jr.) who murders a group of crime bosses. Because of the killer’s dark appearance, he is mistaken for Batman (Kevin Conroy). An ambitious city councilman, Arthur Reeves (Hart Bochner), sends the Gotham police force after Batman. Implicated in the murders, the Dark Knight must solve the mystery of The Phantasm’s identity.

However, a complication arrives in the life of Batman’s civilian identity, Bruce Wayne (Conroy), when a former fiancée, Andrea “Andi” Beaumont (Dana Delany), comes back to Gotham. How she is connected to The Phantasm’s killing spree and how Bruce Wayne’s past figures into the case are just a few questions Batman must answer… and the Joker’s (Mark Hamill) in town gumming up the state of affairs.

Batman: Mask of the Phantasm is the best Batman feature film to date, and it’s probably the least seen movie version of the venerable comic book character because the film is animated. Truthfully, animation is usually the best medium with which to adapt a comic book. Animation lends itself to the exaggeration and color fantasy settings in which comic book characters and worlds work best.

Based upon the popular animated television series, “Batman” – best known as Batman: The Animated Series” – which began in 1992, Mask of the Phantasm has all the creative talents who made the TV series so popular (and honored) behind it. In fact, the film was originally planned to be a direct-to-video release. Thus, it lacks the punch of a theatrical film, as the filmmaker’s didn’t have enough time to rework it and throw in the pyrotechnics movie audiences expect of theatrical films. However, Mask of the Phantasm is highly entertaining, and its dark and moody atmosphere is more genuine than any other Batman theatrical release. The drama is moving, and the mystery is palatable, absorbing, and suspenseful, certainly more so than that of the other Batman live action films. While appropriated for most children six and above, the film’s storytelling is mature enough (without being vulgar) to intrigue older viewers.

The quality of the animation wasn’t close to that of the best theatrical releases from Disney (or the many animated films directed by Don Bluth from the late 80’s to mid 90’s), but it was some of the best animation on TV for its time. The program’s color palette and art deco design made it a favorite among both animation and comic book professionals and fans. All of that carries over to the film, so Batman: Mask of the Phantasm is as good as the animated TV series. Since the film is longer, that makes it a special treat.

7 of 10
B+

---------------------------

Review: 1993 Version of "The Three Musketeers" is Surprisingly Fun

TRASH IN MY EYE No. 87 (of 2011) by Leroy Douresseaux


The Three Musketeers (1993)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – PG for action/violence and some brief sensuality
DIRECTOR: Stephen Herek
WRITER: David Loughery (based upon the novel by Alexandre Dumas père)
PRODUCERS: Roger Birnbaum and Joe Roth
CINEMATOGRAPHER: Dean Semler
EDITOR: John F. Link
COMPOSER: Michael Kamen

HISTORICAL/ACTION/COMEDY with elements of drama and adventure

Starring: Charlie Sheen, Kiefer Sutherland, Chris O’Donnell, Oliver Platt, Tim Curry, Rebecca De Mornay, Gabrielle Anwar, Michael Wincott, Paul McGann, Julie Delpy, and Hugh O’Conor

The Three Musketeers is a 1993 swashbuckling comedy film from Walt Disney Pictures. It is based upon Alexandre Dumas père’s 1844 novel, also entitled The Three Musketeers.

The film opens on young d’Artagnan (Chris O’Donnell) who arrives in Paris with dreams of becoming one of the Musketeers, a band of men sworn to protect and serve the King of France, as his late father was. However, the king’s minister, Count Richelieu (Tim Curry), has just disbanded the Musketeers. This is part of Richelieu’s plot with the Duke of Buckingham of England to overthrow King Louis XIII of France (Hugh O’Conor). Richelieu wants to become the new king after the coup, and he also plans to take Queen Anne of Austria (Gabrielle Anwar) as his queen.

Through a series of misadventures, d’Artagnan joins the three best Musketeers: Athos (Kiefer Sutherland), Porthos (Oliver Platt), and Aramis (Charlie Sheen) to stop Richelieu’s evil plot. First, they must intercept Richelieu’s spy and secret agent, Milady de Winter (Rebecca De Mornay), from delivering a signed treaty to the Duke of Buckingham. However, it seems as if the entire country is set against d’Artagnan and the Three Musketeers as they try to save King and Country.

When this version of The Three Musketeers debuted back in November 1993, I was too much of a snob to see it. To me, it seemed like it was going to be nothing more than trash, but 18 years later, I enjoyed watching it. However, it turns out that I was right about some of my misgivings. Three of the four lead actors: Charlie Sheen, Kiefer Sutherland, Chris O’Donnell are just awful, with the lone exception of quality being Oliver Platt’s largely comic performance. Even Tim Curry is way more over the top than he needs to be, while Julie Delpy’s Constance is hardly in the film. Rebecca De Mornay actual makes the most of her scenes and turns in quite a nice performance as the femme fatale, Milady de Winter.

Early in the film, either because of the direction (by Stephen Herek) or the editing, the pace of the film is clumsy and awkward. Then, as the story goes on, the film settles into being a rousing adventure with a delightful comic mood. The film’s art direction and set decorations make this a surprisingly beautiful film, and the English and Austrian shooting locations offer viewers some lovely scenery. Plus, there is even a cool song for the soundtrack, “All for Love” sung by Bryan Adams, Sting, and Rod Stewart (written by Adams, film composer Michael Kamen, and Robert John “Mutt” Lange).

There isn’t much else to say. In most ways, this 1993 version of The Three Musketeers is just an average Hollywood flick, but I like it.

6 of 10
B

NOTES:
1994 Razzie Awards: 1 nomination: “Worst Supporting Actor” (Chris O'Donnell)

Wednesday, October 26, 2011

Review: "Jurassic Park" is Always Worth the Trip

TRASH IN MY EYE No. 117 (of 2004) by Leroy Douresseaux

Jurassic Park (1993)
Running time: 127 minutes (2 hours, 7 minutes)
MPAA – PG-13 for intense science fiction terror
DIRECTOR: Steven Spielberg
WRITERS: Michael Crichton and David Koepp (from a novel by Michael Crichton)
PRODUCERS: Kathleen Kennedy and Gerald R. Molen
CINEMATOGRAPHER: Dean Cundey
EDITOR: Michael Kahn
COMPOSER: John Williams
Academy Award winner

SCI-FI/ACTION/ADVENTURE/THRILLER

Starring: Sam Neill, Laura Dern, Jeff Goldblum, Richard Attenborough, Bob Peck, Martin Ferrero, Joseph Mazzello, Ariana Richards, Samuel L. Jackson, B.D. Wong, and Wayne Knight

Over a decade after I first saw it, I still get a thrill whenever I watch director Steven Spielberg’s Jurassic Park. The Academy Award-winning film (Best Effects – Sound Effects Editing, Best Effects – Visual Effects, and Best Sound) is, like Star Wars and Terminator 2: Judgment Day, a landmark film in the area of visual effects, in this instance, for its use of computer rendered characters or CGI, computer generated imagery. While the Terminator sequel introduced the moviegoers to the magic “morphing,” seamless changing a character into something or someone totally different, JP introduced a whole slew of characters that were not added to the film until principal photography was finished shooting. These were characters that only existed inside a computer and were digitally added onto the film.

In the movie, John Hammond (Richard Attenborough), a billionaire industrialist, convinces colleagues Drs. Alan Grant (Sam Neill) and Ellie Sattler (Laura Dern) to travel to his newly created theme park that he calls Jurassic Park. His company’s scientist have miraculously cloned dinosaurs to populate the theme park, and Hammond needs Grant and Ms. Sattler, two paleontologists, to examine the park and give their seal of approval to the venture which in turn will appease Hammond’s worried investors. But as with any test run, things go badly. The park suffers a major security breakdown and releases the dinosaurs, including a hungry T-Rex and pack of velociraptors who enjoy hunting humans. The computer malfunction has Grant, Sattler, and the rest of the park’s inhabitants and visitors (including Hammond’s grandson and granddaughter) struggling to survive the onslaught on vicious dinosaurs as they try to escape from the island.

Although Spielberg has made his share of “serious” films to impress film critics and Oscar® voters, his best work remains his films that have a sense of magic and wonder, and Jurassic Park has both. However, the film is also a razor sharp suspense thriller and amazing adventure filled with frightening pitfalls, daring escapades, and last minute reprieves – the kind that end just before the other shoe drops.

Spielberg is at his best when he manipulates his audience, but honestly by weaving a thrill-a-minute film that has heart. It’s more than just the things that stop your heart, and JP has lots of that. It’s also about the moments that warm the heart, and a Spielberg favorite theme – that of the father who earns redemption or the man who learns to become a father or father figure, is very strong here. A lot of the credit has to go to a script (by Hollywood screenwriting heavyweight David Koepp and the author of the novel upon which this film is based, Michael Crichton) that is friendly to the elements and themes Spielberg favors for his films.

Still, the master filmmaker takes it and not only does he make it work, he makes it work on a level that turns what could have been a novelty film into an movie that is both unforgettable and influential. On a purely entertaining level, JP is a great and a film that is a treat to watch. As a work of art, Jurassic Park’s subject matter may seem like B-movie material, but the entire work is both a brilliant piece of pop entertainment and masterstroke of film craftsmanship.

10 of 10

NOTES:
1994 Academy Awards: 3 wins: “Best Effects, Sound Effects Editing” (Gary Rydstrom and Richard Hymns), “Best Effects, Visual Effects” (Dennis Muren, Stan Winston, Phil Tippett, and Michael Lantieri), and “Best Sound” (Gary Summers, Gary Rydstrom, Shawn Murphy, and Ron Judkins)

1994 BAFTA Awards: 1 win: “Best Special Effects” (Dennis Muren, Stan Winston, Phil Tippett, and Michael Lantieri); 1 nomination: “Best Sound” (Richard Hymns, Ron Judkins, Gary Summers, Gary Rydstrom, and Shawn Murphy)

--------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: Tim Burton and Henry Selick's "The Nightmare Before Christmas" is Indeed a Timeless Classic

TRASH IN MY EYE No. 104 (of 2003) by Leroy Douresseaux

Tim Burton’s The Nightmare Before Christmas (1993)
Running time: 76 minutes (1 hour, 16 minutes)
MPAA – PG for some scary images
DIRECTOR: Henry Selick
WRITERS: Caroline Thompson, from a story by Tim Burton and an adaptation by Michael McDowell
PRODUCERS: Tim Burton and Denise DiNovi
CINEMATOGRAPHER: Pete Kozachik (D.o.P.)
EDITOR: Stan Webb
COMPOSER: Danny Elfman
Academy Award nominee

ANIMATION/COMEDY/MUSICAL/HORROR/FAMILY

Starring: (voices) Chris Sarandon, Danny Elfman, Catherine O’Hara, William Hickey, Glenn Shadix, Paul Reubens, Ken Page, and Ed Ivory

Tim Burton’s The Nightmare Before Christmas is a 1993 stop motion animation film. A musical fantasy film, it is directed by Henry Selick and is also the creation of acclaimed director, Tim Burton.

Next to Frank Capra’s It’s a Wonderful Life, my favorite Christmas film is The Nightmare Before Christmas. It’s a technique in which the filmmakers use models instead of hand drawn animation. To get even one second of film, the makers shoot anywhere from 25 to 35 photographs of the models, moving them ever so slightly for each photograph. Seen in film speed, it looks as if the models are moving – almost the same technique as hand drawn animation, except this is with models.

Jack Skellington (Chris Sarandon; Danny Elfman provides Jack’s singing voice) is the Pumpkin King, the man who makes Halloween happen, but he’s suddenly bored doing the same thing year after year. In this story, each holiday (like Easter and Valentine’s Day) has it’s own land just Halloween has Halloweentown. Jack accidentally discovers Christmas Town, and he’s taken by the vibrant and warm colors of the holiday. He decides to kidnap Santa Claus (Ed Ivory) and have the resident bats, ghouls, and goblins of Halloweentown help him take over Christmas. However, Jack doesn’t quite get the concept of Christmas, and he replaces the traditional gifts of the season with thingies more appropriate for his holiday. The whole town is taken with the idea, and it seems that only Sally (Catherine O’Hara), Jack’s secret admirer, sees the error of Jack’s new direction.

There is so much that is wonderful with this picture. The stop-motion animation gives the film a quirky and offbeat rhythm that makes watching the film irresistible. Clearly, director Selick is in love with this method, and it shows in the lovingly moody and charmingly dark atmosphere. The animators, the art staff, and the model makers come together to make a movie that has an elegant beauty even in its darkly mysterious and gothic world. The film is a charming concoction that recalls Edward Gorey and Charles Addams (especially his “Addams Family cartoons for the New Yorker) and even Tim Burton’s brilliant film, Beetlejuice, among other things. There’s so much for the eye to take in and never has the creepy seemed so lovely. There is very little in American cinema that looks like this film.

Until I heard it, I never believed that Danny Elfman’s song score and music for this film could be so good. Not only does he make this a fine film musical, Elfman also takes the film to a higher level. As good as Nightmare is, it is Elfman who really sells the story. The concept is a novelty (born from a Tim Burton poem), and a one-note idea at that, and the script is pretty flat; sometimes the story didn’t seem to be going anywhere. However, Elfman gives it life; it’s his songs that express the longings, emotions, and ideas within the film, which are essentially about being yourself and being true to your game.

The voice acting is excellent. Clearly everyone was having a grand time doing this, and we will have a great time watching it. This is one time where I have mad love for the people who made the film.

8 of 10
A

NOTES:
1994 Academy Awards: 1 nomination: “Best Effects, Visual Effects” (Pete Kozachik, Eric Leighton, Ariel Velasco-Shaw, and Gordon Baker)

1994 Golden Globes: 1 nomination: “Best Original Score - Motion Picture” (Danny Elfman)

-----------------------------

Review: Kenneth Branagh Makes Much Magic in "Much Ado About Nothing"

TRASH IN MY EYE No. 127 (of 2005) by Leroy Douresseaux

Much Ado About Nothing (1993)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13
DIRECTOR: Kenneth Branagh
WRITER: Kenneth Branagh (adapted for the screen from Much Ado About Nothing by William Shakespeare)
PRODUCERS: Stephen Evan, David Parfitt, and Branagh
CINEMATOGRAPHER: Roger Lanser
EDITOR: Andrew Marcus
BAFTA nominee

COMEDY/ROMANCE with elements of drama, music, and musical

Starring: Kenneth Branagh, Michael Keaton, Robert Sean Leonard, Keanu Reeves, Emma Thompson, and Denzel Washington, Richard Briers, Kate Beckinsale, Brian Blessed, Imelda Staunton, Jimmy Yuill, Phyllida Law, Richard Clifford, and Gerard Horan

Kenneth Branagh earned two Oscar-nominations (acting and directing) for his 1989 film, Henry V, a screen adaptation of William Shakespeare’s stage drama. Branagh brought the Bard back to the screen for a second time under his direction with the 1993 film, Much Ado About Nothing, which received a 1993 Golden Globe nomination for Best Motion Picture – Comedy/Musical (and an Independent Spirit Award nom for “Best Feature”).

A high-spirited tale of love, mistaken identity, and bawdy humor, Much Ado About Nothing is set in Messina (Sicily), where hot-bloodied youth, Claudio (Robert Sean Leonard), is engaged to marry a beautiful young woman named Hero (Kate Beckinsale). Claudio is so anxious to wed that his best friend, Don Pedro (Denzel Washington), devises some mischief to distract Claudio. Don Pedro concocts a romantic trap for Hero’s cousin, the sharp-tongued Beatrice (Emma Thompson, Independent Spirit Award nomination for “Best Female Lead”) and the man she most loves to hate, Benedick (Kenneth Branagh). However, amusement turns to horror, scandal, and tragedy by the hand of Don Pedro’s rakish brother, Don John (Keanu Reeves), who schemes to destroy the engagement and marriage of Claudio and Hero. Can the chance intervention of the local law, Dogberry (Michael Keaton), restore the love and laughter to this circle of friends?

It’s almost hard to believe, but Much Ado About Nothing manages to be ravishing entertainment, engaging brain food, and a finely crafted costume drama in only 102 minutes of screen time. It’s a sexy, joyous romp filmed with delightful rudeness, playful sexual innuendo, and the sun-drenched charm of its shooting location (Chianti, Toscana, Central Italy). It takes an attentive ear (and more patience than many moviegoers are willing to give) to hear every Shakespearean word and turn of a phrase, but the cast’s exuberant delivery of the Bard’s masterful language is… well, masterful.

If the good acting weren’t enough (Branagh and Emma Thompson actually outshine the rest of this talented cast of movie stars and fine character actors), this exuberant production is filled with lively songs, musical numbers, and a soaring life-giving score. If you like Shakespeare on the big screen, this is a gift for you. If you never believed that Shakespeare could be so funny and sexy, Branagh and his cohorts will convert you into a true believer.

8 of 10
A

NOTES:
1994 BAFTA Awards: 1 nomination: “Best Costume Design” (Phyllis Dalton)

1993 Cannes Film Festival: 1 nomination: “Palme d'Or” (Kenneth Branagh)

1994 Golden Globes: 1 nomination: “Best Motion Picture - Comedy/Musical”

1994 Razzie Award: 1 nomination: “Worst Supporting Actor” (Keanu Reeves)

Review: "Dazed and Confused" Always a Winner

TRASH IN MY EYE No. 197 (of 2004) by Leroy Douresseaux

Dazed and Confused (1993)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – R for pervasive, continuous teen drug and alcohol use and very strong language
WRITER/DIRECTOR: Richard Linklater
PRODUCERS: Sean Daniel, James Jacks, and Richard Linklater
CINEMATOGRAPHER: Lee Daniel
EDITOR: Sandra Adair

COMEDY

Starring: Jason London, Rory Cochran, Sasha Jenson, Wiley Wiggins, Michelle Burke, Adam Goldberg, Anthony Rapp, Matthew McConaughey, Marissa Ribisi, Shawn Andrews, Cole Hauser, Milla Jovovich, Joey Lauren Adams, Christin Hinojosa, Ben Affleck, Jason O. Smith, Deena Martin, Parker Posey, Nicky Katt, Catherine Morris, Christine Harnos, Estaban Powell, Mark Vandermeulen, Jeremy Fox, Kim Krizan, and Rick Moser

Director Richard Linklater (Before Sunrise, The School of Rock) got the attention of a lot of young moviegoers in the mid-1990’s with his comic film, Dazed and Confused. Set during the last day of school, May 28, 1976, the film recounts the exploits of the incoming freshman class and the Class of ’77 at Lee High School, situated in a small Texas enclave. The male seniors-to-be beat the incoming freshmen with wooden paddles and the senior girls haze the incoming freshmen girls by pouring food and condiments all over them. The kids buy and smoke marijuana, buy and drink beer, make out and talk about having sex, plan parties, and listen to lots of classic early to mid-70’s rock music.

The film is very laid back, but very entertaining. It may be an acquired taste, likely popular with people who are nostalgic (those who lived it and those who only know it through media) about a kind of mid-70’s suburban idyllic, an almost pastoral setting that never really existed. However, Dazed and Confused is about an ideal, and it’s a very fine version of that ideal. The acting is so natural, and Linklater directs his cast and moves the film with such an alluringly lazy pace that suggest that this small town is a paradise or utopia.

Dazed and Confused is a tale about rites of passage and the relationship among a diverse student body of geeks, stoners, athletes, snobs, etc. with such facile grace that I wish it were real. I certainly think that every movie fan should see it at least once, especially because many may find it somewhat familiar.

7 of 10
B+

------------------------

Review: "Cronos" is a Different Kind of Vampire Flick (Happy B'day, Guillermo del Toro)

TRASH IN MY EYE No. 194 (of 2004) by Leroy Douresseaux

Cronos (1993)
COUNTRY OF ORIGIN: Mexico (Languages: English and Spanish)
MPAA - R for horror violence and for language
Running time: 94 minutes (1 hour, 34 minutes)
WRITER/DIRECTOR: Guillermo del Toro
PRODUCERS: Arthur Gorson and Bertha Navarro
CINEMATOGRAPHER: Guillermo Navarro
EDITOR: Raúl Dávalos

HORROR

Starring: Federico Luppi, Ron Perlman, Claudio Brook, Margarita Isabel, and Tamara Shanath

Cronos is writer/director Guillermo del Toro’s novel take on the vampire myth. The “Cronos Device” is a golden, elegant, mechanized scarab that grants the gift or curse of eternal life to those who would wear it. Inside the scarab is a tiny insect of unknown origin, and when the device stabs a mechanical pincer into the flesh of the wearer, injecting them with a substance from the insect that gives the wearer immortality.

Jesús Gris (Federico Luppi), an aging antique dealer, finds the scarab and inadvertently uses it, unaware that the device comes with instructions written on a set of ancient documents. Those are in the possession of Dieter de la Guardia (Claudio Brook), a wealthy industrialist slowly dying of some debilitating disease (likely cancer), a man who has been searching long and hard for the Cronos Device. Dieter uses his nephew and heir, Angel (Ron Perlman), as a heavy to obtain the device from Jesús, which leads to a protracted, bloody, and gruesome dispute between all parties involved in the struggle for immortality and the Cronos Device.

As a film, Cronos likely passes as a horror movie, but as a story, it’s more dark fantasy than anything else. Visually, Cronos has a striking, almost golden-hued or gilded gloomy look. The story is nice, and though he doesn’t pay off on the concept’s potential, del Toro creates a number of decidedly creepy images. Still, the golden earth tones, unique art direction, and mechanical effects make this a decidedly different kind of horror tale, worth viewing by those who take their movie watching seriously.

6 of 10
B

-----------------------

Review: Colin Firth is Strong in "The Advocate" a.k.a. "The Hour of the Pig"

TRASH IN MY EYE No. 94 (of 2006) by Leroy Douresseaux


The Hour of the Pig (1993)
Also known as The Advocate
COUNTRY OF ORIGIN: France/UK
Running time: 102 minutes
MPAA – R (originally NC-17)
WRITER/DIRECTOR: Leslie Megahey
PRODUCER: David M. Thompson
CINEMATOGRAPHER: John Hooper
EDITOR: Isabelle Dedieu

DRAMA/MYSTERY/HISTORICAL with elements of a thriller

Starring: Colin Firth, Ian Holm, Donald Pleasence, Amina Annabi, Nicol Williamson, Michael Gough, Harriet Walter, Jim Carter, Lysette Anthony, Sophie Dix, and Justin Chadwick

France in the year 1452: Richard Courtois (Colin Firth), a lawyer from Paris, and his law clerk, Mathieu (Jim Carter), move to the small rural village of Abbeville, in the province of Ponthieu, where Courtois will become the public defender. He hopes to find peace in the countryside, but what he finds instead is ignorance, superstition, and fear. He is especially taken aback because some of the clients he must defend are animals (because in Middle Ages France, animals could be tried and executed for murder as the law recognized they could be possessed to do evil).

Courtois must defend a pig accused of murdering a Jewish boy. He tries to settle the case by buying the pig, but the owner, Samira (Amina Annabi), refuses the offer. Samira is an alluring Moor who travels throughout France in a caravan with her people, and she believes that the pig is innocent and shouldn’t be punished. Courtois comes to believe that the Jewish boy’s murder is part of a sinister conspiracy. Still, he is trying to solve a mystery in a town where the denizens view Courtois’ intelligence as if it were as mysterious as the witchcraft they fear so much.

The Hour of the Pig better known as The Advocate to American audiences, is probably one of the strangest coherent movies many film viewers will ever see. The history of filmmaking is full of strange, peculiar, and ultimately confounding films. There are others films that are strange because they contain ideas from the real world, either past or present, that mystify us because they are so alien either to our times and culture. The Advocate is one such film. It’s story takes place in a time in France when the power of the feudal lords was waning, and the economically powerful bourgeoisie were throwing their power behind a centralized authority, the monarchy.

Still, the feudal lord in this film, Seigneur Jehan d’Auferre, the Lord of Abbeville (wonderfully played by the always regal Nicol Williamson), wields a lot of power and also influences both the outcome of both and the lives of the film’s central players. The Seigneur recognizes that the peasants are ignorant and superstitious, but it is best to appease their fear when it comes to religious matters. Into this comes Courtois, who recognizes the law about prosecuting animals, but thinks it to be ridiculous as a practical matter. In his estimation, the local magistrate, Boniface (Michael Gough, who played Bruce Wayne’s butler Alfred in the 1989 film Batman and its three sequels), and the local prosecutor, Pincheon (Donald Pleasence), should not prosecute animals simply because they are supposed to be reasonable and enlightened men who shouldn’t do such a… dumb thing.

Courtois finds himself in the midst of a murder mystery, where the political and religious leaders of Abbeville know more than they let on. They are corrupt not only so they can maintain their power, but also because it allows them to take advantage of the villagers for both their bodies and souls. In a quiet way, this film takes a glance at how superstition and particularly fear dictate how a community lives. The Advocate is fascinating; combine that with a murder mystery and plenty of seduction (the frankness of language, innuendo, and sex will surprise some viewers who expect period dramas to be so refined) and The Advocate is a mystery thriller to rival classic Film-Noir.

Actor Colin Firth is one of the two people who hold this concept together. He plays Richard Courtois with great subtlety for a lead. Although we see this narrative largely through Courtoir’s eyes, Firth is not flashy and doesn’t try to dominate the screen. He doesn’t need to because he knows that the strange world of Middle Ages Abbeville will develop before our eyes with him as the guide, but doesn’t need to show off because of it. We attend him without Firth forcing our attention to Courtois, and Firth rewards us with a wonderful trip into the past with his character as our guide.

The other pillar is writer/director Leslie Megahey, who allows the actors to play with and embody the characters. However, the fact that Megahey created such an engaging screenplay from such an alien time (that feels so real) is the biggest achievement, and his film (whether you know it as The Hour of the Pig or The Advocate) is a fascinating story worth watching.

7 of 10
A-

Saturday, May 06, 2006