TRASH IN MY EYE Reviews: Spielberg Review

Showing posts with label Spielberg Review. Show all posts

Thursday, June 29, 2023

Review: "INDIANA JONES and the Kingdom of the Crystal Skull" is a Nice Coda

TRASH IN MY EYE No. 27 (of 2008) by Leroy Douresseaux

Indiana Jones and the Kingdom of the Crystal Skull (2008)

Running time: 126 minutes (2 hours, 6 minutes)

MPAA – PG-13 for adventure violence and scary images

DIRECTOR: Steven Spielberg

WRITERS: David Koepp; from a story by George Lucas and Jeff Nathanson

PRODUCER: Frank Marshall

CINEMATOGRAPHER: Janusz Kaminski (D.o.P.)

EDITOR: Michael Kahn, A.C.E.

COMPOSER: John Williams

ACTION/ADVENTURE

Starring: Harrison Ford, Cate Blanchett, Karen Allen, Ray Winstone, John Hurt, Jim Broadbent, and Shia LaBeouf

There is that old saying, “you can’t go home again,” but you can. It is simply that the present does not have the cherished golden glow of cherished memories of an idealized past. With that in mind, in 2008, we saw the return of Indiana Jones to the big screen for the first time in 19 years.

Indiana Jones and the Kingdom of the Crystal Skull is an action-adventure film from director Steven Spielberg. It is the fourth entry in the “Indiana Jones” film franchise that began with the 1981 film, Raiders of the Lost Ark (1981). Kingdom of the Crystal Skull finds Indiana Jones fighting a Soviet plot to uncover the secret behind mysterious artifacts known as the “Crystal Skulls.”

Indiana Jones and the Kingdom of the Crystal Skull begins in the desert Southwest in 1957 at the height of the Cold War. There, Dr. Henry “Indiana” Jones, Jr. (Harrison Ford) and his sidekick, George “Mac” McHale (Ray Winstone), encounter the icy cold Soviet beauty, Irina Spalko (Cate Blanchett), and her elite military unit on a remote airfield. The Soviets want something from Indy, but in the end, he barely escapes the nefarious Soviets.

Afterwards, Indy returns to Marshall College, where he is known as “Professor Jones,” and finds that things have gone from bad to worse. The government is suspicious of Indy’s recent activities and forced Jones’ close friend and dean of the college, Dean Charles Stanforth (Jim Broadbent), to fire him. On his way out of town, Indy meets the rebellious young biker, Mutt Williams (Shia LaBeouf), who asks Indy for his help in a deeply personal mission. If he helps Mutt, Indy could very well make one of the most spectacular archaeological finds in history – the Crystal Skull of Akator, a legendary object of fascination and superstition.

As Indy and Mutt comb the most remote corners of Peru, Spalko and the Soviet agents are also hot on the trail of the Crystal Skull, which they believe can help the Soviets dominate the world, if they can unlock its secrets. Peru, however, is not only the home of the Crystal Skull, it is also the place where Indiana Jones makes a surprise reunion and learns an even more shocking secret, as he and his friends desperately battle to protect the powerful Crystal Skull.

Indiana Jones and the Kingdom of the Crystal Skull lacks the old school, B-movie serial charm of the original Raiders of the Lost Ark. It doesn’t have the gleefully and deliberately gruesome spirit of Indiana Jones and the Temple of Doom (1984), nor the comic charm of Indiana Jones and the Last Crusade (1989).

What Indiana Jones and the Kingdom of the Crystal Skull does have is entertainment value by the truckload. This pleasing popcorn movie has a mix of action, adventure, and nostalgia that turns it into the perfect summer romp for an afternoon at the movie theater.

Why keep pretending!? Karen Allen, as the original Indiana Jones heroine, Marion Ravenwood, is back, and that makes this somewhat inferior Indiana Jones sequel even more enjoyable. Throw in another secret, and Kingdom of the Crystal Skull is a must-see for Indy fans. Obviously many fans had questions and concerns coming into this new film. Chief among them would be the use of CGI. Between the time that The Last Crusade appeared and now, CGI has, for the most part, replaced practical and physical special effects in mainstream Hollywood films.

No, the use of CGI (which the filmmakers claimed was only used on 30% of the film) to create lush jungles, impossible fight scenes (like the sword duel between Mutt and Irina, most of it on top of moving vehicles), and exotic locales doesn’t ruin Kingdom of the Crystal Skull, although this flick lacks the grit and tough guy spirit of the other films. But let’s face it; Harrison Ford is no longer a spring chicken, so this film needs CGI slickness to give the action a manic video game feel to it. Kingdom of the Crystal Skull is a modern action movie, and all the quiet, dramatic moments are used to merely prepare us for the next death-defying chase, whereas they existed for themselves in the early films. Still, the modern touches work.

Set in 1957, the film drops many 1950’s cultural and pop culture tropes: Elvin Presley, B-movie sci-fi, aliens, Communism, bikers, etc. The fear of being turned into the other or being forced into a like or hive mind is prevalent, as is Steven Spielberg’s familiar motif that knowledge only robs reality of its sense of wonder (OK…). However, the age of their star Harrison Ford required the driving force behind Indiana Jones, Spielberg and George Lucas, to accept that it’s sometimes okay to grow up.

That’s why Indiana Jones and the Kingdom of the Crystal Skull is ultimately less a sequel than it is a coda or epilogue to Harrison Ford as Indiana Jones, which is likely the reason that Karen Allen/Marion Ravenwood, the most beloved woman in Indy’s life, is back. It’s time to grow up and movie on, and what a silly and fun send off this is. Flaws and all, Kingdom of the Crystal Skull is a good old American summer movie blockbuster. As the credits rolled on the film’s happy finale, I realized that Indy and I were going our separate ways, but with wonderful memories as parting gifts.

6 of 10

★★★ out of 4 stars

NOTES:

2009 BAFTA Awards: 1 nomination: “Best Special Visual Effects” (Pablo Helman, Marshall Richard Krasserm and Steve Rawlins)

Sunday, May 25, 2008

Edited: Saturday, November 5, 2022

You can purchase the "INDIANA JONES 4-Movie Collection" Blu-ray or DVD here at AMAZON.

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Wednesday, June 28, 2023

Review: "INDIANA JONES and the Last Crusade" Stills Feels Like a True Ending

TRASH IN MY EYE No. 28 of 2023 (No. 1917) by Leroy Douresseaux

Indiana Jones and the Last Crusade (1989)

Running time: 127 minutes (2 hours, 7 minutes)

MPAA – PG-13

DIRECTOR: Steven Spielberg

WRITERS: Jeffrey Boam; from a story by George Lucas and Menno Meyjes (based on characters created by George Lucas and Philip Kaufman)

PRODUCER: Robert Watts

CINEMATOGRAPHER: Douglas Slocombe (D.o.P.)

EDITOR: Michael Kahn, A.C.E.

COMPOSER: John Williams

Academy Award winner

ADVENTURE/ACTION/FANTASY

Starring: Harrison Ford, Sean Connery, Alison Doody, Denholm Elliot, John Rhys-Davies, Julian Glover, River Phoenix, Michael Byrne, Kevork Malikyan, Robert Eddison, Richard Young, and Michael Sheard

Indiana Jones and the Last Crusade is a 1989 action-adventure film from director Steven Spielberg. It is the third entry in the “Indiana Jones” film franchise that began with the 1981 film, Raiders of the Lost Ark (1981). The Last Crusade finds Indiana Jones searching for his father, who along with the Nazis, are search for the Holy Grail.

Indiana Jones and the Last Crusade opens in Utah, 1912. It is there that teenage Henry Jones, Jr. (River Phoenix) has his first experiences with raiders of an archaeological site.

Over a quarter-century later, in 1938, Dr. Henry “Indiana” Jones, Jr. (Harrison Ford) recovers the treasure he lost as a teenager. Jones returns to teaching (apparently at Barnett College in Fairfield, New York) when one of the college's wealthy patrons approaches him about a special mission. Walter Donovan (Julian Glover) wants Jones to help him locate the Holy Grail.

Jones informs him that his father, Professor Henry Jones, Sr. (Sean Connery), is the expert on the Holy Grail and the one whom Donovan should seek. Donovan shocks Jones by informing him that he had hired his father to find the Grail, but the senior Jones has disappeared. Jones and his colleague, Marcus Brody (Denholm Elliot), race to Venice, his father's last known location. Waiting for them is Dr. Elsa Schneider (Alison Doody), who was working with the elder Jones in Venice as he sought to find more clues about the Grail's location.

Before long, Indiana Jones and Henry Jones Sr. are racing for their lives, staying one step ahead of the Nazis, who also want the Grail, and the Brotherhood of the Cruciform Sword, who want to protect it. Reunited with his old friend, Sallah (John Rhys-Davies), the Jones boys get closer to the Holy Grail, but the secret of the Grail is that it offers both eternal life and total destruction.

In preparation for the upcoming fifth film in the series, Indiana Jones and the Dial of Destiny, I decided to see the one Indiana Jones film that I have not watched in its entirety since the 1990s, Indiana Jones and the Last Crusade. I have seen the first film, Raiders of the Lost Ark, countless times, and I rewatched its follow-up, Indiana Jones and the Temple of Doom (1984), in November of last year (2022). I have watched the fourth film in the series, Indiana Jones and the Kingdom of the Crystal Skull (2008), many times since its release.

I have long considered Indiana Jones and the Last Crusade the true end of the Indiana Jones film series because it was the third film in the original trilogy and because it felt like the end of something. The Kingdom of the Crystal Skull felt like a “coda,” in the sense that it was both an addition to the three-film series that ran from 1981 to 1989 and a final piece added to the ending of The Last Crusade's tale of family and friends out for one last adventure.

Seeing The Last Crusade in its entirety for the first time in decades, I still feel like I'm watching the end of trilogy. If there was going to be another film after it, that ceased to be when River Phoenix, the actor who played teen Henry Jones, Jr. in this film, died in 1993 at the age of 23. Actor Denholm Elliot, who played Marcus Brody in the original film and in The Last Crusade, died at the age of 70, a year earlier in 1992. Henry Jones Sr., actor Sean Connery, only recently died (2020) at the age of 90. So, you see, dear readers, because of the passing of a number of cast members, more and more, I associate Indiana Jones and the Last Crusade with endings.

The Last Crusade is my least favorite film of the original trilogy. I know that some audiences prefer it to the darker Temple of Doom, and apparently, director Steven Spielberg made The Last Crusade the way he did to offer a lighter film in response to the criticism of the Temple of Doom's violence and exotic mysticism. However, I find Temple of Doom to be wildly inventive, darkly imaginative, and a roller coaster ride. If Raiders of the Lost Ark is an original, in a way, Temple of Doom still seems determined to be something very different from its predecessor.

Honestly, I find The Last Crusade to be only mildly entertaining until the film's last 45 minutes. Then, it explodes and really finds itself with lots of Nazi-punching and killing and also with a spine-tingling jaunt to the Holy Grail. Besides, Indiana Jones is always at his best when he's beating Nazis. Honestly, I think it is important that audiences who have not seen the original films watch them all before moving on to the new film. By the time they get to the end of Indiana Jones and the Last Crusade, many newbies may finally understand what Indiana Jones meant to American cinema once upon a time, and why, over four decades after the release of the first film, there is a new one.

7 of 10

B+

★★★½ out of 4 stars

Wednesday, June 28, 2023

You can purchase the "INDIANA JONES 4-Movie Collection" Blu-ray or DVD here at AMAZON.

NOTES:

1990 Academy Awards, USA: 1 win: “Best Effects, Sound Effects Editing” (Ben Burtt and Richard Hymns); 2 nominations: “Best Sound” (Ben Burtt, Gary Summers, Shawn Murphy, and Tony Dawe), and “Best Music, Original Score” (John Williams)

1990 BAFTA Awards: 3 nominations: “Best Actor in a Supporting Role” (Sean Connery), “Best Sound” (Richard Hymns, Tony Dawe, Ben Burtt, Gary Summers, and Shawn Murphy), and “Best Special Effects” (George Gibbs, Michael J. McAlister, Mark Sullivan, and John Ellis)

1990 Golden Globes, USA: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Sean Connery)

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Sunday, June 25, 2023

Review: Steven Spielberg's "EMPIRE OF THE SUN"

TRASH IN MY EYE No. 27 of 2023 (No. 1916) by Leroy Douresseaux

Empire of the Sun (1987)

Running time: 153 minutes (2 hours, 33 minutes)

MPAA – PG

DIRECTOR: Steven Spielberg

WRITER: Tom Stoppard (based on the novel by J.G. Ballard)

PRODUCERS: Steven Spielberg, Frank Marshall, and Kathleen Kennedy

CINEMATOGRAPHER: Allen Daviau (D.o.P.)

EDITOR: Michael Kahn

COMPOSER: John Williams

Academy Award nominee

DRAMA

Starring: Christian Bale, John Malkovich, Miranda Richardson, Nigel Havers, Joe Pantoliano, Leslie Phillips, Masato Ibu, Emily Richard, Rupert Frazer, Peter Gale, Takataro Kataoka, and Ben Stiller

Empire of the Sun is a 1987 wartime drama and historical film directed by Steven Spielberg. The film is based on the 1984 semi-autobiographical novel, Empire of the Sun, from author J.G. Ballard (1930-2009). Empire of the Sun the film focuses on a young English boy who is separated from his parents and then, struggles to survive the Japanese occupation of China during World War II

Empire of the Sun opens in 1941 in the “International Settlement,” an enclave of British and American citizens in Shanghai, China. James “Jamie” Graham is the only child of an British upper middle class couple, John Graham (Rupert Frazer) and Mary Graham (Emily Richard). Jamie enjoys a privileged life in the International Settlement, but he keeps an eye on the activities of the Japanese who have encroached on Shanghai. After their attack on Pearl Harbor, the Japanese begin their occupation of the settlement. During the family's bid to escape, Jamie is separated from his parents.

Eventually, Jamie is taken prisoner and moved into an internment camp. He survives by befriending the American expatriate and hustler, Basie (John Malkovich), and also the kindly Englishman, Dr. Rawlins (Nigel Havers). Now, called “Jim” by everyone, he establishes a successful trading network that keeps him with food and necessities. As World War II drags on, however, Jim realizes that he no longer remembers what his parents look like.

Last year, I began watching and, in some cases, re-watching early Steven Spielberg films, such as Duel, Jaws, and 1941, in anticipation of Spielberg's autobiographical film, The Fabelmans, which was released in 2022. The film has long since completed its theatrical run, but there remained Spielberg films I wanted to see. I had been putting off watching Empire of the Sun for 36 years, and my best resource to see it, DVDNetflix, is closing soon. So why not see Empire of the Sun now?

What can I say? Empire of the Sun is not one of Spielberg's better films. It does not really have a narrative center, and the plot is unfixed. The film plays like a series of anecdotes – many, many, many anecdotes – played over a film that runs nearly two and a half hours long. Some of the scenes have great emotional impact, such as Jim's reunion with his parents and even that last shot of the suitcase in the water. Still, overall, the film lacks dramatic heft and emotion. It's too cold and is disjointed. Instead of feeling like a narrative that flows from beginning to end, Empire of the Sun feels like individual pages from a children's picture book.

If Empire of the Sun is a coming-of-age story and a boys' adventure tale, then, the film needs a great boy. That is what actor Christian Bale is for this film. All of 13-years-old when filming began, Bale carries Empire of the Sun with the tenacity and acting chops of an actor more than twice his age. Bale embodies the emotional depth and dramatic depth that this film lacks as a whole. None of the other actors' performances approach his, not because they are bad, but because neither Spielberg nor Tom Stoppard's script gives them the space and material.

Spielberg makes this film seem as if its true purpose is to be about a boy and his wartime adventures. Thus, none of the Japanese elements really feel as if they have the force of an empire behind them. Still, the focus on Jim Graham works because Christian Bale is the child emperor of Empire of the Sun.

6 of 10

★★★ out of 4 stars

Sunday, June 25, 2023

NOTES:

1988 Academy Awards, USA: 6 nominations: “Best Cinematography” (Allen Daviau), “Best Art Direction-Set Decoration” (Norman Reynolds and Harry Cordwell), “Best Costume Design” (Bob Ringwood), “Best Sound” (Robert Knudson, Don Digirolamo, John Boyd, and Tony Dawe), “Best Film Editing” (Michael Kahn), and “Best Music, Original Score” (John Williams)

1989 BAFTA Awards: 3 wins: “Best Cinematography” (Allen Daviau), “Best Score” (John Williams), and “Best Sound” (Charles L. Campbell, Louis L. Edemann, Robert Knudson, and Tony Dawe); 3 nominations: “Best Screenplay-Adapted” (Tom Stoppard), “Best Costume Design” (Bob Ringwood), and “Best Production Design” (Norman Reynolds)

1988 Golden Globes, USA 2 nominations: “Best Motion Picture – Drama” and “Best Original Score-Motion Picture” (John Williams)

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Thursday, February 16, 2023

Review: Spielberg's "THE COLOR PURPLE" Still Wants to Be Seen (Celebrating "The Fabelmans")

TRASH IN MY EYE No. 7 of 2023 (No. 1896) by Leroy Douresseaux

The Color Purple (1985)

Running time: 154 minutes (2 hours, 34 minutes)

MPAA – PG-13

DIRECTOR: Steven Spielberg

WRITER: Menno Meyjes (based on the novel by Alice Walker)

PRODUCERS: Steven Spielberg; Quincy Jones, Frank Marshall, and Kathleen Kennedy

CINEMATOGRAPHER: Allen Daviau (D.o.P.)

EDITOR: Michael Kahn

COMPOSER: Quincy Jones

Academy Award nominee

DRAMA

Starring: Whoopi Golderg, Danny Glover, Oprah Winfrey, Margaret Avery, Willard E. Pugh, Akosua Busia, Desreta Jackson, Adolph Caesar, Rae Dawn Chong, Dana Ivey, Leonard Jackson, Bennet Guillory, and Laurence Fishburne

The Color Purple is a 1985 drama and period film directed by Steven Spielberg. The film is based on the Pulitzer Prize-winning 1982 novel, The Color Purple, by author Alice Walker. The Color Purple the movie focuses on an African-American woman who suffers abuse from the men in her life, but finds strength in the women close to her.

The Color Purple opens in 1909, in rural Hartwell County, Georgia. Celie Harris (Desreta Jackson) is a teenage African-American girl living with an abusive father who rapes her. He has already fathered two children by Celie, both of which he sold shortly after Celie gave birth. Celie's father eventually gives her to an older man named Albert Johnson (Danny Glover), who Celie calls “Mister.”

A widower with three children, Mister initially wants to marry Celie's younger sister, Nettie (Akosua Busia). Now, Mister abuses Celie, while his children also mistreat her. One day, Nettie arrives at Mister's door, thrown out after rejecting her father's advances. Nettie eventually also has to fight off a rape attempt by Mister, who promptly throws her off his property.

In the years and decades that follow, an adult Celie (Whoopi Goldberg), grown meek from years of abuse, finds strength in two other women. The first is Mister's daughter law, Sofia (Oprah Winfrey). The second is a woman Mister once wanted to marry, jook joint singer, Shug Avery (Margaret Avery). For Celie, however, there are still great secrets from her past that will eventually be revealed.

It had been nearly 37 years since I last watched The Color Purple. I cried so much during the first time I saw it that I had not been able to watch it again until now. Over the years, I planned to view it a number of times, especially during the twentieth (2005) and twenty-fifth (2010) anniversaries of its original release. It is also one of my favorite directorial efforts by Steven Spielberg. I forced myself to watch it again because of my “celebration” of the release of Spielberg's recent autobiographical film, The Fabelmans.

The film's themes of domestic violence, pedophilia, and sexism still resonate, and, for me, the themes of racism and sexism seem to have strengthen with time. The screenplay does so much to emphasize these themes that it is as if it creates a world within the larger world where abuse and degradation are the natural order. Over the years, I have encountered people, mostly black men, who say that the film makes black men look bad. I say that the film makes an honest portrayal of the abuse that black women faced in the past – from both black and white men. [Over time, I have spoken with African-American women who personally knew older African-American women whose experiences are of the exact kind of abuse faced by Celie, Nettie, Sofia and other women in the film.]

That aside, I consider The Color Purple to be one of Spielberg's most subtle efforts as a director. Some contemporaneous commentary said that the film was overly sentimental, but I find that Spielberg allows the film's narrative and characters to grow naturally from the screenplay. In collaboration with his longtime editor, the Oscar-winning Michael Kahn (nominated here), Spielberg creates the illusion that he is simply capturing the evolution of Celie's tale from its harsh beginnings to its golden-hued happy ending. The Color Purple feels organic … although I don't think anyone would have described it as such when it was first released.

One of the most impressive things about The Color Purple is that two its best performances are by actresses who have little or no acting experience – Whoopi Golderg as Celie and Oprah Winfrey as Sofia. Spielberg gets these performers to create characters that are unique in form and substance. To me, characters like Celie and Sofia seem so genuine because they were utterly new to American cinema, and truthfully, there has been nothing like them since.

Truthfully, all the film's performances are unique and winning. Margaret Avery amazingly makes her Shug Avery an oasis in the often relentless pain of this film. Danny Glover is also brilliantly cruel as the awful Mister, and Willard Pugh is sweet and charming as his son and Sofia's husband, the hapless Harpo.

At the 58th Academy Awards, The Color Purple did not win in any of the 11 categories in which it was nominated. In fact, Steven Spielberg did not even receive a “Best Director” Oscar nomination. In the decades since its release, The Color Purple remains as relevant today as it was being a historical and monumental release in 1985 and 1986. The films that bested it at the Oscars are largely forgotten compared to it. Alice Walker's novel was also adapted into a 2005 Broadway musical, and the film adaptation of that musical is scheduled for release later this year (2023), as of this writing.

As a triumph in Spielberg's filmography, some may discount The Color Purple, considering the films Spielberg has made since then (such as Schindler's List). Still, as a line in the film says (more or less), The Color Purple wants to be seen and loved … and it still is.

10 of 10

Thursday, February 16, 2023

NOTES:

1986 Academy Awards, USA: 11 nominations: “Best Picture” (Steven Spielberg, Kathleen Kennedy, Frank Marshall, and Quincy Jones), “Best Actress in a Leading Role” (Whoopi Goldberg), “Best Actress in a Supporting Role” (Margaret Avery), “Best Actress in a Supporting Role” (Oprah Winfrey), “Best Writing, Screenplay Based on Material from Another Medium” (Menno Meyjes), “Best Cinematography” (Allen Daviau), “Best Art Direction-Set Decoration” (J. Michael Riva, Bo Welch, and Linda DeScenna), “Best Costume Design” (Aggie Guerard Rodgers), “Best Music, Original Song” (Quincy Jones-music/lyrics, Rod Temperton-music/lyrics, and Lionel Richie-lyrics for the song “Miss Celie's Blues (Sister)”), “Best Music, Original Score” (Quincy Jones, Jeremy Lubbock, Rod Temperton, Caiphus Semenya, Andraé Crouch, Chris Boardman, Jorge Calandrelli, Joel Rosenbaum, Fred Steiner, Jack Hayes, Jerry Hey, and Randy Kerber), and “Best Makeup” (Ken Chase)

1987 BAFTA Awards: 1 nomination: “Best Screenplay – Adapted” (Menno Meyjes)

1986 Golden Globes, USA: 1 win: “Best Performance by an Actress in a Motion Picture – Drama” (Whoopi Goldberg); 4 nominations: “Best Motion Picture – Drama,” “Best Director - Motion Picture” (Steven Spielberg), “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Oprah Winfrey), and “Best Original Score – Motion Picture” (Quincy Jones)

1986 Image Awards (NAACP): 2 wins: “Outstanding Motion Picture” and “Outstanding Lead Actress in a Motion Picture” (Whoopi Goldberg)

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Saturday, November 19, 2022

Review: Spielberg's "INDIANA JONES and the Temple of Doom" Still Goes Boom! (Celebrating "The Fabelmans")

TRASH IN MY EYE No. 71 of 2022 (No. 1883) by Leroy Douresseaux

Indiana Jones and the Temple of Doom (1984)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – PG
DIRECTOR: Steven Spielberg
WRITERS: Willard Huyck and Gloria Katz; from a story by George Lucas
PRODUCER: Robert Watts
CINEMATOGRAPHER: Douglas Slocombe (D.o.P.)
EDITOR: Michael Kahn, A.C.E.
COMPOSER: John Williams
Academy Awards winner

ACTION/ADVENTURE

Starring: Harrison Ford, Kate Capshaw, Ke Huy Quan, Amrish Puri, Roy Chiao, Roshan Seth, Philip Stone, Raj Singh, D. R. Nanayakkara, Dan Aykroyd, and Pat Roach

Indiana Jones and the Temple of Doom is a 1984 action-adventure film from director Steven Spielberg. It is the second entry in the “Indiana Jones” film franchise that began with the 1981 film, Raiders of the Lost Ark (1981), but it is also a prequel to Raiders. In the Temple of Doom, Indiana Jones takes on a secret cult in India in order to reclaim a sacred rock stolen from a simple Indian village.

Indiana Jones and the Temple of Doom opens in Shanghai, 1935. Dr. Henry “Indiana” Jones, Jr. a.k.a. “Indy” (Harrison Ford) has been hired by Lao Che (Roy Chiao), a Shanghai crime boss, to find the remains of Emperor Nurhaci. Che betrays Indy, who goes on the run with Willie Scott (Kate Capshaw), one of Che's nightclub singers, and Short Round (Ke Huy Quan), a young Chinese orphan who is Indy's sidekick.

After surviving a plane crash orchestrated by Lao Che, the trio ends up in a small village in northern India. The village chieftain (D. R. Nanayakkara) believes that Indy's arrival is fated, and that he will help the village with two problems. The first is to retrieve the village's stolen “Shivalinga,” a rock the villagers hold in high esteem. Indy believes that this rock is one of the five sacred “Sankara stones.” The chieftain also wants Indy to find the villagers' missing children. The chieftain informs Indy that the village's troubles began when the new Maharajá reopened the Pankot Palace in Pankot, an opening that has brought back a “dark light” to the land.

Traveling to Pankot Palace, Indy, Willie, and Short Round discover that the Maharajá of Pankot (Raj Singh) is a child, and beneath his palace, the ancient “Thuggee” cult has also been revived. The cult leader, Mola Ram (Amrish Puri), wants to find all five Sankara stones in order to gain power from the Thuggees' goddess, Kali. Now, Indiana Jones has taken it upon himself to stop the cult.

For years, I encountered pretentious film fans who despised Indiana Jones and the Temple of Doom and who insisted that I should hate it, too. However, I have always found Temple of Doom to be endlessly entertaining, but I also understand that it has a lot to live up to. It is the sequel (prequel) to one of the most popular movies of all time and one of the greatest films of all time (as far as I'm concerned), Raiders of the Lost Ark.

Indiana Jones and the Temple of Doom is a great action-adventure film precisely because the filmmakers were not trying to make “Raiders of the Lost Ark II” so much as they were creating a franchise. Temple of Doom is essentially world-building, as the film, especially early in the narrative, hints that Indiana Jones has had many adventures. So before there was Indiana Jones and the Raiders of the Lost Ark, there was Indiana Jones and the Temple of Doom. That is what I liked most when I first saw it and still like: Indiana Jones was not a one-time great thing; it was new universe and a new series of adventures centering on an archaeologist who was as much a cowboy as he was an professor and academic.

Indiana Jones and the Temple of Doom also remains the most unique film in the series. To date, it is the only entry that does not have a single moment set in the United States. Set in China and India, it is the only film in the series in which the main cast is largely non-white. The film has an intriguing villain to open the story, the Shanghai crime boss, Lao Che, and a superb main villain, Mola Ram, the Thuggee cult leader. Both actors play their respective villainous roles quite well.

Indiana Jones and the Temple of Doom is also the first film in the series to suggest that Indy has a network of helpers or at least a circle of associates. For me, Short Round is an excellent sidekick, and he fits better than Kate Capshaw's Willie Scott, who seems like nothing more than a noisy dame.

Indiana Jones and the Temple of Doom also has excellent production values, especially its costumes, hair and make-up, and art direction and sets. The film won an Oscar for its visual effects, which remain impressive four decades later, especially for the scenes involving the lava pit and the chase through the mine's tunnel system.

I am watching and, in some cases, re-watching early Steven Spielberg films, such as Duel, Jaws, and 1941, in anticipation of Spielberg's autobiographical film, The Fabelmans. I have lost track of how many times I have watched at least part of Indiana Jones and the Temple of Doom, but this is the first time that I have watched the film in its entirety in decades. Watching it again, I am sure now, more than ever, that I love this film. Indiana Jones and the Temple of Doom was the first sequel to Raiders of the Lost Ark, and to date, it remains the best.

8 of 10
A
★★★★ out of 4 stars

Saturday, November 19, 2022

You can purchase the "INDIANA JONES 4-Movie Collection" Blu-ray or DVD here at AMAZON.

NOTES:
1985 Academy Awards, USA: 1 win: “Best Effects, Visual Effects” (Dennis Muren, Michael J. McAlister, Lorne Peterson, and George Gibbs) and 1 nomination: “Best Music, Original Score” (John Williams)

1985 BAFTA Awards: 1 win: “Best Special Visual Effects” (Dennis Muren, George Gibbs, Michael J. McAlister, and Lorne Peterson; 3 nominations: “Best Cinematography” (Douglas Slocombe), “Best Editing” (Michael Kahn), and “Best Sound” (Ben Burtt, Simon Kaye, and Laurel Ladevich)

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

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Saturday, November 5, 2022

Review: Spielberg's "1941" - Raiders of the Lost Invasion (Countdown to "The Fabelmans")

TRASH IN MY EYE No. 67 of 2022 (No. 1879) by Leroy Douresseaux

1941 (1979)

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

MPAA – PG

DIRECTOR: Steven Spielberg

WRITERS: Robert Zemeckis and Bob Gale; from a story by Robert Zemeckis, Bob Gale, and John Milius

PRODUCER: Buzz Feitshans

CINEMATOGRAPHER: William A. Fraker (D.o.P.)

EDITOR: Michael Kahn

COMPOSER: John Williams

Academy Award nominee

COMEDY/HISTORICAL/WAR

Starring: John Belushi, Dan Aykroyd, Christopher Lee, Nancy Allen, Ned Beatty, John Candy, Elisha Cook, Jr., Bobby Di Cicco, Lorraine Gary, Murray Hamilton, Dianne Kay, John Landis, Michael McKean, Tim Matheson, Toshiro Mifune, Dick Miller, Warren Oates, Slim Pickens, Mickey Rourke, Lionel Stander, Robert Stack, Dub Taylor, Treat Williams, and Frank McRae

1941 is a 1979 comedy, war movie, and period film directed by Steven Spielberg. Although not as popular or critically acclaimed as Spielberg's earlier films, 1941 began to gain in popularity after an expanded version of the film aired on television. 1941 is set almost a week after the Japanese invasion of Pearl Harbor and finds various California residents in a state of panic about an alleged inevitable Japanese attack on the state.

1941 opens on Saturday, December 13, 1941, at 7:01 a.m. (six days after the attack on Pearl Harbor). Surfacing off the Northern California coast is a submarine of the Imperial Japanese Fleet, commanded by Akiro Mitamura (Toshiro Mifune). Also aboard, as an annoying advisor, is Nazi Kriegsmarine officer, Wolfgang von Kleinschmidt (Christopher Lee). Because he did not participate in the attack on Pearl Harbor, Commander Mitamura wants to destroy something in Los Angeles, in an act or honor. He has decided to target “Hollywood,” although he and his crew are having trouble finding the place.

Meanwhile, in Santa Monica, servicemen from the U.S. Army and Navy have overrun the town. Wayward youth, Wally Stephens (Bobby Di Cicco), is trying to hold on to his girlfriend, Betty Douglas (Dianne Kay). She is the target of the unwanted attentions of Corporal Chuck Sitarski (Treat Williams), a member of a 10th Armored Division tank crew. The crew, which also consists of Sergeant Frank Tree (Dan Aykroyd) and Private First Class Foley (John Candy), is suddenly dealing with its newest member, Private Ogden Johnson Jones (Frank McRae), a Black serviceman!

In Death Valley, the cigar-chomping Captain Wild Bill Kelso (John Belushi) of the United States Army Air Forces aims his fighter plane towards L.A. where he believes he will help fight off a Japanese attack. Everything is going crazy around everyone, and there seems to be a hundred melodramas and subplots. Can Americans stop fighting Americans long enough prevent a real Japanese attack on Los Angeles and the surrounding area?

I recently saw 1941 for the first time in preparation for this review. Although I am a huge fan of Steven Spielberg, 1941 was one of his films that I was not really interested in seeing. I found a DVD copy containing a “restored version” of the film that is almost half an hour longer than the original theatrical release. When I was a kid, 1941 was considered a “box office bomb,” which is apparently not true. The film reportedly did make a profit, but it was not as financially or as critically well received as Spielberg's previous films, Close Encounters of the Third Kind (1977) and Jaws (1975).

For what it is, 1941 is way too long, even at its original length (1 hour, 58 minutes). Still, it is funny in many spots, and, in spite of a really large cast, all the individual subplots and comic melodramas do come together so that the film does not feel disjointed. I like that 1941 gives me a chance to see some of my favorite actors: Toshiro Mifune, Christopher Lee, Warren Oates, Ned Beatty, and character actors: Dick Miller, Dub Taylor and Elisha Cook, Jr., all of whom are now deceased. Another favorite, Robert Stack, practically steals the film as Major General Joseph W. Stillwell, a character that seems to center the film. And I'm always happy to see Dan Aykroyd.

One thing that really stuck out to me is that much of 1941 seems like a dry run for the action sequences in my favorite Spielberg film, Raiders of the Lost Ark, which would be his next film after 1941. The action in 1941 is conveyed in a humorous mood, and Raiders, more of an adventure film than an action film, features action scenes that are breath-taking, but are delivered with something like a wink and a nod.

Regardless of where it is positioned in Steven Spielberg's filmography, 1941 shows that, as the guy at the helm, Spielberg's most impressive talent may be his ability to gather a large cast and crew and very talented collaborators in order to make really spectacular films that are epic in scope, even in their quite and funny moments. 1941 is not a great film, but there are moments during this movie when it is obvious that one of the greatest filmmakers of all time is the guiding force and the main man behind it.

5 of 10

B-

★★½ out of 4 stars

Saturday, November 5, 2022

NOTES:

1980 Academy Awards: 3 nominations: “Best Cinematography” (William A. Fraker), “Best Sound” (Robert Knudson, Robert Glass, Don MacDougall, and Gene S. Cantamessa), and “Best Effects, Visual Effects” (William A. Fraker, A.D. Flowers, and Gregory Jein)

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Thursday, October 27, 2022

Review: Steven Spielberg's "Close Encounters of the Third Kind" (Countdown to "The Fabelmans")

TRASH IN MY EYE No. 64 of 2022 (No. 1876) by Leroy Douresseaux

Close Encounters of the Third Kind (1977)
Running time: 135 minutes (2 hour, 15 minutes)
MPAA – PG
WRITER/DIRECTOR: Steven Spielberg
PRODUCERS: Julia Phillips and Michael Phillips
CINEMATOGRAPHER: Vilmos Zsigmond (D.o.P.)
EDITOR: Michael Kahn
COMPOSER: John Williams
Academy Award winner

SCI-FI/ADVENTURE/MYSTERY/DRAMA

Starring: Richard Dreyfuss, François Truffaut, Terri Garr, Melinda Dillon, Bob Balaban, and Cary Guffey

Close Encounters of the Third Kind is a 1977 science fiction film written and directed by Steven Spielberg. The film follows an everyday blue-collar worker from Indiana who has a life-changing encounter with a UFO and then, embarks on a cross-country journey to the place where a momentous event is to occur.

Close Encounters of the Third Kind opens in the Sonoran Desert. There, French scientist Claude Lacombe (François Truffaut), his American interpreter, David Laughlin (Bob Balaban), and a group of other researchers make a shocking discovery regarding a three-decade-old mystery.

Then, the film introduces Roy Neary (Richard Dreyfuss), an rural electrical lineman living in Muncie, Indiana with his wife, Ronnie (Terri Garr), and their three children. One night, while working on a power outage, Roy has a “close encounter” with a UFO (unidentified flying object). The encounter is so intense that the right side of Roy's face is lightly burned, and it also becomes a kind of metaphysical experience for Roy. He becomes fascinated with the UFO and obsessed with some kind of mountain-like image that won't leave his mind.

Roy isn't the only one who has had a close encounter. Single mother Jillian Guiler (Melinda Dillon) watches in horror as her three-year-old son, Barry Guiler (Cary Guffey), is abducted, apparently by a UFO. Now, Roy and Jillian are headed to a place they have never been, Devils Tower in Moorcroft, Wyoming, where they will hopefully find answers to the questions plaguing their minds.

As I await the release of Steven Spielberg's semi-autobiographical film, The Fabelmans, I have been re-watching and, in some cases, watching for the first time, Spielberg's early films. Thus far, I have watched Duel (the TV film that first got Spielberg noticed), The Sugarland Express (his debut theatrical film), and Jaws (which I have seen countless times). I did not see Close Encounters of the Third Kind when it first arrived in movie theaters, but I finally got to watch it when it debuted on television. I recently watched a DVD release of what is known as Close Encounters of the Third Kind: The Special Edition, a shortened (132 minutes long compared to the original's 135 minutes) and altered version of the film that Columbia Pictures released in August 1980.

The truth is that I have never been as crazy about Close Encounters of the Third Kind the way I have been about such Spielberg's films as Jaws, Raiders of the Lost Ark, and Jurassic Park. I liked Close Encounters the first time I saw it (a few years after its theatrical release), but I had expected a lot from it after hearing such wonderful things about the film from acquaintances who had seen it in a theater. I was a bit underwhelmed,. I liked Close Encounters, but was not “wowed” by it, and was less so the second time I saw it a few years after the first time.

Close Encounters of the Third Kind is a combination of science fiction, adventure, drama, and mystery. The drama works, especially when Spielberg depicts the trouble that Roy Neary's obsession causes his family and also the terror of the “attack” on Jillian Guiler and her son, Barry. Roy's adventure and journey are quite captivating and result in the events of the film's final half hour, which is the part of the film that many consider to be marvelous. Close Encounters' last act certainly offers an impressive display of special effects and a dazzling light show.

I am attracted to the sense of wonder and discovery that infuses much of Close Encounters of the Third Kind. I think my problem is that it seems like three movies in one: Claude Lacombe and Davie Laughlin's story, Roy's story, and the the big “close encounter” at Devils Tower. None of them really gets the time to develop properly, so the film's overall narrative and also the character development are somewhat shallow. There is a lot to like about Close Encounters of the Third Kind, and it is an impressive display of Spielberg's filmmaking skills. However, I am done with it. I don't need to see it again, although I am a huge fan of UFO-related media. I simply cannot warm to Close Encounters of the Third Kind the way I have with other Spielberg films.

7 of 10
B+
★★★½ out of 4 stars

Thursday, October 27, 2022

NOTES:
1978 Academy Awards, USA: 2 wins: “Best Cinematography” (Vilmos Zsigmond) and a “Special Achievement Award” (Frank E. Warner for sound effects editing); 7 nominations: “Best Actress in a Supporting Role” (Melinda Dillon), “Best Director” (Steven Spielberg), “Best Art Direction-Set Decoration” (Joe Alves, Daniel A. Lomino, and Phil Abramson), “Best Sound” (Robert Knudson, Robert Glass, Don MacDougall, and Gene S. Cantamessa), “Best Film Editing” (Michael Kahn), “Best Effects, Visual Effects” (Roy Arbogast, Douglas Trumbull, Matthew Yuricich, Gregory Jein, and Richard Yuricich), and “Best Music, Original Score” (John Williams)

1979 BAFTA Awards: 1 win: Best Production Design/Art Direction (Joe Alves); 8 nominations: “Anthony Asquith Award for Film Music” (John Williams); “BAFTA Film Award Best Cinematography” (Vilmos Zsigmond), “Best Direction” (Steven Spielberg), “Best Film,” “Best Film Editing” (Michael Kahn), “Best Screenplay” (Steven Spielberg), “Best Sound” (Gene S. Cantamessa, Robert Knudson, Don MacDougall, Robert Glass, Stephen Katz, Frank E. Warner, Richard Oswald, David M. Horton, Sam Gemette, Gary S. Gerlich, Chester Slomka, and Neil Burrow), and “Best Supporting Actor? (François Truffaut)

1978 Golden Globes, USA: 4 nominations: “Best Motion Picture – Drama,” “Best Director - Motion Picture” (Steven Spielberg), “Best Screenplay - Motion Picture” (Steven Spielberg), and “Best Original Score - Motion Picture” (John Williams)

2007 National Film Preservation Board, USA: 1 win: “National Film Registry”

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

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Friday, September 23, 2022

Review: Steven Spielberg's "JAWS" is Still Hungry For Your Ass (Countdown to "The Fabelmans")

TRASH IN MY EYE No. 54 of 2022 (No. 1866) by Leroy Douresseaux

Jaws (1975)
Running time: 124 minutes (2 hours, 4 minutes)
Rated – PG by the Classification and Ratings Administration
DIRECTOR: Steven Spielberg
WRITERS: Peter Benchley and Carl Gottlieb (based on the novel by Peter Benchley)
PRODUCERS: David Brown and Richard D. Zanuck
CINEMATOGRAPHER: Bill Butler (D.o.P.)
EDITOR: Verna Fields
COMPOSER: John Williams
Academy Award winner

DRAMA/THRILLER/ADVENTURE

Starring: Roy Scheider, Richard Dreyfuss, Robert Shaw, Lorraine Gary, Murray Hamilton, Carl Gottlieb, Jeffrey Kramer, Chris Rebello, Jay Mello, Lee Fierro, Jeffrey Voorhees, Robert Nevin, and Susan Backlinie

Jaws is a 1974 adventure drama and thriller film directed by Steven Spielberg. The film is based on the 1974 novel, Jaws, by author Peter Benchley, who also wrote (with Carl Gottlieb) the screenplay adapting his novel. Jaws the film is set in and around a beach community that is dealing with a killer shark and focuses on the police chief who leads a team to hunt down and kill the creature.

Jaws opens in the New England beach town of Amity Island. During a nighttime beach party, a young woman, Christine “Chrissie” Watkins (Susan Backlinie), goes skinny dipping in the ocean. While treading water, something unseen attacks Chrissie and pulls her under the water, The next day, local police Chief Martin Brody (Roy Scheider) and Deputy Hendricks (Jeffrey Kramer) find the partial remains of Chrissie's body on the shore of the beach.

The medical examiner concludes that Chrissie died due to a shark attack. Still, Amity's Mayor Larry Vaughn (Murray Hamilton) is more concerned with the town's summer economy, which is wholly reliant on tourism, and does not want the beaches closed. Then, the fact that a shark, specifically a “great white shark,” is hunting the waters off the island becomes reality when the shark attacks and kills a boy named Alex Kintner (Jeffrey Voorhees).

After another attack, Chief Brody takes matters into his own hands. He joins Matt Hooper (Richard Dreyfuss), a marine biologist who specializes in shark, and Quint (Robert Shaw), a crusty old shark fisherman, on a seafaring mission to hunt and kill the shark. But that mission proves more difficult than any of the many realized.

I have seen Jaws so many times that I have lost count. Still, the movie seems eternally fresh to me, in a semi-sepia tone kind of way. Jaws fascinates me because it seems to me, at least, to be like three short films merged into one film. The first section introduces the shark attacks and Chief Brody's misgivings and investigations. The second section pits Brody against the town fathers, led by money grubber, Mayor Vaughn, who want the beaches open at all cost. The film's final section focuses on the boys' adventure of Brody, Matt Hooper, and Quint going shark-hunting and ending up being the hunted. As much as I enjoy the film's final act, I find the first section of the film to be the most intriguing because of its sense of mystery. What is really beneath the waves, coming up to chomp on young folks?

Jaws is essentially the prototypical summer blockbuster, a kind of film that is designed to get as many people into movie theaters and chomping on popcorn and guzzling soda. The blockbuster, especially the summer kind, is the cinema of the sensations: thrills and chills to make the viewer's body tingle and get the heart racing. The bracing action scenes keep the viewer on the edge of his or her seat. Steven Spielberg turned out to be the perfect director of summer blockbusters – at least for awhile. He could press all our emotional buttons and ensnare our imaginations so that all we thought about was what he wanted us to think about – for two or so hours.

Still, Spielberg's prodigious skills as a filmmaker are evident. He is a superb film artist and a consummate cinematic entertainer. He gets the best out of his cast and crew and creatives – from composer John Williams' iconic and ominous shark-presence theme to Bill Butler's expansive cinematography that turns this movie into a vista of natural wonders. Plus, Spielberg allows his talented cast to really show their dramatic chops, especially Richard Dreyfuss as Matt Hooper and Richard Shaw as Quint. Even Lorraine Gary gets to make the most of her moments as Ellen Brody.

If I am honest, however, Spielberg has a co-captain on this ship. Roy Scheider (1932-2008) brings the film together and at times, holds it together. Steady as a rock, Chief Brody epitomizes the small town law man who has to save the town not only from the bad guy – a shark in this instance – but also from themselves. I think serious movie lovers and film fans recognize both the breath and depth of Scheider's talent and that he was a mesmerizing film presence. If Jaws is the film that shot Spielberg's career into the stratosphere like a rocket, Scheider can certainly be described as the rocket booster.

9 of 10
A+
★★★★+ out of 4 stars

Friday, September 23, 2022

NOTES:
1976 Academy Awards, USA: 3 wins: “Best Sound” (Robert L. Hoyt, Roger Heman Jr., Earl Madery, and John R. Carter), “Best Film Editing” (Verna Fields), and “Best Music, Original Dramatic Score” (John Williams); 1 nomination: “Best Picture” (Richard D. Zanuck and David Brown)

1976 BAFTA Awards: 1 win: “Anthony Asquith Award for Film Music” (John Williams for Jaws and also The Towering Inferno); 6 nominations: “Best Actor”(Richard Dreyfuss), “Best Direction” (Steven Spielberg), “Best Film,” “Best Film Editing” (Verna Fields), “Best Screenplay” (Peter Benchley and Carl Gottlieb), and “Best Sound Track” (John R. Carter and Robert L. Hoyt)

1976 Golden Globes, USA: 1 win: “Best Original Score - Motion Picture” (John Williams); 3 nominations: “Best Motion Picture – Drama,” (Best Screenplay - Motion Picture” (Peter Benchley and Carl Gottlieb), and “Best Director - Motion Picture” (Steven Spielberg)

2001 National Film Preservation Board, USA: 1 win: “National Film Registry”

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

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Saturday, September 3, 2022

Review: Steven Spielberg's THE SUGARLAND EXPRESS (Countdown to "The Fabelmans")

TRASH IN MY EYE No. 51 of 2022 (No. 1863) by Leroy Douresseaux

The Sugarland Express (1974)
Running time: 110 minutes (1 hour, 50 minutes)
Rated – PG
DIRECTOR: Steven Spielberg
WRITERS: Hal Barwood and Matthew Robbins; from a story by Steven Spielberg and Hal Barwood and Matthew Robbins
PRODUCERS: David Brown and Richard D. Zanuck
CINEMATOGRAPHER: Vilmos Zsigmond (D.o.P.)
EDITORS: Edward M. Abroms and Verna Fields
COMPOSER: John Williams

CRIME/DRAMA/ACTION

Starring: Goldie Hawn, William Atherton, Ben Johnson, Michael Sacks, Gregory Walcott, Steve Kanaly, Louise Latham, Dean Smith, and Harrison Zanuck

The Sugarland Express is a 1974 crime drama, road movie, and action film directed by Steven Spielberg. The film is Spielberg's directorial debut in theatrical films. Based on a real life event, The Sugarland Express focuses on a young woman and her prison-escapee husband who go on the run in order to retrieve their toddler son from foster care.

The Sugarland Express opens in 1969 and introduces 25-year-old Lou Jean Sparrow Poplin (Goldie Hawn). She visits her incarcerated husband, 25-year-old Clovis Michael Poplin (William Atherton), at the Beauford H. Jester Unit, a pre-release center of the Texas Department of Criminal Justice. Lou Jean wants to tell Clovis that their son, two-year-old Baby Langston (Harrison Zanuck), has been placed in foster care by the Child Welfare Board.

Lou Jean convinces Clovis that she is breaking him out of prison, although he only has a few months left in pre-release, so that they can retrieve their child. After sneaking out of the prison, the couple ends up in a car crash. They waylay a Texas Highway Patrolman, Trooper Maxwell Slide (Michael Sacks), and taking him hostage and taking possession of his patrol car. Clovis and Lou Jean go on the run, headed for Sugarland, Texas, the home of Baby Langston's foster parents. Meanwhile, Captain Tanner (Ben Johnson) of the Texas Highway Patrol, leads an ever-growing caravan of police cars in dogged pursuit of Lou Jean and Clovis.

In anticipation of Steven Spielberg's upcoming “semi-autobiographical film, The Fablemans, I am perusing his filmography. I started with the television movie that first got him noticed, Duel (1971), and now I am at his first theatrical film.

The Sugarland Express is based on a real event that occurred in Texas in the spring of 1969. The film's lead characters, Lou Jean and Clovis, are not so much likable as they are pitiable because they are so stupid. Goldie Hawn gives a good performance as Lou Jean, but this isn't a “Goldie Hawn picture,” although her name is placed above the title on movie posters. However, Trooper Slide and his boss, Captain Tanner (played by the great Ben Johnson), are quite likable or even lovable. Still, this film is not so much about the characters as it is about the situation.

I think that what makes this film really work is how Steven Spielberg plays out the situation as a film narrative. I've always said that he gets the best out of his cast, crew, and creatives. The Sugarland Express is a slow-moving train wreck because the conductors, Lou Jean and Clovis, don't know what they are doing and do not really think out their decisions. Yet, they are … pulling a train of cop cars, and Spielberg's attention to the thrilling and exciting aspects of this situation: car chases and crashes, shoot-outs, colorful locales, etc. add some zing to this express to Sugarland.

He finds time to give us just enough of a taste of the Bonnie and Clyde-like Lou Jean and Clovis and of Captain Tanner and Slide to keep the audience interested in the fate of the characters, if not the well-being of all. Even the Poplins' fans and admirers are a motley lot of lovable regular folks.

As the film races towards its end, Spielberg turns The Sugarland Express into a mesmerizing thriller. Every performance, small and large, takes on dramatic heft, and the audience knows one thing – this shit is for real, now. Seriously, it is in the last half-hour of The Sugarland Express that we can see the style and techniques that Spielberg used in his second film, Jaws, a legendary blockbuster movie and one of the most influential films of the last half-century.

7 of 10
B+
★★★½ out of 4 stars

Saturday, September 3, 2022

NOTES:
1974 Cannes Film Festival: 1 win: “Best Screenplay” (Hal Barwood, Matthew Robbins, and Steven Spielberg); 1 nominee” “Palme d'Or” (Steven Spielberg)

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

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Friday, August 12, 2022

Review: Steven Spielberg's "Duel" (Countdown to "The Fabelmans")

TRASH IN MY EYE No. 46 of 2022 (No. 1858) by Leroy Douresseaux

Duel (1971) – TV movie
Running time: 90 minutes (1 hour, 30 minutes)
MPAA – PG
DIRECTOR: Steven Spielberg
WRITER: Richard Matheson (based on his short story)
PRODUCER: George Eckstein
CINEMATOGRAPHER: Jack a Marta (D.o.P.)
EDITOR: Frank Morriss
COMPOSER: Billy Goldenberg
Primetime Emmy Award winner

THRILLER/ACTION

Starring: Dennis Weaver, Jacqueline Scott, Eddie Firestone, Lou Frizzell, Lucille Benson, and Carey Loftin

Duel is a 1971 action-thriller and television film directed by Steven Spielberg. The film is based on the short story, “Duel,” which was first published in the April 1971 issue of Playboy Magazine. It was written by Richard Matheson, who also wrote this film's teleplay (screenplay). Duel the movie focuses on a business commuter pursued and terrorized by a driver in a massive tanker truck.

Duel was originally a “Movie of the Week” that was broadcast on ABC November 20, 1971. Duel was the first film directed by Steven Spielberg, and it is considered to be the film that marked young Spielberg as an up and coming film director. Following its successful air on television, Universal had Spielberg shoot new scenes for Duel in order to extend it from its original length of 74 minutes for TV to 90 minutes for a theatrical release. This extended version of Duel was released to theaters internationally and also received a limited release in the United States. The theatrical version is the subject of this review.

Duel focuses on David Mann (Dennis Weaver), a middle-aged salesman. One morning, he leaves his suburban home to drive across California on a business trip. Along the way, he encounters a dilapidated tanker truck that is driving too slow for David. He drives his car past the tanker, but a short while later, the tanker speeds up and roars past David's car. After David passes the tanker again, the truck driver blasts his horn. That sets off a cat and mouse game in which the tanker's seemingly malevolent driver pursues David's car and terrorizes him. And nothing David does can help him to escape the pursuit.

I think that the mark of a great film director is his or her ability to get the most out of his or her cast and creatives and a maximum effort from the film crew. Duel is a display of excellent work on the stunt performers and drivers. Together with the camera crew, sound technicians, and film editor, they deliver a small screen film that offers a big cinematic duel between a small car and relentless tanker truck.

Dennis Weaver delivers a performance in multiple layers as David Mann. Weaver makes Mann seem like a real businessman type, a cog-in-the-machine and ordinary fellow just trying to make it in the world. Weaver does not seem to be acting so much as he is living and fighting for survival.

Behind all this is the young maestro, Steven Spielberg. It is not often that TV movies get the cinematic treatment, but I imagine that the original production company, Universal Television, was quite pleased when they first saw this film. It is genuinely thrilling and unsettling, and the truck driver (played by stuntman Carey Loftin), who is unseen except for his forearm and waving hand and his jeans and cowboy boots, can unnerve like the best horror film slasher killers. The way that dilapidated tanker truck moves makes me think that it was a precursor to the shark in Jaws, which would become Spielberg's first blockbuster theatrical film just a few years (1975) after the release of Duel.

Richard Matheson's script for the film seems to want to make the viewer really wonder about the driver. Is he evil... or a maniac... or demented prankster? Why does he focus on David Mann? Has he done this before? What is his endgame with David? Does he want to kill him or just punish him. Does he want to torment David before he crushes him and his car beneath his tanker truck's wheels?

Steven Spielberg brings those questions to fearsome life on the small screen and later big screen. He makes Duel work both by scaring us and David with the big bad truck and by fascinating us with all these questions concerning the trucker's motivations and David's fate. Hindsight is just as accurate as foresight in the case of Duel. Steven Spielberg was great, practically from the beginning.

7 of 10
A-
★★★½ out of 4 stars

Friday, August 12, 2022

NOTES:
1972 Primetime Emmy Awards: 1 win: “Outstanding Achievement in Film Sound Editing” (Jerry Christian, James Troutman, Ronald LaVine, Sid Lubowm Richard Raderman, Dale Johnston, Sam Caylor, John Stacy, and Jack Kirschner – sound editors); 1 nomination: “Outstanding Achievement in Cinematography for Entertainment Programming – For a Special or Feature Length Program Made for Television (Jack A. Marta)

1972 Golden Globes, USA: 1 nomination “Best Movie Made for TV”

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

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Monday, February 6, 2017

Review: Tom Hanks is Magnificent in "Bridge of Spies"

TRASH IN MY EYE No. 2 (of 2017) by Leroy Douresseaux

Bridge of Spies (2015)
Running time: 141 minutes (2 hours, 21 minutes)
MPAA – PG-13 for some violence and brief strong language
DIRECTOR: Steven Spielberg
WRITERS: Matt Charman and Ethan Coen and Joel Coen
PRODUCERS: Kristie Macosko Krieger, Marc Platt, and Steven Spielberg
CINEMATOGRAPHER: Janusz Kaminski
EDITOR: Michael Kahn
COMPOSER: Thomas Newman
Academy Award winner

DRAMA/HISTORICAL/THRILLER

Starring: Tom Hanks, Mark Rylance, Amy Ryan, Alan Alda, Austin Stowell, Will Rogers, Sebastian Koch, Jillian Lebling, Noah Schnapp, Eve Hewson, and Jesse Plemons

Bridge of Spies is a 2015 historical drama from director Steve Spielberg. This American-German co-production is based on the true story of lawyer James B. Donovan, who negotiated the exchange of a Soviet KGB spy, who was captured and convicted in the United States, for an American U-2 pilot, who was captured and imprisoned in the Soviet Union. The film's title apparently refers to the place, Glienicke Bridge, where the exchange of prisoners took place.

Bridge of Spies opens in Brooklyn, New York in 1957. The FBI is watching suspected Soviet spy, Rudolf Abel (Mark Rylance), who lives alone as a painter of portraits. Believing that he has recently retrieved a secret message, the FBI agents arrest him. Because he refuses to cooperate, the FBI tries Abel, but the U.S. government wants Abel to get a “fair trial” as counter-propaganda to any Soviet propaganda and also to show the world that America is true to its ideals. [Yeah, segregation and Jim Crow: I get the irony.]

The bar association chooses insurance attorney James B. “Jim” Donovan (Tom Hanks) to defend Abel. Donovan, who had previously worked on the prosecutions of Nazi war crimes in the Nuremberg trials, takes his work as Abel's attorney seriously. However, his firm, the prosecuting attorneys, and the judge want Donovan only to go through the motions. When he refuses and puts all his efforts into saving Abel's life, his professional and social position, as well as his family, suffer for it.

Some time after these events, military pilot Francis Gary Powers (Austin Stowell) flies a U-2 spy plane over the Soviet Union, where he is shot down and captured. The USSR proposes a prisoner exchange: Powers for Abel, and Donovan agrees to handle the negotiations. After he arrives in communist East Germany where the exchange is to take place, Donovan finds numerous complications and competing interests – on all sides. If he is to complete his mission, Donovan will have to decide what is the best deal, but his life and freedom will be on the line.

Tom Hanks has been one of the world's best English-speaking actors of the last four decades. If he painted his house, he could make that look like a major moment in another Oscar-worthy performance. Hanks is a true movie star, not a faker like those young white male actors who are treated like A-list talent only because they have appeared in a hit action or superhero movie.

Hanks can carry a movie, and so, he carries Bridge of Spies, and not because this is a mediocre movie that needs to be propped up. Bridge of Spies is a superbly written period piece that deftly balances the social and political arguments and points of contention of the late 1950s and early 1960s with riveting spy drama and international intrigue.

Of course, director Steven Spielberg makes Bridge of Spies a historical drama with bite in two ways. First, he draws out excellent performances from his cast by allowing veteran actors to do what they do best – fashion the characters on the page of a script into characters on the screen that genuinely feel like real people (as is the case with Mark Rylance as “Rudolf Abel”). Secondly, Spielberg captures the tensions of the time and recreates the Cold War as a moody film that evokes classic Hollywood Film-Noir with the gravitas of a muscular stage drama.

Still, the script, the directing, and the supporting actors are satellites drawn to the gravity and brilliance of Bridge of Spies' sun, Tom Hanks. The best of America is exemplified in Hanks' Jim Donovan, and Hanks is up to the task of making this character an exemplar, rather than a caricature spouting corny bromides. When Donovan tells a CIA agent tailing him what the Constitution of the United States means to a country full of people from a multitude of backgrounds, his words ring out from film and become a beacon – the true shining light on a hill.

Bridge of Spies is an excellent movie, but what makes it exceptional is Tom Hanks giving one of the best performances of his career. That Hanks did not receive an Oscar, BAFTA, or Golden Globe nomination for this performance speaks to the fact that we have come to take a great American film star for granted.

9 of 10
A+

Sunday, May 22, 2016

NOTES:
2016 Academy Awards, USA: 1 win: “Best Performance by an Actor in a Supporting Role” (Mark Rylance); 5 nominations: “Best Motion Picture of the Year” (Steven Spielberg, Marc Platt, and Kristie Macosko Krieger), “Best Writing, Original Screenplay” (Matt Charman, Ethan Coen, and Joel Coen), “Best Achievement in Music Written for Motion Pictures, Original Score” (Thomas Newman), “Best Achievement in Sound Mixing” (Andy Nelson, Gary Rydstrom, and Drew Kunin), and “Best Achievement in Production Design” (Adam Stockhausen-production design, Rena DeAngelo-set decoration, and Bernhard Henrich-set decoration)

2016 Golden Globes, USA: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Mark Rylance)

2016 BAFTA Awards: 1 win: “Best Supporting Actor” (Mark Rylance); 8 nominations: “Best Film” (Kristie Macosko Krieger, Marc Platt, and Steven Spielberg), “David Lean Award for Direction “ (Steven Spielberg), “Best Original Screenplay” (Matt Charman, Ethan Coen, and Joel Coen), “Best Cinematography” (Janusz Kaminski), “Best Editing” (Michael Kahn), “Best Production Design” (Adam Stockhausen, Rena DeAngelo, and Bernhard Henrich), “Best Original Music” (Thomas Newman), and “Best Sound” (Drew Kunin, Richard Hymns, Andy Nelson, and Gary Rydstrom)

The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

Monday, January 30, 2017

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Monday, April 8, 2013

Review: "The Lost World: Jurassic Park" is Both Different and Good

TRASH IN MY EYE No. 26 (of 2013) by Leroy Douresseaux

The Lost World: Jurassic Park (1997)
Running time: 129 minutes (2 hours, 9 minutes)
MPAA – PG-13 for intense sci-fi terror and violence
DIRECTOR: Steven Spielberg
WRITERS: David Koepp (from a novel The Lost World by Michael Crichton)
PRODUCERS: Gerald R. Molen and Colin Wilson
CINEMATOGRAPHER: Janusz Kaminski
EDITOR: Michael Kahn
COMPOSER: John Williams
Academy Award nominee

SCI-FI/ACTION/ADVENTURE/THRILLER

Starring: Jeff Goldblum, Julianne Moore, Pete Postlethwaite, Arliss Howard, Richard Attenborough, Vince Vaughn, Vanessa Lee Chester, Richard Schiff, Peter Stormare, Harvey Jason, Ariana Richards, and Joseph Mazzello

The subject of this movie review is The Lost World: Jurassic Park, a 1997 science fiction adventure film and thriller from director Steven Spielberg. It is the sequel to the 1993 film, Jurassic Park. The Lost World: Jurassic Park is loosely based on the 1995 novel, The Lost World, from author Michael Crichton. The first film is based on Crichton’s 1990 novel, Jurassic Park.

The Lost World: Jurassic Park opens four years after the events depicted in the first film. The story focuses on Dr. Ian Malcolm (Jeff Goldblum), a mathematician, chaos theorist, and one of the survivors of the disaster at Jurassic Park (located on the island of Isla Nublar). Ian is invited to the home of John Hammond (Richard Attenborough), the billionaire industrialist who created Jurassic Park. Hammond has lost control of his company, InGen, to his unscrupulous nephew, Peter Ludlow (Arliss Howard). Hammond asks Ian to lead a team to Isla Sorna; also known as “Site B,” this is where he initially engineered the dinosaurs before moving them to Jurassic Park.

Isla Sorna has become a “lost world,” where dinosaurs have been living free in the wild. Hammond wants the island to become a nature preserve. He needs a team to document the dinosaurs in their natural habitat, documentation Hammond hopes to use to rally support for the creation of a nature preserve. Ian initially refuses, as he has his daughter, Kelly Curtis Malcolm (Vanessa Lee Chester), in his custody. Ian changes his mind and rushes to the island when he learns that his girlfriend, Dr. Sarah Harding (Julianne Moore), is part of the team and is already on the island. Once on Isla Sorna, Ian discovers many unexpected visitors to an island full of unpredictable dinosaurs.

The Lost World: Jurassic Park is the only one of the three Jurassic Park films that I did not see during its theatrical release. When it was first released in 1997, I thought about seeing it, but a friend of mine (Pete) told me he hated it. I did see The Lost World when it first arrived on VHS, and though I liked the movie, I could see that it paled in comparison to Jurassic Park: the movie, memories of it, and the feelings it evoked. Since I first saw The Lost World, I have seen it countless other times (as with Jurassic Park). I have either liked it or had mixed feelings, leaning towards the positive, about it. Recently, I have started to like The Lost World more and more with each viewing.

The Lost World and the original Jurassic Park are different films. Jurassic Park is a fantasy adventure, wearing a genre suit that is half science fiction-techno thriller and half action thriller. In spite of its violence and intense elements, Jurassic Park is a family film and juvenile fantasy filled with a sense of wonder and discovery. The Lost World is an adult drama that is part monster movie, part science fiction adventure, and part action-thriller.

The Lost World does not have a sense of wonder and discovery about it. It is darker, where its forebear is light and magical (thanks to the magic of Hollywood visual and special effects). The Lost World is the dark side of the mess adults make of the world with their corporations, schemes, mistakes, and even good intentions. Where is the fun in that? As scary and amazing as the Velociraptors are in the Jurassic Park, they’re just filthy, nasty, ugly things that need to be killed in The Lost World. Even the cameo appearance of Jurassic Park’s child stars, Ariana Richards and Joseph Mazzello, as, respectively, Lex and Tim Murphy, only serves to remind that this movie is something different from the first movie.

I think when you accept what The Lost World is and also is not (Jurassic Park), you can really enjoy the sequel. I think it is a fine movie, although not the all-time great I think Jurassic Park is. I am also glad that Jeff Goldblum appears in The Lost World. The third film, Jurassic Park III, clearly misses Goldblum’s acerbic, but resourceful Dr. Ian Malcolm. He is the main reason I have come to really like The Lost World: Jurassic Park and why I’ll probably watch it again… soon.

8 of 10
A

NOTES:
1998 Academy Awards, USA: 1 nomination: “Best Effects, Visual Effects” (Dennis Muren, Stan Winston, Randy Dutra, and Michael Lantieri)

1998 Image Awards: 1 nomination: “Outstanding Youth Actor/Actress” (Vanessa Lee Chester)

1998 Razzie Awards: 3 nominations: “Worst Reckless Disregard for Human Life and Public Property,” “Worst Remake or Sequel,” and “Worst Screenplay” (David Koepp)

Sunday, April 07, 2013

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