Virtual Pop Idol "Hatsune Miku" Concert Film in November 2011

LIVE VIEWING JAPAN PRESENTS A SPECIAL HATSUNE MIKU EVENT FOR ONE-NIGHT-ONLY IN 9 MAJOR U.S. CITIES IN NOVEMEBER

World’s First Virtual Pop Idol Has Become An International Music Sensation And Will Be Featured In A Special Concert Film For Fans

Live Viewing Japan, a distribution company focused on bringing Japanese entertainment media to an international audience, has announced that it will stage a very special one-night-only Hatsune Miku event simultaneously in nine major U.S. cities on Thursday, November 10, 2011 at 7:00pm (local time). Hatsune Miku Live Party 2011 39's LIVE in SAPPORO (originally organized by 5bp Inc. in August, 2011) will screen a live concert performance of Hatsune Miku in movie theaters in select markets. More information about this exclusive one-night-only event is available at:
http://www.liveviewing.jp/contents/009_mikupa.html.

The cities that will host the Hatsune Miku event include:
Baltimore, MD
Boston (Manchester), MA
Chicago, IL
Houston, TX
Los Angeles, CA
Orange, CA
New York, NY – Two locations
San Francisco/Bay Area, CA
Seattle, WA

“We’re very excited to present this unique Hatsune Miku experience for her U.S. fans,” says Live Viewing Japan Exective Director Hiroki Kotani. “Miku has captivated a global audience with a mix of catchy pop music and captivating technology-inspired visuals. Her popularity has opened an entirely new range of possibilities to blend a cute pop idol persona with technology and computer-created graphics. We invite fans to visit the Live Viewing Japan web link for more information and for specific movie theater event locations. Don’t miss this rare opportunity to see Hatsune Miku perform!”

Pop idol Hatsune Miku, whose name means, “first sound of the future,” is a Vocaloid (meaning machine-made vocals) digital female avatar and the most popular of the Vocaloid Character Series software originally created by Crypton Future Media, Inc. using Yamaha’s Vocaloid 2 engine to create organic-sounding synthesized vocal tracks.

In Japan, Hatsune Miku is a major national phenomenon and has appeared in numerous popular video games and music videos. She’s also played several enthusiastic “concerts,” where she performs on stage projected as a 3D hologram and backed by a live band. Miku recently played her first live concert in the U.S. called, “MIKUNOPOLIS in LOS ANGELES,” at the Nokia Theatre for the 2011 Anime Expo, held this past July in Los Angeles, CA. The show sold out in only 4 hours, further underscoring the growing popularity she enjoys in North America. Hatsune Miku was also recently featured in a T.V. commercial for the Toyota Corolla.

Live Viewing Japan has seized on the growing global popularity of Hatsune Miku and has plans to screen her live concert film in several countries including France, Thailand and Brazil.


About Live Viewing Japan:
Live Viewing Japan is a Japanese-based media distribution company focused on bringing a variety of entertainment properties to a global theatre-going audience. More information on the company and its projects is available at: http://www.liveviewing.jp/.

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)

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Winnie the Pooh Film and Marvel's The Avengers Now on DVD

WINNIE THE POOH - The Walt Disney Studios proudly invites families and audiences of all ages to return to the Hundred Acre Wood with some of the world's most beloved characters, as “Winnie the Pooh,” the delightful all-new animated feature film comes home to Blu-ray Combo Pack for the very first time, as well as DVD and Movie Download on October 25, 2011. Reuniting audiences with Pooh, Tigger, Rabbit, Piglet, Owl, Kanga, Roo and last, but certainly not least, Eeyore (who has lost his tail), “Winnie the Pooh” is a honey of an in-home release containing hours of immersive bonus features, including exclusive animated shorts “The Ballad of Nessie” and “Mini-Adventures of Winnie the Pooh: The Balloon;” a sing-along viewing option; an informative behind-the-scenes featurette for the whole family and deleted scenes with director commentary – all available on Blu-ray Combo Pack.

Winnie The Pooh will be avaialable at retail as follows:
* 3-Disc Blu-ray Combo Pack (Blu-ray + DVD + Digital Copy) for the suggested retail price of $44.99 U.S. and $51.99 Canada
* 2-Disc Blu-ray Combo Pack (Blu-ray + DVD) for the suggested retail price of $39.99 U.S. and $46.99 Canada
* 1-Disc DVD for the suggested retail price of $29.99 U.S. and $35.99 Canada
* High-Definition Digital for the suggested retail price of $39.99 U.S. and $44.99 Canada
* Standard-Definition Digital for the suggested retail price of $29.99 U.S. and $35.99 Canada

Inspired by the beloved stories from A.A. Milne's books and crafted in Disney's classic style, “Winnie the Pooh,” is the most critically-acclaimed animated film of 2011*. It is narrated by the voice of John Cleese and features the vocal talents of legendary voice actor Jim Cummings (over 350 voices including Gnomeo & Juliet) and a host of other distinctive actors including Craig Ferguson (TV's 'The Late Late Show with Craig Ferguson'), Tom Kenny (TV's 'SpongeBob SquarePants'), Bud Luckey (Toy Story 3) and musical performances by Zooey Deschanel (indie folk band “She &Him”).

The all-new “Winnie the Pooh” brings back to life the timeless charm, wit and whimsy of the original featurettes and characters. Sure to become a family favorite for every household, it is directed by Stephen Anderson (Meet The Robinsons) and Don Hall (The Princess and The Frog) and Executive Produced by John Lasseter.

Winnie the Pooh (Three-Disc Blu-ray/DVD Combo + Digital Copy)

THE AVENGERS: EARTH’S MIGHTIEST HEROES – VOLUME 3 IRON MAN UNLEASHED - The Avengers: Earth’s Mightiest Heroes is a television series on Disney DVD that is inspired by the Marvel Comics Super Hero team of the same name. In each episode, the Avengers defend Earth from unimaginable threats – dangerous Super Villains, time-travelling conquerors, alien invaders and mythical beasts bent on the total destruction of humanity. When the forces of evil are so overwhelming that no single hero has the power to save the world, when no hope is left… the Avengers Assemble! Join Iron Man, Thor, Captain America, The Hulk, and many more of your favorite Avengers, as they discover the value of teamwork and friendship in the fight against evil!

The pulse-pounding action continues on October 25th with six unforgettable episodes in the Volume 3 release of The Avengers: Earth’s Mightiest Heroes! Enjoy all the thrills as Iron Man, Thor, Captain America, Hulk and the rest of the Avengers face off against Baron Zemo’s Masters of Evil and defend earth from a full-scale alien invasion led by the time-traveling Kang the Conqueror!

The Avengers: Earth’s Mightiest Heroes! Volume 3 Iron Man Unleashed is only available in the U.S. as a 1-Disc DVD for the suggested retail price of $19.99. This release follows the April 26th release of Volume 1 & 2 (episodes 1-13) which consumers can still find for purchase at local retail stores.

Marvel The Avengers: Earth's Mightiest Heroes, Volume Three


THE AVENGERS: EARTH’S MIGHTIEST HEROES – VOLUME 4 THOR’S LAST STAND - The Avengers: Earth’s Mightiest Heroes is a television series on Disney DVD that is inspired by the Marvel Comics Super Hero team of the same name. In each episode, the Avengers defend Earth from unimaginable threats – dangerous Super Villains, time-travelling conquerors, alien invaders and mythical beasts bent on the total destruction of humanity. When the forces of evil are so overwhelming that no single hero has the power to save the world, when no hope is left… the Avengers Assemble! Join Iron Man, Thor, Captain America, The Hulk, and many more of your favorite Avengers, as they discover the value of teamwork and friendship in the fight against evil!

On October 25th, get ready for the ultimate adrenaline rush with Volume 4 of The Avengers: Earth’s Mightiest Heroes! In these final seven episodes of Season One, Iron Man, Thor, Captain America, The Hulk and the rest of The Avengers attempt to stop Ultron and his army of robots from ending all of humanity and prevent Loki from unleashing armies from Asgard on Earth!

The Avengers: Earth’s Mightiest Heroes! Volume 4 Thor’s Last Stand is only available in the U.S. as a 1-Disc DVD for the suggested retail price of $19.99. This release follows the April 26th release of Volume 1 & 2 (episodes 1-13) and is accompanied with the October 25th release of Volume 3 (episodes 14-10) which will be available for consumers to purchase at their local retail store.

Review: "A Fish Called Wanda" is Still Amazing (Happy B'day, Kevin Kline)

TRASH IN MY EYE No. 153 (of 2006) by Leroy Douresseaux

A Fish Called Wanda (1988)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R
DIRECTOR: Charles Crichton
WRITERS: John Cleese, from a story by Charles Crichton and John Cleese
PRODUCER: Michael Shamberg
CINEMATOGRAPHER: Alan Hume
EDITOR: John Jympson
Academy Award winner

COMEDY/CRIME with elements of romance

Starring: John Cleese, Jamie Lee Curtis, Kevin Kline, Michael Palin, Marie Aitken, Tom Georgeson, Patricia Hayes, Cynthia Caylor, Ken Campbell, and Geoffrey Palmer

Set in London, a crooked foursome: heist man Georges Thomason (Tom Georgeson), his partner and close friend, Ken Pile (Michael Palin), George’s American girlfriend, Wanda Gershwitz (Jamie Lee Curtis), and Otto (Kevin Kline) a weapons expert who pretends to be Wanda’s brother, but is really her lover, successfully pull off a big time diamond heist. They are about to get away with it when someone informs on George, who is promptly arrested.

George, however, never trusted Otto, so he hid the diamonds away, and only Ken knows where the new hiding location is. Meanwhile, Wanda seduces George’s barrister (attorney), Archie Leach (John Cleese), in hopes that he can discover and reveal to her the stolen loot’s location. There are, however, complications. Archie really falls in love with Wanda, but jealous Otto keeps interfering every time Wanda is about to get intimate with Archie and get the info she and Otto need. As George’s trial approaches, the desperate situation to learn the location of the diamonds really tests the notion of “honor among thieves.”

Nearly two decades after its initial release, A Fish Called Wanda remains a truly great comedy. I laugh at it now as much as I did when I watched in numerous times in the late 80’s. There is any number of reasons the film works so well as both a comedy and a crime film. One is timing, which is required for comedy. If the cast is in synch, it’s probably because they have good chemistry, and good screen chemistry gives a ring of truth to the proceedings – a sense of verisimilitude. The audience can suspend disbelief and believe that the actors are who they’re pretending to be and are really living in the film’s situations. One of the really good examples of this is the scene in which Archie Leach’s wife, Wendy (Marie Aitken), returns home and nearly catches Archie seducing Wanda. While Wanda and Otto, who’d also snuck into the home, scurry behind curtains, we get to watch Cleese’s hilarious performance as he tries to explain to his wife why he’s suddenly appeared in their upstairs living room with a bottle of champagne and two glasses – when he didn’t even know that she’s returned.

The film is also very well written in terms of characters and well-directed in terms of allowing the cast to develop and play the characters. The script is written by the most famous alum of the comedy troupe Monty Python’s Flying Circus, John Cleese, and Charles Crichton, a filmmaker at the legendary Ealing Studios, where he directed another great heist film, The Lavender Hill Mob (the film to which Wanda was often compared when Wanda was release in 1988). Both brought their sensibilities for creating truly mean-spirited, venal, vain, and eccentric characters. American filmmakers are good at making mean characters, but they often transform them into heroes – especially in comedies. From beginning to end, there is never any doubt that the characters in A Fish Called Wanda are liars, cheaters, thieves, and sometimes murderers, but we’re supposed to laugh at them. Their wicked ways cause them many inconveniences and hardships, and their vanity causes them embarrassment. Other characters are constantly picking at the things that make them vain and eccentric. This is comedy and fiction, so it’s OK to laugh at and even like these “bad guys.”

A Fish Called Wanda is also marked by what’s often called tour-de-force performances, and much of it has to do with the fact that the entire cast, especially the four leads are highly skilled actors, but are also excellent comic actors. Each does a simply fabulous job selling their characters to the audience. The most memorable performance in the film probably belongs to Kevin Kline, who won an Oscar for his role as the supposed-CIA agent, Otto. However, he’s only the cherry on top of what remains a great, great comedy.

9 of 10
A+

NOTES:
1989 Academy Awards: 1 win: “Best Actor in a Supporting Role” (Kevin Kline); 2 nominations: “Best Director” (Charles Crichton) and “Best Writing, Screenplay Written Directly for the Screen” (John Cleese-screenplay/story and Charles Crichton-story)

1989 BAFTA Awards: 2 wins: “Best Actor” (John Cleese) and “Best Actor in a Supporting Role” (Michael Palin); 7 nominations: “Best Film” (Michael Shamberg and Charles Crichton), “Best Actor” (Kevin Kline), “Best Actress” (Jamie Lee Curtis), “Best Actress in a Supporting Role” (Maria Aitken), “Best Direction” (Charles Crichton), “Best Editing” (John Jympson), and “Best Screenplay – Original” (John Cleese)

1989 Golden Globes: 3 nominations: “Best Motion Picture - Comedy/Musical” “Best Performance by an Actor in a Motion Picture - Comedy/Musical” (John Cleese) and “Best Performance by an Actress in a Motion Picture - Comedy/Musical” (Jamie Lee Curtis)

Tuesday, July 18, 2006

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Review: "The Evil Dead" Still Givin' Head to Horror Fans (Happy B'day, Sam Raimi)

TRASH IN MY EYE No. 125 (of 2005) by Leroy Douresseaux

The Evil Dead (1981)
OPENING DATE: January 1, 1983
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – NC-17 for substantial graphic horror violence and gore (1994 theatrical release)
WRITER/DIRECTOR: Sam Raimi
PRODUCER: Robert G. Tapert
CINEMATOGRAPHER: Tim Philo
EDITOR: Edna Ruth Paul

HORROR with elements of comedy

Starring: Bruce Campbell, Ellen Sandweiss, Hal Delrich, Betsy Baker, and Sarah York

Ash (Bruce Campbell) and his four friends are college students on vacation, and their destination is a cabin (an actual abandoned cabin that director Sam Raimi reportedly later burned to the ground) remotely located in the Tennessee woods. What they don’t know is that those very same woods are full of slumbering demonic spirits that are ever-present and ever listening. They lie in wait for the recitation of an ancient incantation that will allow them to possess the living. The student quintet finds a reel-to-reel recording of that same incantation in the cabin’s cellar, and they unwittingly play the recording. One by one, Ash’s four friends succumb to these merciless spirits, leaving him alone in a struggle to save his body from possession and becoming one of the evil dead.

Long before they produced the “Hercules” and “Xena: Warrior Princess” TV shows, Sam Raimi wrote and directed and Robert Tapert produced one of the most shockingly original horror films of the last quarter of 20th century, The Evil Dead. If horror movies can be funny, then no truly scary movie was as funny as The Evil Dead. The film’s primary influences were obvious (writer H.P. Lovecraft and filmmaker George A. Romero), but Raimi’s script created a bastard child of Lovecraft and Romero that wouldn’t submit to being properly reared. It’s insane. It’s gory. It’s frickin’ hilarious.

Using the few resources he had, Raimi combined stop-motion photography, homemade gory effects, and cheap, but frightening monster makeup. Perhaps the element the best served The Evil Dead was the Raimi’s penchant for using an active camera. He mounted a camera on a 2x4, and he and actor Bruce Campbell would each hold an end and run headlong through the set. This created Raimi’s signature visual clue that evil moving running through the woods. The camera also tilts, spins, dips, swerves, flips over, and generally does whatever it takes to create the sense that demonic forces are constantly moving and creeping around – always in attack mode.

The performances are great, in particularly Bruce Campbell’s combination of half-madness and half over-acting. However, his cohorts (and the many stand-ins actors or “shemps” as they were called, who played the possessed students in the second half of the film) attack their roles as demonic zombies with relish – all in all creating some of the scariest film creeps in horror movie history. No one can be a true fan of horror films without having seen The Evil Dead, regardless if in the end he or she didn’t like it. The film is simply a viewing requirement for scary flick fans.

8 of 10
A

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Review: "Red State" a Horror Movie That Does its Own Thing

TRASH IN MY EYE No. 85 (of 2011) by Leroy Douressaux

Red State (2011)
Running time: 88 minutes (1 hour, 28 minutes)
MPAA – R for strong violence/disturbing content, some sexual content including brief nudity, and pervasive language
EDITOR/WRITER/DIRECTOR: Kevin Smith
PRODUCER: Jonathan Gordon
CINEMATOGRAPHER: David Klein

HORROR with elements of action and crime

Starring: Michael Parks, Melissa Leo, John Goodman, Michael Angarano, Kyle Gallner, Nicholas Braun, Stephen Root, Matt Jones, Kerry Bishé, Kevin Alejandro, Ralph Gorman, James Parks, and Kevin Pollack

Red State is a 2011 horror film from director Kevin Smith (Clerks.) Smith chose not to distribute the film in the usual manner through theatres. Instead, he took Red State on tour showing it before small audiences. Perhaps, this unusual manner of exhibiting a film reflects that this is a highly unusual horror movie.

How unusual is it? Well, there are things that happen in this movie that will be familiar to audiences, but not familiar as something seen in the typical horror movie. This will leave you shocked, scratching your head, put-off, and/or entertained. Still, Red State is, for me, one of the most enjoyable film experiences I’ve had this year. I can’t get some of this movie out of my mind.

Three high school boys: Travis (Michael Angarano), Jared (Kyle Gallner), and Billy-Ray (Nicholas Braun) are horny enough to screw anything, so when they get an online offer for some nasty sex, they travel to woodsy Cooper’s Dell and into big trouble. Meanwhile, gay-, liberal-, Jew-, brown people-hating pastor, Abin Cooper (Michael Parks), and the parishioners of his Five Points Trinity Church get ready to rock with Special Agent Joseph Keenan (John Goodman) and the ATF.

Red State has heavy political overtones, heavier religious overtones, and heaviest of all, social and cultural overtones. The film seems to fold elements of the horror movie, Hostel, into the real life events of the Waco siege. This siege occurred in 1993 and was a standoff outside Waco, Texas between the Bureau of Alcohol, Tobacco and Firearms (ATF) and a religious sect, the Branch Davidian, which ended with the death of 76 people. In fact, Abin Cooper and his flock also bear a resemblance to controversial Pastor Fred Phelps and his Westboro Baptist Church. Ultimately, writer/director Kevin Smith seems to be saying “a pox on both your houses” to both the church and state entities in this movie.

Red State is a horror movie because of the suspense, the abduction sequence, and the torture, and also because of the general brutal violence and mayhem. I don’t want to give away too much, but the events of the film and the way the characters act – both onscreen and off – amount to a horror show and would be considered horrifying to most people. What I like most about this film is that it is simply different and is an audacious and bold effort by a filmmaker, Kevin Smith, who has largely underutilized his talents or been underutilized. Red State is an example of untapped potential. Perhaps because of budget restraints, Smith does not take a number of subplots and character relationships far past the point of introducing them. Fully developed, they could have transformed this already good film and made it even better.

Finally, I should mention that there are a number of strong performances in Red State, with Michael Parks, Melissa Leo, and John Goodman as the standouts. Parks and Leo at least deserve consideration for Oscar nominations for their performances here. Leo just won a best supporting actress Oscar (for The Fighter), but her turn here as the religious zealot/nut who is also a fiercely loving mom could wrestle your imagination to the floor and pin it. Parks is a revelation as Abin Cooper, a fanatic with rock-solid, unshakeable faith; Parks makes you believe that this guy is real and for real. There are a number of reasons to see this. Believe it or not, the acting may be the best reason to see Red State.

7 of 10
B+

Saturday, October 22, 2011

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Review: 1973 Version of "The Three Musketeers" Retains its Comic Charm

TRASH IN MY EYE No. 84 (of 2011) by Leroy Douresseaux


The Three Musketeers (1973)
U.S. release: 1974
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – PG
DIRECTOR: Richard Lester
WRITER: George MacDonald Fraser (based upon the novel by Alexandre Dumas père)
PRODUCERS: Alexander and Ilya Salkind
CINEMATOGRAPHER: David Watkin (D.o.P.)
EDITOR: John Victor Smith
COMPOSER: Michel Legrand
BAFTA nominee

COMEDY/HISTORICAL

Starring: Michael York, Oliver Reed, Richard Chamberlain, Frank Finlay, Jean-Pierre Cassel, Geraldine Chaplin, Charlton Heston, Faye Dunaway, Christopher Lee, Simon Ward, Raquel Welch, Spike Milligan, and Roy Kinnear

The Three Musketeers is a 1973 swashbuckling comedy film from director Richard Lester (A Hard Day’s Night). This film is based upon Alexandre Dumas père’s 1844 novel, also entitled The Three Musketeers. This is also the first of a two-part film series, the other being The Four Musketeers (1974).

The film opens on young d’Artagnan (Michael York), a country bumpkin trained in the art of the sword by his father. D’Artagnan arrives in Paris with dreams of becoming a king’s musketeer – hopefully with the help of an old acquaintance of his father’s – but he is turned away. He meets and quarrels with three men: Athos (Oliver Reed), Porthos (Frank Finlay), and Aramis (Richard Chamberlain), each of whom challenges him to a duel. After discovering that the three men are real musketeers, d’Artagnan joins them in a brawl with the guards of Count Richelieu (Charlton Heston). Appreciative of d’Artagnan’s efforts, the three musketeers take him on as a kind of musketeer-in-training.

Meanwhile, the Duke of Buckingham (Simon Ward) has slipped into France to see French Queen, Anne of Austria (Geraldine Chaplin), with whom he is having an affair. Richelieu conspires to use the affair to bring down the Queen so that he can have more power over the King, Louis XIII (Jean-Pierre Cassel). Richelieu employs his spy and secret agent, Milady de Winter (Faye Dunaway), to help him.

D’Artagnan has an affair with Constance Bonacieux (Raquel Welch), a married woman who is an aid to the Queen. At her insistence, d’Artagnan decides to help the Queen. Soon the young musketeer wannabe joins Athos, Porthos, and Aramis, as they also seek to oppose Cardinal Richelieu at every turn.

It has been so many years since I read The Three Musketeers that I don’t remember much about it, although the film apparently adheres closely to the novel. I do remember this movie, though. I watched it and its sequel several times when I was a child and I loved it – love is the right word to use. Before I watched it again recently, I wondered if I’d still like it. It turned out that I still love this movie.

Lester and screenwriter George MacDonald Fraser inject a lot of humor into the story. In fact, the film emphasizes comedy over character, although the script gives each character a personality that is important in the context of the role he or she plays. The cast, which is composed of mostly veteran and talented actors and movie stars, makes the most of the material. For instance, Charlton Heston’s stout turn as Richelieu allows the character to be a villain, but an impeccable sense of timing also allows Heston to make the character menacing or mischievously funny, as necessary.

The Three Musketeers also tweaks the conventions of the swashbuckling movies of the 1940s and 50s. The film does the kind of lavish sets and art direction and sumptuous costumes that would make a 1940s MGM period film proud. However, director of photography David Watkins shot this movie with an eye for period detail, so he captures a squalid, more impoverished, and earthier reality as equally as he captures splendor. This makes the movie loose and energetic, rather than stiff and formal.

The Three Musketeers’ fight scenes are not fancy fencing duels like something out of an Errol Flynn movie. Rather, these fights are staged as brawls with the combatants using fists and knees as much as swords. In fact, furniture, food, sticks, and any objects at hand (even wet laundry) sometimes assist or replace swordplay.

When I first saw The Three Musketeers, I was too young to understand the bawdy humor and double entendres. Now, I see how Michael York strikes the perfect tone as d’Artagnan and also how the strikingly handsome Oliver Reed made the most of what is basically a supporting role. Raquel Welch as Constance and Faye Dunaway as Lady de Winter are devastating scene stealers; there could have been a movie built around just the two of them. The Three Musketeers is a childhood favorite that doesn’t disappoint the adult me.

8 of 10
A

NOTES:
1975 BAFTA Awards: 5 nominations: “Anthony Asquith Award for Film Music” (Michel Legrand), “Best Art Direction” (Brian Eatwell), “Best Cinematography” (David Watkin), “Best Costume Design” (Yvonne Blake), and “Best Film Editing” (John Victor-Smith)

1975 Golden Globes: 1 win: “Best Motion Picture Actress - Musical/Comedy” (Raquel Welch); 1 nomination: “Best Motion Picture - Musical/Comedy”

Friday, October 21, 2011