Review: "The Philadelphia Story" Remains Great American Cinema (Happy, B'day, Jimmy Stewart)

TRASH IN MY EYE No. 104 (of 2006) by Leroy Douresseaux

The Philadelphia Story (1940) – B&W
Running time: 112 minutes (1 hour, 52 minutes)
DIRECTOR: George Cukor
WRITER: Donald Ogden Stewart (based upon the play by Philip Barry)
PRODUCER: Joseph L. Mankiewicz
CINEMATOGRAPHER: Joseph Ruttenberg (D.o.P.)
EDITOR: Frank Sullivan
COMPOSER: Franz Waxman
Academy Award winner

COMEDY/ROMANCE

Starring: Cary Grant, Katharine Hepburn, James Stewart, Ruth Hussey, John Howard, Roland Young, John Halliday, Mary Nash, Virginia Weidler, and Henry Daniell

The subject of this movie review is The Philadelphia Story, a 1940 romantic comedy from director George Cukor. The film is an adaptation of the 1939 Broadway comic play, The Philadelphia Story, written by Philip Barry. The film’s screenplay was written by Donald Ogden Stewart and Waldo Salt, although Salt did not receive credit. Starring Cary Grant, Katharine Hepburn, James Stewart, the movie focuses on a rich woman whose wedding plans get complicated when her ex-husband and a tabloid reporter show up. Jimmy Stewart won his only Oscar for his performance in this film.

Socialite Tracy Lord (Katharine Hepburn) prepares to marry again, but this time to, George Kittredge (John Howard), a politician who is not in her social class. Her ex-husband, C.K. Dexter Haven (Cary Grant), has other ideas and plans on crashing the wedding. He invites himself to the Lord’s family estate in north Philadelphia, bringing along tabloid reporter, Macaulay Connor (James Stewart, who won his first Oscar for this role), and Macaulay’s photographer, Elizabeth “Liz” Imbrie (Ruth Hussey), both of whom are hoping to get the goods on the social event of the year. It is a news story their boss, Sidney Kidd (Henry Daniell), plans to call “The Philadelphia Story.” However, Haven’s machinations have some expected and not-at-all expected results.

Many movie fans and film critics consider The Philadelphia Story to be one of the most exhilarating screwball romantic comedies ever. Much credit goes to the incomparable romantic triangle of Katharine Hepburn, Cary Grant, and Jimmy Stewart (although Hepburn had originally hoped to play alongside Clark Gable and Spencer Tracey). Philip Barry, who wrote the play upon which this film is based, also modeled his original Tracy Lord on Hepburn, so everything worked well from the standpoint of Hepburn’s character. Grant and Stewart were also great movie actors who mastered dialogue; fully capable of being witty (especially Grant) and verbose, necessities as the film is dialogue heavy.

The witty dialogue isn’t just for show. It establishes much of the film’s plot, as well as its setting, characters, and its principles and philosophy of relationships – a credit to screenwriter, Donald Ogden Stewart (and Waldo Salt who worked on the script but did not receive a screen credit). The viewer could get a buzz or a high just from listening to all that snappy batter and all those sharp comebacks and clever asides. This is one time “all that talk, talk” is just wonderful to hear, and it’s fun to watch how easily the star trio does it.

However, the trio doesn’t work alone. There are a number of excellent supporting performances. Ruth Hussey earned an Oscar nomination as Macaulay’s droll reporter sidekick, who gives the film’s heady dialogue some even-headedness. Mary Nash and Virginia Weidler provide some straight comic relief as Tracy’s mother Margaret and sister Dinah, respectively. John Halliday as Tracy’s father, Seth Lord, and Roland Young as Uncle Willie are the elder statesmen bringing wisdom to the young lovers and rivals.

Finally, George Cukor, known as Hollywood’s ace director of actresses, and a frequent director of Hepburn films (Little Women, Adam’s Rib), brings it all together so that the dialogue rarely seems forced, the acting phony, or the film too staged (which often happens to films based on plays). His guiding hands make The Philadelphia Story indeed one of the great romantic and screwball comedies in film history.

9 of 10
A+

NOTES:
1941 Academy Awards: 2 wins: “Best Actor in a Leading Role” (James Stewart) and “Best Writing, Screenplay” (Donald Ogden Stewart); 4 nominations: “Best Picture” (Joseph L. Mankiewicz; M-G-M), “Best Actress in a Leading Role” (Katharine Hepburn), “Best Actress in a Supporting Role” (Ruth Hussey), and “Best Director” (George Cukor)

1995 National Film Preservation Board, USA: National Film Registry

Tuesday, May 16, 2006

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Review: "The Matrix Reloaded" a Bold Vision

TRASH IN MY EYE No. 74 (of 2003) by Leroy Douresseaux


The Matrix Reloaded (2003)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – R for sci-fi violence and some sexuality
WRITERS/DIRECTORS: Andy Wachowski and Larry Wachowski
PRODUCER: Joel Silver
CINEMATOGRAPHER: Bill Pope (D.o.P.)
EDITOR: Zach Staenberg
COMPOSER: Don Davis

SCI-FI/ACTION/THRILLER

Starring: Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Jada Pinkett-Smith, Harold Perrineau, Jr., Adrian Rayment, Neil Rayment, Gloria Foster, Roy Jones, Jr., Randall Duk Kim, Monica Bellucci, Nona M. Gaye, Helmut Bakaitis, Sing Ngai, Harry Lennix and Anthony Zerbe

The subject of this movie review is The Matrix Reloaded, a 2003 American and Australian science fiction action film from The Wachowski Brothers. It is the sequel to the Oscar-winning, The Matrix (1999). In the film, Neo and the rebel leaders race to stop an army of Sentinels from destroying the human sanctuary, Zion, while Neo’s dreams suggest that Trinity will suffer a dark fate.

I liked The Matrix Reloaded so much that I’d like to bow down at the feet of Andy and Larry Wachowski, the creators/writers/directors behind this brilliant science fiction/action cum philosophical film. This must be the most thoughtful, inventive, and entertaining science fiction film since 2001: A Space Odyssey. It’s amazing what the brothers did when their studios gave them a bigger budget, and when technology gave them the ability to add even greater mind-bending effects than what they had in the first film, The Matrix. Every time George Lucas got more money and improved technology, he only managed to either make a mediocre film or to actually take away from the wonder of the original Star Wars.

Neo (Keanu Reeves) and his compatriots: mentor Morpheus (Laurence Fishburne), lover Trinity (Carrie-Anne Moss) and new crew mate Link (Harold Perrineau, Jr.) have 72 hours to save the day before 250,000 sentinel probes that are digging through the earth to reach Zion. Neo is also trouble Trinity of whom he’s been having bad dreams. The heroes must find The Keymaker (Randall Duk Kim) who knows the way to the Mainframe of the Matrix, the place where Neo might be able to save mankind.

At one point while I was watching this film, I could appreciate the creativity and the urge of the filmmakers to push the boundaries of visual effects, but I found The Matrix Reloaded to be a drag. It seemed to lack the freshness and surprise of the original. I was finding The Matrix Reloaded fresh in its throw-everything-against-the-wall-and-see-what-sticks way. The film seemed to have an awkward rhythm: talk, philosophy, talk, speech, fight, talk, fight, action scene, more talk, etc. This was a story about humans fighting machines, and the entire movie reeked of being artificial, more the result of computer effort than human effort.

I was wrong: human ingenuity and spirit make this film, with the computer as the left hand that helps the human right hand. Suddenly, it all clicked for me, and the film made so much sense. The rest of the way was a breathtaking experience for me. I had to struggle to keep up with the film’s rapid-fire pace. The action is quite intense, and the story is packed with human pathos, intrigue, and mystery. The Wachowski’s really dig into the idea that the Matrix is an artificial intelligence, but an intelligence nonetheless, and it has personalities – multiple personalities with individual agendas.

Great directing, great effects, excellent rhythm, inspired acting – what more do I need to say? This is good. Morpheus is even more mystical and even more frightening. Neo is super cool and super bad, a superman who can unleash his special abilities at the drop of a hat. Trinity is still hot, but she has a purpose; she’s more than just a babe/appendage. She’s the shoulder upon which Neo leans. I was also really surprised by how much the film delves into ideas of and philosophy about freedom, control, and choice.

No kidding, this is great stuff. It does have some weak points. It drags at times before it really gets rolling. Agent Smith (Hugo Weaving) is now as much comic relief as he is a cool villain, whereas he was an all-dangerous and lethal adversary in the first film. And the Twins (Adrian and Neil Rayment), with their blond dreadlocks are good, but they ain’t all that.

There have many good sci-fi films, and there have been some very good sci-fi films, including The Matrix. I don’t know how I’ll feel a year later about this sequel, but right now, I think The Matrix Reloaded is one of the truly great sci-fi films, and probably the best action movie ever made. Although The Matrix Reloaded ends in a cliffhanger, it stands on its own, just whetting your appetite for more. There are enough new revelations about the characters and about the Matrix to keep your head spinning until the next chapter.

9 of 10
A+

NOTES:
2004 Black Reel Awards: 1 nomination: “Best Supporting Actress” (Gloria Foster)

2004 Razzie Awards: 1 nomination: “Worst Director” (Andy Wachowski and Larry Wachowski – also for The Matrix Revolutions-2003)

New "Anchorman 2" Teaser Poster

NEW COLOGNE, SAME NEWS TEAM.

NEW ANCHORMAN 2 : THE LEGEND CONTINUES TRAILER.

ITS KIND OF A BIG DEAL.

WATCH NOW: http://youtu.be/mZ-JX-7B3uM

Currently slated for release on December 20, 2013.

Review: "Lost Horizon" Hasn't Lost Its Magical Charm (Happy B'day, Frank Capra)

TRASH IN MY EYE No. 60 (of 2003) by Leroy Douresseaux

Lost Horizon (1937) – Black and White
PRODUCER/DIRECTOR: Frank Capra
WRITERS: Robert Riskin (based upon the novel by James Hilton)
CINEMATOGRAPHER: Joseph Walker
EDITORS: Gene Havlick and Gene Milford
COMPOSER: Dimitri Tiomkin
Academy Award winner

ADVENTURE/DRAMA/FANTASY

Starring: Ronald Colman, Jane Wyatt, John Howard, H.B. Warner, Edward Everett Horton, Thomas Mitchell, Margo, and Sam Jaffe

The subject of this movie review is Lost Horizon, a 1937 adventure film and fantasy drama from producer-director, Frank Capra. The film is based on the 1933 novel, Lost Horizon, by author James Hilton. While writer Robert Riskin is credited as the film’s sole screenwriter, Sidney Buchman contributed to the screenplay, apparently when portions of the film were re-shot. The movie follows a group of plane crash survivors who visit a secluded land that may or may not be miraculous utopia.

Over the years, the original film was edited for time. Eventually, the last surviving print of the original version was damaged beyond recovery. The subject of this review is a restored version of the film that is slightly over two hours in length. This restoration was initiated by the American Film Institute (AFI) in 1973, and I first saw that version on Turner Classic Movies in 2003. In this restored version, the original audio track is intact, and still photographs of the actors and of specific scenes replace the missing film footage.

In the film, a plane containing the British diplomat Robert Conway (Ronald Colman) and his brother George (John Howard) is hijacked and crashes in the Himalayas. The mysterious inhabitants of the Eden-like Shangri-La rescue the survivors, and take them into the utopian city, which is located in a valley protected by the vast Himalayan mountains. While the world grows tense with the conflicts that would birth World War II, Conway begins to learn that he belongs in Shangri-La and has a purpose there, but will the problems he and his fellow travelers brought with them from the outside world cause strife in the utopian setting.

One of the films that really took advantage of the stylish beauty of art deco was Frank Capra’s film, Lost Horizon. Although the movie is quite good, the work of art director Stephen Goossson and set decorator Babs Johnstone stand out and give this film the atmosphere of beauty, perfection, and mystery that the story required. In fact, Dimitri Tiomkin’s score serves to accentuate the flavor of the film’s set as well as establish the mood for the story.

Lost Horizon is a very entertaining film. Filmed in black and white, the film has a surreal, dreamlike quality that actually made Shangri-La seem like a possibility, as if it really existed. The film, so lovingly put together, made me pay attention to the story, following the story of the survivors as they struggle to understand a place like no other. In simple terms, Lost Horizon makes a strong case not only for a haven from our real world problems, but to imagine a place where people live together in harmony with themselves and with their environment. However, the film is not naïve. The nagging troubles of the outer world are always at Shangri-La’s door. Also, the characters have lived long enough in the outside world to see through the gauze of Shangri-La; they have to accept this place on their own terms and at their own times.

Lost Horizon isn’t necessarily propaganda so much as it is a clever fantasy adventure that looks really good, entertains with a solid story, and makes us want for something, if not perfect, as close to it as we can live with. To fully understand the concept and ideas behind this film; words alone won’t do it. You have to watch Lost Horizon, and it’s certainly worth watching.

8 of 10
A

NOTES:
1938 Academy Awards, USA: 2 wins: “Best Art Direction” (Stephen Goosson) and “Best Film Editing” (Gene Havlick and Gene Milford); 5 nominations: “Best Picture” (Columbia), “Best Actor in a Supporting Role” (H.B. Warner), “Best Assistant Director” (Charles C. Coleman), “Best Music, Score” (Morris Stoloff-head of department for Columbia Studio Music Department and Score by Dimitri Tiomkin), and “Best Sound, Recording” (John P. Livadary-Columbia SSD)

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Review: "The Wrath of Kahn" is Still Great Star Trek

TRASH IN MY EYE No. 34 (of 2013) by Leroy Douresseaux


Star Trek II: The Wrath of Kahn (1982)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – PG
DIRECTOR: Nicholas Meyer
WRITERS: Jack B. Sowards; from a story by Harve Bennett and Jack B. Sowards (based upon the TV series “Star Trek” created by Gene Roddenberry)
PRODUCER: Robert Sallin
CINEMATOGRAPHER: Gayne Rescher
EDITOR: William P. Dornisch
COMPOSER: James Horner

SCI-FI/ACTION/ADVENTURE

Starring: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Walter Koenig, Nichelle Nichols, George Takei, Ricardo Montalban, Bibi Besch, Merritt Butrick, Paul Winfield, Kirstie Alley, and Ike Eisenmann with Judson Earney Scott

The subject of this movie review is Star Trek II: The Wrath of Kahn, a 1982 science fiction movie. It is the second movie in the Star Trek film franchise, which is based on “Star Trek,” a science fiction television series originally broadcast on NBC from September 1966 to June 1969. The Wrath of Kahn finds the crew of the Enterprise fighting an old and practically forgotten nemesis and trying to stop him from using a life-generating device as the ultimate weapon.

In fact, Star Trek II: The Wrath of Kahn’s plot is based on an episode of the TV series entitled, “Space Seed,” which was originally broadcast in February 1967, the show’s first season. Writers Samuel A. Peeples and Roman Sanchez apparently contributed to film’s story, while The Wrath of Kahn’s director, Nicholas Meyer, wrote the final script for the film, but did not receive a screen credit.

As The Wrath of Kahn opens, the USS Enterprise is commanded by Captain Spock (Leonard Nimoy) and has a mostly novice crew. Captain Kirk is now Admiral James T. Kirk (William Shatner), and now, he mostly oversees training of Starfleet personnel and inspection of starships. The Enterprise is about to embark on a three-week training voyage with Spock in command and Kirk along for observation.

Meanwhile, former Enterprise crewman, Pavel Chekov (Walter Koenig), is on the USS Reliant with Captain Clark Terrell (Paul Winfield). The two men accidentally discover that the genetically-engineered tyrant, Khan Noonien Singh (Ricardo Montalban), who once tried to seize control of the Enterprise, is still alive and has an old score to settle with Admiral Kirk. Khan learns of the “Genesis Drive,” created by Dr. Carol Marcus (Bibi Besch) and her son, David (Merritt Butrick). This device can create life on barren worlds, but it can also destroy a planet. Now, Khan wants it, but can Kirk, Spock, and the rest of the Enterprise regulars stop him?

Following the first Star Trek film, Star Trek: The Motion Picture, which was considered a disappointment to some, Star Trek II: The Wrath of Kahn became the first great Star Trek film. I can’t remember whom, but a writer I like once described the original Star Trek series as basically a blending of World War II submarine movies and the television series, “Wagon Train.” The original Star Trek was escapist entertainment with a swashbuckling adventure aspect, but it was often socially relevant, as it alluded to, in one form or another, what was occurring in the 1960s.

The Wrath of Kahn was a bit of all of that, but on a grander scale. Director Nicholas Meyer took advantage of the medium of cinema and made the drama more melodramatic, the conflicts edgier, the villains more menacing, and the specter of death more tangible than it had been on the small screen. Even the score by James Horner evokes a sense of adventure that the earlier Star Trek film did not have. Watching this movie, I almost felt as if I were a seafaring adventurer, ready for swashbuckling fun across the expanse of outer space.

The Wrath of Kahn deals with the themes of growing old, death, and resurrection. However, I think the overarching theme of this film is renewal, especially following the first film. For the characters, there is a renewal of purpose, status, friendships, etc. Khan represents the renewal of old conflicts (which carries over into the third film). The younger crew of the Enterprise hints at a renewal of the mission. To me, this Star Trek is less about winding down and ending and more about restarting.

The performances are good, and thanks to the screenplay, William Shatner has some weighty material to use and delivers what is probably his best performance in a Star Trek film. Ricardo Montalban is fantastic – plain and simple. In Khan, Montalban delivers just the kind of grand, vengeful, madman The Wrath of Kahn has to have. He is Oscar-worth and is the main reason Star Trek II: The Wrath of Kahn is so distinctive among Star Trek films.

8 of 10
A

Wednesday, May 15, 2013

Happy Birthday, Albert

or Happy Birthday, Al! Your birthday reminds me of how long we've know each other, and it's a scary long time.  Have a great one!

Paramount Digital Releases "World War Z" Game

EPIC ‘WORLD WAR Z’ GAME BITES INTO iOS & ANDROID AS PARAMOUNT DIGITAL ENTERTAINMENT TEAMS WITH PHOSPHOR GAMES

LOS ANGELES / CHICAGO – May 16, 2013 – Paramount Digital Entertainment and award-winning Phosphor Games Studio bring global apocalyptic panic to you in the newly announced World War Z game. Set to release on May 30, the game will launch on iOS and select Android devices.

Offering a fully immersive experience, players are dropped into the middle of the World War Z chaos. Casual and core gamers will both love the game’s action-packed first person experience and electrifying story. Featuring 28 visceral levels, intense combat, engaging puzzles, upgradable weapons and armor, an unlimited challenge mode, and a global scale, this game challenges you: play to survive.

“We loved the rich world that the filmmakers created, and are thrilled to tell a story that runs parallel to its film counterpart,” said Amy Powell, President of Paramount Digital Entertainment. “We wanted to give audiences a chance to truly live the movie in this story-based game.”

“We were excited to be able to use the cutting-edge Unreal Engine 3 to bring World War Z to life,” said Chip Sineni, Phosphor Games Studio Director. “Our goal was to build Paramount a AAA game, and with that came all our favorite bells and whistles, like ambient occlusion lighting, multipass blended textures, and hordes of enemies to fight.”

The World War Z game is available on iOS and select Android devices on May 30. World War Z, the film, revolves around ex-United Nations employee Gerry Lane (Brad Pitt), who traverses the world in a race against time to stop a pandemic that is toppling armies and governments, and threatening to decimate humanity itself. The film hits theaters worldwide on June 21.

To Watch The Trailer: http://youtu.be/LswiwBAHmtU


About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About Phosphor Games Studio
Based in Chicago, Phosphor Games Studio is a premier development studio comprised of experienced video game designers with a track record of producing financially successful and critically acclaimed titles across a variety of genres – from hardcore first-person shooters and MMOs to sports and casual games. The studio has received back-to-back Mobile Game of the Year nominations from the Academy of Interactive Arts & Sciences for Horn (2012) and The Dark Meadow (2011). More information can be found online at www.phosphorgames.com, on Facebook or via Twitter @phosphorgames.