There has been some major casting news in the last few days for several films that go into production soon. Among them...
Natalie Portman as Jane Foster in Thor
Ryan Renolds as the lead in The Green Hornet
Patrick Dempsey as Denny Swift in The Art of Racing in the Rain
Willem Dafoe as Tars Tarkas in John Carter on Mars
Meanwhile, Harry Potter and the Half-Blood Prince broke the opening midnight record this past Wednesday.
Thursday, July 16, 2009
Wednesday, July 15, 2009
Harry Potter and the Half-Blood Prince
The archetype characters of literature and film have been its backbone for centuries. The writers who figure ways to reinvent them are the ones who capture imaginations and their stories become legend. The Lord of the Rings, Star Wars, and Harry Potter are among them. J.K. Rowling’s story of young wizards having to grow up quickly due to a dangerous world has developed into one of the most interesting novel and film series of all time. The sixth entry Harry Potter and the Half-Blood Prince, takes us into the darker parts of the story and the heroes must endure events that beforehand they would have shuddered at. But the events of history have helped them grow beyond their years. The challenge awaits, but are they really ready for it?
The look and feel of the film is immediately gloomy. The opening shot is of an attack on people. The sky is dark grey, no one knows what is going on, and the mood of the film is instantly set. Harry Potter (Daniel Radcliffe), now seen as “the Chosen One” by the wizarding world likes to escape every now and then and that is where Professor Dumbledore (Michael Gambon) finds him. They go together and find Horace Slughorn (Jim Broadbent), a former Hogwarts teacher and attempt to bring him back, for he has something of vital importance. Broadbent performs brilliantly. Occasionally arrogant, occasionally meek, and occasionally fancy-free, Slughorn is a character of great interest. After this little adventure, Harry returns to the Weaseley’s house just before the beginning of his sixth year at Hogwarts. Although Harry and Dumbledore have been proven to be correct about the dark forces in their world in the last film, it appears as if things have gotten much worse since the last film ended. He returns to a place riddled with spells. The entire grounds are encapsulated with them for safety reasons due to the nature of their world’s events. People are disappearing, being murdered, and worst of all, no one can stop it. During his potions class, Harry attains a book that helps him in his potions class and teaches him spells he can use to be a better wizard … or ones he may regret later. The biggest question on his mind in reference to the book is … “Who is the Half-Blood Prince?” The sixth year is not a linear one for the students as there are way too many interruptions and challenges to be had and met. Harry’s suspicion of Draco Malfoy (Tom Felton) of being a Death-Eater and his getting to know Professor Slughorn attempts keep him occupied. Ron attempts to join the Quidditch team, Hermione finds a new love, and Dumbledore has a puzzle to solve. All the while, the world is falling apart.
The screenplay is much more consistent than the last film as it maintained the same look and feel the first four films had. Steve Kloves (wrote 1-4) returned to pen and it shows. The film drips with interest. While it is very dark and moody, the humor sprinkled throughout is enjoyable and welcome. As the leads are now nearing adulthood, pairing off is bound to happen and the situations that arise are funny and light-hearted. Ron Weaseley (Rupert Grint) and Hermione Granger (Emma Watson) are very humorous together. Of course Harry pines for someone as well, it just happens to be his best friend’s younger sister…seriously, how does one deal with that? That’s another problem he has to figure out. It also leads to some great humor as well as a few touching moments that may seem cliché to some, but are strong points for the story nonetheless. The large cast of supporting roles are back and do not disappoint. Professors Minerva McGonagall (Maggie Smith) and Severus Snape (Alan Rickman) stand their ground well, despite the limited roles they have. McGonagall has always supported Potter and his friends, but she clearly takes her role as professor seriously. As the novels developed (and thus the films), Snape has been a character of interest as it never is clear what is going on in his mind. Is he evil? Is he good? It simply is not known. Draco Malfoy from the onset of the series has been the stuck-up bully that almost every story has, but his development is surprisingly dynamic. He always maintains his arrogance, but there is also a huge amount of fear behind his eyes. And that fear is what makes the character tantalizing. The evil Bellatrix Lestrange (Helena Bonham Carter) is wickedly fun as she seems over-the-top, but that is due to the fact she’s mad. Her delicious evil pushes the film along at times and as her Dark Lord’s servant, leads the campaign throughout the film. The dark nature of the film may remind some of Star Wars’ “The Empire Strikes Back,” as the brooding tone (despite the humor) never leaves. The forces of evil push so fast and so hard throughout the film that the only breather is the occasional humor. One can easily see similar scenes and shots between “Half-Blood Prince” and “Empire Strikes Back.” David Yates’ direction, the cinematography, and the special effects are excellent. Together they create a mood and beauty at times that places the viewer in the film, rather than thinking they’re watching it. As Harry says he never realized how beautiful the grounds of Hogwarts really are, so the audience takes another look too. A Phoenix flies across the grounds in front of a sunset. It is indeed.
The differences between book and film need to be accounted for, but there is also the need to understand the different mediums. One has unlimited power as the imagination is where the screen is. One is limited, due to lengths of time that must be adhered to. Harry Potter and the Half-Blood Prince is no different. The depth and length of the novel and film never could be meshed harmoniously unless two films were made for the novel (as well as books 4, 5, and 7-which two films will be made for). While some may not like this or that that was eliminated in the transition from page to screen, Harry Potter and the Half-Blood Prince is a reminder that very good filmmaking can be done despite the limitations and that even though life sometimes brings great pain, there is a tomorrow to heal it.
The look and feel of the film is immediately gloomy. The opening shot is of an attack on people. The sky is dark grey, no one knows what is going on, and the mood of the film is instantly set. Harry Potter (Daniel Radcliffe), now seen as “the Chosen One” by the wizarding world likes to escape every now and then and that is where Professor Dumbledore (Michael Gambon) finds him. They go together and find Horace Slughorn (Jim Broadbent), a former Hogwarts teacher and attempt to bring him back, for he has something of vital importance. Broadbent performs brilliantly. Occasionally arrogant, occasionally meek, and occasionally fancy-free, Slughorn is a character of great interest. After this little adventure, Harry returns to the Weaseley’s house just before the beginning of his sixth year at Hogwarts. Although Harry and Dumbledore have been proven to be correct about the dark forces in their world in the last film, it appears as if things have gotten much worse since the last film ended. He returns to a place riddled with spells. The entire grounds are encapsulated with them for safety reasons due to the nature of their world’s events. People are disappearing, being murdered, and worst of all, no one can stop it. During his potions class, Harry attains a book that helps him in his potions class and teaches him spells he can use to be a better wizard … or ones he may regret later. The biggest question on his mind in reference to the book is … “Who is the Half-Blood Prince?” The sixth year is not a linear one for the students as there are way too many interruptions and challenges to be had and met. Harry’s suspicion of Draco Malfoy (Tom Felton) of being a Death-Eater and his getting to know Professor Slughorn attempts keep him occupied. Ron attempts to join the Quidditch team, Hermione finds a new love, and Dumbledore has a puzzle to solve. All the while, the world is falling apart.
The screenplay is much more consistent than the last film as it maintained the same look and feel the first four films had. Steve Kloves (wrote 1-4) returned to pen and it shows. The film drips with interest. While it is very dark and moody, the humor sprinkled throughout is enjoyable and welcome. As the leads are now nearing adulthood, pairing off is bound to happen and the situations that arise are funny and light-hearted. Ron Weaseley (Rupert Grint) and Hermione Granger (Emma Watson) are very humorous together. Of course Harry pines for someone as well, it just happens to be his best friend’s younger sister…seriously, how does one deal with that? That’s another problem he has to figure out. It also leads to some great humor as well as a few touching moments that may seem cliché to some, but are strong points for the story nonetheless. The large cast of supporting roles are back and do not disappoint. Professors Minerva McGonagall (Maggie Smith) and Severus Snape (Alan Rickman) stand their ground well, despite the limited roles they have. McGonagall has always supported Potter and his friends, but she clearly takes her role as professor seriously. As the novels developed (and thus the films), Snape has been a character of interest as it never is clear what is going on in his mind. Is he evil? Is he good? It simply is not known. Draco Malfoy from the onset of the series has been the stuck-up bully that almost every story has, but his development is surprisingly dynamic. He always maintains his arrogance, but there is also a huge amount of fear behind his eyes. And that fear is what makes the character tantalizing. The evil Bellatrix Lestrange (Helena Bonham Carter) is wickedly fun as she seems over-the-top, but that is due to the fact she’s mad. Her delicious evil pushes the film along at times and as her Dark Lord’s servant, leads the campaign throughout the film. The dark nature of the film may remind some of Star Wars’ “The Empire Strikes Back,” as the brooding tone (despite the humor) never leaves. The forces of evil push so fast and so hard throughout the film that the only breather is the occasional humor. One can easily see similar scenes and shots between “Half-Blood Prince” and “Empire Strikes Back.” David Yates’ direction, the cinematography, and the special effects are excellent. Together they create a mood and beauty at times that places the viewer in the film, rather than thinking they’re watching it. As Harry says he never realized how beautiful the grounds of Hogwarts really are, so the audience takes another look too. A Phoenix flies across the grounds in front of a sunset. It is indeed.
The differences between book and film need to be accounted for, but there is also the need to understand the different mediums. One has unlimited power as the imagination is where the screen is. One is limited, due to lengths of time that must be adhered to. Harry Potter and the Half-Blood Prince is no different. The depth and length of the novel and film never could be meshed harmoniously unless two films were made for the novel (as well as books 4, 5, and 7-which two films will be made for). While some may not like this or that that was eliminated in the transition from page to screen, Harry Potter and the Half-Blood Prince is a reminder that very good filmmaking can be done despite the limitations and that even though life sometimes brings great pain, there is a tomorrow to heal it.
Tuesday, July 14, 2009
The Phantom of the Opera
Throughout the 20th Century, moviegoers thought of Lon Chaney as the quintessential Phantom on screen, but it was more widely known, accepted, and loved as Andrew Lloyd Webber’s legendary stage production. Webber took the novel Le Fantome De L’Opera by Gaston Leroux that was dark and brooding and turned it into one of the greatest tragedies ever performed on a stage. Even the most novices of theatre and opera patrons know the score and/or numerous tracks. Webber initially wanted to bring this to the silver screen by way of the original Broadway cast of Michael Crawford as the Phantom and Sarah Brightman as the heroine Christine Daae. However, he put the plans on hold due to Webber’s divorce from Brightman. Fans of “The Phantom...” should be very grateful of that, because the story calls for both the Phantom and Christine to be much younger than their stage portrayers are. Some twenty years later, Webber revived the project and he started production of his masterpiece.
After attaining the services of Joel Schumacher to direct (and help with the screenplay), the casting began. Webber knew that he wanted the actors to physically sing their parts, so the search was exhaustive. Coincidentally, the two leads, Gerard Butler and Emmy Rossum had never seen the stage play once. Only Minnie Driver, as laCarlotta, did not perform vocally.
The film begins 49 years after the story takes place. It is an excellent device to use non-linear storytelling when done correctly. “The Prologue” takes place in the Opera House where a public auction is being held for artifacts from its glory days. Raoul the hero, is back to salvage pieces from the time of Christine’s early career and thus begins “The Phantom of the Opera.” As he gets a piece, he recalls the day he came to the Opera House. This present day account is filmed in Black & White and his flashbacks are in vibrant Color. This was an excellent choice of artistic cinematography, which emphasizes the feeling that Black & White is “old” and Color is “new.” As we see the players rehearse and prepare, we are introduced to the principal characters: Christine (Emmy Rossum), Madam Giry (Miranda Richardson), Meg Giry (Jennifer Ellison), laCarlotta (Minnie Driver), Firmin&Buquet (Ciaran Hinds&Kevin McNally). Firmin&Buquet are the new owners of the theater and are introduced to all the theatrical performers and they in turn introduce their new talent, Raoul (Patrick Wilson). We only vaguely hear of the Phantom at this point, but he does take action. laCarlotta is a nervous and jealous wreck, who thinks that everyone is out to get her. When a stage background panel falls on her, she leaves in a fit of rage. Feeling frustrated, the new owners give Christine a chance to take her role, so that the show can go on. She does so brilliantly. When one views the film, it is hard to believe that such a beautiful voice can come from a 16 year old. Rossum was that age at filming. I was impressed by the vocal work, so I sought out who it was. I was pleasantly stunned to learn it was indeed Rossum’s voice. Being younger than Brightman, her voice carries the youth, fragility, and innocence of Christine that Brightman does not. In that regard, Rossum’s Christine is far more believable and beautiful. “Think of Me” never sounded so lovely. The romance between Raoul and Christine “begins” here, upon his revelation of a specific memory. Patrick Wilson, relatively new to the screen, is most notably recognized from the film, “The Alamo” as Colonel Travis. Here, he gives a better and more emotional performance. Having seen “The Alamo,” one may not think that Wilson has a voice, but it is fine. He delivers a beautiful alto voice that harmonizes extremely well with Rossum’s soprano.
After the success of the performance, the Phantom appears more or less for the first time as he sings duet with Christine with the famed song “Angel of Music,” which in turn flows flawlessly into the title track, “The Phantom of the Opera.” After stepping through a sliding mirror, the two walk their way to the Phantom’s lair. The set decoration is beautiful and haunting. Butler is a handsome man, regal and almost royal-like. However, he still is able to carry the role of “the Phantom” extremely well, because his emotion is believable, despite his debonair appearance. “The Music of the Night” is probably the second most well-known song of the play and Butler delivers it magnificently with his tenor voice. He drips with emotion and you feel his passion for Christine. Nevertheless, one wonders whether it is love or obsession. Having returned to her constituents, Christine is then put in her place by laCarlotta and the theatre owners. Not happy, the Phantom begins to show his passion. After an incident, Christine is scared and Raoul comforts her with “All I Ask of You,” unknowingly in front of the Phantom.
Is the Phantom a masquerade or a genuine suitor for Christine? How far will he go to prove himself? How far will Christine go to follow him? How far will Raoul go to “defend” her?
Although the film is breathtaking, it is not perfect. As brave as Driver was in attempting the role, the vocal over-dubs are unconvincing, since her voice is already so well known. There are a few editing glitches in it that can confuse as well. However, the casting was excellent. Richardson was subtle, yet kind. Wilson was courageous, yet gentle. Rossum was innocent, yet beautiful. Butler was strong, yet sympathetic. Having an appreciation for theatre and knowing this particular play does help in enjoying and understanding this film. As a fan of the stage production, I was nervous when I started viewing this. As the film went along, I recognized that genius had touched it. It is an incredibly faithful recreation from stage and novel to screen. It is amazing to think that the director of hideous flops such as “Batman & Robin” could help create such a beautiful piece of work. He showed inspired work here. Webber and Schumacher did an excellent job should be commended faithfully recreating one of the most popular stage productions ever written.
After attaining the services of Joel Schumacher to direct (and help with the screenplay), the casting began. Webber knew that he wanted the actors to physically sing their parts, so the search was exhaustive. Coincidentally, the two leads, Gerard Butler and Emmy Rossum had never seen the stage play once. Only Minnie Driver, as laCarlotta, did not perform vocally.
The film begins 49 years after the story takes place. It is an excellent device to use non-linear storytelling when done correctly. “The Prologue” takes place in the Opera House where a public auction is being held for artifacts from its glory days. Raoul the hero, is back to salvage pieces from the time of Christine’s early career and thus begins “The Phantom of the Opera.” As he gets a piece, he recalls the day he came to the Opera House. This present day account is filmed in Black & White and his flashbacks are in vibrant Color. This was an excellent choice of artistic cinematography, which emphasizes the feeling that Black & White is “old” and Color is “new.” As we see the players rehearse and prepare, we are introduced to the principal characters: Christine (Emmy Rossum), Madam Giry (Miranda Richardson), Meg Giry (Jennifer Ellison), laCarlotta (Minnie Driver), Firmin&Buquet (Ciaran Hinds&Kevin McNally). Firmin&Buquet are the new owners of the theater and are introduced to all the theatrical performers and they in turn introduce their new talent, Raoul (Patrick Wilson). We only vaguely hear of the Phantom at this point, but he does take action. laCarlotta is a nervous and jealous wreck, who thinks that everyone is out to get her. When a stage background panel falls on her, she leaves in a fit of rage. Feeling frustrated, the new owners give Christine a chance to take her role, so that the show can go on. She does so brilliantly. When one views the film, it is hard to believe that such a beautiful voice can come from a 16 year old. Rossum was that age at filming. I was impressed by the vocal work, so I sought out who it was. I was pleasantly stunned to learn it was indeed Rossum’s voice. Being younger than Brightman, her voice carries the youth, fragility, and innocence of Christine that Brightman does not. In that regard, Rossum’s Christine is far more believable and beautiful. “Think of Me” never sounded so lovely. The romance between Raoul and Christine “begins” here, upon his revelation of a specific memory. Patrick Wilson, relatively new to the screen, is most notably recognized from the film, “The Alamo” as Colonel Travis. Here, he gives a better and more emotional performance. Having seen “The Alamo,” one may not think that Wilson has a voice, but it is fine. He delivers a beautiful alto voice that harmonizes extremely well with Rossum’s soprano.
After the success of the performance, the Phantom appears more or less for the first time as he sings duet with Christine with the famed song “Angel of Music,” which in turn flows flawlessly into the title track, “The Phantom of the Opera.” After stepping through a sliding mirror, the two walk their way to the Phantom’s lair. The set decoration is beautiful and haunting. Butler is a handsome man, regal and almost royal-like. However, he still is able to carry the role of “the Phantom” extremely well, because his emotion is believable, despite his debonair appearance. “The Music of the Night” is probably the second most well-known song of the play and Butler delivers it magnificently with his tenor voice. He drips with emotion and you feel his passion for Christine. Nevertheless, one wonders whether it is love or obsession. Having returned to her constituents, Christine is then put in her place by laCarlotta and the theatre owners. Not happy, the Phantom begins to show his passion. After an incident, Christine is scared and Raoul comforts her with “All I Ask of You,” unknowingly in front of the Phantom.
Is the Phantom a masquerade or a genuine suitor for Christine? How far will he go to prove himself? How far will Christine go to follow him? How far will Raoul go to “defend” her?
Although the film is breathtaking, it is not perfect. As brave as Driver was in attempting the role, the vocal over-dubs are unconvincing, since her voice is already so well known. There are a few editing glitches in it that can confuse as well. However, the casting was excellent. Richardson was subtle, yet kind. Wilson was courageous, yet gentle. Rossum was innocent, yet beautiful. Butler was strong, yet sympathetic. Having an appreciation for theatre and knowing this particular play does help in enjoying and understanding this film. As a fan of the stage production, I was nervous when I started viewing this. As the film went along, I recognized that genius had touched it. It is an incredibly faithful recreation from stage and novel to screen. It is amazing to think that the director of hideous flops such as “Batman & Robin” could help create such a beautiful piece of work. He showed inspired work here. Webber and Schumacher did an excellent job should be commended faithfully recreating one of the most popular stage productions ever written.
Monday, July 13, 2009
Star Wars: Episode V – The Empire Strikes Back
The excitement that Star Wars brought to the screen was immeasurable and this set up for major disappointment if the sequel failed to live up to its predecessor. “The Empire Strikes Back” not only surpassed in quality, but delivered on many levels most thought it could not touch. After struggling with 20th Century Fox over budget issues and time constraints, George Lucas didn’t have such issues this time around thanks to the success of the first. This allowed him more time to develop technology, the story, and other elements the film needed. And it paid off.
The film goes beyond typical special effects, feel-good stories, and other clichés that films lay down every day. It is bold and eye-popping. If the 1st was a feel-good story, this one is the bring-you-back-down-to-earth one. Attempting to topple an Empire that has ruled the galaxy for twenty years can’t be as easy as one film. There inevitable has to be a second chapter that mixes in some real hardship that the protagonists must endure. Upon the opening crawl, we see that indeed has taken place as the Rebellion has been on the run and is hiding on a remote ice world called Hoth. This allows for a great opportunity to advance film effects as white backgrounds were avoided when the thought of blue-screen work was around. The “cut-out” imagery was too noticeable in the early 1980s. Still, the attempt was made and turned out quite well (which is one reason Industrial, Light, and Magic is always on the cutting edge of film SFX). The visual of lumbering behemoths called All-Terrain Armored Transports and All-Terrain Scout Transports (famously called AT-ATs and AT-STs) struck awe in the audience as well as the Rebels. Seeing Luke Skywalker (Mark Hamill) run beside one gives the viewer the massive scale of the “walkers.” But they aren’t the only treat ESB has for us; we have Yoda, Cloud City, and several new creatures throughout that delight the senses. Yoda is a muppet, for all the skill put into bringing him to life, he has been. His movements are so real, you’d swear he was. The Force is taught to Luke in ways no one could fathom just three years earlier. The Force is certainly more than “simple tricks and nonsense.” These teachings are profound and don’t just stick in Luke’s mind, but the viewer’s as well. Cloud City is a city that hovers above a planet as it mines it. The design of the city is elegant and beautiful. Designed similar to a spinning top, it avoids the perception of deathtrap that most mines bring. It is here we meet some of the newest characters to the Star Wars universe and some of the most colorful (no pun intended). Lando Calrissian (Billy Dee Williams) is cocky, but fun and arrogant, yet witty. Although a rogue in his past, he has turned into an administrator of Cloud City when he meets up with his old friend Han Solo (Harrison Ford). New allies are always helpful, but is it a given that the will be? The film title itself indicates the somber tone of the film and while it holds true, there is the lingering openness about it. It is only a chapter of a bigger story.
The script, written by George Lucas and Lawrence Kasdan (Leigh Brackett has screen credit, but it is more memorial than anything, as she passed before the film’s release. Almost none of her work was retained.) is inventive and strong. This one has more depth and heart than the 1st. The 1st film was more like a roller-coaster, whereas this one is more like a train ride. You see the landscape, rather than speeding through it. The tundra plains of Hoth, the mountain ranges of asteroids, the bogs and swamps of Degobah, all have exquisite beauty. The trials the rebels face while trying to survive the consistent onslaught is by no means pointless. There are steps to reach. Luke must see beyond what he has known and learned. Solo must see that is history is such and Princess Leia (Carrie Fisher) must realize that there is more to life than her mission. How they reach their destinies is right here. The wisdom of Yoda and the emotions of the heart are the strength of the script and even as the visuals are a treat to behold, these linger and make the film enjoyable, in essentially what is a second part of a three act story and typically would be weighted with heaviness that bogs down most stories that are structures in the same way. Darth Vader (David Prowse and James Earl Jones) is intent on finding Skywalker. But are his goals for the Empire or his own? Luke Skywalker needs to find his way. But are his goals selfish or of the Jedi-way? Han Solo needs to forget his past. But in doing so, will he lose his identity…or find it? Leia Organa needs hope. But has she found it or is it still around the corner? So many questions this film has to answer or get closer to answering that the overwhelming odds against it are about as good as a single man taking down an AT-AT by itself.
There is not much to dislike here. The script is excellent, the performances are strong, Irvin Kershner’s direction is good, John William’s score brings new dramatic and sweeping themes to the table that the first film didn’t see, and we get one of the biggest bombshell moments in cinema history. Among the many detractors the film (as well as the other five-in differing degrees) has is that it seems to be too simple or too “out there.” Such is the life of a fantasy. One would do well to leave reservations at the door, enter a world where fantasy meets science-fiction, where faith meets depth, where arrogance meets love, and where the eyes see a place set a long time ago, in a galaxy far, far away-and just get swept away by it.
The film goes beyond typical special effects, feel-good stories, and other clichés that films lay down every day. It is bold and eye-popping. If the 1st was a feel-good story, this one is the bring-you-back-down-to-earth one. Attempting to topple an Empire that has ruled the galaxy for twenty years can’t be as easy as one film. There inevitable has to be a second chapter that mixes in some real hardship that the protagonists must endure. Upon the opening crawl, we see that indeed has taken place as the Rebellion has been on the run and is hiding on a remote ice world called Hoth. This allows for a great opportunity to advance film effects as white backgrounds were avoided when the thought of blue-screen work was around. The “cut-out” imagery was too noticeable in the early 1980s. Still, the attempt was made and turned out quite well (which is one reason Industrial, Light, and Magic is always on the cutting edge of film SFX). The visual of lumbering behemoths called All-Terrain Armored Transports and All-Terrain Scout Transports (famously called AT-ATs and AT-STs) struck awe in the audience as well as the Rebels. Seeing Luke Skywalker (Mark Hamill) run beside one gives the viewer the massive scale of the “walkers.” But they aren’t the only treat ESB has for us; we have Yoda, Cloud City, and several new creatures throughout that delight the senses. Yoda is a muppet, for all the skill put into bringing him to life, he has been. His movements are so real, you’d swear he was. The Force is taught to Luke in ways no one could fathom just three years earlier. The Force is certainly more than “simple tricks and nonsense.” These teachings are profound and don’t just stick in Luke’s mind, but the viewer’s as well. Cloud City is a city that hovers above a planet as it mines it. The design of the city is elegant and beautiful. Designed similar to a spinning top, it avoids the perception of deathtrap that most mines bring. It is here we meet some of the newest characters to the Star Wars universe and some of the most colorful (no pun intended). Lando Calrissian (Billy Dee Williams) is cocky, but fun and arrogant, yet witty. Although a rogue in his past, he has turned into an administrator of Cloud City when he meets up with his old friend Han Solo (Harrison Ford). New allies are always helpful, but is it a given that the will be? The film title itself indicates the somber tone of the film and while it holds true, there is the lingering openness about it. It is only a chapter of a bigger story.
The script, written by George Lucas and Lawrence Kasdan (Leigh Brackett has screen credit, but it is more memorial than anything, as she passed before the film’s release. Almost none of her work was retained.) is inventive and strong. This one has more depth and heart than the 1st. The 1st film was more like a roller-coaster, whereas this one is more like a train ride. You see the landscape, rather than speeding through it. The tundra plains of Hoth, the mountain ranges of asteroids, the bogs and swamps of Degobah, all have exquisite beauty. The trials the rebels face while trying to survive the consistent onslaught is by no means pointless. There are steps to reach. Luke must see beyond what he has known and learned. Solo must see that is history is such and Princess Leia (Carrie Fisher) must realize that there is more to life than her mission. How they reach their destinies is right here. The wisdom of Yoda and the emotions of the heart are the strength of the script and even as the visuals are a treat to behold, these linger and make the film enjoyable, in essentially what is a second part of a three act story and typically would be weighted with heaviness that bogs down most stories that are structures in the same way. Darth Vader (David Prowse and James Earl Jones) is intent on finding Skywalker. But are his goals for the Empire or his own? Luke Skywalker needs to find his way. But are his goals selfish or of the Jedi-way? Han Solo needs to forget his past. But in doing so, will he lose his identity…or find it? Leia Organa needs hope. But has she found it or is it still around the corner? So many questions this film has to answer or get closer to answering that the overwhelming odds against it are about as good as a single man taking down an AT-AT by itself.
There is not much to dislike here. The script is excellent, the performances are strong, Irvin Kershner’s direction is good, John William’s score brings new dramatic and sweeping themes to the table that the first film didn’t see, and we get one of the biggest bombshell moments in cinema history. Among the many detractors the film (as well as the other five-in differing degrees) has is that it seems to be too simple or too “out there.” Such is the life of a fantasy. One would do well to leave reservations at the door, enter a world where fantasy meets science-fiction, where faith meets depth, where arrogance meets love, and where the eyes see a place set a long time ago, in a galaxy far, far away-and just get swept away by it.
Wednesday, July 8, 2009
Singin’ in the Rain
It has long been thought that the musical era was born out of pure enthusiasm over the ability to put sound on film. The case holds water as there never was a run on musicals like there was in the 30s-50s, but it doesn’t tell the whole story. Singin’ in the Rain combines comedy, charm, music, and dance and interweaves them into a delicious early Hollywood romance story. Singin’ in the Rain is generally known as the greatest musical of all time. The plot was born from a song and used others that had been around for many years, ever since “the talkies” were born in the late 20s. The screenplay was written according to the songs. Although the cast had been cast, and re-cast several times; the end result was one of perfect chemistry. The combination of the ever-so talented Gene Kelly and Debbie Reynolds worked very well, despite complications that arose off the set. And Donald O’Connor was born for his role as Cosmo Brown, the best buddy to Kelly’s Don Lockwood. His wit keeps the film fresh and funny. If you took a drink for every smart remark he made, you’d be drunk, before the film gets going.
All the characters in this film are dynamic, save Cosmo Brown and Lena Lamont (played by Jean Hagen). This was perfect for what was called for, for this film to succeed. This helps the film “move,” where other musicals fail. This is where the irony enters; since this film was written in reverse of this philosophy. Being able to incorporate quality songs into a quality storyline is a skill no studio has ever mastered, even to this day. MGM, which was known as “the king of the musicals”, failed more often than it succeeded.
As the film opens, the premiere for one of the famed “Lockwood/Lamont” films is taking place for “The Royal Rascal.” As the stars arrive, one by one, Cosmo Brown arrives. A bit later Lockwood and Lamont arrive. Lockwood tells a “story” of how he and Cosmo get to stardom. To celebrate the release, there is a party at the studio’s producer’s house. But to get there, Lockwood must go by a different rout than everyone else, finding Kathy Selden (Debbie Reynolds) in the process. After a few cute surprises and accidents, Don gets a conscience attack. After finally finding her, he realizes that he cares for her. Meanwhile, Cosmo Brown keeps up his antics and funny nature. The comic relief is never amiss in this film. Lamont soon learns of the romance and is up to something, but what? What do you think she is, “…dumb or something?” While some may feel there is either bad acting or wooden acting in the film, it is regularly refuted or overlooked due to the nature of the film. Most early Hollywood performers performed in such a manner and since the film takes place during the sound revolution, it fits perfectly.
The co-director (also co-directed by Gene Kelly) Stanley Donen called the “Moses Supposes” dance sequence with Kelly and O’Connor, the best dance sequence ever. I agree that it is in the Top 3, but not the best, that’s in another film; which Donen also directed, for another review. All numbers in this film are memorable and several of them have entered modern lexicon, even if the younger generations don’t know from whence it came. “Make ‘em Laugh” is Donald O’Connor’s signature. Reynolds’ “All I Do“ is cute and spunky. Almost everyone knows the title track, regardless of age. Hagen’s Lamont is terrific. While she has no musical numbers, the character is both truth and caricature. She’s vindictive, selfish, and has an ego that they fuel. She also has a voice that either irritates or makes one chuckle. Unfortunately, it backfired somewhat as many thought it was real, rather than one Hagen created for the role. The only memorable detraction in this film is the “Broadway Melody” sequence. It begins with another interesting and amusing song and dance number by Mr. Lockwood, trying to convince his producer (Millard Mitchell) of a scene he thinks would be excellent for the next film they make. Mitchell makes R.F. Simpson terrifically uneven and he does so at the perfect time. Sometimes bold, sometimes nervous, sometimes unsure, but always “head of this studio.” But the Broadway Melody scene becomes too long, bloated, and unnecessary. Cyd Charisse is an amazing talent; the dance number she has in the film is mesmerizing but is out of place in this film. This 13 minute sequence should have ended at about 7-8 max. Still, this detail is minute as the visuals are impressive. Filmed in color, the sets and vibrant colors are displayed wonderfully. A risky venture even in 1952, color was not a mastered art. Several scenes are in Black & White, but are associated with the Silent Era more so than the film’s actual continuity. This works quite well for the plot and enhances the look of the film.
When this film was released in 1952, it opened to luke-warm reviews and average box office receipts. It wasn’t until its 10th Anniversary, that people began to notice that Singin’ in the Rain was special and has been known as such ever since. 57 years later, it is as strong as it ever was. In the world of more drama and action films being made and fewer risks are taken, this gem will serve as a reminder of how far film has come in the last 80 years. The AFI, when it released its list of “The 100 Years…100 Movies,” ranked this film No.10, to put it at the highest mark for a musical of any era. Musicals today are rare. One gets made every so often, but their heyday is long gone. Their legacy can be summed up in one film…Singin’. It isn’t just a film, musical, or caricaturized history lesson. It’s all three in one. And for this reason above others, Singin’ in the Rain is always fun to watch. As enduring as Mr. Kelly’s lamppost lean is, so this film echoes Mr. Lockwood’s sentiments of nothing; nothing but pure joy.
All the characters in this film are dynamic, save Cosmo Brown and Lena Lamont (played by Jean Hagen). This was perfect for what was called for, for this film to succeed. This helps the film “move,” where other musicals fail. This is where the irony enters; since this film was written in reverse of this philosophy. Being able to incorporate quality songs into a quality storyline is a skill no studio has ever mastered, even to this day. MGM, which was known as “the king of the musicals”, failed more often than it succeeded.
As the film opens, the premiere for one of the famed “Lockwood/Lamont” films is taking place for “The Royal Rascal.” As the stars arrive, one by one, Cosmo Brown arrives. A bit later Lockwood and Lamont arrive. Lockwood tells a “story” of how he and Cosmo get to stardom. To celebrate the release, there is a party at the studio’s producer’s house. But to get there, Lockwood must go by a different rout than everyone else, finding Kathy Selden (Debbie Reynolds) in the process. After a few cute surprises and accidents, Don gets a conscience attack. After finally finding her, he realizes that he cares for her. Meanwhile, Cosmo Brown keeps up his antics and funny nature. The comic relief is never amiss in this film. Lamont soon learns of the romance and is up to something, but what? What do you think she is, “…dumb or something?” While some may feel there is either bad acting or wooden acting in the film, it is regularly refuted or overlooked due to the nature of the film. Most early Hollywood performers performed in such a manner and since the film takes place during the sound revolution, it fits perfectly.
The co-director (also co-directed by Gene Kelly) Stanley Donen called the “Moses Supposes” dance sequence with Kelly and O’Connor, the best dance sequence ever. I agree that it is in the Top 3, but not the best, that’s in another film; which Donen also directed, for another review. All numbers in this film are memorable and several of them have entered modern lexicon, even if the younger generations don’t know from whence it came. “Make ‘em Laugh” is Donald O’Connor’s signature. Reynolds’ “All I Do“ is cute and spunky. Almost everyone knows the title track, regardless of age. Hagen’s Lamont is terrific. While she has no musical numbers, the character is both truth and caricature. She’s vindictive, selfish, and has an ego that they fuel. She also has a voice that either irritates or makes one chuckle. Unfortunately, it backfired somewhat as many thought it was real, rather than one Hagen created for the role. The only memorable detraction in this film is the “Broadway Melody” sequence. It begins with another interesting and amusing song and dance number by Mr. Lockwood, trying to convince his producer (Millard Mitchell) of a scene he thinks would be excellent for the next film they make. Mitchell makes R.F. Simpson terrifically uneven and he does so at the perfect time. Sometimes bold, sometimes nervous, sometimes unsure, but always “head of this studio.” But the Broadway Melody scene becomes too long, bloated, and unnecessary. Cyd Charisse is an amazing talent; the dance number she has in the film is mesmerizing but is out of place in this film. This 13 minute sequence should have ended at about 7-8 max. Still, this detail is minute as the visuals are impressive. Filmed in color, the sets and vibrant colors are displayed wonderfully. A risky venture even in 1952, color was not a mastered art. Several scenes are in Black & White, but are associated with the Silent Era more so than the film’s actual continuity. This works quite well for the plot and enhances the look of the film.
When this film was released in 1952, it opened to luke-warm reviews and average box office receipts. It wasn’t until its 10th Anniversary, that people began to notice that Singin’ in the Rain was special and has been known as such ever since. 57 years later, it is as strong as it ever was. In the world of more drama and action films being made and fewer risks are taken, this gem will serve as a reminder of how far film has come in the last 80 years. The AFI, when it released its list of “The 100 Years…100 Movies,” ranked this film No.10, to put it at the highest mark for a musical of any era. Musicals today are rare. One gets made every so often, but their heyday is long gone. Their legacy can be summed up in one film…Singin’. It isn’t just a film, musical, or caricaturized history lesson. It’s all three in one. And for this reason above others, Singin’ in the Rain is always fun to watch. As enduring as Mr. Kelly’s lamppost lean is, so this film echoes Mr. Lockwood’s sentiments of nothing; nothing but pure joy.
Tuesday, July 7, 2009
Star Wars: Episode III - Revenge of the Sith
Every so often, a film event captures the imagination like nothing that preceded it.
In 1977, a relative newcomer to the film industry used his vivid imagination to create a universe that one could only dream of in the modern world. With a flood of negative news such as the Vietnam War, a bad economy, and a government that would not or could not help, one man changed entertainment and 28 years later, he finished the story he began, amid much enthusiasm and mild concern. Said concern was due to the previous two attempts to continue the Star Wars Saga. Both films were commercially successful, but were heavily criticized by both critics and fans. There were elements that were enjoyable and quite clever, but there were too many flaws to overlook for many. 2005 brought the final episode to the grand saga and closed the story on Luke and Leia’s biological roots. Although there is a 2 decade gap between the two, the saga is linked now the way it always should have been.
Star Wars: Episode III – Revenge of the Sith opens with astonishing visuals that tantalize and engage the viewer. With graceful moves, Anakin Skywalker (Hayden Christensen) and the iconic Obi-Wan Kenobi (Ewan McGregor) fly their ships in what seems to be a fluid motion, reminiscent of a ballet. Chasing after a war general that has captured the leader of the Galactic Republic; they are concerned with only the Chancellor’s rescue. General Grievous, who holds Chancellor Palpatine (Ian McDiarmid), is a well-designed cyborg who hopes to trap the two Jedi. Along with Count Dooku (Christopher Lee), the plot thickens for the two rescuers. Once again, R2-D2 is right in the thick of the action, and as usual provides comic relief when needed. That aspect is probably why “he” is so highly regarded in the Star Wars universe. Once the rescue is concluded and Skywalker is back home, he learns a truth that he was not prepared for, but is a pleasant one. His wife, Senator Padme Amidala (Natalie Portman), is very happy and is prepared to retire. However, with the Clone Wars still in full swing, there will not be much of a chance. Skywalker, still very attached to the Chancellor enjoys the action, but is ill-prepared for the life of a Jedi or its tenets, despite trying to for a decade. There is also a Sith Lord lurking around the galaxy and has eluded the Jedi for decades. With all the chaos, how can the Jedi close in on him? The causes that the Galactic Republic and Confederacy of Independent Systems fight over are seemingly unknown to many. One side claims they want independence. The other claims they want to keep a united Republic. Sound familiar? What isn’t familiar is that the C.I.S. is being led by a puppet master, a Sith Lord without even knowing it. Revelations is what Revenge of the Sith is heavy on and it delivers. The fallout is all that the film is about and from the opening scene it falls and falls and falls until total hell breaks loose.
The script is clever at some points and is very reminiscent of the original Star Wars film (now Star Wars: Episode IV-A New Hope). Witty dialog and humorous antics by the comic relief of R2-D2 mixes with ridiculous, spaceship battles mix with youths trying to find their way, and an exciting and dramatic finish. The last hour is as dark as anyone could possibly expect and in some cases may be beyond that.
Lucas has his faults and they are prevalent. The direction is average at best, as some scenes look awkward due to wooden acting. The skill and talent of the actors is very good and that sometimes carry a scene, but isn’t enough to overcome deficiencies of direction and script. A viewer might even wonder, “What might this have been like had Spielberg directed this?” A tighter, better film is what the answer would be. There are several moments where the viewer may roll eyes or scoff at the dialog, but it is much stronger than its two predecessors. Still, Star Wars: Episode III – Revenge of the Sith is another film that pleases on a grand scale. The story is terrific, the visuals excellent, and the merging of two separate parts of one story intrigue the mind and enrapture the imagination. The final hour is intense and devastating emotionally. Long time fans knew what was coming and the visuals don’t disappoint. Revenge of the Sith is the perfect title for the film. It not only parallels Return of the Jedi-the closing episode of the Star Wars Saga, but also is single-minded, whereas its counterpart has layers. This is reminiscent of the Jedi/Sith relationship throughout the timeline. This is a film where flaws can be overlooked for the greater story. Star Wars is a saga that does not need to be Citizen Kane. It is a fantasy set in the past with elements of the future. While four of the six films won’t be hailed as cinematic masterpieces, and may even be thought of as less than worthy, one thing is for certain. Despite the prevalent flaws and issues the films have, Star Wars is a story that will transcend generations with its epic scale, sweeping score, and very original-yet very inspired story and will forever change the landscape of film and the imaginative mind.
The Star Wars Saga is not for everyone. Not everyone likes fantasy films and that is perfectly okay. But for those that do, unlike the previous two episodes in the saga, Revenge of the Sith delivers when it really needed to. The “Expanded Universe” of the Star Wars realm may have some nice additions to it from external writers, but no one but George Lucas who created this “playground” could have made this. As the film fades to black we are reminded of the original again. And that just makes one smile. Because after the destruction levied by the Sith, the battle to save the Galactic Republic is over … or is it? Nineteen years later, the fate of the galaxy will once again shift.
In 1977, a relative newcomer to the film industry used his vivid imagination to create a universe that one could only dream of in the modern world. With a flood of negative news such as the Vietnam War, a bad economy, and a government that would not or could not help, one man changed entertainment and 28 years later, he finished the story he began, amid much enthusiasm and mild concern. Said concern was due to the previous two attempts to continue the Star Wars Saga. Both films were commercially successful, but were heavily criticized by both critics and fans. There were elements that were enjoyable and quite clever, but there were too many flaws to overlook for many. 2005 brought the final episode to the grand saga and closed the story on Luke and Leia’s biological roots. Although there is a 2 decade gap between the two, the saga is linked now the way it always should have been.
Star Wars: Episode III – Revenge of the Sith opens with astonishing visuals that tantalize and engage the viewer. With graceful moves, Anakin Skywalker (Hayden Christensen) and the iconic Obi-Wan Kenobi (Ewan McGregor) fly their ships in what seems to be a fluid motion, reminiscent of a ballet. Chasing after a war general that has captured the leader of the Galactic Republic; they are concerned with only the Chancellor’s rescue. General Grievous, who holds Chancellor Palpatine (Ian McDiarmid), is a well-designed cyborg who hopes to trap the two Jedi. Along with Count Dooku (Christopher Lee), the plot thickens for the two rescuers. Once again, R2-D2 is right in the thick of the action, and as usual provides comic relief when needed. That aspect is probably why “he” is so highly regarded in the Star Wars universe. Once the rescue is concluded and Skywalker is back home, he learns a truth that he was not prepared for, but is a pleasant one. His wife, Senator Padme Amidala (Natalie Portman), is very happy and is prepared to retire. However, with the Clone Wars still in full swing, there will not be much of a chance. Skywalker, still very attached to the Chancellor enjoys the action, but is ill-prepared for the life of a Jedi or its tenets, despite trying to for a decade. There is also a Sith Lord lurking around the galaxy and has eluded the Jedi for decades. With all the chaos, how can the Jedi close in on him? The causes that the Galactic Republic and Confederacy of Independent Systems fight over are seemingly unknown to many. One side claims they want independence. The other claims they want to keep a united Republic. Sound familiar? What isn’t familiar is that the C.I.S. is being led by a puppet master, a Sith Lord without even knowing it. Revelations is what Revenge of the Sith is heavy on and it delivers. The fallout is all that the film is about and from the opening scene it falls and falls and falls until total hell breaks loose.
The script is clever at some points and is very reminiscent of the original Star Wars film (now Star Wars: Episode IV-A New Hope). Witty dialog and humorous antics by the comic relief of R2-D2 mixes with ridiculous, spaceship battles mix with youths trying to find their way, and an exciting and dramatic finish. The last hour is as dark as anyone could possibly expect and in some cases may be beyond that.
Lucas has his faults and they are prevalent. The direction is average at best, as some scenes look awkward due to wooden acting. The skill and talent of the actors is very good and that sometimes carry a scene, but isn’t enough to overcome deficiencies of direction and script. A viewer might even wonder, “What might this have been like had Spielberg directed this?” A tighter, better film is what the answer would be. There are several moments where the viewer may roll eyes or scoff at the dialog, but it is much stronger than its two predecessors. Still, Star Wars: Episode III – Revenge of the Sith is another film that pleases on a grand scale. The story is terrific, the visuals excellent, and the merging of two separate parts of one story intrigue the mind and enrapture the imagination. The final hour is intense and devastating emotionally. Long time fans knew what was coming and the visuals don’t disappoint. Revenge of the Sith is the perfect title for the film. It not only parallels Return of the Jedi-the closing episode of the Star Wars Saga, but also is single-minded, whereas its counterpart has layers. This is reminiscent of the Jedi/Sith relationship throughout the timeline. This is a film where flaws can be overlooked for the greater story. Star Wars is a saga that does not need to be Citizen Kane. It is a fantasy set in the past with elements of the future. While four of the six films won’t be hailed as cinematic masterpieces, and may even be thought of as less than worthy, one thing is for certain. Despite the prevalent flaws and issues the films have, Star Wars is a story that will transcend generations with its epic scale, sweeping score, and very original-yet very inspired story and will forever change the landscape of film and the imaginative mind.
The Star Wars Saga is not for everyone. Not everyone likes fantasy films and that is perfectly okay. But for those that do, unlike the previous two episodes in the saga, Revenge of the Sith delivers when it really needed to. The “Expanded Universe” of the Star Wars realm may have some nice additions to it from external writers, but no one but George Lucas who created this “playground” could have made this. As the film fades to black we are reminded of the original again. And that just makes one smile. Because after the destruction levied by the Sith, the battle to save the Galactic Republic is over … or is it? Nineteen years later, the fate of the galaxy will once again shift.
Monday, July 6, 2009
Casablanca
Casablanca was made and released in 1942, just 15 years after the introduction of synchronized sound in motion pictures. Here, some 67 years later, it is still considered one of the best films ever created. The “Golden Age” of Hollywood was beginning and the dawn of color was at hand. This film however, is Black & White. This added to the drama and tension that would elevate the story in uncountable ways. With an all-star cast of Humphrey Bogart, Ingrid Bergman, Claude Rains, Paul Henreid, and Sydney Greenstreet, and a host of recognizable faces in minor roles, the film was thought to be a sure success. Michael Curtiz (one of Warner Brothers most well-known directors) led the picture. Warner Brothers however, felt differently. It was a middle-of-the-pack picture for Jack L. Warner and was the baby for Producer Hal B. Wallis. Without Wallis, the film would not be what it is. He took care of the film. Warner paid little attention to it … until it suited him.
From the start there are trademarks of history and early Hollywood. A maybe obvious/maybe poignant voice-over sets the stage for the film. We are in a world of uncertainty and we are thrust into Rick Blaine’s (Bogart) world almost immediately. French Morocco is teeming with crime, masses of people caught in mid-journey and corrupt officers who take advantage of both. And enter Café Americain…the most popular (or perhaps 2nd most popular) club in Casablanca. Immediately, lighting sets a cynical mood. Throughout the opening scenes one sees the trouble many have getting out of town. Each takes the viewer to a time and place where trouble lurks around every corner. Rick hovers over his domain not like a king, but a God and we so immediately. Bogart’s acting chops are so finely tuned here that every twitch he makes is multi-layered. He’s slick, suave, and cold. He sticks his neck out for no one and he shows it. Captain Louis Renault (Claude Rains) is the closest thing Rick has to a friend, although it is in reality a peaceful coexistence between law and chaos as he allows Rick to run his club without much interference from local officials. The banter is terrific and has humor sprinkled throughout the film. Then without warning, she arrives-with someone else. Any man who’s been left with no explanation understands this “insides ripped out” feeling. She isn’t there to see him and is there for a purpose. Victor Laszlo (Henreid), her companion is there for a purpose. His presence is the catalyst for the film. What will happen to him in Casablanca? Rick has to decide whether to deal with his past or remain the cynic he has become. This sets the viewer up for a series of events that bring about some of the best and most memorable dialog in film history. Major Heinrich Strasser (Conrad Veidt) is a particular thorn in the side of many in Casablanca. Although Veidt himself escaped his homeland Germany and was feverishly against the Nazi regime personally, he played the part of a Nazi soldier well. He’s rude, conceited, and arrogant. The tightrope that Rick walks between Renault, Ilsa and Laszlo, and Strasser is a very tight one and uses his cleverness to the best of his ability. What does he do? Try and win Ilsa back, help them get away, or just leave it all alone to play out? And then, there’s Sam, Rick’s conscience, employee, and best friend. Their relationship is more brotherly than anything else and the film takes advantage of that many times.
The lighting is used extremely well by Curtiz. In shot after shot the characters exude emotion and the lighting captures this is many ways. In Renault/Rick’s banter, you see the good-natured ribbing and possible dark implications behind them. When Rick runs into Ilsa (Bergman) throughout the film, the lighting accentuates his pain. Ilsa looks flawless and Laszlo looks confident and rigid. The 1980s colorized version loses this edge. Casablanca is meant for Black & White. The screenplay is amazingly solid considering it was plagued by conflicts and problems throughout the filming and there were numerous writers adding and eliminating text. The result however, was magic. The balance between humor, politics, and tension is excellent. Line after line is performed with some manner of depth that makes the viewer wonder what will happen next. The editing was done very well by Owen Marks. He weaves several montages together to capture the proper emotions of the moment. The film isn’t perfect as there are several continuity issues and some of the few special effects are not done correctly. But many of them are so minute that they may have to be pointed out to be seen. However, a keen eye sees them immediately.
Routinely among the Top 5 in “Best Films” lists, Casablanca is a film that every movie fan should see. While the younger generations might have to be tempted or pressured to see older films, this is simply a necessity. The World War II era is one that should never be forgotten and although there are plenty of WWII films, this one has moments that showcase just how important winning was. They are moving and deep. While not perfectly historically accurate (nothing is really), it does relay the immediate need to fight. Beautifully shot, tremendous acting and direction, and an impressive screenplay took this film from being a run-of-the-mill picture for Warner Brothers to being a Classic to being a legendary film. The Box Office receipts of the time were average at best, but as they say…the cream rises to the top and Casablanca has. It deserves its reputation. No movie ever has 100% of its viewership like it, but most who see it can do nothing but simply smile when Bogart closes the film with ”… I think this is the beginning of a beautiful friendship.” After it’s over, you may just want to play it again; maybe not today or tomorrow-but soon.
From the start there are trademarks of history and early Hollywood. A maybe obvious/maybe poignant voice-over sets the stage for the film. We are in a world of uncertainty and we are thrust into Rick Blaine’s (Bogart) world almost immediately. French Morocco is teeming with crime, masses of people caught in mid-journey and corrupt officers who take advantage of both. And enter Café Americain…the most popular (or perhaps 2nd most popular) club in Casablanca. Immediately, lighting sets a cynical mood. Throughout the opening scenes one sees the trouble many have getting out of town. Each takes the viewer to a time and place where trouble lurks around every corner. Rick hovers over his domain not like a king, but a God and we so immediately. Bogart’s acting chops are so finely tuned here that every twitch he makes is multi-layered. He’s slick, suave, and cold. He sticks his neck out for no one and he shows it. Captain Louis Renault (Claude Rains) is the closest thing Rick has to a friend, although it is in reality a peaceful coexistence between law and chaos as he allows Rick to run his club without much interference from local officials. The banter is terrific and has humor sprinkled throughout the film. Then without warning, she arrives-with someone else. Any man who’s been left with no explanation understands this “insides ripped out” feeling. She isn’t there to see him and is there for a purpose. Victor Laszlo (Henreid), her companion is there for a purpose. His presence is the catalyst for the film. What will happen to him in Casablanca? Rick has to decide whether to deal with his past or remain the cynic he has become. This sets the viewer up for a series of events that bring about some of the best and most memorable dialog in film history. Major Heinrich Strasser (Conrad Veidt) is a particular thorn in the side of many in Casablanca. Although Veidt himself escaped his homeland Germany and was feverishly against the Nazi regime personally, he played the part of a Nazi soldier well. He’s rude, conceited, and arrogant. The tightrope that Rick walks between Renault, Ilsa and Laszlo, and Strasser is a very tight one and uses his cleverness to the best of his ability. What does he do? Try and win Ilsa back, help them get away, or just leave it all alone to play out? And then, there’s Sam, Rick’s conscience, employee, and best friend. Their relationship is more brotherly than anything else and the film takes advantage of that many times.
The lighting is used extremely well by Curtiz. In shot after shot the characters exude emotion and the lighting captures this is many ways. In Renault/Rick’s banter, you see the good-natured ribbing and possible dark implications behind them. When Rick runs into Ilsa (Bergman) throughout the film, the lighting accentuates his pain. Ilsa looks flawless and Laszlo looks confident and rigid. The 1980s colorized version loses this edge. Casablanca is meant for Black & White. The screenplay is amazingly solid considering it was plagued by conflicts and problems throughout the filming and there were numerous writers adding and eliminating text. The result however, was magic. The balance between humor, politics, and tension is excellent. Line after line is performed with some manner of depth that makes the viewer wonder what will happen next. The editing was done very well by Owen Marks. He weaves several montages together to capture the proper emotions of the moment. The film isn’t perfect as there are several continuity issues and some of the few special effects are not done correctly. But many of them are so minute that they may have to be pointed out to be seen. However, a keen eye sees them immediately.
Routinely among the Top 5 in “Best Films” lists, Casablanca is a film that every movie fan should see. While the younger generations might have to be tempted or pressured to see older films, this is simply a necessity. The World War II era is one that should never be forgotten and although there are plenty of WWII films, this one has moments that showcase just how important winning was. They are moving and deep. While not perfectly historically accurate (nothing is really), it does relay the immediate need to fight. Beautifully shot, tremendous acting and direction, and an impressive screenplay took this film from being a run-of-the-mill picture for Warner Brothers to being a Classic to being a legendary film. The Box Office receipts of the time were average at best, but as they say…the cream rises to the top and Casablanca has. It deserves its reputation. No movie ever has 100% of its viewership like it, but most who see it can do nothing but simply smile when Bogart closes the film with ”… I think this is the beginning of a beautiful friendship.” After it’s over, you may just want to play it again; maybe not today or tomorrow-but soon.
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