Brian McCaughey’s blog

Noël Coward’s teacup humour and propriety not quite suits the beer mirror temperament of his concealment adaptor Ben Hecht, who later complained of the author’s ‘vaudeville gibberish with an English accent’, not to impart a ’superiority complex that went over humongous with sofa-cushion menders’. The script galumphs when it should slide, and neither the headman nor the stellar actresses can advance a earn this would-be soufflé about a bohemian ménage-à-trois (Cooper paints, Demonstration writers, Hopkins flits between them) to the right fluffy consistency.

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A disaster follows Alonzo. Falling in satisfaction in to Estrellita who is pusillanimous of men’s arms, he cuts his own arms. So, there he is now The Armless Fascination, a knife thrower who plays his master plan using his feet. Because the stage, Estrellita has build the cure of her paranoia. Broken hearted, Alonzo arranges a suicide in a show to have him killed during a circus act.

As rising childish King’s counsel Elle Woods (Reese Witherspoon) prepares looking for her coalescence and discovers Bruiser’s close-mouthed (Bruiser is her dog) is in unison of the pets used for experiments to develop cosmetics, she tries to get her law firm to take action – but it’s not that kind of law firm, and she’s fired. So Elle goes to Washington to earn the legislators do something to stop the day-to-day. But the grey suited men and women on Capitol Hill don’t instanter respond as she’d like. So Elle plucks up her permanently pink outcome and decides the barely way to save the poor animals being Euphemistic pre-owned in this way is to change the law itself, by what becomes known as Bruiser’s Bill. It takes all of Elle’s trust of good intentions and pink-infused power puffing to make any headway, and then she discovers a tough team up has betrayed her.

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Reviewed by Dennis Schwartz

John Farrell imaginatively directs William Shakespeare’s Richard
the Second, an under-appreciated treasure that was never put to the big
screen before until this digital video. It is shot on a shoestring budget
and uses as its location shots the wooded area around Boston’s harbor.
It also uniquely has the ensemble cast brazenly in modern dress (wearing
battle fatigues and armed with machine guns), which doesn’t do anything
for me but, nevertheless, doesn’t ruin the film (at least, the original
text was unblemished). 

It’s a tale of a young, reckless and indecisive king, Richard 11
(Matte Osian), who loses his crown and his life. A banished nobleman, Bolingbroke
(Barry Smith), whose property the king seizes, returns to usurp the throne
of England and become Henry IV. The battles between the two forces is fought
in a guerrilla warfare style.

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Matte Osian is the proud ruler who when lying curled up in a fetal
position in a darkened dungeon after his surrender, realizes his mistakes
in making so many powerful enemies and how he let down his subjects by
misrule. The handsome Osian’s tantalizing performance of arrogance, pain
and conceit is well realized. Though the ensemble cast gives more of a
shaky performance than its lead, their acting still resonates with the
bard’s intended turmoil and fury.

It’s a powerful Shakespeare play that was well presented (despite
a poor quality of video and doubts on my part if the contemporary updates
were needed). In any case, it left a modern audience with meaningful lessons
to consider, especially during these days of President Bush the Second’s
questionable Iraqi War and occupation. A question that might be raised,
is if there’s a Bolingbroke hidden under Senator Kerry’s fair skin to bring
down an arrogant rival!

This fascinating documentary from the director of Wild Man Blues shows how things acquire changed since the late ’60s. Using the three Woodstock Festivals as an analogy in the direction of cultural and commercial change, Kopple focuses not purely on the state of the kids who attended the gigs of 1969, ‘92 and ‘99, but also on the backstage shenanigans. Aside from drug choice and the partiality child’s propensity into disrobing with alacrity, little appears to have changed in the concert-usual fraternity. Especial, though, are the root different working practices of equitable about Dick involved behind the scenes, so that by 1999, corporate sponsorship, product marketing and knee-start PC values have successfully hijacked the proceedings. Some snippets of good music from, extent others, Joe Cocker and Red Hot Chilli Peppers.

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The Movie:

There was a time in the seventies and eighties where Harrison Ford was The Man. Guys wanted to be him and ladies wanted to be with him. Nobody will ever be cooler than Han Solo (a fact you can take with you to your grave) and all the credit for that has to go to Mr. Ford. While he may not have made anything all that spectacular lately, his older films still hold up really well and some of them stand as a real testament to just how good an actor Harrison Ford is when he’s working on decent material. Witness in particular is a shining example of how it all comes together sometimes, and Paramount has decided to reissue the film in a new special edition.

Harrison Ford plays John Book (a role originally developed with Sylvester Stallone in mind), a cop who finds himself having to protect a young Amish boy named Samuel Lapp (Luke Haas) who, while out with his mother, Rachel (Kelly McGillis) witnesses a brutal murder in a train station men’s room. The victim of the attack turns out to be an undercover narcotics agent and the boy is at risk because of what he’s seen. When confronted with Amish society, the hardboiled inner city cop is faced with a culture he doesn’t understand but he does his job and soon enough he starts falling for Rachel.

Telling you anymore about the storyline would be a grave disservice to anyone who hasn’t seen this one yet (there’s got to be at least two or three of you out there) so I’m going to leave it at that. The less you know going into the last half of the film for the first time, the better.

While the film’s he made in the last decade have been hit or miss, there’s no denying the exceptional way that Ford (who as nominated for a Best Actor Academy Award for this role) handles his performance in Witness. He’s perfectly cast as John Book and you can really see it in his face and his eyes when the action starts just how conflicted he is over everything that he’s going through and in turn that he’s putting this family through simply by being where he is. In a sense, he turns their entire world upside down. A good portion of the film does focus on Book’s growing understanding and tolerance of a culture he knows nothing about, and Ford does a completely admirable job of growing his character’s emotions and feelings as the storyline, and in turn the romance he experiences, develops. The Amish focus on family and brotherhood is foreign to Book, who isn’t exactly the most gentle of souls. Their passiveness to the threat that faces Samuel is completely at odds with his defensive stance on the issue, which leads to some interesting conflict between Book and some of the community members who pull clout in the area. Not to be outdone, Kelly McGillis is also very good as Rachel, the Amish mother. Made a year before she broke many a young man’s heart in the ultra cheesy Top Gun, she proves here to be more than capable of handling a serious dramatic role and she brings a certain softness and sensuality to her character that makes for an interesting contract to Ford’s gruff and tough cop. Her confusion and concern over her son’s plight is genuine and heartfelt and it’s interesting to watch Rachel and Book’s relationship develop as they obviously come from two completely different worlds. When Rachel finally does recognize that she has feelings for this strange man who has been thrust so vehemently into her otherwise quiet and slow moving world, she’s unsure how to approach it, and likewise, Book has no idea how or if he can win her heart though he obviously reciprocates.

Look for Viggo Mortensen (of Lord Of The Rings fame) in his big screen debut in a supporting role as a young Amish man named Moses Hochleitner. Danny Glover of the Lethal Weapon films has also got a good supporting role in the film.

Though the film was originally slated to be directed by David Cronenberg (which would have been interesting), Peter Weir (who also got an Oscar nomination for this film) does a truly masterful job of holding the reins on this one. Witness does a fantastic job of combining the perfect blend of romance, drama, action and suspense with some interesting characters in a unique setting that it all just falls into place. The look of the film suits the storyline very nice and the Oscar winning editing from Thom Noble keeps the pacing tight and the plot moving along nicely. John Seale’s Oscar nominated cinematography does a fine job of not only capturing the rather odd surroundings that the bulk of the film takes place in but also the grittiness of some of the other locales and the intensity of the action and suspense sequences. The film was also nominated for Best Picture, Best Original Score, and Best Art-Set Direction in 1986 (the same year that Out Of Africa cleaned house), proving that it’s technical achievements weren’t overshadowed by the acting, at least not in the eyes of the Academy.

Reviewed by Dennis Schwartz

An excruciatingly long (the film runs 174 minutes) adaptation of
Pulitizer Prize-winning author Toni Morrison’s book, based on the true
story of runaway slave Margaret Garner. The film version centers around
the psychological problems a former single-parent slave named Sethe (Oprah)
has, as she tries to live her life as a free person. I have not read the
book but as others who read the book have commented, this is a very difficult
work to bring to film because the author’s words are so literary imaginative.
Such works have in the past resulted in poorly shot films, but that is
not the case here. It should also be noted, that Toni Morrison has said
that she is very pleased with the outcome of the film. Demme has sort of
solved the literary problem by making this film into a ghost story, as
the strong visualizations are used as metaphors for the inhumanity of slavery
and the lasting impressions it stamps on the minds of the victims.

There can be no doubt of how brutal a system slavery is. Demme, by
using images such as a dog having his eyes gauged out and subliminally
invective flashbacks of slaves being hanged and whipped, is able to point
out the psychological scars that remain upon the people who lived through
this very dark period of America’s history. These racial scars are still
with present day America as it wrestles with its past and the deep racial
divisions it has created even if slavery and segregation are things of
the past, but there is still a lingering racism that hasn’t yet been resolved.

The frightening and intense emotional mood this film sets is appropriate
for the seriousness of the issues it brings to the table. The deprivation
it causes in the country cannot be minimized in any degree. This is an
honest picture, ever faithful to the book’s author and the subject matter.
But there were definite flaws in this film that detracted from it; such
as, the poor editing and pace of the film. For me, the worst flaw was that
the first and middle parts of the film dragged on for too long.

What was emotionally moving about the film were its very striking
visualizations, such as the use of the haunted house to make certain that
slavery is understood as a haunting experience, something that stays with
the people who experienced it; and, that its ills may be deemed permanent
for those who can’t exorcize the demons slavery has thrust onto the land.
The haunted house is scary; and, the apparition it induces of the baby
that Sethe (Oprah) had killed rather than return her to slavery in Sweet
Home, indicates how the hope for the Negro is in the new generation. The
old can just hope to survive and be free. The ghost scenes in Sethe’s house
were enough to scare away any company she might want to have, leaving her
as a loner.

I was not crazy about the casting of Oprah in the major role of the
film, she was certainly adequate for the part (there was a stoic strength
about her that was needed in her performance, and she provided that), but
she did not show a deep enough range of emotions that a more accomplished
actress would have shown. When Danny Glover (Paul D.) was on the screen
the film had an electricity to it, but when Oprah was on the screen without
him the film lagged.

When reminiscing with Sethe about their slave days at Sweet Home,
Paul D. has this great line to sum up his slave days: “It was not sweet
and it was not home.”

The strength of the film lies in the energy it picks up in its final
scenes as the story clearly came together, and all the images throughout
the film began to add up and make sense. It was able to leave an indelible
mark on the viewer that lasts long after seeing the film; in fact, the
film gets better when you start thinking about it long after you have seen
it.

The film opens, after showing the simple grave with only the word
“Beloved” marked on it. Sethe is living in an old broken-down house in
the outskirts of Cincinnatti, in 1873, eight years after the Civil War
freed the slaves. She lives there with her teenage daughter Denver (Kimberly),
her two sons having run away from this haunted house and sad life. Denver
clings to Sethe, being too afraid to venture out of the immediate area
of the house by herself. That she evolves as the story moves on and learns
how to take care of herself, is one of the refreshing surprises that comes
about. Kimberley’s performance is very gratifying, especially to see how
she matures and grows up from her very weak stature in life. She becomes
the real heroine of the story.

Sethe and Denver have learned to live with what they have, as seen
by Paul D. (Glover) when he shows up unexpectedly at their house. He has
not seen her since they escaped from slavery in Kentucky 18 years ago.
He moves in and they become family, but the ghost in the house becomes
agitated by this and it reappears in an otherworldly girl named Beloved
(Thandie), who is taken into the house by Sethe. By having Beloved live
with her Sethe’s contented life can no longer be and the bad memories resurface,
as the ghost that is in Beloved is clearly the young girl Sethe once killed.

What unfolds is the coming to grips with the spectre of slavery and
the misery it caused to Sethe, as she is forced to relive the sin she has
done. There is no running away from the harm it does. Beloved’s performance
is eerie and painstaking. It is gut-wrenching to watch how weird she behaves,
drooling and stuffing food in her mouth like an animal, as Sethe doesn’t
know how to reach her and love her, yet feels remorseful about her. She
looks at her, as if she was her own daughter, so it is not surprising when
she says that she would do the same thing again if she had to choose between
slavery and a young girl’s life. One of the most powerful lines in the
film is when the tender-skinned Beloved who would have been the same age
as Sethe’s Beloved, if she were alive, says to her, “Why you have me? Why
you leave me?”

The other powerful woman in the story is Baby Suggs (Beah Richards),
who is Sethe’s mother-in-law, a spiritual healer of the Negroes, whose
performance is only too brief. She brings life to a film that is in desperate
need of revitalization during its many dull lapses. But, fortunately, Demme
is able to show the natural beauty of where they live and the warmth and
strength of the Afro-Americans and their ability to stick together to help
one another in times of despair. This is especially so with the women folk
who turned to Jesus for strength, as they are shown praying with Baby Suggs.

When Sethe is ready to face up to the realities and misdeeds slavery
does to human beings her vitality improves for awhile, as she exclaims
to Paul D: “Feel how it feels to be a colored woman roaming the roads with
anything God made liable to jump on you. Feel that.”

I imagine the book is that much more pertinent and that much more
powerful than this very intelligent film, that views slavery in an unforgettable
way; a film whose greatest weakness is that it is too long.

Sally Hawkins (”Vera Drake,” “Layer Cake”) is undeniably charming as a mod-throwback English schoolmaster whose Mary Sunshine headliner helps her pin with her young students but befuddles many of the adults with whom she tries to interact. Barely watching Hawkins’ facial expressions and reaction shots is sufficiently to make you smile, so it’s easy to see why she won a Golden Globe for her performance. Sometimes that, combined with her emancipation, makes you think of Mike Myers’ Austin Powers character when people aren’t responding the way that he brown study they might. It’s that much of a snorts-and-giggles involuntary reaction to see her go through her Pollyanna everyday.

There’s exceptionally not much in the way of allotment, even so. It’s an ultra-thin slice-of-vital spark film that begins with a cheery organization involving Poppy (Hawkins) on her bicycle, carefree as can be and at best uninteresting-out enjoying life. Even when she returns from looking inside a co-op give credence to (where her attempts to coax a smile or some human interaction from a bearish clerk cooperate with flat) to find her only means of transportation stolen, she appease smiles. So should we all, is the underlying scruples here. She may not be able to achieve first place in over people other than her roommate Zoe (Alexis Zegerman), sister Suzy (Kate O’Flynn), or a philosophy psychiatrist (Samuel Roukin) who helps her with a bothered pupil and likes her enough to ask her out. But it’s that pause between the cynics, grumps, dour people and Poppy that creates a space in the interest the audience to appreciate virtuous how endearingly quirky her character is.

This is a comedy of character, which is to express that every scene is geared toward highlighting Poppy’s vivacious personality. We watch her dancing at a beat with sister and friends, getting assuredly “pissed,” and then laughing and talking girl-talk afterwards at the apartment. We mind her testing out a fraud overhang with roommate and fellow elementary schoolteacher Zoe and loving it all just a bit more than her beau. We pocket watch her join another at flamenco lessons, and go from those Mike Myers’ sly ridicule-condition looks to honestly getting into it. We keep an eye open for her use a bully with more proficiency than a typical teacher and enthrall the infuse with psychiatrist, Tim, as they phase. But mostly we watch her abandon on to understand driving lessons from a shackle who will prove to be her biggest challenge: an angry man named Scott (played with all the delicious zeal of a Disney villain by Eddie Marsan).

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It’s those sessions in the car between Scott and Poppy that move the plot forward toward the film’s rather mild ascend. The distinction between the unhappy driving instructor and his effusive pupil and the ways in which she drives him crazy also view as us through the widest range of emotions that this peel evokes and explores. The two of them couldn’t be more opposite in their personalities and attitudes. One is a peppy and full of pep school-ma’m, and the other a dropout who had a pathetic event in the educational structure and then says things like “Schools yield left-brain prisons.” At times, Poppy doesn’t be aware quite what to say, and so she resorts to her fall short: making a tease or trying to coax a smile. What else is there to do?, she wonders aloud. CENTRE! Scott shouts. Stop wearing those bloody boots. They’re not proper driving attire, Scott chides. ENRAHAH! he shouts, which is his velocity of reminding her to look at her sinistral mirror, rear-view mirror, and right mirror before doing anything. And when he says it and explains the method to his madness, you realize that he’s close to a religious maniac who is trying to change over her every bit as much as she is trying to get to him. It becomes a examination of wills, a battle of philosophies that lurks beneath the surface of her jokes and his annoyances and rants.