Let Me Link

So, June’s here already. I’ve been blogging, but I feel as if May just flew by and I did nothing some substantial. Not that I’m asking, though. Although, these posts are probably more substantial than anything I’ve been doing recently.

   

I love this post from Yojimbo covering The Usual Suspects. I’m not besotted with the film (although I do like it) but I am with his analysis of it. If you haven’t seen the movie, you really shouldn’t read it.

           

I always appreciate it when Nicholas goes crazy on the movies he loves, even if I don’t care for them. I can’t even remember Elizabethtown clearly (I should probably get on that) but he loves it. He really loves it.

          
Paolo might not love Malcolm X but he put forward a nice writeup on it.
          

Joana’s post reminds me how awful I’ve been about 2011 film-watching. I haven’t seen any of the three films she speaks of here (Bridesmaids, Meek’s Cutoffoff and Something Borrowed).

Luke, who started counting down his favourites after me, has reached his number one. I wholeheartedly approve of his choice. It stars cinema’s greatest actor. Guess who.

I was unable to participate on Nathaniel’s Hit Me With Your Best Shot on Moulin Rouge! (so sad, I couldn't find my DVD until Thursday. aaaaaaah.) but I was waiting to see what Jose would write. I know he loves it, and he celebrates it by celebrating Satine. Who can blame him?

It’s not a staple of his blog, but I do like this post from Walter covering the 1974 Best Actress nominees. Faye and Ellen would face off for the win in my book. What about you?

And I close with Tom’s interesting look at The Color Purple. I like the film with reticence, but I love this post of his questioning Speilberg’s sincerity.

"Freedom, Beauty, Truth and Love"

Don't you love this image? Moulin Rouge! - I will maintain, is a continuously irresistible cinematic experience. You can't experience without some decisive emotional response, even if it's intent hate. It just demands attention, which is probably why Jose loves it so much. Head over to Movies Kick Ass and wish him Happy birthday!

Decade in Review, Revisited: 25 Tear Jerking Scenes (Part Two) - Overdue

So, 2011 is here and I still have outstanding posts from 2010. So just because I just have to complete the list I’ll give it now, even though it’s dreadfully overdue. I gave you fifteen runners up a couple of months ago – tear jerking moments of the aughts. Here are the final ten. Sometimes it’s difficult to pinpoint the actual cause of tears shed vicariously for cinematic creations, but these ten are most salient.

Potentially Heavy Spoilers ahead: Be Warned

                       

#10: Brokeback Mountain: “I Swear” (Guilty Party: Heath Ledger)

The more I see Brokeback Mountain the less I like it, Michelle Williams is still the only thing I find egregiously poor about it – and it’s still a fine film, just not one I’d go crazy over. I’m never even that convinced of the brilliance that is Heath Ledger’s performance in it (I’d probably pick Jake for best in show); well until the last few moments, that is. The older his character grows the better grip Ledger seems to have on himand that line at the end of the film is just a brilliant line reading. It’s sort of an encapsulation of all the things about the film and Heath makes it work brilliantly. Depressingly.

#9: The Curious Case of Benjamin Button: “Some People Dance...” (Guilty Party: David Fincher)

The entire closing monologue of The Curious Case of Benjamin Button is a well handled tearjerker. I’d say it’s prosaic, and I wouldn’t mean it as insult. It’s a bit like a role-call of sorts and seeing all the persons who’ve played a role in Benjamin’s life makes me teary eyed for some reason. And, of course, it’s that final line for Daisy that’s the cinch. Fincher’s epic, of sorts, will continue to be polarising but I’ll continue to be a big fan of it.

#8: Bright Star: Departure (Guilty Party: Ben Whishaw and Abbie Cornish)

I’ll be honest, sometimes Bright Star is just a lesson in poetic sadness. It’s that much more brilliant because it’s moving even when it’s just being glib about it. The final scene that Ben and Abbie share together comes to mind immediately. The two have had a fairytale romance of sorts (unconsummated) and both know that he’s going to die in Italy. They lie on the bed, their bodies making a heart, and talk about the future that will never happen. I deliberately avoid romances like these, but I don’t what it is that makes Jane Campion’s tale so brilliant – it’s a “you had to be there” experience”. It’s easily the saddest part of the film for me…a relationship heading nowhere, and fast.

#7: Moulin Rouge: The Death (Guilty Party: Nicole Kidman and Ewan McGregor)

Is there anything more of a killer in 19th century literature than consumption? It’s weird – we already know Satine is dying but Baz distracts us with the elephant medley so that Satine’s death manages to still be surprising and even more ridiculously depressing

#6: The Hours: Crying (Guilty Party: Meryl Streep)

I singled out Clarissa Vaughn as my favourite Streep performance of the past decade. She has many moments of brilliance – a number of them opposite Ed Harris; but it’s a solitary scene opposite Jeff Daniels that fits the bill here. The two are reminiscing about their mutual friend and Clarissa gets too caught up in the pass, it’s an odd moment – and probably difficult to pull off. She moves from lucid to snivelling in almost a split second. Her line reading of “Don’t come any closer” is a favourite of mine. I’ve said it before, I don’t always love Streep but when she impresses me it’s brilliant.

#5: The Constant Gardener: Returning Ghosts (Guilty Party: Ralph Fiennes and Rachel Weisz)

I don’t know if it’s just me, but for some reason Fernando Mereilles’ 2005 tour de force (says me) The Constant Gardener doesn’t seem to get the appreciation it deserves. It’s impeccably helmed by Mereilles and despite occasional snatches of incongruity the brilliant performances of Ralph Fiennes and Rachel Weisz make up for it. The Constant Gardener is many things in one – a love story, a thriller, an espionage tale...on and on. In the final moments of the film we may have realised the “whodunit” of the entire thing but there’s no closure until the ghost of Tessa shows up to lead Justin away. It sounds so very schmaltzy but there’s some honest and wonderful about it. Weisz and Fiennes really work excellently together and that (imagined) reunion is just a fine bit of emotion, well played.

#4: Atonement: Monologue (Guilty Party: Joe Wright)

Why is the end of Atonement so sad? I can’t say; it just is. Unfulfilled dreams are always depressing, and Vanessa Redgrave is all kinds of brilliant (but that’s a given). She only needs a few moments to make me gloomy, and with the camera on her alone for so much of that monologue she delivers completely. Bring on the waterworks.

#3: The Lord of the Rings: The Fellowship of the Rings “My Captain” (Guilty Party: Sean Bean Viggo Mortensen)

We see a number of deaths in The Lord of the Rings series, but it’s the first (main) one that I find the most striking. Sean Bean’s Boromir is unfortunately forgotten, but he’s excellent. He has the tough task of playing the anti-Aragorn character and his final moments are probably the most moving part of the first film. It’s when he tells Aragorn, “I would have followed you, my captain” that’s the cinch though. Mortensen’s facial response is golden.

#2: Revolutionary Road: Running (Guilty Party: Leonardo DiCaprio)

Revolutionary Road would definitely easily make it on any list of most depressing films of the aughts, well ever to be honest. Depressing, though it is (really, this was one of the most emotionally draining films of the aughts for me), I still can’t help admiring it. It’s a tug-of-war as to who comes out on top – Kate or Leo. They both do excellent work and Kate’s final scenes already make you a little tearful, but as far as tear jerking goes it’s all Leo. When he finds out about April death’s it’s the film’s most harrowing moment (and that’s saying a lot). It all culminates in him running (and crying), from the hospital, from April from the mistakes. It’s a nice bit of direction from Mendes and it’s a brilliant moment for Leo.

#1: The Lord of the Rings: The Return of the King: Credits (Guilty Party: Peter Jackson)

The biggest tearjerker of the decade for me wasn’t even any singular moment of sadness – it was just the culmination of hours upon hours of epic fantasy. I was never a big fan of Frodo (Tolkien’s Frodo or Jackson’s) but the final moments of the film as he makes his way away from the Shire as Sam makes his way back works well in its simplicity. But it’s when Annie Lennox’s “Into the West” comes on that the sadness really sinks in. I’m not sure if it’s sadness per se but it’s something akin – okay, maybe it was exhaustion. Still, it’s definitely the biggest reason for waterworks this past decade, for me.

                 

So, it’s terribly late – but am I the only who went teary at these moments of cinematic sadness?

Cinematic Knowledge: Moulin Rouge!"

"This is what I want, naughty words."

"Oh, it's so bad."

"Don't, don't, don't stop!"

"Give me more, YES!"

Lesson Learned: a)Poetry just may be the most powerful aphrodisiac. 
(b) Satine is easily turned on (Christian finds it disturbing) 
(c) Elton's John's lyrics are actually useful.

Decade in Review, Revisited: Memorable Characters

Yes, I'm back with this again. It's really a never ending feature, though I wrapped up with my favourite casts, actors, actresses, music and costumes the sky is the limit and there's more I could ruminate on...and with nothing to do, why not?

           

Dan’s own list has inspired me to revisit my Decade in Review feature. I did have some categories I didn’t touch on, and what better time to reassess? The question of memorable characters is a tough one…my guess is as flawed as yours, but here goes…what makes them memorable for me? It’s not really the performances, though I’d say each performer does a good job. It’s really about how ready I am to recall the character as a complete entity with just the slightest hint – like a key phrase…or an article of clothing, a wisp of hair or an important weapon.

                

Runners Up: Fifteen (Aragorn, Elizabeth Bennett, Erin Brockovich, Deirdre Burroughs, Benjamin Button, Frank Costello, Bob Dylan, Robert Ford, Katharine Hepburn, Bridget Jones, Velma Kelly, Clementine Kruzinski, Mrs. Lovett, Tessa Quayle, Briony Tallis)

#10: Hans Landa (played by Christoph Waltz)

Key Token: Proficiency in language (and other things) which is, naturally, “a bingo”

See how objective I am? Though I’m neither here nor there on Inglourious Basterds, I’m not so fickle to leave Waltz’s Landa off the list. It’s difficult with recent characters to decide whether or not they’ll endure, and I suppose there’s a possibility he won’t. I was tempted to put Helen Von Bismarck on the list instead of him, but I knew that was just nepotism for Kruger’s excellent performance and not really any objective longevity precipitated by her character’s brilliance.

          

#9: Tom Stall (played by Viggo Mortensen)

Key Token: The gun (but, of course)

I find it so difficult to believe this man has been acting since the mid eighties. He just burst on to the scene with The Lord of the Rings and has just been improving consistently. Still, it’s this 2005 performance that stands above his other creations (and above a majority of actors). It’s two men, and yet it’s one man. They’re both deliberate, they’re both smart and they both have a way with guns.

           

#8: The Bride (played by Uma Thurman)

Key Token: The costume

Yes, Tarantino again. Ironic, since I’m less than fond of him. I will admit that I consider Kill Bill to be his strongest venture and a considerable amount of that lies in Uma’s Bride. Of course it’s more than Uma’s performance; the Bride has just endured as one of those iconic characters – from the jumpsuit, to the moves to the van.

        

#7: Sweeney Todd (played by Johnny Depp)

Key Token: The hair

Apparently the tuft of white hair was Depp’s decision, which doesn’t surprise me. From the guttural growl to the permanent scowl it’s all very individual (and judging from the videos I've seen unlike any characterisation of Sweeney Todd before). Depp is not as unoriginal performer as many have decided.

                    

#6: Bill the Butcher (played by Daniel Day Lewis)

Key Token: The voice

Perhaps it’s because I have not internalised There Will be Blood as much as Gangs of New York or perhaps it’s because Bill’s bloody ways scare me more than Plainview. Either way, I consider this to be Day Lewis’ most iconic role. The violence, the determination, the patriotism – no matter how misguided, and of course that voice. He played a lover, and then a butcher (both excellently) – I want a third Scorsese pairing.

           

#5: Satine (played by Nicole Kidman)

Key Token: The hair

Nicole back when she was a redhead. I was tempted to note the pale skin, or her long legs or perhaps even her voice but it’s the long red tresses that remind me of Satine the most...and I just love that look on Nicole's face above.

         

#4: Jack Sparrow (played by Johnny Depp)

Key Token: Drunkenness

A bit of an obvious choice, but that’s why it’s iconic.

          

#3: Miranda Priestley (played by Meryl Streep)

Key Token: “That’s all”

Oh, Streep. Her ubiquity exasperates me, but she was served up a delicious role here and milked it for all it was worth. I do love my comedy subtle and though she’s not my favourite performance in the film, she is the character we return to time and time again. Whether we remember her well tended hair, her immaculate wardrobe or her imperious glance, she was a true woman of the ages. That’s all.

     

#2: Shrek (voiced by Mike Myers)

Key Token: Skin colour

Must I really justify this? A franchise that has worn thin? Surely. But Shrek is an iconic, not the best animated character of the last decade but easily the most memorable for me.

       

#1: Gandalf the Grey, then White (played by Ian McKellen)

Key Token: The hair

This was too easy really. I did cite the performance as one of the decade’s best, and after a while it became difficult to say where the brilliance of McKellen’s performance ended and the iconicity of Gandalf began. From his quotable lines, to his enigmatic stares, his magical prowess and his commanding voice no character from the last decade leaves such a lasting impression on me as Gandalf, whether he be Grey or White.

              

more on the decade in review...

Decade in Review: Cinematic Romance

 

  

  

  

  

  

  

  

  

 

2001: Wrapping Up

Here’s my overdue assessment of the final three categories in 2001 in film.

             

Notable Missed Titles

Black Hawk Down: I actually have no excuse for not seeing this, I had the DVD for a week gave and back and still didn’t see it. It’s not like I don’t like Ridley Scott either; The Man Who Wasn't There: No reason for not having seen this either, although I'm not quite sure I'll like it.

Pearl Harbour: The Mad Hatter said it wasn’t anything good, so maybe I dodged a bullet with this one; Amelie; Amores perros: Why is it that I don't see enough foreign language cinema? These two are often revered, but alas. I've not seen either; The Shipping News: Never saw it over here, Kevin Spacey+Judi Dench+Cate Blanchett? I think I could like this one; Sexy Beast: I’ve wanted to see this, but it’s been more of a latent demand since I’ve never tried to get it. Should I?

   

Writing [Original Screenplay]

Bandits

Gosford Park

Legally Blonde

Moulin Rouge

The Others

Gosford Park and The Others face off her with Bandits as a close third. Of course Fellowes’ eclectic Gosford Park is an easy winner but The Others’ screenplay most not be underrated.

                

Writing [Adapted Screenplay]

Bridget Jones’ Diary

In the Bedroom

The Lord of the Rings: The Fellowship of the Rings

Ocean’s Eleven

Shrek

In the Bedroom and The Fellowship of the Rings face off here. I end up giving it to the latter that manages to condense the looooooooong and episode first part of the series, changing characters and taking this and that out and making it work completely. Extra points for that final minutes from Galadriel onwards where the dialogue is exceptional poetic. Tolkien would have been impressed.

         

Director

Tier Two

Steven Soderberg for Ocean’s Eleven

Atoine Fuqua for Training Day

Richard Eyre for Iris

David Lynch for Mulholland Drive

Ron Howard for A Beautiful Mind

    

The Nominees

Robert Altman for Gosford Park

Alejandro Amenabar for The Others

Todd Field for In the Bedroom

Peter Jackson for The Lord of the Rings: The Fellowship of the Rings

Baz Luhrman for Moulin Rouge

                   

The Pictures

F: Shallow Hal[#56]; Rat Race [#55], Not Another Teen Movie [#54], Scary Movie 2 [#53], Josie & the Pussycats [#52], Cats & Dogs [#51]

        

D-: Baby Boy [#50], The Wedding Planner [#49], America’s Sweethearts [#48]

               

D: Kate & Leopold [#47], The Princess’ Diaries [#46], Corky Romano [#45], Osmosis Jones [#44], Summer Catch [#43]

       

D+: The Fast & the Furious [#42], Get Over It [#41], Town & Country [#40]

       

C-: Sugar & Spice [#39], See Spot Run [#38]

        

C: Vanilla Sky [#37], The Mummy Returns [#36], The Glass House [#35]

       

C+: Serendipity [#34], Swordfish [#33], American Pie 2 [#32], Lara Croft: Tomb Raider [#31], Heartbreakers [#30], Ali [#29], Monster’s Ball [#28], The Mexican [#27], Planet of the Apes [#26], Two Can Play That Game [#25]

        

B-: The One [#24], Down to Earth [#23], Blow [#22], I Am Sam [#21], O [#20], Monsters’ Inc [#19] A Knight’s Tale [#18], Harry Potter & the Sorcerer’s Stone [#17], Memento [#16], Save the Last Dance [#15]

         

The Top 14

#14 Bridget Jones’ Diary [B]

It’s a slight British comedy, but no less enjoyable for it. Zellweger manages to make her Bridget a true heroine all the while highlighting her ghastly qualities. There’s a self assuredness to the writing which doesn’t undermine its source or play down to it.

       

#13 Mulholland Drive [B]

Lauded by so many I find no shame in saying that I don’t get this film at all, and I don’t think that I’m as effusive a fan either. Certainly, David Lynch imbues it with some enviable traits and Naomi Watts and Laura Dern though not my favourites are splendid. It’s a film that demands a repeat viewing, one that I am unwilling to give it. But even if I can’t quite admit it’s brilliance, I do know that it’s a good film.

          

#12 Legally Blonde [B]

Legally Blonde plays like the typical teenage female empowerment film, but it’s so aware of its strength, and yes its shortcomings, that it’s able to become more than just the bauble you’d expect it to be. Of course, most of that can be accredited to Reese Witherspoon’s entertaining Elle Woods, but it’s also silliness and simultaneous smartness of the lines and the willingness to make all it’s characters – including it’s dubious heroine – the butt of jokes.

             

#11 A Beautiful Mind [B]

I’ve never been an unwarranted fan, but I can’t despise this so many have come to. My essential problem with this is Jennifer Connelly who makes me resent all that Russell Crow tries to do with his character. Surely, Ron Howard is not the most innovative director but A Beautiful Mind is a fine film from where I stand.

             

#10 Iris [B]

I demand a rematch of Kate and Judi. It remind me of The Godfather II where we have two stalwarts [DeNiro and Pacino] but never in any scenes together. Similarly, I wish that Dench and Winslet could have gotten a chance to play off each other. Nevertheless, Iris manages to work quite well with the charming Jim Broadbent turning in a good performance.

            

#9 Training Day [B]

It’s not as generic as the good cop/bad cop tag it’s been given. Denzel Washington and Ethan Hawke give two good performances, but the film is a garish and seemingly authentic portrayal of a day in the life. The writing packs a punch and there is not a wasted moment of screen time here. Even Eva Mendes cannot spoil this.

             

#8 Shrek [B]

To be fair, Shrek 2 was able to capture the charm just as well as the original; but there is just something, some sort of unique panache about the first time we meet this ogre from the swamps. It’s more conscious about its surroundings than most films of its kind and it does it all while paying reference to its peers that are both cheeky and refreshing. Children may find it entertaining, no doubt, but this is definitely a fairytale for adults.

            

#7 Bandits [B]

It is a flawed comedy, but with it works cast so boldly and comes up with such rambunctious goings on that we can’t help but forgive the faults. Cate Blanchett does a wicked comedy bit that often goes uncredited and although it may not have anything profoundly fresh to add to its genre it does it with much aplomb.

           

#6 In the Bedroom [B+]

Detractors have called it out for its compactness but they miss the point that In the Bedroom never attempts to be larger than life. It’s more efficient than many try to be and does it better than most. The cast’s work is so good because the film is so compact. To look at the ending in isolation does make it seem a tad jaunty, but it’s when all comes together that we realise the goodness of this piece.

              

#5 Ocean’s Eleven [B+]

This Soderbergh remake is edited like magic [only oversight made me leave it out here], it features a cast ready to make a movie and completely unselfconscious about it. Soderbergh, as usual, is intent on entertaining us without ‘dumbing’ the subject for us and as Ocean’s develops we can’t deny that we’re enthused.

            

#4 The Others [B+]

The atmosphere evoked in this thriller is so strong that I almost wish it was done in black and white like those old movies. Nicole Kidman gives a strong performance, but she’s not the only thing that makes this worth watching. It takes the twist that The Sixth Sense uses but makes it more fulfilling. The difference is that without the twist The Others still works as a profound drama and here the trick is less of a superfluous ploy and more of a profound psychological strategy. It’s probably all the same for some, but this film is a underrated goodie.

          

#3 Moulin Rouge [A-]

As I’ve said in my review, Moulin Rouge works wonderfully when it shouldn’t, the garish lighting, the startling colours, it all comes together beautiful. As Jim Broadbent watches over all and Nicole and Ewan are delectably perfect and Luhrman instils it all with something so wonderful. I’m not sure that it’s perfection, but it’s so fun that even when you finish you forget that this is a film where the heroine dies. Of consumption no less.

          

#2 Gosford Park [A+]

Gosford Park is the type of film you could use to show people how to make good films. It’s the type of film where repeated viewings are demanded, not because the film is esoteric without it but because with them you realise just how astutely Altman has completely created a world where nothing is done superfluously. Like the way Helen Mirren almost imperceptibly starts when she hears the name Parks or the way that Emily Watson twinges just a little as she sees her master, or the impish self-centredness of Maggie Smith. It’s a thoroughly enjoyable mystery that’s more than a mystery and doesn’t take it’s audience for dunces. That’s a rarity.

       

#1 The Lord of the Rings: The Fellowship of the Rings [A+]

There’s nothing like the first one. The Fellowship has an edge because it’s the lightest of the three while still having enough of the seriousness to not be bauble like. Ian McKellen is outstanding as Gandalf and Liv Tyler is perfect as Arwen. Surely, the role is not true to the novel but seeing her protect Frodo from the Wraiths is such a beautiful moment. In fact, the entire film with just has the magical feel to it – cliché, but still true.

So which 2001 piece would you trumpeting today? Altman, Jackson or Luhrman? Or neither? Which Kidman piece?

2001: The Men

I hope you're not getting tired of my year be year process of reviewing the decade. I care if you do. Honest, I do. No one? Good. So, on to the actors of 2002. I didn't see a few of the films with the outstanding males, and when I did I made some different choices. Oh well. Who wants generic picks?

               

Supporting Actor

Tier Two

Matt Damon in Ocean’s Eleven

Colin Firth in Bridget Jones' Diary

James Gandolfini in The Mexican

Ed Harris in A Beautiful Mind

Clive Owen in Gosford Park

Damon, Firth and Galdolfini rise above some incredibly stock characters and make magic. Damon especially is a hoot as Linus showing some incredible comedic skills. His rapport with the cast [especially Pitt] is delightful to watch and just makes Ocean's Eleven a success. Harris is good in A Beautiful Mind and Owen only just misses the mark as the enigmatic Parks in Gosford Park. 

                            

The Nominees

Sean Bean in The Lord of the Rings: The Fellowship of the Rings

Jim Broadbent in Iris

Jim Broadbent in Moulin Rouge

Ian McKellen in The Lord of the Rings: The Fellowship of the Rings

Ryan Philippe in Gosford Park

I suppose Philippe seems like a dud here, but if Gosford Park did anything it was proof that he could act. He had an oddly fascinating chemistry with Kristin Scott Thomas and lent a definite charm to the film. So in the battle of Gandalf vs Boromir, Gandalf is the winner. Obviously. Boromir is a mere human. And Jim Broadbent faces off against himself with his Zidler from Moulin Rouge prevailing.

                

Lead Actor

Tier Two

George Clooney in Ocean’s Eleven

Heath Ledger in A Knight’s Tale

Guy Pearce in Memento

Sean Penn in I Am Sam

Mekhi Phifer in O

Maybe I'm easy on him, but Heath Ledger was oddly charming in A Knight's Tale, and Clooney whom I usually despise works his charm with much aplomb in Ocean's Twelve. Though I never really got into Memento Pearce was fine, and Penn had a tough job with that hammy character in I Am Sam. I'm glad he was nominated at the Oscars actually. He and Phifer are the best of this bottom five.

                 

The Nominees

Russell Crow in A Beautiful Mind

Ethan Hawke in Training Day

Ewan McGregor in Moulin Rouge

Denzel Washington in Training Day

Tom Wilkinson in In the Bedroom

I suppose it is surprising that Crow is there, but I did feel he was one of the truly strong things about the film. Of the two Training Day guys I’ve already pledged my allegiance to Ethan Hawke who emerges as the winner [surprise, no?] with Tom Wilkinson close behind for heart wrenching turn in In the Bedroom. Ewan McGregor secures the bronze for an underrated and exceptional piece of acting in Moulin Rouge.

                 

So, surprised at Ethan Hawke, Sean Bean, Ryan Philippe? Who are your choices?