Mathew Brady tintypes seemingly come to life in fascinating ‘Lincoln’
By Steve Crum
Eighteen years ago while walking to the parking lot after screening Jurassic Park, my then 12-year-old daughter said to me, “Dad, I feel like l’ve just been with real dinosaurs.” She was referring to what she saw in the movie, not me and fellow movie critics. I felt much the same after seeing Steven Spielberg’s recent other work, Lincoln. I had been in the presence of our 16th President for 150 minutes, a unique experience, certainly. Figuratively, at its visual core, Lincoln is a collection of Mathew Brady photos come to life.
That is not meant to imply Lincoln is a documentary. It isn’t, but the incredible thing about it is its credible realism. Certainly, Spielberg gets enormous credit as director and co-producer, but as in any artistically successful film, his team deserves kudos as well. Tony Kushner’s screenplay, adapted from the book Team of Rivals: The Political Genius of Abraham Lincoln, by Doris Kearns Goodwin, is laced with sharp wit and stirring rhetoric. The script includes documented speeches and conversations by Lincoln and his associates. After all, how do we really know everything said behind closed doors? Here is where Kushner and Goodwin fictionalize, but believably.
Another component vital to the success and atmosphere of Lincoln is the cinematography of Spielberg’s longtime collaborator, Janusz Kaminski. For Shindler’s List (1993), Kaminski photographed in newsreel-like black and white, adhering to our perception of WWII. For Lincoln, the look is bleached or amber-hued color, resembling 19th Century tintypes. Kaminski and Spielberg also chose to shoot indoor scenes with available light, via candle or kerosene lamp. The use of color seems more a lack thereof, and extremely effective for realism. K/S used a similar look for 1997’s Amistad.
Lincoln is not a biography of Abe Lincoln’s entire life, but it vividly portrays the man during a critical period in our country’s history, nearing the end of the Civil War, and on the brink of abolishing slavery. In fact, during the course of the movie, we witness (per se) Lee’s surrender to Grant and, after belabored efforts–to say the least, the passage of the Thirteenth Amendment. This encompasses the final four months of Lincoln’s presidency and life, in 1865. During all the bickering and figurative backstabbing of Congressional members over both ending the war and passage of the amendment to end slavery, Lincoln himself stays focused on achieving both goals. The story is enhanced by the inclusion of his badgering wife Mary, finely portrayed by Sally Field, shown to be both a thorn and driving force in her husband’s political efforts.Of the 100-plus speaking roles, surely a record for any recent motion picture, it is Daniel Day-Lewis who dominates. I am neither the first nor last to note such. His Oscar worthy performance encompasses greatness. Day-Lewis IS Lincoln. Henry Fonda and Raymond Massey will forever be revered for their takes on The Great Emancipator, but the acting benchmark has now been set with Day-Lewis, our greatest living film actor. His body of film work is stunning.
In addition to Day-Lewis and Field, there are at least a dozen noteworthy actors. Among them, Joseph Gordon-Levitt plays Lincoln’s eldest son, Robert, who tries to persuade his parents to let him enlist as a soldier. Tommy Lee Jones, as Pennsylvania Representative Thaddeus Stevens, delivers one of the two best performances of his career, the other being Coal Miner’s Daughter. Others deserving mention include David Strathairn, James Spader, Hal Holbrook, and Jackie Earle Haley. Scenes cover the Lincolns in bedroom talk, wherein Mary Todd relentlessly blames her husband for the death of their youngest son, Willie. On a lighter note, Lincoln’s tendency to both humor and manipulate fellow politicians by segueing into one of his homey, backwoods parables, even in the midst of advising a battle, adds to his unique characterization.
Incidentally, do not expect elaborate scenes of Civil War battle. There is a sobering scene of Lincoln on horseback, stovepipe hat and all, slowly maneuvering through a battle’s aftermath of hundreds of dead soldiers. I was taken more with the fact President Lincoln is on horseback, an image never photographed–at least to my knowledge.
There is a lot of flourish and pomp in Lincoln, as well as humanism and intimacy. Spielberg’s superb storytelling, like his classic Schindler’s List, is a must-see.
——————–
GRADE On an A to F Scale: A
——————–
‘Skyfall’: THE best James Bond movie…ever
By Steve Crum
Skyfall would not be the best James Bond film ever had it not been for the previous 22 Bond movies. Not that this Sam Mendes-directed, smoothly stirred blend does not stand independently as a Class A action-adventure yarn, which it does. But to fully appreciate Skyfall, one really needs to be a Bond movie aficionado. That is because there are so many subtle and overt references and outright homages to 007 cleverly worked into the plot, dating back to Sean Connery. Otherwise, a first time Bond viewer will miss an arsenal of fun.
For this Bond freak, Skyfall is one satisfying James Bond adventure.
It grabs from the get-go via an opening chase scene of Bond (Daniel Craig) running afoot and eventually on top of a speeding train to nab an assassin-thief possessing a vitally needed, coded chip. Naturally, every James Bond movie opens with an action set-piece which is followed by the title sequence with theme song, and this one does not waiver from tradition. However, there is more derring-do gutsiness compressed in these five minutes than in any previous Bond. Trying so hard not to spoil the fun, let’s just say there is breakneck running and jumping, car chasing, and a Caterpillar involved. And not the little, wooly kind.
As the story (by Neal Purvis, Robert Wade, and John Logan) develops, it is clear that British spy headquarters M16 is under explosive attack because of its leader, M (for the final time played by Judi Dench). Something or someone is targeting her agency to get to her. Unfortunately, at a crucial time like this, M’s foremost agent, 007, has some issues of his own, interfering with duty to M and country.
This development does give ultra-psychotic Silva, played by Javier Bardem in blond wig, opportunities to display his viciousness, making him the most formidable and dangerous Bond villain of them all. Just try not to think of his similarities to Hannibal Lecter when he is (temporarily) jailed. Each and every Bond bad guy is dangerously eccentric, but the relentless Silva, an ex-M16 agent, is vastly more conniving and driven, fueled by personal vendetta. Bardem’s bloodthirsty villain Anton Chigurh in No Country For Old Men in many ways registers as a kissin’, er, killin’ cousin to Silva.Bond movies are formula famous for being filmed in some of the most exotic, colorful locations in the world, and so goes Skyfall. The Hong Kong scenes, particularly at night, are spectacular. Mendes integrates memorable action set pieces befitting each location. Speaking of action sequences, Skyfall’s opening bit is equalled by a half dozen other nail-biting slam-bangers. Do not ask how future Bond movies (and there will definitely be more) can even equal what Mendes has accomplished here.
By mid-movie, M is both in danger of being killed and losing her job (through forced retirement) in the process. However, there is always 007 to her rescue, along with his sometimes able assistant, Eve (Naomie Harris). Even M’s second in command Gareth Mallory (Ralph Fiennes) proves himself as no slouch in heroics. She and M16 get able support from the newly designated and very young Q, played by Ben Whishaw, who looks like he just stepped off The Big Bang Theory set. Mix in a very strong finale performance by Albert Finney as Scotsman Kincade, outstanding stunt work and visual effects, and perhaps the most eye pleasing opening title sequence (Daniel Kleinman) of all 23 Bond flicks. Adele’s title song, written and performed by her, is a gem too. Speaking of music, there is a fine Thomas Newman score, with a very healthy dose of Monty Norman’s James Bond Theme punctuating key parts.
Daniel Craig’s central performance is vital, and he does not disappoint. For Judi Dench, the swan song could not be more emotionally fitting.
By film’s end, we appreciate that the franchise has refashioned itself by never once forgetting its glorious history, including a certain Goldfinger car. So satisfying it is, five decades later, and counting.
——————–
GRADE On an A to F Scale: A
——————–
The trailer previews a goodly number of Skyfall’s thrills: https://www.youtube.com/watch?v=6kw1UVovByw
‘Flight’ will undoubtedly garner Oscar nomination for Denzel
By Steve Crum
Ray Milland did it. So did Jack Lemmon, Susan Hayward, and Dudley Moore. These are actors who were Oscar nominated for superbly playing alcoholics. Milland even won for 1945’s Lost Weekend. A few months from now, when Oscar noms are announced, you can add Denzel Washington to this cadre. No doubt he will be nominated for Flight. His performance is a stunner.
In fact, Flight is a terrific movie overall, featuring standout support from Kelly Reilly, John Goodman, Nadine Velazquez, Don Cheadle, and Bruce Greenwood. Director Robert Zemeckis’ drama is his most introspective work since Cast Away. Perhaps that is faint praise, considering his primary body of comedy, fantasy, and animated films.
The wrenching story (penned by John Gatins) follows a would-be heroic commercial airline pilot and his ongoing decent into the hell of drug and (particularly) alcohol addiction. Washington portrays veteran pilot Whip Whitaker, whose cocky worldliness masks a lonely, driven soul. We perceive him first as a carefree, cool ladies man, but Whitaker‘s persona rapidly changes to disgusting irresponsibility. It is the acting challenge of a lifetime, and Washington triumphs.
Flight’s harrowing first 15 minutes features one of the most white knuckled plane crash sequences in film history. What begins as a routine morning flight from Orlando, with 88 passengers aboard, quickly turns deadly. Captain Whitaker, assisted by Co-Pilot Ken Evans (Brian Geraghty), tensely maneuvers through stormy skies only to encounter one engine malfunction after another. The plane nose dives out of control.
To Evans’ consternation, Whitaker takes manual control. It is no real spoiler to reveal he basically saves the day, and is soon heralded by the media as a hero.
Here is where the real story of Flight begins, as Whitaker’s personal life spirals to a devastating crash due to his alcoholism. His union rep, Charlie Anderson (Greenwood) and union attorney Hugh Lang (Cheadle) struggle to cover up Whitaker’s inebriation while flying as well as keep him sober as he testifies before feds at an NTSB hearing. Unfortunately, Whitaker’s addiction now directly affects his ex-wife, his teen son, and a new girlfriend (Reilly). The same goes for his old friend, Nadine Velazquez (Katerina Marquez), a flight attendant. The only one in Whitaker’s life not negatively affected, although he is probably concerned, is pal Harling Mays (Goodman), aging hippie and Whip’s main drug supplier. Goodman has two primary scenes, and they are choice bits of grim humor. In a movie like this what other kind of humor could there be?
It cannot be said Flight is particularly uplifting or inspiring, but there is welcome calm following Whip Whitaker’s turbulent life storm.
——————–
GRADE on a scale of A-F: A
——————–
Take flight with this trailer: https://www.youtube.com/watch?v=MlFMZ5D8FNc
——————–
Take flight with this trailer: https://www.youtube.com/watch?v=MlFMZ5D8FNc
‘Cloud Atlas’ is supremely complex, stunning epic
By Steve Crum
Spanning 500 years, Cloud Atlas had to be the ultimate creative challenge facing the three screenwriters-directors, production crew, and actors. It is also a challenge for the audience, in both pro and con ways.
Let me put it this way. If you can make it through the first third of the nearly three hour epic, things get clearer. Those “things” include fragmented plots and layered characters. This is the kind of film requiring vigilant attention. Do not leave to get snacks. You will be Cloud Atlas lost forever.
Credit writer-directors Lana Wachowski, Tom Tykwer, and Andy Wachowski for successfully adapting David Mitchell’s Cloud Atlas novel to the film medium. Unfortunately, their creation will likely register as too daunting, too confusing for the mainstream audience. That would be unfortunate, because of the movie’s cinematic and philosophical riches.
But as long as one is very patient, and willing to ride with six separate story lines that dart back to forth to forth to back and in between, then there is no problem. Otherwise, Cloud Atlas is problematic. With a narrative that seems at first to be all over the place, the multiple stories are sometimes hard to grasp. Stories are joined in disjointed ways. The good news is everything gets clearer as the film progresses. Patience is indeed the virtue here.
Cloud Atlas features stars Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, and more–each portraying five or six characters. In multiple cameos, look for Susan Sarandon and Hugh Grant. Credits note two or more producers, composers, designers, and directors of photography. Collaboration City, indeed.
The film’s overall theme smacks of reincarnation, exemplified by studio press banter: “Drama, mystery, action, and enduring love thread through a single story that unfolds in multiple timelines over the span of 500 years. Characters meet and reunite from one life to the next. Born and reborn.” Stories are set in the past (1849), present (various years in between), and future (2144-2300’s).
Visuals throughout Cloud Atlas are Oscar caliber stunners, from sets to digital effects to stunts to makeup. Regarding the latter, Halle Berry is even transformed into a man in one time period. She is so believably a guy that I did not realize it was Berry until the end credits. In a reverse, Hugh Lofting’s brutish woman guise surprised as well. What a hoot! Or hooters.
A figurative time capsule captures the complex story lines: in 1849, a San Francisco lawyer protects a runaway slave on a ship in the Pacific Islands…in pre-WWII Great Britain, a poor but gifted composer commits an act which influences the creation of a lifelong work he calls “Cloud Atlas Sextet”…a 1973 journalist tries to avert an industrial disaster…a present day publisher faces unjust imprisonment as he nears great success…in 2144, a genetically engineered young lady, bred to follow orders without thought like a robot, begins adopting human emotions, and acting upon them…and in 2300 or thereabout, a goat herder faces both his conscience and violent surroundings in an evidently post-apocalyptic world. Hanks, Berry, and cast all act in key roles of each segment, and do so quite gloriously. I will not muddle the mind explaining or even listing all their characterizations.The fact that a key character per story wears the same birthmark reinforces the reincarnation premise that ties the tales together. However, are these really the same individuals reborn or merely symbolic beings representing the struggles and glories of mankind? Or both? “Our lives are not our own” is uttered by one character, which could be taken as a predestination inference. The film consistently preaches that everyone’s life is shaped by the feelings and actions of others.
What is blatantly missing is any direct reference to religion playing a part in these characters’ lives, Christian or otherwise. This is an observation, and neither negative nor positive.
Cloud Atlas is an epic, visionary work expounding upon life existing as a domino effect.
This is a complex and must see film.
——————–
GRADE on a Scale of A-F: A-
——————–
Maybe the trailer will help clarify: https://www.youtube.com/watch?v=ByehYal_cCs
——————–
Maybe the trailer will help clarify: https://www.youtube.com/watch?v=ByehYal_cCs
Factual, ultra tense ‘Argo’ is one of 2012’s top films
By Steve Crum
The rescue of Israeli hostages in 1977’s Raid on Entebbe came to mind at the outset of settling into Ben Affleck’s tautly directed Argo. Both films are based on real events that occurred two years apart, and both are presented in storytelling that flips back and forth from rescue planners to each country’s detained citizens. However, there is a major difference in the two incidents.
The successful raid on Entebbe (in dictator Idi Amin’s Uganda) is a story focused on a squadron carrying out a precision military rescue laced with machine guns, hand grenades, and gritty combat. Argo’s rescue “force” is one determined CIA agent, Tony Mendez (Ben Affleck), whose brash and ultimately successful plan is to rescue six Americans in Tehran, Iran. He will do so virtually single handedly–with incredible help from Hollywood movie insiders, no less. It should be no spoiler to reveal the outcome of the rescue since it is historic fact. That said, I admit to having never heard anything about this sidebar story of the 1979 Iranian hostage crisis, perpetrated by Iran’s infamous Ayatollah Khomeini.
Chris Terrio’s script, based on writings by Antonio J. Mendez (yes, the same Mendez depicted in the film) and Joshuah Bearman, opens in near documentary style, on Nov. 4, 1979. Militants storm the walls surrounding the U. S. Embassy in Tehran, and take 52 Americans hostage. (They will remain captives for over a year.) But that is not Argo’s real story. Argo focuses on the six Americans who barely escaped and hid out in the Canadian Embassy, also located in Tehran. They are given sanctuary in the home of Canadian Ambassador Ken Taylor (Victor Garber).
Since the Iranians had no vent against Canada, the property was a safe haven. Of course, their presence had to be kept secret. Once the Iranians discovered the six were missing, however, a dragnet to find then ensued. At the same time, our homeland CIA was planning their escape. Realize too that separate negotiations were ongoing regarding the captured 52.
CIA operative Mendez’s plan turns on a pretty far fetched premise: travel to Tehran alone under the guise of a Canadian filmmaker scouting possible filming locations. Once there, he would visit the Canadian Embassy, and prepare the six “guests” to escape. With the help of Hollywood studio special effects guru John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) a shelved sci-fi script is chosen, entitled Argo (sort of a B-grade Star Wars), and publicity is immediately put into place for credibility. Even the Hollywood community believes this to be a production in the works. If Hollywood itself believes the ruse, surely the Iranians will too. And so it goes.
Argo is a lesson in near perfect pacing with the first 2/3 in slow, temperate gate with light humor supplied by the characters of Goodman, Arkin, and Bryan Cranston (as CIA honcho Jack O’Donnell). The groundwork is specifically laid out. The film’s final 20 minutes are some of the most seat-edged, harried moments of this or any film. Bee-rother.
The plaudits have to go to Ben Affleck, whose producing/directing/acting trifecta makes Argo one of the top films of the year, and a natural for the Oscar.
——————–
GRADE on an A to F Scale: A
——————–