Month: December 2020

In the Name of the Father

In the Name of the Father is a 1993 movie directed by Jim Sheridan.

In the Name of the Father tells the story of Gerry Conlon, an Irishman forced to confess to an IRA bombing. Conlon and his father suffer in prison before winning freedom. Daniel Day-Lewis dominates as Conlon – his passion and intensity ranges from youthful grief and shock to a firm sense of pride and defiance as he wins his freedom. Pete Postlethwaite plays Conlon’s father, Guiseppe, with a quiet dignity and resolve that meshes perfectly with Day-Lewis’ vigor.

THE BEST – Pimps and Acid Puzzles

For such an intense portrait of injustice featuring one of the most vibrant actors of his generation, there are some great off-beat moments to be found. Conlon’s younger days shows him frolicking in a hippie haze and parading like a 70’s pimp. Later in prison, he partakes in a fellow inmate’s acid-soaked puzzle – which leads to fun results.

THE WORST – The Daniel Day-Lewis Eclipse

Day-Lewis’ skill and intensity tends to easily overshadow his fellow actors. His scenes with Emma Thompson’s lawyer are a great example of this force. An extraordinary actor in her own right, Thompson barely registers next to Day-Lewis – who chews up the scenery.

FOX FORCE FIVE RATING – 4/5

In the Name of the Father tells an important story but more importantly, features a dynamic performance from Daniel Day-Lewis. He is given extraordinary space to show his skill and range. A must watch – if only for his performance.

A Woman is a Woman

A Woman is a Woman is a 1961 movie directed by Jean-Luc Godard.

WHAT HAPPENS?

A young woman wants to have a baby with her boyfriend, whose interests lie elsewhere. His friend is brought into the relationship, which only leads to complicated feelings.

ONE LINE REVIEW

A Woman is a Woman sees Godard take on the absurdity of relationships.

THE ACTORS

Anna Karina stars in her first Godard feature and it’s obvious the director is infatuated with her. Karina’s big, expressive eyes and range of emotion are continually highlighted throughout. Her character, Angela, possesses little depth beyond her main motivation, yet Godard accentuates her naivety and allows her style to emerge.

Jean-Claude Brialy and Jean-Paul Belmondo play Emile and Alfred, Angela’s potential suitors. The prolific Brialy is efficient as the cynical and often cold Emile – he continually shoots down Angela’s desire for a baby. Belmondo breezes through his performance as the cavalier Alfred.

THE DIRECTOR

A Woman is a Woman fits into a unique place in Godard’s filmography. There are few gangster references and no overt political leanings present. As such, it features a light tone. Being only his second feature, we also see the subversive experimentation that would mark his later work. Early on, Karina announces: “before acting out our little farce, let’s bow to the audience.”

Throughout the movie, Godard reminds us that we’re watching a movie. Karina makes a regular habit of winking to the camera. Meta moments abound, including Alfred mentioning that “Breathless is on TV tonight.” A police duo interrupt an argument to canvass the apartment. Emile and Angela decide not to talk to each other – instead they argue through book titles.

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The Decline of Western Civilization Parts I, II and III

The Decline of Western Civilization is a documentary trilogy directed by Penelope Spheeris.

WHAT HAPPENS?

Director Penelope Spheeris documents the Los Angeles punk culture starting in 1981, then traces its metal evolution in the late 80’s before following a group of homeless teens in the 90s. The three documentaries capture the spirit of rebellion along with the desperate need for community.

ONE LINE REVIEW

The raw energy and hopeless despair of wayward youths is brilliantly chronicled.

THE ACTORS

The documentaries feature a series of punk kids answering open-ended questions. As the questions progress, the kids’ answers reveal more honesty about how their life situations connect to the music being profiled. It’s interesting to view the progression throughout the documentaries.

There’s a sense of anger and despair in the first installment, but also a youthful innocence that has seemingly vanished by the last of the series. The middle documentary focusing on metal bands is a bit of an anomaly – as successful, mainstream groups are featured, along with fans who don’t fit the punk profile.

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On the Waterfront

On the Waterfront is a 1954 movie directed by Elia Kazan.

WHAT HAPPENS?

A dock worker is forced to stand up to the powerful, corrupt union bosses who essentially control his life.

ONE LINE REVIEW

On the Waterfront is an extraordinary display of precise movie-making and dynamic acting.

THE ACTORS

Marlon Brando effortlessly inhabits Terry Malloy, a former boxer whose life is reliant on Lee J. Cobb’s Johnny Friendly, a powerful union leader. Brando beautifully exhibits the frustrations and regret of a powerless character who has submitted to fate. The appearance of Eva Marie Saint’s Edie awakens Terry’s desire for life and challenges his courage. Brando reveals his character’s tenderness and repressed hopes in a remarkable performance.

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Cross of Iron

Cross of Iron is a 1977 movie directed by Sam Peckinpah.

Cross of Iron tells the story of German Sergeant Steiner, who is pressured to lie in order for aristocratic Prussian Captain Stransky to receive the prestigious Iron Cross. When he relents, Steiner’s squad is exposed to an advancing Russian army. Peckinpah creates a dazzling, visceral expose of war that highlights the hypocritical, vindictive nature of war and empty symbolism of heroic pursuits. James Coburn is tremendous as Steiner, a natural leader whose identity is forged by his disdain for war.

THE BEST – Steiner’s Contempt for Officers

Although his commanding officers realize the danger Stransky’s pursuit of the Iron Cross has created, they are powerless to enforce change. Regardless, Steiner holds all authority in contempt. His best line: “Do you think because you’re more enlightened than most officers that I hate you less?”

THE WORST – The Russian Kid

Steiner’s squad takes a young Russian soldier prisoner. He is essentially hidden from Stransky, who wants to make an example of the boy. Eventually, Steiner releases the boy into the wilderness, where he meets an unfortunate end.

FOX FORCE FIVE RATING – 4/5

Technically, Peckinpah does a brilliant job conveying the chaos of war. His unique style is imprinted throughout the movie. The acting is terrific and an anti-war message as seen through German eyes offers a fresh perspective. A must watch.

Blade Runner

Blade Runner is a 1982 movie directed by Ridley Scott.

Blade Runner tells the story of Deckard, who is pulled from retirement to hunt artificial replicants. Scott frames his story as a futuristic, pulpy film noir, as Harrison Ford’s character narrates his journey. The moody, almost dystopian atmosphere is the highlight of the movie, as Scott brilliantly casts shadows and bursts of light throughout. Ford is his typical laconic, mush-mouthed hero – but Daryl Hannah and Rutger Hauer are scene-stealers as the ill-fated replicants.

THE BEST – Daryl Hannah’s Backflips

The scene where Ford’s Deckard first encounters Hannah’s Pris is extraordinary. She emerges from a room full of genetic toys to engage in battle. Hannah assaults Ford with a brilliant acrobatic display – before meeting an unfortunate end.

THE WORST – Rapey Harrison Ford

I guess sexual assault – or at least coercing a genetically synthetic woman into sex was more accepted in the 80’s. Here, Ford’s Deckard basically Jedi Mind tricks Sean Young’s Rachael into a sexual encounter – a moment that establishes each character’s emotional motivations.

FOX FORCE FIVE RATING – 4/5

Blade Runner is a brilliant visual movie that also presents technological and moral questions that have grown in relevance. It’s worth a watch.