Showing posts with label Philip Kaufman. Show all posts
Showing posts with label Philip Kaufman. Show all posts

Sunday, February 25, 2018

The Unbearable Length of this Movie

Film: The Unbearable Lightness of Being
Format: DVD from NetFlix on laptop.

Sometimes I look at the list of movies I still have to watch for my Oscar categories and I figure it’s time to knock out the longest one. That spot has been occupied by The Unbearable Lightness of Being for months, so I figured it was time to remove it and move on. There’s something supremely satisfying in removing the longest remaining film. Sadly, in this case, it was about the only satisfying thing.

That’s a shame, too, because the cast is so good. The main characters are played by Daniel Day-Lewis, Juliette Binoche, and Lena Olin, with smaller roles for Donald Moffat and Stellan Skarsgard. That should be enough to get this not just over the hump but into the realm of must-see. The issue is that The Unbearable Lightness of Being wants to tell a lot of stories. It wants to be a sexy, erotic drama and a domestic drama and a political drama all at the same time. Because of that, the film runs just under three hours. There’s no reason for it to be that long aside from some artistic decision. The word is that Kaufman presented a two-hour confusing version for the studio to force the three-hour version he wanted. It’s clever, but I have to wonder if it was really worth it.

Thursday, December 22, 2016

Shades of Salo

Film: Quills
Format: DVD from DeKalb Public Library on laptop.

I’ve had Quills sitting on my desk for more than two weeks. I’ve been telling myself that I need to get to it for a number of reasons and I just haven’t been able to pull the trigger on it. This is a film based loosely (very loosely, apparently) on the life of the Marquis de Sade, whose writings inspired Salo, which remains one of the most unpleasant movie experiences I’ve ever had. I think, based on that, I can be forgiven for some reticence.

The bulk of film takes place in Charenton, an insane asylum in which the Marquis de Sade (Geoffrey Rush) has been imprisoned. Despite his imprisonment, de Sade has a spacious cell with a number of amenities. He continues to write a series of depraved stories dealing with sex and torture, smuggling them out by concealing them in his bed linens. The laundress Madeleine (Kate Winslet) takes them from his linens to the gate, where they are passed on to an agent who has them published. Naturally, the salacious nature of the Marquis’s prose has a number of effects on the populace. The people can’t get enough, but the powers that be want him stopped. Specifically, Napoleon wants his writings burned and the man silenced. To that end, he appoints Dr. Royer-Collard (Michael Caine) to oversee Charenton.

Saturday, February 28, 2015

Off Script: Invasion of the Body Snatchers (1978)

Film: Invasion of the Body Snatchers (1978)
Format: DVD from personal collection on laptop.

Once I heard that Leonard Nimoy died yesterday, I pretty much knew that I’d be watching the 1978 version of Invasion of the Body Snatchers. I’m a big evangelist for the original version from the 1950s, but I have avoided this first remake for one main reason. I’d heard that it was good from a lot of people but I was worried that it wouldn’t compare with the first version. I hoped it would, but there was a part of me that very much feared being disappointed. This was especially true because the 1993 version (Body Snatchers) and the 2007 version (The Invasion) were not widely regarded as being worth watching.

My fears were unfounded. This is a very good movie, and a very good version of the basic story. This is also one of those rare instances where I have read the source material. I find it very interesting that in both the original film and in this first remake, the filmmakers have opted for a much more downbeat ending than the book on which the story is based. There are a number of differences here from the original story and original screen version, but this is smart enough to hit the same emotional beats and the same plot points and important moments.

Wednesday, June 30, 2010

The Wild Blue Yonder

Film: The Right Stuff
Format: Streaming video from NetFlix on laptop.

You watch enough films, you get jaded. Things start to get predictable when you’ve seen the same plot a couple of dozen times. This is even truer in situations in which the film in question is based on reality. The Right Stuff is very much based on reality, covering the space race between the U.S. and the Soviet Union through the 1950s and 1960s. If you don’t know your history, it’s a riveting tale filled with drama, danger, and excitement. If you do know your history…well, it’s really the same thing. Lots of drama, lots of danger, lots of excitement.

It’s difficult for me to remember sometimes that not everyone knows what I know, or grew up when I did. I remember the tail end of the space race and the origin of the space shuttle missions. Kids from my generation knew about astronauts and the push into space. So, since I grew up with it, it can be difficult to realize that there are plenty of people who don’t know the history, didn’t grow up with it, and never lived in a world where it was important.

The Right Stuff is the story of the seven Mercury astronauts, their wives, and the men who worked in the space program. We don’t start with Mercury, though. Instead, the film begins in the 1950s with the attempts to break the sound barrier, something that, like the four-minute mile, many experts said was impossible. So, for the first part of the film, we are dealing primarily with the great Chuck Yeager (played here by Sam Shepard).

If you’re unclear of the history and don’t know if the sound barrier was ever broken, you can rest easy. It’s broken in the film in the first half hour, and Yeager is the man who does it. We stay here, in the middle of the desert at Edwards Air Force Base, as pilots push the envelope further and further, with Yeager being the man to get airplanes past mach 2.5.

Everything changes when the Russians put Sputnik into orbit in the late 1950s. At this point, we switch over to the seven Mercury astronauts. We start with a larger group, and they are slowly pared down to the seven who made the cut—the seven with “the right stuff.” The seven are Alan Shepard (Scott Glenn), John Glenn (Ed Harris), Gordon Cooper (Dennis Quaid), Virgil “Gus” Grissom (Fred Ward), Deke Slayton (Scott Paulin), Scott Carpenter (Charles Frank), and Wally Schirra (Lance Henriksen). While we spend some time with all seven, the primary characters in the film are Shepard, Glenn, Cooper, and Grissom. Rounding out the cast as government agents are Harry Shearer and Jeff Goldblum.

This is essentially the entire movie. The seven men train, do a number of press tours, and risk their lives as they get closer and closer to taking a craft into space. While they quarrel at times—usually about some of the astronauts taking their new-found fame as an opportunity for extra-curricular activities—the seven also bond completely so that they can present a united front to the government and scientists.

Of the seven, John Glenn comes off as the true boy scout and as the aggressor when it comes to keeping the squeaky clean image of the Mercury astronauts. Cooper is depicted as the real player, and also as the one with the most significant marital problems.

What I find the most interesting is that the film does not give short shrift to the wives of the astronauts. There are several scenes where the women express their frustration and their worries as their husbands risk their lives essentially strapped to the front end of a missile. Most poignant is the relationship between Glenn and his wife, Annie (Mary Jo Deschanel). Annie suffers from a significant stutter, even when speaking with her husband, and is thus understandably not willing to go on national television. Glenn risks his own career to support her in that decision. It’s a sweet moment, made sweeter by the unification of the other six astronauts behind Glenn’s stand.

The most iconic moment of the film belongs not to the astronauts, but to Yeager. While Yeager’s fame as the first man to break the sound barrier faded as soon as the Mercury program began, he was left behind as unacceptable for the program due to his lack of a college education. It’s evident from the portrayal here that while Yeager puts on a front of not caring, he truly wishes to be flying the latest and greatest, those being the Mercury rockets. Near the end of the film, he takes an experimental plane as high as he can, pushing it to leave Earth’s atmosphere, only to fall back and crash at the end. There is no better moment in the film than Yeager walking stoically away from the wreck, his face half burned, the wreckage of a hugely expensive aircraft augered in behind him.

I knew the history, or at least some of it, going in. It doesn’t matter when the story is this compelling and the movie is this well acted.

Why to watch The Right Stuff: Fact-based true tales of real American heroes.
Why not to watch: If you know your history, you know how it ends.