#9: Toy Story Trilogy (1995, 1999, 2010)

Tags

Animation, Comedy, Drama, Family, Pixar

(Spoilers ahead)

 

In Andy’s bedroom, where imaginings thrive,

When he’s not around, all his toys come alive.

Potato Head, Slinky, Bo Peep, Hamm, and Rex

Are always afraid of what toy he’ll get next,

But cowboy doll Woody insists that they stay

Collected and calm on their owner’s birthday.

 

When Andy arrives with his new Buzz Lightyear,

The other toys welcome their space ranger peer,

But Buzz doesn’t know he’s a child’s plaything,

And Woody’s annoyed by his self-deluding.

As Andy snubs Woody in favor of Buzz,

The cowboy grows bitter with thoughts of what was.

 

A misunderstanding at terrible cost

Leaves Woody and Buzz isolated and lost,

And soon they are caught by the sick neighbor kid,

The evil, sadistic, toy-torturing Sid.

As Andy is wondering where his toys are,

Both Woody and Buzz meet with mutants bizarre.

 

When Buzz at last realizes he is a toy,

It’s Woody who cheers him to strive for their boy.

A frightening warning puts Sid on the run,

But now they must rush; Andy’s move has begun.

Some chasing and launching and falling with style

Bring both to their kid, and to Andy a smile.

_________________

 

As Cowboy Camp beckons, there’s sudden alarm

When ol’ Woody suffers a rip in the arm.

A rescue attempt for a playmate in need

Lets Woody fall victim to one villain’s greed.

A nasty collector abducts the old doll,

Who enters a world that he knew not at all.

 

He meets Jessie, Bullseye, and old Stinky Pete,

Who welcome him since he makes their set complete.

He sees he is famous and rare merchandise

And soon to be sold in Japan at great price.

Though Woody insists at first he must return,

He changes his mind out of care and concern.

 

Meanwhile, his friends from the bedroom are out

To rescue him, taking a dangerous route.

Despite some setbacks and a Buzz Lightyear clone,

They locate the cowboy to take him back home.

While Woody is torn on the choice of his fate,

True colors are shown until it is too late.

 

The toys are packed up by the covetous man

And head to the airport, en route to Japan.

Deciding that Andy will value them all,

They swing from the plane with a very close call.

The toys journey home for fun playdates anew,

Until Andy grows up, as all children do.

_________________

 

The time has arrived: Andy’s finally grown,

Less likely to play than to chat on his phone.

Though toys have diminished in number and note,

They wait for their owner, however remote.

Some misunderstandings, which happen a lot,

Leave most of them feeling unloved and distraught.

 

They donate themselves to a nearby day care,

Where there reigns a strawberry-scented stuffed bear.

This Lotso presents them to quaint Sunnyside,

But playtime is brutal for those who don’t hide.

Though Woody escapes to go home, he is found

By Bonnie, whose penchant for play is profound.

 

The other toys learn Sunnyside is unfair

For new toys and those that don’t please the big bear.

When Buzz is brainwashed to imprison his friends,

They follow the plan Woody then recommends.

The prison break seems to go just as they planned,

But Lotso arrives when escape’s close at hand.

 

The tables are turned with a trip to the dump,

Where deus ex machina saves in a slump.

Though Woody would gladly be Andy’s forever,

He hints at the best way for their ties to sever.

The toys find themselves in a new home to dwell

After one last playdate and a poignant farewell.

_______________________

 

The first computer-generated feature film could have been any number of lackluster productions, but as luck would have it, the pioneering feat was accomplished by the most skilled storytellers in the animation business, the folks at Pixar. Toy Story was an intrinsic part of my childhood; with the exception of Hamm, Jessie, and Bullseye, I owned all of the main characters. Woody and Buzz Lightyear are among the most beloved animated characters ever created, and they were introduced at the perfect time in my youth for me to become attached to them as more than just throwaway kiddie entertainment.

The first Toy Story may look dated in its animation compared with Pixar’s more recent endeavors, but even if the humans are lacking, the CGI is ideal for the plastic residents of Andy’s room. With the unique look at suburbia from a toy’s perspective, it was the first glimpse of the immense imagination at work at Pixar, able to introduce an ensemble of characters and make everyone both lovable in their own way and wisely merchandisable. Almost everybody has owned a toy and can thus appreciate the characters’ obvious desire to be loved and valued by their owner. While this connection to the heart allows these inanimate objects to become as real as any animated human or talking animal, the sly humor keeps the entertainment value at a 10, thanks largely to the sterling voice cast. Tom Hanks and Tim Allen were in their heyday in 1995, fresh from dual Oscar wins for Hanks and the success of “Home Improvement” and The Santa Clause for Allen, but, unlike some more recent celebrity voiceovers, both were undoubtedly the best choice. Their progression from rivals to buddies is both hilarious and convincing, supplemented by a host of golden supporting characters, like Wallace Shawn’s timid Rex, John Ratzenberger’s clever Hamm, and Don Rickles’ belligerent Mr. Potato Head. The film won a special Academy Award, predating the creation of the Best Animated Feature Oscar by six years.

As perfect as the original film is, Toy Story 2 is even better. The first film took its core concept (that toys come to life when we’re not looking) and ran with it, giving them real emotions of affection, envy, betrayal, and dejection; the sequel further explores the expansive possibilities of toydom: being broken, being forgotten and abandoned, being just one of countless doppelgangers, being valued as a collectible rather than a child’s plaything. The imagination keeps coming, with greater danger, more memorable characters (Joan Cusack’s Jessie, Kelsey Grammer’s Stinky Pete), and some unexpected laugh-out-loud references to Jurassic Park and Star Wars. Jessie’s backstory, in particular, still wets my eyes and instilled in me what I call “toy guilt,” a reluctance to give up old toys for fear of traumatizing them (I’ve since gotten over it, mostly). The fact that the film was essentially a rush job due to over-optimistic scheduling makes its achievement even more impressive. Since I consider it the best of the trilogy, it’s a shame it’s the only one that didn’t win an Oscar.

I was skeptical about Toy Story 3, a sequel released a full decade after its predecessor, but it delivered the Pixar goods against all odds. While it’s not quite on par with the first two, the improved animation is worlds away and the same unbridled imagination is at work in the creation of a prison camp day care ruled by a plush bear (a grandfatherly Ned Beatty). The film supposedly introduces at least 150 new characters, and I believe it; from the teeming playroom at Sunnyside, full of under-utilized voice talent, to Bonnie’s room (including a Totoro, courtesy of John Lasseter’s fascination with Miyazaki), the new faces are abundant and diverse, though not all quite as memorable. The film’s heart and action are plentiful, though the humor isn’t quite as generous (I didn’t find Buzz’s Spanish mode as funny as the filmmakers seemed to think it is). This threequel is a source of some contention between my VC and me. She was rather depressed at the loveless situation at the beginning and was left unsatisfied with Andy giving up his toys in the end, feeling that they should have awaited his children in the attic, like my Buzz and Woody currently are. Yet deep down, I think Andy knew that toys are meant to be played with, and children are their core happiness. As mentioned in Corinthians, he “put away childish things,” but not with the cold indifference of Emily in Toy Story 2; he took the time and effort to give them a fitting home and one last playtime to bid them goodbye. This was also important because he was able to pass on their names to Bonnie; without knowing the titles of Woody and Buzz, she might have called them Mrs. Nesbitt or some such moniker. As frighteningly dramatic as the dump sequence is, the final scenes are equally bittersweet, a near-perfect tear-inducing conclusion for these beloved characters. As much faith as I have in the creative minds at Pixar, I almost wish they would leave Toy Story 4 alone and avoid the potential stumble of fourth movies, which are even harder to pull off than threequels, as evidenced by the Pirates and Indiana Jones series.

Rotten Tomatoes indicates that the Toy Story films form the most acclaimed trilogy ever, with 100% for the first and second and a 99% for the third. I’ve enjoyed every one, as well as Buzz’s spinoff TV series Buzz Lightyear of Star Command, a fun and imaginative sci-fi show from my youth. Though I’ve grown up parallel to Andy and outgrown my own childhood companions, at least I’ll never outgrow these beloved toy stories.

Best line from Toy Story: (Woody) “YOU ARE A TOY! You aren’t the real Buzz Lightyear! You’re – you’re an action figure! You are a child’s plaything!”   (Buzz) “You are a sad, strange little man, and you have my pity. Farewell.”

 

Best line from Toy Story 2: (2^nd Buzz, to Zurg) “I’ll never give in. You killed my father.”   (Zurg) “No, Buzz, I am your father.”   (2^nd Buzz) “Noooooooo!”   (a great line in any movie)

 

Best line from Toy Story 3: (Jessie) “Woody, we were wrong to leave Andy. I—I was wrong….”   (Mr. Potato Head) “Jessie’s right, Woody. She was wrong.”

 

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

283 Followers and Counting

#10: Indiana Jones and the Last Crusade (1989)

Tags

Action, Fantasy, Thriller

Indiana Jones is back to find the Holy Grail,

His father Henry’s disappeared but left a learned trail.

When Walter Donovan commissions him to seek it out,

Jones finds the journal of his father, bookish and devout.

 

In Venice, Dr. Elsa Schneider joins him to assist,

For underneath a library, dark catacombs exist.

They find a clue but barely flee the rat-infested tomb,

Before the fez men follow them and nearly seal their doom.

 

To Austria, they fly to find his father captured by

A group of Nazi Grail-pursuers in a castle high.

The pair of Joneses reunite and make the room combust,

But not before a revelation and betrayal of trust.

 

Two chases later, both of them head to the Middle East,

Where Henry’s captured on a tank and narrowly released.

The Canyon of the Crescent Moon is where their journey ends,

And Indy’s forced to find the Holy Grail as death portends.

 

Through deadly trials, Indy goes to claim the waiting prize,

And as the villains follow him, their choices are not wise.

Though history is lost, our heroes let it go, dismayed,

But ride into the sunset until their next escapade.

_____________________

 

I know most people tend to prefer Raiders of the Lost Ark, but for me Last Crusade is that rare threequel that surpasses the original. It borrows the best elements from Raiders: a Biblical MacGuffin, a booby-trapped temple, Nazis as the villains, Sallah and Marcus Brody, and a gruesome (though not as gruesome) death for the villain.

What puts Last Crusade over its predecessor, though, can be summed up in two words: Sean Connery. Harrison Ford is always a blast as the famous title character, but to make his father a mild-mannered James Bond ups both the heart and the humor. Rather than being the unflappable hero of the first film, Indy has a mental match in his estranged father, who may lack the level-headed physicality but is more like his son than either recognize. Henry Jones, Sr.’s dedication to his work made him a distant, poor father, but his son clearly inherited a similar commitment, not to mention his womanizing tendencies. Putting them together allows for some humorously contentious dialogue and some realistic father/son moments ranging from disapproval to grief to shared devotion.

Of course, this wouldn’t be an Indiana Jones film without some outstanding action sequences, and it doesn’t disappoint. While nothing quite matches the truck chase in Raiders, the film as a whole is a nonstop thrill ride, with ancient flammable crypts, speedboat chases, motorcycle chases, airplane chases, tank chases, and some clever booby traps to match the beginning of the first film. The opening sequence is a stroke of genius too; while not directly connected to the main plot, as are the beginnings of the other films, it gives an unexpected glimpse of Jones in his youth. River Phoenix pulls it off, with a comic-book-style train chase that offers action and some answers about Jones himself.

While the film may just seem like a series of chase scenes, it offers all the humor and twists of the original, just in a slightly more family friendly package. I especially like the scene in which the sole profanity is chastised by the elder Jones as blasphemy, one of the few instances in modern-day films where it is called out and condemned, allowing for a telling illustration of the differences between father and son. The final resolution of the quest not only confirms the authenticity of the sacred artifact in question (and the myths surrounding it) but contrasts the blind ambition of Elsa with the wiser discernment of the Joneses. Plus, it ends on the most perfect of perfect notes, a final ride into the sunset, a fantastic wrap-up for the franchise…oh, wait, yeah, there was that fourth movie. Still, this could have been an unparalleled conclusion.

Decidedly better than Temple of Doom and Crystal Skull and just a little better than Raiders, Indiana Jones and the Last Crusade is one of the most enjoyable actioners ever made. While not quite as iconic as Raiders, it still remains influential, even for Spielberg himself, who used a similar motorcycle chase in his Adventures of Tintin. Though my VC pointed out that Last Crusade made a helpless tagalong out of Marcus Brody, who had more dignity in the first film, it doesn’t get much better than the dual star power of Ford and Connery.

Best line: (the butler) “This is a castle, and we have many tapestries, but if you are a Scottish lord, then I am Mickey Mouse!”   (Indy to Elsa, with Scottish accent) “How dare he!” [punches his lights out]

VC’s best line: (Nazi leader) “Dr. Jones?”   (Indy and Henry, simultaneously) “Yes?”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

283 Followers and Counting

#11: The Princess Bride (1987)

Tags

Christmas, Comedy, Drama, Family, Fantasy, Romance

Listen, dear viewers, and you shall be read

A story just like a sick child in bed,

About miracles, fencing, escapes, and true love,

Promises made and the efforts thereof

And a farm boy named Westley thought to be dead.

 

He said to his love that he would return

And not a thing could keep him away,

But Buttercup is upset to learn

That the Dread Pirate Roberts came to slay.

Burdened by grief, she catches the eye

Of Prince Humperdinck, a duplicitous guy.

Ere they are wed, she is caught by three

Colorful, talented killers-to-be,

Vizzini, Montoya, and Fezzik, who flee.

 

They are followed, though, by a man in black,

Coming to kidnap their prisoner back,

Facing the three of them, one by one,

Defeating each, and once he has won,

From Buttercup, Westley gets a smack.

The two through the Fire Swamp take their track

And fight when enormous rats attack.

Catching them, Prince Humperdinck won’t share

That he’s locked Westley in the Pit of Despair.

 

Meanwhile, Montoya and Fezzik unite,

Planning revenge for a family crime,

But they need Westley to plan it this time.

The two of them free him, though mostly dead,

Revive him with a miracle bite,

And before the wedding bells can chime,

Help him inside ere the couple can wed.

 

When he finds the man he’s been hunting for,

Montoya takes revenge at last,

And because true love is unsurpassed,

When Westley challenges pain galore,

Prince Humperdinck will not compete

Against a man death can’t defeat.

When Buttercup and the trio of men

Depart for safer hill and glen,

The two lovers kiss as never before.

You wouldn’t mind hearing the tale once more?

As you wish; I’ll come again.

______________________

 

The Princess Bride is one of the most perfect films around, not in any grand or profound way, but in its timeless, endlessly amusing creation of a modern fairy tale, based off the book by William Goldman, who also wrote the screenplay. I know I’m not alone in saying that this is a film I could watch any day of the week, while quoting much of the ingenious dialogue. It never ceases to entertain, and I think everyone involved in its production realized what a special film they produced.

The cast is a treasure trove of comedic talent, from Wallace Shawn as disdainful Vizzini to Andre the Giant as strong but gentle “land mass” Fezzik to Billy Crystal’s hilarious cameo as Miracle Max, who proves that chocolate does indeed have life-giving properties. Cary Elwes as Westley and Robin Wright as Buttercup (one of her first roles) are ideal starry-eyed lovers, the one gallant and dashingly British and the other beautiful, though rather helpless. The film is well-recognized for its abundance of potent quotables, and every character gets a memorable line, often several. Who can forget Mandy Patinkin as Inigo Montoya spouting his rehearsed threat to his father’s killer, or Wallace Shawn’s “Inconceivable,” said as only he can? Some droll moments are also given to the villains, Chris Sarandon as self-assured Prince Humperdinck (I wonder if his first name is Engelbert) and Christopher Guest as soft-spoken sadist Count Rugen. Even small roles like Mel Smith as the Albino and Peter Cook as the Impressive Clergyman get some Monte Python-style humor from their unexpected voices.

Though The Princess Bride parodies typical fairy tale tropes, it embraces them as well, like a more sincere version of a Mel Brooks comedy. Consider when Vizzini calls out “Behold, the Cliffs of Insanity!” followed by some overly dramatic music, yet the cliffs themselves do play a role in the tale, and their pretentious name doesn’t preclude real danger. The film’s depicted framework of a bedtime story, read by Peter Falk, lends the film a detached fascination, so that the audience can laugh while also becoming invested in the characters’ struggles. Quite a lot of work went into the filming as well, particularly the expert duel between Elwes and Patinkin, who did all but the somersaults themselves. Moments of whimsy alternate with moments of genuine passion to create a family film for all ages (though a single profanity from Fred Savage as the boy was unnecessary). The Oscar-nominated song “Storybook Love,” sung by Willy DeVille, is also worthy of a place in my End Credits Song Hall of Fame.

As I said, I can watch this film forever, but it was only recently that my attention was brought to a small but important detail. The Princess Bride is a Christmas movie! I didn’t believe it at first, but at the very beginning, there are lights and snow outside and a small lighted tree out in the hall, as well as a Santa hanging behind Peter Falk the whole time. I always assumed the book was a get-well-soon gift, but it’s a Christmas present. Now we all have one more reason to watch it, as if we needed another excuse. It’s got everything a good fairy tale needs and a great deal more besides.

Best lines (I wish I could just say the whole movie): (Vizzini, when Westley doesn’t fall from the Cliffs) “He didn’t fall? Inconceivable!”  (Inigo) “You keep using that word. I do not think it means what you think it means.”

 

(Inigo Montoya) “Hello. My name is Inigo Montoya. You killed my father. Prepare to die.”

 

(Miracle Max, when he lifts and drops Westley’s lifeless arm) “I’ve seen worse.”

 

(Westley, after knocking out the giant Fezzik) “I do not envy you the headache you will have when you awake. But for now, rest well and dream of large women.”

 

(Westley, after returning from almost-death) “Who are you? Are we enemies? Why am I on this wall? Where is Buttercup?”   (Inigo) “Let me explain. [pauses]  No, there is too much. Let me sum up.”

 

(Westley and the Grandfather) “As you wish.”

 

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

283 Followers and Counting

#12: Beauty and the Beast (1991)

Tags

Animation, Comedy, Disney, Drama, Family, Fantasy, Musical, Romance

(Best sung to “The Mob Song”)

 

In the countryside of France,

Where the bakers say “Bonjour,”

Lives a lovely mademoiselle who’s always reading books galore.

Belle just doesn’t quite fit in,

But still that doesn’t stop Gaston

From insisting that she marry him for his conceited brawn.

 

Through the mist, through the woods,

When Belle’s father tries to travel,

He ends up inside a castle dark and grim.

Belle protests and suggests

That the castle’s beastly owner

Make her stay his prisoner instead of him.

 

She’s afraid of her host and his temper,

And alarmed but then charmed and impressed

By the servants and shows

And a spellbinding rose,

Till the beast makes her flee,

Too oppressed.

 

While en route, though, the brute

Saves her life, and so from then on,

Their relationship begins to slowly grow.

When the Beast comes to love

And Belle sees her father needs her,

Her detainer has the heart to let her go.

 

But Gaston has a plan to coerce her

To be his, but she will not be played.

When she speaks of the Beast,

Gaston’s rage is increased,

And he rallies best and least

To invade.

 

Servants fight and defend;

As the raiders are assaulted,

Bold Gaston will not be halted from his prey.

Both engage, and both fall,

But true love will conquer all,

And thus without a curse’s thrall,

Love will stay.

_____________________

 

Beauty and the Beast is the epitome of a Disney fairy tale musical, complete with magic mirror, enchanted castle, magical rose, bleak curse, stunning animation, and Oscar-winning music of the highest order. Though preceded by The Little Mermaid, this was the undeniable sign that the Disney Renaissance was well under way and that animated musicals could be taken seriously, even nominated for Best Picture.

First off, the animation is gorgeous, a combination of traditionally animated characters and certain CGI backgrounds that allow for some astoundingly beautiful moments, like the famous ballroom dance beneath the chandelier. While Hunchback and Tarzan had similarly striking visuals, Beauty and the Beast was one of the first Disney films to possess a smoothness of line and motion unseen in strictly hand-drawn features thanks to a new CAPS technology (technically, The Rescuers Down Under was the first).

The beauty of the animation is matched only by the music, which garnered two of Alan Menken’s well-deserved Oscars for Best Score and Best Song. From the very first musical number incorporating Belle, Gaston, and the entire village, my VC could tell that this was not a typical cartoon with tunes, but a new breed of Broadway-quality musical that was sure to be adapted to the stage, which it was. Her favorite song, though, is Gaston’s clever tavern chantey, one of the few villain songs to not be or even sound villainous. Though “Be Our Guest” and the Oscar-winning title song are more well-known, I’ve always preferred the dark, rhythmic “Mob Song” right before the castle siege.

The film is also notable for its moral themes. For once, the heroine is not a rebellious girl eager to disobey silly rules, but a noble daughter sacrificing herself for her father. The lesson of “beauty lies within” is established from the initial prologue, but rather than being a generic villain, Gaston illustrates the opposite, that evil can also lie within even with outward beauty. The romance between Belle and the Beast is not rushed, and even though its growth is depicted through the typical musical montage, the sudden sacrifice preceding it allowed a solid starting point for the Beast’s sudden change of heart and manner.

Beauty and the Beast is the purest example of a fairy tale adaptation I can imagine, created when they could be light-hearted or dark on their own terms without the grim revisionism of nowadays. Disney hit its stride with this musical masterpiece, a film in which music, characters, and animation seem to converge effortlessly into enjoyable entertainment for kids and adults alike.

Best line: (Gaston’s admirers, during his song) “For there’s no one as burly or brawny/ [Gaston] As you see, I’ve got biceps to spare,/ [Lefou] “Not a bit of him scraggly or scrawny,/ [Gaston] That’s right, and every last inch of me’s covered with hair!” and (Gaston) “I use antlers in all of my decorating!”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

283 Followers and Counting

#13: Groundhog Day (1993)

Tags

Comedy, Drama, Fantasy, Romance

Little interest has Phil Connors in the mirth of Groundhog Day,

But as Pittsburgh’s weatherman, another visit he must pay.

Punxsutawney welcomes him and his producer, lovely Rita,

But, remaining misanthropic, he would not want to repeat a

Day within this backwards town enthralled by shadows and a rat.

Keen on February 3rd, he finds the 2nd back at bat.

 

Every day, he wakens to the same old song and same old day,

And the shortest of the months becomes the lengthiest replay.

Unsure what to do at first, he soon finds things to break and borrow,

Loving, eating, then repeating, living like there’s no tomorrow.

Yet his sanity breaks down from all the pointless repetition,

Since his goal of wooing Rita never once comes to fruition.

 

Further tries to end the cycle get him nowhere, till the day

When he vents his own fatigue and Rita tries to help and stay.

Now his wiser, better goal is to improve himself, no scheme,

Helping with his near-omniscience, rising in the town’s esteem.

By the time he’s nearly perfect for the girl he’s come to love,

Groundhog Day releases Phil with sudden snowfall from above.

_____________________

 

Harold Ramis’s Groundhog Day is an astounding comedy, because it constantly repeats itself and yet is endlessly watchable. While not the first instance of a time loop in fiction (Star Trek: The Next Generation did such an episode the previous year called ”Cause and Effect,” and there have been books and stories that came long before), but it depicts a 24-hour loop so fully and entertainingly that it is now the go-to example of time repetition. The recent Edge of Tomorrow was always compared with Groundhog Day, not with its lesser-known predecessors.

Easily Bill Murray’s best role, Phil Connors is the kind of cynical jerk he plays so well, condescending, sarcastic, the perfect candidate for an unexplained time paradox makeover. Over the course of his many Groundhog Days, he displays the full spectrum of reactions to his helpless situation: confusion, revelry, manipulation, depression, suicide, self-progress, and eventual altruism. The way he responds to the quirky townspeople of Punxsutawney, at first with disdain, then with fond geniality and authentic concern, clearly reveals his change of heart, as does his relationship with Rita, a down-to-earth Andie McDowall. All the repetition makes for certain scenes to be easily memorable, such as that buoyant polka music, the alarm clock’s Sonny and Cher theme, and Phil’s run-in with Stephen Tobolowsky’s geekily weird Ned…Ryerson! Bing! I especially love that groundhog gnawing the air at the steering wheel. Plus, George Fenton’s song “Weatherman” at the beginning is repeated at the end, thus making it eligible for my End Credits Song Hall of Fame.

Critics have discussed the film’s deeper themes, like Buddhist transcendence and Catholic purgatory, evidence that a good comedy is not simply a string of jokes but contains the potential for profound questions and intelligent discussion. While I prefer to just watch the film for its own hilarious sake, small details reveal divine presence, such as when Phil’s claim of being a god is contradicted by his futile efforts at saving a life. One does wonder whether Phil’s situation is intended as a blessing or a curse, since I can see myself being exasperated at the constant déjà vu and delighted with all the time at my disposal, but I suppose it is mainly an opportunity, to improve himself, assist the town, and become the perfect man for Rita. Whether for the delightful humor or the more profound messages, one can enjoy Groundhog Day time after time after time.

Best lines (so many): (Phil Connors) “Well, what if there is no tomorrow? There wasn’t one today.”

 

[my VC’s favorite]  (Phil) “Do you ever have déjà vu, Mrs. Lancaster?”  (Mrs. Lancaster) “I don’t think so, but I could check with the kitchen.”

 

(Phil’s piano teacher, as he is playing for her) “Not bad… Mr. Connors, you say this is your first lesson?” (Phil) “Yes, but my father was a piano mover, so…”

 

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

283 Followers and Counting

#14: The Shawshank Redemption (1994)

Tags

Drama, Meet 'em and Move on

An innocent banker named Andy Dufresne

Is fingered for two vengeful murders in Maine,

Imprisoned for life for the death of his wife,

As well as her lover, life sentences twain.

 

Behind the cold fences and walls of Shawshank,

With vice and corruption unseen at his bank,

Browbeaten and humbled, Dufresne might have crumbled

And yet he shares kindness with no need to thank.

 

Befriending “the man who can get things” named Red,

Dufresne carves a niche in this prison instead.

The warden devout has no scruples about

Employing Dufresne in the scams he has led.

 

The years of routine pass without a parole,

And those who receive it are no longer whole.

Dufresne has the time and the patience sublime

To build a library, a high-minded goal.

 

With nineteen years gone, Dufresne starkly can see

The warden’s obtuseness to one simple plea.

His reason to stay is then taken away,

And Andy is ready to visit the sea.

For Andy Dufresne, hope was never in vain;

Redemption and justice at last set him free.

__________________

 

When I first saw The Shawshank Redemption, I was surprised how much I enjoyed it. It’s one of the more brutal films on my list, filled with the kind of profanity and savagery I tend to avoid. Yet, without the objectionable content, it is such a moving story and so powerfully told that I couldn’t help but join the myriad critics who have praised it.

As Andy Dufresne, Tim Robbins has that “icy and remorseless” quality that makes Andy seem like the prime suspect for a double homicide, balanced with a detached intelligence and latent mischief only fully appreciated by his fellow inmates. Though Red was intended as a white character, Morgan Freeman makes the role his own with an Oscar-nominated performance and a candid and profound voice-over that marked him as the ultimate narrator. As released “lifer” Brooks, James Whitmore complements the film’s most poignant scene, a touching example of acting, music, and direction illustrating a sad and terminal point. Bob Gunson gets surprisingly dark as Warden Norton, forever making me hesitate to use the word “obtuse.” There’s something chilling about how he hums “A Mighty Fortress Is Our God” after having murdered and manipulated to protect his money laundering, and he succeeds in creating one of the few religious villains who are clearly revealed and condemned as hypocrites without condemning the faith they obviously have not taken to heart. Also (the inevitable Lost alert), hard-core guard Byron Hadley is played by character and voice actor Clancy Brown, who appeared as Kelvin on my favorite show.

Despite the gloomy, callous atmosphere of the prison, the film boasts numerous scenes of beauty and hope which are able to balance out the dark elements. Sweeping overhead shots of the prison yard are contrasted with the confined prison quarters, and the use of repeated scenes (Norton stepping from the darkness, Brooks’s farewell, Andy’s end-of-night business routine) is employed brilliantly. Though I had been previously exposed to parodies of the climactic reveal (such as Hey Arnold: The Movie), it still was a surprise for me and remains a satisfying illustration of cinematic sleight of hand. Director Frank Darabont was definitely the right fit for adapting Stephen King’s novella, and he must have enjoyed the experience, later adapting other King books like The Green Mile and The Mist, though not quite with the same skill as his first Oscar nominee.

One probable reason that I so admire the film is that it is what I would consider a “meet-‘em-and-move-on” story. Though not typical of that subgenre since Andy and Red remain static for the most part, the way in which various characters float in and out of their lives (abusive Bogs, institutionalized Brooks, tragic Tommy) is not unlike other members of the genre. Plus, all such films are marked by some kind of potentially tear-inducing consummation or reunion, and this is no exception. Despite much foul language, the film is an exquisite paean to hope, which will live on as a modern classic, because “hope is a good thing, maybe the best of things, and no good thing ever dies.”

Best line: (Red, when Andy is playing a snatch of opera for the inmates) “I have no idea to this day what those two Italian ladies were singing about. Truth is, I don’t want to know. Some things are best left unsaid. I’d like to think they were singing about something so beautiful, it can’t be expressed in words, and makes your heart ache because of it. I tell you, those voices soared higher and farther than anybody in a gray place dares to dream. It was like some beautiful bird flapped into our drab little cage and made those walls dissolve away, and for the briefest of moments, every last man in Shawshank felt free.” (For the record, they were actually singing about revealing a man’s love affair.)

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

283 Followers and Counting

#15: The Prince of Egypt (1998)

Tags

Animation, Biblical, Drama, Dreamworks, Family, Musical

(Best sung to “When You Believe”)

 

In captivity,

In Egypt, Hebrews send their prayer

Waiting for their God above

To free them from their yoke.

Young Moses grows up free,

Adopted into Pharaoh’s care,

Till the past he knew not of

Cannot help but provoke.

 

He can’t live as a fraud

And sadly flees.

He finds refuge

And life anew.

Sent by his awesome God

To Rameses,

He has unease but follows through,

Though Pharaoh disagrees.

 

Brothers long ago,

The prophet and the Pharaoh clash.

All the plagues sent from the Lord

Demand his people freed.

The Pharaoh’s hardened “No”

Requires death to end the lash.

No such cost can be ignored,

And Pharaoh has to heed.

 

God’s people thus depart

To promised land,

Until the sea

Lies in the way.

Pharaoh, more sore than smart,

Makes his last stand

Until the hand of God that day

Provides salvation grand.

__________________

 

Hollywood isn’t known for remaining faithful where Biblical source material is concerned, but the greatest proof that it is possible is The Prince of Egypt, one of the first animated films of Dreamworks’ filmography. While Dreamworks Animation’s lineup has ranged from excellent (How to Train Your Dragon, Chicken Run) to mediocre (Shark Tale, Bee Movie), not since have they reached the high mark they set right from the beginning.

No Moses film yet has stuck completely to the Book, often downplaying Aaron’s involvement and Pharaoh’s vacillation during the plagues. Though this one too takes its liberties, it indeed remains faithful to the “essence, values, and integrity” of the source material, as stated in the prelude note that reveals the filmmakers’ respect for the story they’ve undertaken. The film does borrow a few aspects of The Ten Commandments, but improves upon every one. Rather than making Moses and Rameses rivals from the beginning due to a contrived love triangle, it makes them close friends and brothers pitted against each other in a tragedy of pride and divine intervention. Rather than Moses’ murder of the Egyptian being violent but somehow justifiable, in this version it is instead portrayed as an accident, allowing Moses to remain righteous while providing the shame to propel him to self-banishment. (I realize it was no accident in the Bible, but I like this kind of change.) All this improvement also comes with masterful abbreviation; events that took The Ten Commandments half an hour to portray are depicted in mere minutes of concise storytelling, sometimes funny but often of surprising depth.

Enhancing both plot and entertainment, the film’s soundtrack by Stephen Schwartz is inspired, with every song memorable and perfectly spaced in the film’s runtime. From Israeli singer Ofra Haza’s impassioned “Deliver Us” at the beginning to the Oscar-winning “When You Believe” as the Hebrews depart Egypt, the music serves the story rather than replacing it, just as the CGI flourishes enrich the beautiful hand-drawn animation. I’ve often hummed Jethro’s “Through Heaven’s Eyes” whenever speed is required (somehow it seems to make me move faster), while “The Plagues” has a dreadful majesty reminiscent of the music in Disney’s Hunchback.

Likewise, The Prince of Egypt is a perfect example of star power applied judiciously. The voice actors are all big names, including Val Kilmer as Moses, Ralph Fiennes as Rameses, Patrick Stewart as Seti, Sandra Bullock as Miriam, and Michelle Pfeiffer as Tzipporah. In each case, the voice so fits the character that I don’t just hear Jeff Goldblum but a believable Aaron, not just Danny Glover but a jolly Jethro. I could hardly recognize Steve Martin and Martin Short as Pharaoh’s magicians, who nonetheless have fun with their own song, “Playing with the Big Boys.” It’s interesting to note that, just as Kilmer also voiced the powerful yet personal depiction of God (with background whispers from the rest of the cast), Charlton Heston also voiced God in The Ten Commandments.

The most moving part (pun intended) is rightly the parting of the Red Sea, just as much a wonder to behold as it was in DeMille’s 1956 film. A shot of some enormous fish in the wall of water, lit by distant lightning, has an eerie power best suited to this animated outlet. The Prince of Egypt combines high studio quality with an earnestness unseen in many Biblical films, eschewing dark revisionism and modernist explanations in favor of faithful and profound filmmaking. It’s one of the few animated films that I feel should have been nominated for Best Picture, a brilliant example of how cartoons can be elevated to dramatic excellence.

Best line: (Miriam, singing “When You Believe”) “Many nights we’ve prayed, with no proof anyone could hear. In our hearts a hopeful song we barely understood. Now we are not afraid, although we know there’s much to fear. We were moving mountains, long before we knew we could….”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

282 Followers and Counting

#16: You’ve Got Mail (1998)

Tags

Comedy, Drama, Romance

“You’ve Got Mail”

Has never grown stale

For Kathleen Kelly when online.

Anonymous,

She loves to discuss

Trivialities that somehow shine.

 

She does not know

Her chatroom beau

Is bookstore heavyweight Joe Fox.

Her own bookstore

Has charm galore

But can’t compete when conflict knocks.

 

She is upset

Once they have met,

For he excels at talking smack.

And yet online,

They’re both benign,

Not knowing who is writing back.

 

When Joe Fox learns

The truth, it burns,

And he just keeps it to himself.

As business slows,

Her store must close,

And Kathleen mourns each empty shelf.

 

Because love’s growth

Eludes them both,

Joe tries again to be her friend.

Although his strife

Undid her life,

She doesn’t mind more time to spend.

 

Through days and weeks

And lows and peaks,

Friendship and love begin to bloom.

When truth is told,

They kiss and hold

The one behind the nom de plume.

_________________

 

When it comes to Tom Hanks and Meg Ryan, most people seem to gravitate to Sleepless in Seattle, a great romantic comedy but one that suffers from their almost total lack of contact, despite memorable performances and script. Yet my VC and I have always enjoyed You’ve Got Mail even more. While it is based on a play previously adapted to film twice (1940’s The Shop Around the Corner and 1949’s In the Good Old Summertime), in some cases borrowing scenes line for line, the movie is further enhanced by references and parallels to Pride and Prejudice and Nora Ephron’s legendary dialogue. It’s one of those films I’ve seen so often that I practically know it by heart.

The two romantic leads start off unaware of each other’s existence but for trading impressions and insight via the Internet. Yes, the prominence of AOL’s “You’ve got mail” greeting dates the film, but it’s still an update from the letters used in prior versions of the story. Ryan and Hanks may not get along at first and even trade rather cruel barbs, but both of them exude charm and humor, which is simply more evident when they’re not around each other. Ryan is the underdog, owner of a small bookshop on the Upper West Side of New York; she’s friendly with her employees (Heather Burns, Steve Zahn, and Jean Stapleton) and living with a highly opinionated columnist obsessed with typewriters and himself (Greg Kinnear). Meanwhile, Hanks as Joe Fox is heir to a Barnes-and-Noble-style bookstore chain, full of discounts and lattes and a survival-of-the-cheapest mentality. He is superior to some extent, yet takes time out for his younger kin and seems like an overall decent chap. While it’s obvious that the two of them are on opposite sides, as business rivals, their back-and-forth sparring never overshadows the fact that they’re MFEO (go watch Sleepless in Seattle for clarification).

So much of this film’s success lies in the two lead actors, whose mere glances and tone offer endless amusement. There’s a scene in which their respective dates meet each other and trade unconsciously embarrassing remarks; the expressions on Hanks and Ryan’s faces are priceless. When Fox tries writing a conciliatory e-mail with ridiculous excuses, Hanks milks the unforeseen humor from the BACKSPACE button. When the script requires Ryan to respond with three yeses in a row, she fills each one with growing gravitas. They know how to say their lines perfectly, and luckily they are given plenty of notable lines to say, whether it be the meditations on the significance of Starbucks or The Godfather, the discussion of well-timed zingers, or the hilarious guesses on who the mysterious pen pal could be.

On top of all that, the film touches on some serious points, like the unstoppable advance of big-name commercialism over small-scale intimacy. Even though Kathleen and her boyfriend deride Fox as “the destroyer of city books,” when she actually visits the superstore, there’s little to dislike about all the “cheap books and legal addictive stimulants” that attract so many. The main fault is a lack of passion and knowledge in the employees (specifically Chris Messina in an early role), the personal customer connection lost amid the endless aisles. I’ll admit I enjoy visiting Barnes & Noble and Books-a-Million (and Borders before they closed), but there’s something special about the well-worn shelves and comforting appeal of the “Shops around the Corner” that are still surviving, as well as a sense of loss when they fold. (See 84 Charing Cross Road for similar themes.)

Full of enduring quotes and droll character moments, You’ve Got Mail is among my favorite romantic comedies, an underseen gem and some of Ephron’s best work.

Best lines: (Kathleen, online) “So much of what I see reminds me of something I read in a book, when shouldn’t it be the other way around?”

 

(Joe, discussing his handle NY152 with Kathleen) “N-Y-one-five-two. One hundred and fifty-two. He’s a hundred and fifty-two years old. He’s had one hundred and fifty-two moles removed, so now he’s got one hundred fifty-two pock marks on his… on his face.”   (Kathleen) “The number of people who think he looks like Clark Gable.”   (Joe) “One hundred and fifty-two people who think he looks like a Clark Bar.”

 

(Joe) “I like Patricia. I love Patricia. Patricia makes coffee nervous.”

 

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

282 Followers and Counting

#17: The Wizard of Oz (1939)

Tags

Family, Fantasy, Musical

(Best sung to “Over the Rainbow”)

 

In a black-and-white Kansas, on a farm,

Sweet young Dorothy fears that Toto will come to harm.

From this desolate landscape, she takes flight

To a land full of color by a tornado’s might.

 

Her high arrival kills a witch,

Which pleases Munchkins whose high pitches hail her,

But Dorothy’s a target soon;

A western wicked witch with broom

Tries to assail her.

 

On the Yellow Brick Road, she makes her way

To the Wizard of Oz, who might send her home that day.

She makes friends on her journey who take part:

Scarecrow wants brains, and Tin Man dreams of a loving heart.

 

A craven lion needing nerve

Joins them in hopes that Oz will serve their hoping.

But first they must confront the Witch,

Who takes the girl without a hitch

And leaves her moping.

 

When the witch has been melted, randomly,

They return to the Wizard for their gratuity.

Though the fraud does his utmost, once he’s flown,

That’s when Dorothy knows that there is no place like home.

___________________

 

As prominent as Indiana Jones is, The Wizard of Oz is even more ingrained into popular culture. Without any reservations, I can call it the best movie for children ever made. A uniquely American fantasy, it’s imaginative and well-crafted enough to create the ravishing fantasy world of Oz, but also simple and sincere enough to appeal to the youngest of viewers.

Its hallowed spot in our culture owes much to how old it is, released in 1939 along with other classics like Gone with the Wind and Mr. Smith Goes to Washington. Because of its age, even grandparents recall seeing it when they were children, and it effectively brings out the child in everyone, whether to sing along to the Munchkins’ “Ding, dong! The Witch is dead!” or to shed a tear at Dorothy’s sappy but still heartwarming appreciation of home sweet home. If the film were made today (which it wouldn’t be, of course; the ingenious switch from black-and-white to color is also a product of perfect cinematic timing), I doubt it would receive the same universal praise. For many critics, sentimentality is easy to condemn, and only uncompromising nostalgia makes it into something enchanting.

Once Dorothy reaches Oz, most of the acting is, well, overacting, as was typical of the time, but rather than laughable histrionics, this lends the film an enhanced storybook quality, as if a parent were reading the lines of a bedtime story and pretending for their delighted listener. Judy Garland exudes innocent wonder as she enters the rainbow world of Oz, like a precursor to Lucy stepping through the wardrobe. She’s the Alice-like straight-girl to the unusually charming comrades she obtains in Oz/Wonderland, allowing the audience to marvel at their peculiarity while accepting them as lovable companions of childhood. Ray Bolger as the Scarecrow, Jack Haley as the Tin Man, and especially Bert Lahr as the Cowardly Lion are as synonymous with the film as Margaret Hamilton’s Wicked Witch of the West, the most iconic witch of all time, complete with broom, pointy hat, green skin, sinister cackle, pyrotechnics, and armies of memorable minions.

These aspects alone might have been enough to make it a childhood favorite, but the filmmakers outdid themselves in every way. While many scenes are obviously on an elaborate set, the set design is phenomenal, particularly the bright-hued (and very small) Munchkinland and the Witch’s cliffside castle. Plus, there’s outstanding choreography, whether with the crowds of the Emerald City or just the four main characters skipping down the Yellow Brick Road. Plus, there’s instantly recognizable quotes aplenty (“I’ll get you, my pretty…and your little dog too”; “Lions and tigers and bears, oh my”; “Pay no attention to that man behind the curtain”). Plus, there’s the fantastical special effects (which surprisingly did not win an Oscar), some dated but others still impressive, like the realistic twister and the fanciful costumes. Plus, there’s the most classic of classic soundtracks from Edgar Harburg and Harold Arlen, including the Oscar-winning “Over the Rainbow,” the #1 tune on AFI’s list of 100 cinematic songs, though I always enjoy the rhythmic laughter of “The Merry Old Land of Oz” as well.

All combined, this greatest adaptation of L. Frank Baum’s book is still the cinematic delight it was upon its release decades ago. Its classic status relies heavily on nostalgia, for The Wizard of Oz easily conjures the wonder, fear, and excitement that my family had when we each first saw it. It deserves to be one of the first films of childhood, so that adults can reminisce while the kids are introduced to the marvelous land of Oz.

Best line (none of the obvious): (Dorothy) “How can you talk if you haven’t got a brain?”  (Scarecrow) “I don’t know, but some people without brains do an awful lot of talking, don’t they?”

VC’s best line:  (Dorothy) “There’s no place like home!”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

282 Followers and Counting

#18: Raiders of the Lost Ark (1981)

Tags

Action

A jungle temple full of traps,

Unknown to plunderers and maps,

Is where the pluckiest of chaps

Named Indiana Jones

Retrieves an idol made of gold,

Which he has little time to hold

Ere rival Belloq makes him fold

And takes the prize he owns.

 

A noted archaeologist,

Jones is requested to assist

The government and to resist

The Nazis’ latest harm.

They seek the Ark, up to no good,

So Jones drops in the neighborhood

Of ex-love Marion Ravenwood,

Who bears a needed charm.

 

In Egypt, Marion is caught,

And Jones attempts to find the spot

Where it may be, because it’s not

Where Nazi diggers dig.

He finds the Ark until Belloq

Again reclaims it, to his shock,

And seals Jones under sand and rock,

A snake-infested brig.

 

When Jones emerges from the sands,

The Ark then quickly changes hands,

But Belloq thinks he understands,

And Nazis look inside.

This last mistake becomes their bane,

But Jones and Marion remain.

Perhaps the things we can’t explain

Are meant for us to hide.

_________________

 

I can’t help but wonder if those who create iconic characters and scenes have any inkling of the impact their creations will have? When they were brainstorming and coming up with ideas that seemed cool to them, did George Lucas and Steven Spielberg realize how inspired their creativity was? Surely there are countless films that are more or less a paycheck for the filmmakers, but just as many have been made with a devotion and hope for success to rival the creators of Indiana Jones. Who knows what pop culture will embrace next, but Raiders of the Lost Ark certainly made a huge, indelible impression on it.

Most films are lucky to have one truly memorable scene, but Raiders has innumerable moments of action genius, the likes of which few films have matched. Heck, the first ten minutes have been parodied to no end. The film was meant to recall the action serials of the 1930s and 40s, even borrowing a few ideas here and there, but for the film’s generation and every one since, Raiders essentially replaced them. Practically everyone who has not been living under a rock has seen the giant rolling boulder, the snake-filled pit, the truck chase, and the crate-filled warehouse at the end. Even casual fans can probably recite lines of dialogue verbatim. Quite simply, Raiders of the Lost Ark is the quintessential action film, and I doubt many would disagree.

Likewise, between this and his role as Han Solo, Harrison Ford became the quintessential action star, dashing but intelligent, hard-edged but sensitive at times, tenacious but clearly human and vulnerable when the adrenaline wears off, undevout but able to recognize and respect a power beyond himself. From beginning to end, he’s likeable and a joy to watch. As his first love (at least to moviegoers), Karen Allen’s Marion Ravenwood became his preferred romantic interest, and even though it was anticlimactic, I’m glad he settled down with her in the fourth movie. John Rhys-Davies as jolly Sallah and Denholm Elliot as studious Marcus Brody are classic accessories to Jones’s adventures, and Alfred Molina found his very first role as his traitorous accomplice Satipo (though, did anyone else hear Ford say “Sapito”?). As other reviewers have said, Nazis make the best villains, easy to hate and easy to cheer when they get their comeuppance. To be honest, I’ve never found the individual bad guys like Belloq or Dietrich all that memorable, but Ronald Lacey as Nazi interrogator Toht is the perfect example of a Nazi slime ball, complete with a Peter Lorre-style accent.

In addition to iconic characters, non-stop fight scenes, and inventive action, Raiders also has plenty of humor, whether it’s Jones’s practical solution to a cocky swordsman or his as-yet unexplained fear of snakes. Plus, perhaps the most talented member of the film’s team was John Williams who provided perfect musical accompaniment for every scene, from the lighthearted fistfights to the intrepid truck rescue. If it hadn’t been for Chariots of Fire that year, the music surely would have won Best Score, in addition to its five other Academy Awards including Best Visual Effects, Best Art Direction, Best Sound, Best Film Editing, and a special one for Ben Burtt’s Sound Effects Editing.

Despite its honored place in pop culture, I don’t consider it a family film, due to the surprisingly bloody deaths for a PG film, before Temple of Doom helped introduce PG-13, especially the gruesome fates of the presumptuous Nazis. While the film presents some fallacies concerning the Ark of the Covenant, it at least affirms its supernatural power and presents the divine relic as something not to be trifled with. Worthy of its status as the ultimate actioner, Raiders of the Lost Ark introduced an oft-copied, rarely-matched film hero and now becomes the first film on my list worthy of a perfect score.

Best line: (Indy) “Meet me at Omar’s. Be ready for me. I’m going after that truck.”   (Sallah) “How?”   (Indy) “I don’t know; I’m making this up as I go!”

VC’s best line: (Marion) “You’re not the man I knew ten years ago.” (Indy) “It’s not the years, honey. It’s the mileage.”

 

Rank: 60 out of 60

 

© 2015 S. G. Liput

282 Followers and Counting