A Song to Remember (1945)

Tags

Biopic, Drama, History

(For Day 10 of NaPoWriMo, the prompt suggested a “Junk Drawer Song,” but I decided on something different and went back to Day 7 to try the shadorma, a 26-syllable poem with a syllable count of 3, 5, 3, 3, 7, and 5.)

As I die,
I hear the music
Of living,
Of loving,
Of knowing what outlives me
Will keep me alive.
________________________

MPA rating:  Not Rated (G would work, maybe PG)

You know those musical biopics that have practically become their own genre by now? The kind where a young, naïve talent gets caught up in the thrill of success, is fooled by unscrupulous exploiters as their relationships and health deteriorate, and then ends up either reclaiming a piece of their former passion or else dying tragically? Think Coal Miner’s Daughter to Ray to Teen Spirit and beyond. Well, such films are hardly a new invention, since A Song to Remember used such a plot way back in 1945, earning itself seven Oscar nominations. This story of Polish pianist extraordinaire Fredric Chopin (Best Actor nominee Cornel Wilde) may play fast and loose with the actual history, but it’s still an elegant period piece that highlights the life and greatest works of a giant of classical music.

A child prodigy in both playing and composing, the film’s version of Chopin had his greatest advocate in his teacher Joseph Elsner, played by the endearingly gregarious Paul Muni, who is easily the best character, reminiscent of Thomas Mitchell’s Uncle Billy in It’s a Wonderful Life the next year. The pro-Poland patriotism of Chopin and Elsner comes into conflict with the high-minded George Sand, who convinces Chopin to focus on composing to the exclusion of all else. Sand’s characterization is one of the film’s larger changes to history, since she was an advocate for Poland as well, and Ayn Rand notably objected to her being painted as a villain. Still, I thought the treatment of the conflict was relatively balanced, certainly leaning toward Elsner being in the right overall, but Sand makes some good points along the way that are never really refuted. For any lover of classical music unfamiliar with it, A Song to Remember is an underrated classic waiting to be discovered, even if it follows story beats that have only gotten more familiar with repetition.

Best line: (George Sand) “Are you satisfied, monsieur? Do you know anything that could replace a life as great as his?”   (Elsner) “Yes. The spirit that he leaves behind in a million hearts, madam.”

Rank:  List Runner-Up

© 2021 S.G. Liput
727 Followers and Counting

At Eternity’s Gate (2018)

Tags

Biopic, Drama, History

(For Day 8 of NaPoWriMo, the prompt suggested writing a monologue from a dead person’s perspective, in the style of the Spoon River Anthology by Edgar Lee Masters. I chose Vincent van Gogh.)

I painted what I saw, which is somehow not what others saw,
Though they recognized its canvas version.
The colors mattered more than details,
For the colors are the details in my mind,
Glazed over every surface and landscape
And fired in my mind’s kiln to a minor masterpiece,
If only everyone could share my eye.
They said I had my demons, but I had angels too,
Perched on each shoulder, left and right.
With my one good ear, I like to think
The worse of the two had trouble being heard.
But hearing is overrated while sight
And hue can bewitch so splendidly.
_____________________________

MPA rating:  PG-13 (for mature themes, nothing objectionable shown)

The only Oscar attention given to 2018’s At Eternity’s Gate may have been a Best Actor nod for Willem Dafoe, but his performance really is the film’s greatest strength. As misunderstood painter Vincent van Gogh, Dafoe proves to be a mercurial presence, given to bouts of obsession and anger while treasuring art above all. His relationship with fellow artist Paul Gauguin (Oscar Isaac) seems to be a friendly outlet, but the Dutchman’s apparent mental struggles only get worse in the last years of his life.

I can’t fault the acting, but director Julian Schnabel of The Diving Bell and the Butterfly makes a few jarring creative choices with his direction and editing, which highlights the otherness of van Gogh’s perceptions but also comes off as overly artsy and surreal. Still, I wasn’t familiar with many of the details of van Gogh’s life, and my subsequent research made me recognize the many references to his most famous works throughout the film, heightening my appreciation of it. At Eternity’s Gate is a contemplative showcase of Dafoe’s talent portraying a tortured genius, and its final moments are especially evocative in representing the precious but overlooked.

Best line: (van Gogh) “Maybe God made me a painter for people who aren’t born yet. It is said, ‘Life is for sowing. The harvest is not here.’”

Rank:  Honorable Mention

© 2021 S.G. Liput
723 Followers and Counting

42 (2013)

Tags

Biopic, Drama, History

Hate has a sound, neither quiet nor calm.
It’s harsh as a screaming match, loud as a bomb.
It hides where it can, but when called to resist,
It bursts on the scene, and it cannot be missed.

By fruits, you shall know it, by fire and fear,
By people too busy condemning to hear,
By pointing of fingers and counting of sins,
And seeing, not people, but labels and skins.

But how does one fight it? More fire and fear?
More yelling in hopes that bystanders will hear?
No mind has been changed meeting rancor with wrath,
But by the more difficult, opposite path.
_______________________

MPA rating:  PG-13 (mainly for multiple racial slurs and a few profanities)

Like so many others, I was heartbroken at the news of Chadwick Boseman’s passing on August 28, the very day that MLB was celebrating a belated Jackie Robinson Day, since it’s the day Robinson and Branch Rickey first met. The premature loss of a talented actor who played so many African-American icons has prompted a resurgence of regard for his past work, and it seemed only right to revisit 42, the story of baseball trailblazer Jackie Robinson. I had seen it years ago and, not being a baseball fan, vaguely logged it in the “good, not great” category, but I recall my dad really liking it and watching it several times. Now rewatching it with my mom, I enjoyed even more this true story that has become timelier with age.

Aside from his history book summary, I wasn’t very familiar with Jackie Robinson’s story, but I was pleased when some further reading revealed how historically accurate much of 42 is, from individual lines of dialogue to the shared Methodist faith of Robinson (Boseman) and Dodgers owner Branch Rickey (Harrison Ford). It would have been so easy to turn the colorful Rickey into a mere caricature or lose the nuance of Robinson’s restraint. Yet both Ford and Boseman do outstanding work here, filling both characters with a realistic dynamism, Ford trying to disappear behind facial prosthetics and a Southern growl and Boseman embodying Christ-like nobility. The film itself might have been too pedestrian to be an awards contender, but I rather wish that the two of them could have gotten a nomination or two for their performances. In light of Boseman’s death, lines like “He was made to last” have also taken on a more bittersweet tone than before.

Perhaps the film’s themes are a bit on-the-nose at times, such as one mocked scene where a hesitant white boy starts yelling slurs at Jackie when he sees his father do the same. Yet I don’t doubt that such interactions do serve to perpetuate prejudices. That same boy is later shown looking regretful when he sees Jackie’s teammate Pee Wee Reese (Lucas Black, grown up since Tokyo Drift) put an arm around Jackie on the field. I know it feels a little manufactured since the kid probably would have been raised to be used to such language, but it still serves as an example of how children can be shaped by what they see and hear. Bigotry or its opposite don’t come from society as a whole, at least not anymore, but from individual interactions that shape how we view each other, so the film’s message still rings true.

At a time when racial disparities and injustices have come to the forefront of national debate, 42 feels like a shining example of how to combat racism on a one-on-one level. While Robinson later assisted Martin Luther King, Jr. in the civil rights movement, he epitomized King’s principle of nonviolence on the field, having “the guts not to fight back”, as Rickey tells him, even while being lobbed by blatant abuse. I loved the perceptive line “Echo a curse with a curse, and they’ll hear only yours,” while the alternative plays out beautifully when Robinson’s hesitant teammates take his side over the sneering vitriol of an opposing team’s manager (Alan Tudyk). Turning the other cheek has gone out of fashion in our modern society, but the stronger the contrast between offender and victim, the more support there will be from good people to address such indignities. In every new or daring pursuit, there must always be a first, and, as the first, Jackie Robinson did untold good in moving the sport of baseball and the country closer to its ideals.

Best line: (Jackie Robinson) “You want a player who doesn’t have the guts to fight back?”
(Branch Rickey) “No. No. I want a player who’s got the guts not to fight back. People aren’t gonna like this. They’re gonna do anything to get you to react. Echo a curse with a curse, and they’ll hear only yours. Follow a blow with a blow, and they’ll say, “The Negro lost his temper,” that “The Negro does not belong.” Your enemy will be out in force… and you cannot meet him on his own low ground. We win with hitting, running, fielding, only that. We win if the world is convinced of two things: that you are a fine gentleman and a great baseball player. Like our Savior… you gotta have the guts… to turn the other cheek. Can you do it?”
(Jackie) “You give me a uniform… you give me a, heh, number on my back… and I’ll give you the guts.”

Rank:  List-Worthy

© 2020 S.G. Liput
699 Followers and Counting

Version Variations: The Intouchables (2011) / The Upside (2017)

Tags

Biopic, Comedy, Drama, Version Variations

(Happy Easter, everybody! Today’s NaPoWriMo prompt was for a triolet, an eight-line poem with repeated lines and a very particular rhyme scheme.)

The ruts in which our lives are spent
Seem deeper than they really are.
See only walls, and we lament
The ruts in which our lives are spent,
But thinking we are always meant
To stay will hardly get us far.
The ruts in which our lives are spent
Seem deeper than they really are.
_____________________

MPA rating for The Intouchables: R (really just for a few F words in the subtitles)
MPA rating for The Upside: PG-13

Is there some unofficial rule that says you shouldn’t watch a remake before the original? Because, if there is, I think I broke it… again. I had some curiosity about the popular French film The Intouchables, but I didn’t seek it out until I watched last year’s American version and wanted to compare them. After all, I’m far overdue for a Version Variation post. Based on the true story of Philippe di Borgo and Abdel Sellou, both films are about a poor, street-smart black man finding employment caring for a bitter quadriplegic millionaire and the feel-good friendship that grows between them.

I’ll focus on The Upside first, since that was the first one I saw. Kevin Hart plays a deadbeat dad named Dell, who is more interested in barely fulfilling his parole requirements than actually seeking a job. Yet his initial rude interaction with Bryan Cranston’s wealthy Philip Lacasse catches the attention of the joyless businessman, and Dell is offered the job of a “life auxiliary” caretaker, with all the well-paid benefits and uncomfortable tasks that entails. Hart’s comedic experience serves him well during his character’s initial protests against catheters, but he proves himself to be an able dramatic actor as well, with Cranston being both a great foil and partner, despite being physically immobile. They’re a likable odd couple that grows in poignance up to the smile-worthy end.

And as for The Intouchables, well… it’s basically the same exact thing, but in French! With the number of remakes out there that tarnish the spirit of the original, I was surprised at how faithful The Upside was. The French characters are named Driss (Omar Sy) and Philippe (François Cluzet), but I could tell from the very first scene how similar the two films were: the protests against the more awkward forms of care, the sharing of a joint while out on the town, the creative forays into high-end painting, a stressful paragliding excursion, even a series of gags surrounding shaving Philippe’s beard and mustache.

Yet there were still a few differences as well. Kevin Hart’s Dell is less of a jerk than the French Driss can be at times, though they still share the lack of pity that attracted their employer. The Intouchables also featured a great little scene where, after enduring Philippe’s love of classical, Driss lets loose to “Boogie Wonderland.” But the most notable difference concerns Philippe’s blind epistolary romance with a woman and Driss’s efforts to get them to meet face-to-face. The Upside features some of the exact same scenes, yet they have a different outcome, one that is perhaps more painfully realistic and leads to a far different role for the rich man’s assistant (Nicole Kidman in the American version, Audrey Fleurot in the French). For my part, I think I prefer the ending of The Intouchables, which is more lump-in-throat-worthy, aided by Ludovico Einaudi’s elegant score.

The Intouchables is clearly the more well-respected film (74% on Rotten Tomatoes versus an undeserved 39%), but The Upside is actually quite a successful remake. Some may bristle at recreating a film just so we English-speakers don’t have to read subtitles, but the filmmakers did a good job with it. Both films thrive off of the chemistry between the two leads, and all four actors are perfectly cast and do credit to the inspiring true story, though I find it odd that both Driss and Dell are black whereas Abdel Sellou was not. From the lows of depression to the highs of paragliding, The Intouchables and The Upside handle their serious subjects of class divides and disability with both pathos and humor and show that even total opposites can become lifelong friends.

Best line from The Intouchables: (voice on the phone) “Hello?”   (Philippe) “Eleonore, it’s Philippe. I’m calling because I really wanted to hear the sound of your voice, and with that first hello, I’m fulfilled.”   (voice, apparently not Eleonore) “I’ll put her on.”

Best line from The Upside: (Dell, to Philip) “You can have any girl you want. What about this lady with all the Botox? You’re perfect for each other. You can’t move your body; she can’t move her face.”

 

Rank for The Intouchables: List Runner-Up
Rank for The Upside: List Runner-Up

 

© 2020 S.G. Liput
679 Followers and Counting

A Beautiful Day in the Neighborhood (2019)

Tags

Biopic, Drama, Family

We’re told that, if one can’t be kind,
It’s best if one not speak their mind,
But in our minds, we also need
More gentleness to intercede,
That we may speak them free of shame
And help the world to do the same.
________________

MPA rating: PG

I vaguely recall watching Mr. Rogers’ Neighborhood when I was a kid. I remember the puppet king and the camera zooming in on the educational videos playing on Picture Picture. I think I even read a children’s biography of Fred Rogers for a book report. As I grew older, I thought his style was too tailor-made for kids to appeal to me anymore, yet I still viewed him as an admirable figure. My mom, however, remembers the years when he was practically a laughingstock among cynical adults, so it warms both our hearts that he’s finally getting his due, at least in the movies.

Tom Hanks has made a living playing America’s most trustworthy figures, from Walt Disney to Captain Sully. In both cases, and with Mr. Rogers here, he doesn’t entirely disappear. He still looks like Tom Hanks, yet he manages to wield the audience’s good will so well that it doesn’t matter. He can practically be two people at once. He manages to adopt Fred Rogers’ soft-spoken manner and genteel politeness so well, that it’s no wonder cynical reporter Lloyd Vogel (Matthew Rhys) finds him hard to believe when Vogel is told to profile Rogers for an article about heroes.

A Beautiful Day in the Neighborhood isn’t quite what is advertised, its greater focus being on Lloyd and his troubled relationship with his father (Chris Cooper) rather than Mr. Rogers. Well, there’s a reason Hanks was nominated for Best Supporting Actor. Yet, Lloyd’s story (loosely based on Tom Junod, who also profiled Mr. Rogers in the 1990s) is still meaningful, with Rogers acting as sort of a homespun shoulder angel for him, urging him to rediscover his priorities and even the value of silence. I was surprised at how much I identified with elements of Lloyd’s story, particularly his father’s terminal illness, and it touched me more than I was expecting. I also liked the visual style borrowed from Mr. Rogers’ show, with most outdoor scenes presented as a miniature diorama, though one dream sequence of Lloyd’s threatened to get too silly at times.

I think the reason Mr. Rogers is so beloved now is his unsullied brand of kindness, regardless of the person or whatever they’ve done. In a world where nastiness seems to be rewarded all too often, we as a society have begun to crave what once was viewed as quaint and puerile, and he was the paragon of a gentleness we’ve largely lost. A Beautiful Day in the Neighborhood is a lovely tribute to a lovely man, not some subversive exposé but a confirmation that Rogers’ public persona was him. If it makes even one person choose kindness over the alternative, then it will have lived up to the example of Fred Rogers.

Best line: (Mr. Rogers) “There is no normal life that is free from pain.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
665 Followers and Counting

 

Tolkien (2019)

Tags

Biopic, Drama, History, War

A story’s source is not alone
The man who put his pen to page,
But every seed his life had sown
Within that man at every age,
His greatest fear, his cruelest pain,
His deepest love, his darkest stain:
These seeds were sown into his brain,
His heart and soul until they bore
A fruit we’d never seen before.
And so, in turn, that story’s sown
More seeds that yet remain unknown.
______________________

MPAA rating: PG-13

As a devoted fan of The Lord of the Rings, I was eagerly awaiting this biopic of J.R.R. Tolkien (played earnestly by Nicholas Hoult), hoping that it would provide some insight into the source of one of fiction’s greatest stories (and my favorite movie of all time). The acting is on point, the period setting is splendidly polished, the emotions are effectively conveyed, and yet Tolkien doesn’t do more than the minimum of what I expected.

There’s nothing particularly wrong with how Tolkien’s early life is recounted, and it actually enlightened me to quite a bit of his history. It covers his courtship of Edith Bratt (Lily Collins), his long-standing love of languages, and his friendships with three other boys who together formed the T.C.B.S., or Tea Club and Barrovian Society, a creative fraternity that clearly echoes the “Seize the day” mentality of Dead Poets Society. The film goes back and forth between these early years and his horrific time during the Battle of the Somme, where he suffers from trench fever and hallucinates fantasy figures on the battlefield.

It’s all a solid, respectable attempt at providing background for Tolkien the great author, but it also feels manufactured in how it tries to provide context for Tolkien’s works. Early scenes of his youth in bucolic Birmingham do well to remind viewers of the Shire without making it overly clear, but other references aren’t as subtle. (Though I agree with the statement from one of his friends about Wagner’s Ring Cycle that it shouldn’t take six hours to tell a story about a magic ring; it actually takes 9+ hours.) It’s only a matter of time before the T.C.B.S. is referred to as a “fellowship,” and the surreal hallucinations Tolkien has amidst the horrors of World War I serve no discernible purpose but as references to his fantasy and excuses to include some special effects. It also stumbles at times in the presentation of events, such as when Tolkien’s mother suddenly dies with no explanation at all.

I also would have liked more references to Tolkien’s Catholic faith and how it shaped his work, something which director Dome Karukoski supposedly filmed but removed due to test audience feedback. There are welcome touches, such as the inclusion of a crucifix in Tolkien’s battlefield visions, but the film definitely prefers its romantic side, as when Tolkien is told by his friend and guardian Father Francis (Colm Meaney) to stop seeing Edith until he was 21. This is true, but the film’s Tolkien later insists it was a mistake, while the real-life Tolkien said he didn’t regret the decision.

In its elegant presentation and clear fondness for its subject, Tolkien is a respectable, well-acted biopic that does most of what it sets out to do. Considering the exceptional man and story of its inspiration, though, one would hope it could have been a little more than that.

Best line: (Edith, on Tolkien’s regard for languages) “Things aren’t beautiful because of how they sound. They’re beautiful because of what they mean.”

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
644 Followers and Counting

 

2019 Blindspot Pick #6: Amadeus (1984)

Tags

Biopic, Drama, History, Musical

How must it be to be a genius,
Masterpieces to be mined
In the mind,
Unrefined,
And so gradually defined
In an act of new creation
Not unlike how God designed?

Oh, to birth such instant classics,
Such a rare, eternal prize!
Oh, what highs
In human eyes,
We crave as we mythologize,
And what despair we suffer when
Our limits cut us down to size.

Comparisons are no avail
If we’re defined by how we fail.
______________________

MPAA rating: PG for the original, R for the Director’s Cut, due to brief language and nudity

For me, Amadeus is the perfect candidate for a Blindspot pick. I’ve been putting it off for far too long, even getting it from the library a while ago and letting it sit around until I had to return it. On top of that, I kept being reminded of it; the recent anime Steins;Gate 0 had an AI called Amadeus and explicitly referenced the rivalry between Mozart and Salieri, and I also just rediscovered the classic ‘80s tune “Rock Me Amadeus” by Falco, inspired by this film. I even got a recent Final Jeopardy question wrong because I didn’t realize Amadeus was based on a play, making it perfect for MovieRob’s Genre Grandeur this month as well. Thus, at long last, it seemed only right to watch the Best Picture of 1984, since I was clearly being pointed toward it.

Winner of eight Oscars, Amadeus is a powerhouse for both acting and music. For his role of Salieri, F. Murray Abraham deservingly won the Oscar for Best Actor, ironically defeating Tom Hulce as his unwitting rival Mozart. Salieri is a tortured soul, deranged and aged far past his prime when the film opens in 1823, and tells a priest of how his classical musical career was overshadowed by the flippant but undeniable talent of Wolfgang Amadeus Mozart. Hulce portrays Mozart as a frivolous man-child, a “creature” as Salieri refers to him, whose high-pitched laugh grows increasingly annoying, yet the elder composer recognizes Mozart’s gift and blames God for leaving Salieri so comparatively untalented. Both performances are brilliantly nuanced, especially by the tragic end, but the Academy chose right that year.

Yet the music is just as much a character as the dueling composers. As Salieri points out early on, everyone recognizes Mozart’s best work, and his best work is put on full display, with even extended stage performances from opera like The Magic Flute and Don Giovanni. (I watched Milos Forman’s Director’s Cut.) Lovers of classical music will revel in the score, but even non-fans will likely appreciate watching the inception of masterpieces that have stood the test of time.

While I recognize the film as a magnum opus for everyone involved, there’s something that bugs me and keeps it from ranking among my favorites. It may seem shallow or unsympathetic, but as I watched Salieri spiral into a tortured wretch of envy, cursing God for giving Mozart the talent he craved for himself, I just wanted to slap him and say “Get over it!” It’s drama, and I know such unbridled jealousy does happen, but I hate when people compare themselves to others because no matter how good you are at anything, there will always be someone better. Salieri had a high-profile position, money, and respect, and instead of viewing Mozart as a colleague, however vulgar he may have been, he made him the source of an inferiority complex, ultimately contributing to his ruin, for which Salieri received nothing but guilt. He may have blamed God, but the fault was his own. It’s a marvelously complicated portrayal of destructive envy that nonetheless frustrated me almost as much as Mozart’s laugh.

Looking back, 1984 was undoubtedly one of the big movie years in history, and it says a lot that Amadeus was able to sweep the Oscars that year, winning Best Picture, Actor, Director, Adapted Screenplay, Art Direction, Costume Design, Makeup, and Sound. Impeccably mounted in its 18^th/19^th-century setting, it’s an overly long but outstanding period piece conveying a historic rivalry that, while fictionalized, still resonates.

Best line: (Salieri) “All I wanted was to sing to God. He gave me that longing… and then made me mute. Why? Tell me that. If He didn’t want me to praise Him with music, why implant the desire, like a lust in my body, and then deny me the talent?”

 

Rank:  List Runner-Up

 

© 2019 S.G. Liput
642 Followers and Counting

 

Green Book (2018)

Tags

Biopic, Comedy, Drama, History

Road trips are an odd affair,
The constant movement far from home,
A different bed come every night,
The landscape shifting out of sight
As cars continuously roam
On quests their occupants must share.

Friends may think they have rapport,
Until the road bares every irk
In ways that cannot be ignored,
And likewise those with no accord
May find that under quarrels lurk
A bond they never knew before.
_________________

MPAA rating:  PG-13

Who doesn’t love a movie about unlikely friendships? From Lethal Weapon to Driving Miss Daisy, there’s something universally appealing about two very different people overcoming those differences in favor of mutual respect, and, as with those two examples and this film, race is often one of those separators. Green Book is the latest crowd-pleasing member of the genre that also dives into that racial divide, and while some have accused it of not diving deeply enough, it hit an amusing and poignant balance that I enjoyed enormously.

It’s hard to believe that Viggo Mortenson is Danish, much less that he once played Aragorn in Lord of the Rings, considering how perfectly he inhabits the role of an overweight Italian-American bouncer named Tony Vallelonga, a.k.a. Tony Lip. Despite some latent racism, he grudgingly accepts a job as a driver for famed black pianist Dr. Don Shirley (Mahershala Ali), who needs transportation and protection during a two-month concert tour of the South in 1962. Even beyond race, they couldn’t be more different, Tony crude and confrontational, Dr. Shirley sophisticated and haughty; hence, the unlikely friendship. It’s a role reversal of expected stereotypes of the era, and the two actors embrace the dichotomy while forming unexpected bonds through food, music, language, and the recognition of right and wrong.

Many have called Green Book a reversal of Driving Miss Daisy, and while the point is not unfounded, Green Book has a more socially conscious goal in mind. It may not dive as deeply as some people may have wanted, but its view of race relations still feels honest and ultimately hopeful. (Incidentally, “some people” also say that Driving Miss Daisy and this film were unworthy Best Picture winners, but, in my opinion, “some people” are wrong.)

I really don’t get a lot of the backlash toward this movie, like the supposedly tone-deaf scene where Tony teaches Dr. Shirley how to eat fried chicken. It’s like critics are trying to filter it through every potential-racism, social justice lens they have at their disposal, while I don’t see it as anything but an example of the different worlds to which these two characters have been exposed. They each share pieces of those worlds with each other during their journey, whether it be Shirley’s eloquence in composing Tony’s letters home for him or Tony’s unwillingness to accept any insult. And while there are shades of the dreaded “white savior” tropes that critics make far too much of, I’d argue that Tony gets more from Dr. Shirley than the other way around, particularly a changed perspective on his former prejudice.

Contrary to the assertions of writer/producer (and Tony’s son) Nick Vallelonga, some of Dr. Shirley’s family have denounced Green Book as untruthful, claiming that his and Tony’s relationship was nothing more than that of employer and employee, while other sources have come out with evidence that they were in fact friends. Either way, Green Book takes its historical inspiration and creates a wholly satisfying road-trip movie, especially for those who don’t try to psychoanalyze its themes too deeply.

Though it could have focused more on The Negro Motorist Green Book of its title, I, for one, am glad for its Oscar success, including Best Picture, Best Original Screenplay, and Best Supporting Actor for Ali. The performances and script are full of charm, humor, and empathy, and Green Book fits comfortably among the great unlikely friendship road movies, with an ending that even directly recalls the last scene of Planes, Trains, and Automobiles. Race is a touchy subject these days, and while many may disagree, this movie serves as a welcome reminder that mutual understanding can seem unlikely but is always within reach.

Best lines:  (Tony Lip) “The world’s full of lonely people afraid to make the first move.”

and

(Dr. Shirley, channeling MLK) “You never win with violence. You only win when you maintain your dignity.”

 

Rank:  List-Worthy

 

© 2019 S.G. Liput
636 Followers and Counting

 

First Man (2018)

Tags

Biopic, Drama, History

Space is a place where dreams are sent,
And there they wait for man’s ascent.
They wait and know that man was meant
To problem-solve, defy, invent,
And once the atmosphere is rent,
They’ll welcome us and our event
And say our effort was well-spent.

Space is a place of ill intent
That never gave man its consent
To test and dare and circumvent
The earth’s frontiers which won’t relent.
It waits to challenge and prevent
Man’s mystifying discontent,
So resolute and heaven-bent.

Space can hold wonders and laments,
Our certain death or will to thrive.
All these things it represents;
We’ll know for sure when we arrive.
_______________________

MPAA rating:  PG-13

Having loved La La Land, I was eagerly awaiting director Damien Chazelle’s next feature, especially when I learned it would be about Neil Armstrong and the moon landing. Both my mom and I have a special tie to the space program, since my grandfather worked for NASA and worked on the Apollo missions. When we heard some mixed reviews, we assumed that those naysayers just weren’t very interested in the space program, but our personal connection would be enough to overcome any faults. I wish that were true, because, as much as we wanted to love First Man, it was a bitter disappointment for my family.

I’ve always enjoyed movies about space, whether it’s Gravity, The Right Stuff, or Apollo 13, not to mention any number of sci-fi films, yet I haven’t been so bored by one since Marooned. First Man had a tough job in detailing the life and work of a man who was famously laconic and understated, and while Ryan Gosling’s portrayal of Neil Armstrong is both of those things, he doesn’t add enough to the blank face and muted reactions to keep Armstrong from seeming just dull. The same goes for Claire Foy as his long-suffering wife Janet; she outshines Gosling with a few emotional fireworks, but their final scene together is a weird conclusion of emotional constipation, which also doesn’t mention their eventual divorce.

As for its portrayal of the space program, First Man does feature some riveting moments that showcase Armstrong’s levelheadedness and which haven’t been put to film before, such as a close call during one of his experimental test flights or the near disaster of Gemini 8. (I don’t recall the Apollo 1 fire being re-created before now in as much detail either.) The problem is that Chazelle chooses to focus on the claustrophobia of these moments by giving most of them a first-person, shaky-cam view that stays inside the cockpit, rarely letting us see what’s happening outside the spacecraft. It’s a clear artistic choice that gets old fast, and while I heard the moon landing itself makes it all worth it, there was nothing particularly special about that scene either. I appreciated its silent poignancy, but I was also distracted by the bizarre absence of stars. What makes it more bizarre is that I looked back at actual Apollo 11 photos, and there were no stars visible there either! Did I just never notice the black emptiness of space? Why wouldn’t there be stars? I realize that gripe is no longer the movie’s fault, but it still puzzles me on an astrophysical level.

The subject may be historic, the casting may be full of recognizable faces, and the filmmaking pedigree may be impressive, but First Man was an unfortunate misfire for me. Compared with La La Land, it’s certainly a testament to Chazelle’s range as a director, but all those pluses just couldn’t overcome a weak script that didn’t spark enough interest in its potentially prosaic subject. And considering the visual extravaganzas that took place in Avengers: Infinity War and Ready Player One, it makes no sense to me that this would win the Oscar for Best Visual Effects. I wanted to like it, and I still think a great movie could be made about Armstrong and Apollo 11, but sadly First Man is not it.

Best line:  (Armstrong) “I don’t know what space exploration will uncover, but I don’t think it’ll be exploration just for the sake of exploration. I think it’ll be more the fact that it allows us to see things. That maybe we should have seen a long time ago. But just haven’t been able to until now.”

 

Rank:  Dishonorable Mention

 

© 2019 S.G. Liput
635 Followers and Counting

 

VC Pick: Patton (1970)

Tags

Biopic, Classics, Drama, History, VC Pick, War

What wins wars?
It’s a question hard to answer
That no army can refuse.
For if every side could answer it,
No side would ever lose.

What wins wars?
Some would say that it’s commitment
Or resolve to reach the goal.
But commitment breeds fanaticism
If it lacks control.

What wins wars?
Some would point to their resources,
Which are squandered easily.
Some would point to perseverance
Or to strength or bravery.

What wins wars?
All of these are necessary,
But they’re not the final trade.
There’s a risk to every battle;
There’s a price that must be paid.

What wins wars?
‘Tis the soldiers wielding courage
And the strength to persevere,
Those committed to their country,
Without whom we’d not be here.
__________________

MPAA rating:  GP/PG (more of a PG-13 for language)

My VC has been urging me to review Patton for some time now, and I figured Memorial Day was the perfect time for this World War II biopic. Patton benefits from an Oscar-winning performance from George C. Scott and the Oscar-winning screenplay from none other than Francis Ford Coppola, who interestingly credits this film’s success with his being allowed to direct The Godfather.

While other actors are good, including Karl Malden as General Omar Bradley, this movie lives and dies by the effectiveness of Scott in the title role, and from the first iconic speech he delivers in the film’s opening, speaking to the troops in front of an enormous American flag, he embodies General George S. Patton’s patriotic resolve and uncompromising will. The score is similarly iconic, providing perfect accompaniment to Patton’s military ambitions, and certain scenes are distinctly memorable, like Patton’s slapping of a shell-shocked soldier or his shoot-off with a swooping enemy plane.

All that said, war movies from the ‘70s aren’t what they are today. While I’m grateful for the lack of extreme content, there’s not much action, with the focus instead on Patton as a character. That’s hardly a bad thing, but at nearly three hours, the plot loses steam at times and didn’t need to be that long. I also found it odd that the film stopped short of Patton’s unexpected death in a car accident, not even mentioning it in an ending footnote.

As a fan of history, though, I found Patton a great character study of one of America’s greatest generals, providing insight into his lesser known activities as well, such as his passive role in the D-Day invasion and his many difficulties with censoring himself in interviews. He was a monstrous warmonger to some and a nationalist hero to others, a dichotomy of characterizations that the film embraces in equal measure. Considering its balanced treatment and biographical importance, I can see why it won Best Picture that year, in addition to Best Director, Original Screenplay, Film Editing, Sound, Art Direction, and Actor (which Scott famously refused). It also reminded me that Patton himself was a poet, so I ought to add this film to my list of poems used in movies. It’s a bit too long and slow to watch often, but it definitely ranks among the greatest war biopics.

Best line: (Patton) “Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country.”

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
632 Followers and Counting