Friday, October 19, 2012
Bonanza weekend for you lot, as I was too slack to get last week's review up in good time. Last week I watched the fabulous Tom Hardy and Guy Pearce among others in Lawless, while my classic review was another Orson Welles film, The Third Man. This week's review to come as normal tomorrow night.
Shoe catch-up will hopefully emerge on Sunday.
Lawless (MA15+)
ALCOHOL was an easy escape from reality for those feeling the strain of unemployment and general hardship in the United States’ Depression era. The manufacturing and distribution of moonshine was (and still is) illegal, but for those in the game it was a bonanza - everyone wanted their hands on it and they could name their price.
The authorities soon caught onto this, being buyers themselves, and tried to negotiate a share of the profits in returns for not arresting them. In 1931 in Franklin County, Virginia, the Bondurant brothers held the monopoly and would settle for nothing less than free passage through the region as normal.
In the eyes of the townspeople, the brothers were indestructible - especially Forrest (Tom Hardy) as the ringleader, who overcame countless battles. What is revealed to us quickly though is that support from Howard (Jason Clarke) was important to Forrest, but younger brother Jack’s (Shia LaBeouf) softer nature was considered more of a hindrance.
When Special Deputy Charlie Rakes (Guy Pearce) comes from Chicago to put an end to their operation, it soon threatens to escalate into war. The brothers live their life with this non-negotiator on their back, authorising killings as bad as gangster shootings occurring around the region from the likes of Floyd Banner (Gary Oldman).
The John Hillcoat-Nick Cave director-writer collaboration is their third together, the last 2005’s The Proposition. With Pearce and Clarke having been in that film also, the Australian troupe take themselves halfway across the world but to an environment with similarities of outlaws and good versus evil.
That is, except Jack. The focus stays largely on him throughout the film - as they build their small empire up, his confidence inflates. He attempts to court preacher’s daughter Bertha (Mia Wasikowska) and walks around like he’s Al Capone, much to Forrest’s chagrin.
In a small way to ours as well; an understanding of Howard is kept to a minimum, while brooding Forrest is intriguing but largely kept to a subplot of his burgeoning relationship with Maggie (Jessica Chastain).
It’s an extreme mix of casting, from the English Hardy to the Australians to Transformers hero LaBeouf, but the immense talent is quality. Pearce exonifies slime, while Chastain brings a feminine touch to a man's world.
We’re left with a tale of not just brothers, but a town standing up for itself. While there are some unrealistic moments as the men fight for what they believe to be their right, this is a violent, gut-wrenching film where Hillcoat turns potential criminals into likeable men.
Rating: 4/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 13/10/2012
***
STORIES abounded post-World War II as four years of tragedy made for life-changing moments. Here, screenwriter Graham Greene uses the lingering uncertainty about at the time but draws on a murder mystery in place of an emotional tale.
Novellist Holly Martins (Joseph Cotten) finds himself in Vienna, split into quarters between the Allies and home to a thriving black market. Arriving on the premise of a job offered by schoolfriend Harry Lime (Orson Welles), he finds out Lime has died. After attending his funeral and speaking to people at the scene of Lime’s death, Martins believes his friend is actually alive.
Carol Reed’s shoot was difficult, not least because of tensions between collaborating producers David O. Selznick and Alexander Korda. There was also debate over the ending that added to their discontent. But the final result is an interesting story, shedding layer after layer as Martins gets to the bottom of a peculiar situation.
Cotten is good as Martins, as is potential love interest Anna Schmidt (Alida Valli), but the film lifts when Welles is first shown some way in. His presence as the mysterious Lime is what carries the story, finding out who he really is and why events have led Martins to start the guesswork. Sinister characters and good use of Viennese landmarks combine to create an intriguing piece of cinema.
*Published in the Mailbox Shopper (Dubbo) from Wednesday 10/10/2012
MISSED LAST WEEK'S REVIEWS? See what I thought of Taken 2 and The Killing Fields.
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