Showing posts with label Faye Dunaway. Show all posts
Showing posts with label Faye Dunaway. Show all posts
Saturday, February 09, 2013
Lincoln (M)
ABRAHAM Lincoln is the president of the moment, this the
second film of the season following Abraham
Lincoln: Vampire Hunter. He is a revered man in his homeland, something
audiences appreciate. But of all the depictions of him, in film and otherwise,
this one has been most looked forward to by critics, fans and those voting on
the golden statues.
Twelve years of research into the days preluding the United
States vote to abolish slavery would feel well worth it to Steven Spielberg. His
love of history is shown on film in the most extravagant of ways, often leaving
nothing behind. While criticism comes form those pointing out minor historical
inaccuracies, many were altered in the name of artistic licence.Abraham Lincoln himself is most comforting. The 16th President of the United States (Daniel Day-Lewis) has been voted in to his second term as leader during a Civil War four years in. The sentiment is that the battle is nearing its end, and his cabinet plead for peace negotiations, particularly Secretary of State William H Seward (David Strathairn).
History tells us that Lincoln was a man sure of what he
wanted even if he took the slower path to get it. Patience was a virtue for
this president, sure that the 13th Amendment to abolish slavery from
their constitution would pass. Work had to be done to get there though; Lincoln
faced multiple challenges.
The story follows the bid to get both the Radical Republican
votes and Democrat votes from politicians who had lost their seats badly. Monetary
bribes were shunted in favour of job offers, Lincoln reluctant to get his hands
too dirty.
Complications in the office, which also include the option
of a peace negotiation initiated by the influential Preston Blair (Hal
Holbrook), play havoc with Lincoln’s private life. His wife Molly (Sally Field)
is by his side but echoes the frustration of the people with the drawn-out
fighting. It comes to the fore as eldest son Robert (Joseph Gordon-Levitt)
returns home defiantly planning to join the Union Army.
Spielberg lets the cameras roll slowly over two-and-a-half
hours to give us every detail, amplifying the demeanour of the great man. His
knowledge of the law, entertaining (if not relevant) stories and devotion to
young son Tad (Gulliver McGrath) are all utilised. There’s no blood, and barely
a physical battle in sight. The real battle here is of Lincoln’s emotions.
Day-Lewis is outstanding, able to project conflict of the
mind convincingly. But Spielberg gets the best from a wonderful ensemble that
has taken to the project easily. Tommy Lee Jones is a particular standout as Radical Republican Congressional leader Thaddeus Stevens.
For many, this will be seen as a film of historical
importance. For those who don’t know Lincoln’s influence on the United States,
this is the sort of film that will inspire you to find out more. Spielberg
usually has that effect on people with his work.
Rating: 4/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 9/2/2013
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Network (1976)
THE CUTTHROAT world of television journalism hasn’t changed much from what it was to now. Even in a world of immediacy with the likes of the internet, it’s always been about the revenue. American news networks are in a constant battle for their wide-reaching audience and are often depicted as ruthless in their efforts.
When the (fictional) Union Broadcasting System is lagging behind other major news outlets, long-time presenter Howard Beale (Peter Finch) is given the cut. His on-air farewell is a surprise to the network as the usually dignified man breaks down.
His downward spiral is recognised by producer Diana Christensen (Faye Dunaway), and the network in turn exploits his preaching rants about the media industry to stellar ratings. Meanwhile, her plan to introduce terrorism to serial television also has bigwig Frank Hackett (Robert Duvall) in a spin.
Sidney Lumet captures something that remains extremely relevant in the uncertainty of the industry. But it’s Finch as the deranged Howard that is most chilling, as he becomes a former shadow of himself. Watching his exploitation is not only uncomfortable but speaks enormously of a thing we call ‘reality’, a precursor for viewing habits around the world.
*Published in the Mailbox Shopper (Dubbo) on Wednesday 6/2/2013.
MISSED LAST WEEK'S REVIEWS? See what I thought of Silver Linings Playbook and Chinatown.
*Published in the Mailbox Shopper (Dubbo) on Wednesday 6/2/2013.
MISSED LAST WEEK'S REVIEWS? See what I thought of Silver Linings Playbook and Chinatown.
Saturday, February 02, 2013
Silver Linings
Playbook (M)
MENTAL illness in film is usually of the serious kind;
characters without a grip on their complete sense of self are ones that need
help and find it hard to come by as they face day-to-day life. It’s a common
part of life that has at least an indirect effect on most people, but to put it
with comedy is rare. No doubt the likeability of difference against other films
on the subject is something the Academy of Motion Picture Arts and Sciences
voters have taken note of.
Bipolar disorder is a wide-reaching mental illness and the
drive behind Matthew Quick’s novel. David O Russell acts as director and
screenwriter in the adaptation where Pat Solitano (Bradley Cooper) is released
from a mental health institution to his happy parents Dolores (Jacki Weaver)
and Pat Sr (Robert De Niro). It’s been a long eight months where he hasn’t
played by all the rules, but he’s home.
As the reasons behind his time become known, Pat is shown as
a straight shooter on top of his ability to bluff his way through a lot of
situations. He very much knows what is wrong with his situation and believes he
has the willpower to push past it and succeed. However, his prolonged refusal
to take medication is reflective of the views of many mental illness sufferers
who feel stifled by taking it.
Pat meets one of those by chance. Tiffany (Jennifer
Lawrence) is a mess, retreating to defensive conversation and other antisocial
behaviour in the time following her husband’s death. But a mutual attraction
from the two sparks an unlikely friendship centred on looking out for their own
wellbeing.It’s the opposite to most boy-girl stories in that sense, rejecting the notion of devoting yourself to someone else. There is no love lost between Pat and Tiffany as they try to find their silver lining through a warped understanding of each other and the neighbourhood they find themselves in.
The people Pat and Tiffany are surrounded by add to the story. Pat Sr is a bookmaker convinced his son’s return home has sparked a Philadelphia Eagles winning streak in the NFL; his friend Randy (Paul Herman) the dodgy friend always looking for the better bet. Then there’s Danny (Chris Tucker), Pat’s friend from the institution with his misguided positivity.
It’s a man’s world, spearheaded by the inclusion of a NFL rivalry sub-plot. The film feels very North American as a result, their pride for gridiron unlike those from any other sport’s fans, but Tiffany taps into that zone and bring it to its knees in a pivotal moment.
The screenplay displays the shouting ability of most of the cast as much of the story centres around arguments. Pat, Tiffany and those around them are fraught with confusion as they are all forced to consider what defines importance and happiness. Russell’s cast is excellent, Jennifer Lawrence mesmerising as a very troubled young lady.
Russell, an executive producer on Anchorman: The Legend of Ron Burgundy, injects potentially flirtatious moments with deadpan sarcasm. It’s less risky than what it should seem, and the effect is paramount as laughs that should feel awkward don’t. This latest award season favourite mixes the young and old in presenting some of the best performers Hollywood has to offer.
Rating: 4/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 2/2/2013
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Chinatown (1974)
Roman Polanski didn’t make many films on US soil, but the ones he did, Rosemary’s Baby and this film, were the stepping stone to a strong Hollywood career. While that was not to be after a conviction, jail time and then fleeing to Europe in exile where he remains to this day, it hasn’t hurt fans that still revere his stories.
Chinatown is about a web of lies and hurt, a reflection of the years following the death of his actress wife Sharon Tate. The Polish director was extremely tense on set, arguing with almost everyone, and it mirrored the content of the story being filmed. It’s an uncomfortable film where a situation arises completely different to expectations.
Detective Jake Gittes (Jack Nicholson) is hired to determine whether water and power department employee Hollis Mulwray (Darrell Zwerling) is having an affair. But after Hollis’ wife Evelyn (Faye Dunaway) says it was a set-up and Hollis is then found dead, a set of connected occurrences have Gittes and his team delving deeper into the mystery.
Corruption surrounding councils and water is still a touchy topic today in some places, Polanski using that theme to his advantage by adding dark characters that don’t want to give much away. Nicholson is a straight shooter as Gittes, prying for answers that he sometimes cant get, and adds gravitas to an unnerving tale.
*Published in the Mailbox Shopper (Dubbo) on Wednesday 30/1/2013.
MISSED LAST WEEK'S REVIEWS? See what I thought of Django Unchained and Good Morning, Vietnam.
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