Once Were Warriors

Genre: social drama
With: Rena Owen, Temuera Morrison, Mamaengaroa Kerr-Bell
Director: Lee Tamahori
Release: 1994
Studio: New Zealand Film Commission, Communicado Productions − Fine Line Features
Rating: R
MBiS score: 8.2/10


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Story-line: for Beth, a daughter of New Zealand’s Maori aristocracy, life with unemployed husband Jake ‘the Muss’ Heke and five children is proving much rougher than she had expected.
Pluses: fine acting, strong direction and a screenplay raising painful but important topics.
Minuses: be forewarned that the domestic violence depicted in ONCE WERE WARRIORS, while in keeping with the plot, reaches an intensity seldom seen in the movies.
Comments: a startling and necessary film about alcoholism, poverty and tradition in one aboriginal family. ONCE WERE WARRIORS is a worthy and thought-provoking picture for sure.


MBiS

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Gosford Park

Genre: social drama
Director: Robert Altman
Release: 2001
Studio: U.K. Film Council, USA Films et al.
Rating: R
MBiS score: 8.2/10


For Servants As Well As Bakers, The Upper Crust Can Be A Problem


GOSFORD PARK takes place in 1932, somewhere in the English countryside. The McCordles, Sir William (Michael Gambon), wife Sylvia (Kristin Scott Thomas) and daughter Isobel (Camilla Rutherford), have invited friends over to their estate for a hunting party. Among their honoured guests are the following:

- Countess Constance Trentham (Maggie Smith) and her maid Mary Maceachran (Kelly Macdonald);
- Sir Raymond Stockbridge (Charles Dance), wife Louisa (Geraldine Somerville) and servant Robert Parks (Clive Owen);
- a cousin, actor Ivor Novello (Jeremy Northam), accompanied by American producer Morris Weissman (Bob Balaban) and servant Henry Denton (Ryan Phillippe);
- the Honourable Freddie Nesbitt (James Wilby) and Mabel (Claudie Blakley);
- Commander Anthony Meredith (Tom Hollander) and Lavinia (Natasha Wightman).

Creature comforts for Sir William’s invitees will be provided by the McCordle staff which includes, in order of rank:

- Mrs. Wilson (Helen Mirren);
- Jennings (Alan Bates);
- Mrs. Croft (Eileen Atkins);
- maid Elsie (Emily Watson);
- servants George (Richard E. Grant) and Probert (Derek Jacobi).

This splendid gathering promises gastronomic delights, delicate entertainment and elegant sniping… unless tempers heat up. Also with Stephen Fry (Thompson).

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Whew! Watching GOSFORD PARK can be perplexing at first because of its large cast and slow-burning narrative but, if you remember the groupings above and show a little patience, you will have no trouble finding its rhythm and enjoying it to the full. A motion picture with so many moving parts naturally needs a bit of time to set up and pick up steam. Just wait for that crucial twist (you’ll know when you get there) and you won’t be able to turn away after that.

Conceptually, GOSFORD PARK may recall the old UPSTAIRS, DOWNSTAIRS television series in its depiction of two worlds separated by class and social conventions. Credit must be given to Julian Fellowes for his screenplay that develops its characters intelligently and affords them some interesting dialogues to work with; for the sake of honesty and as a matter of personal taste, I will add that one character annoyed me somewhat because his humour clashes with the film’s overall mood but, in truth, he does provide a counterpoint and his interventions have little bearing on the plot. Directorial duties are handled with flair and a steady hand by the great Robert Altman (1925-2006) for whom ensemble films have been a career specialty (like his classic NASHVILLE and the very strong SHORT CUTS). Did I comment on the acting? Well, well… it’s hunky-dory!

Is this enough to convince you? I do hope so but, if you’re still on the fence, here’s my last and best argument: far from leaving you empty-handed, Altman’s film closes with an astonishing climax. If only for that feeling you’ll get when the mystery is resolved, you’ll never forget GOSFORD PARK. As one of the servants would say, ‘Don’t you like surprises?’


MBiS

© 2011 – All rights reserved

Officer and A Gentleman (An)

Genre: psychological drama
With: Richard Gere, Debra Winger, David Keith
Director: Taylor Hackford
Release: 1981
Studio: Lorimar Film Entertainment, Martin Elfand
Rating: R
MBiS score: 8.1/10


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Story-line: Zack Mayo, a young man with a chip on his shoulder, is intent on becoming a Marine pilot. Problem is, Sergeant Foley and a young woman named Paula stand in his way.
Pluses: fine acting by a talented cast including Louis Gossett Jr., a gritty tale about discipline, achievement and love.
Minuses: none really, except for those punishing push-ups.
Comments: this one will please everyone since it’s both a tough military drama and a very romantic movie. Go for it!


MBiS

© 2011 – All rights reserved

Birdman of Alcatraz

Genre: psychological drama
Director: John Frankenheimer
Release: 1962
Studio: Norma Productions, United Artists Films
Rating: -
MBiS score: 8.6/10


Lost and Found


In Alaska circa 1911, young Robert Stroud (Burt Lancaster) makes a tragic mistake when he kills a man who has allegedly beaten a prostitute friend. Found guilty of murder, he is sent to the notorious Leavenworth penitentiary in Kansas where he is accused of not ‘conforming’ by warden Harvey Shoemaker (Karl Malden). Now hardened by his rage, Robert will continue defying one and all… until a walk in the prison yard during a rainstorm gives him a new outlook on life. With Neville Brand (Bull Ransom), Thelma Ritter (Elizabeth Stroud, Robert’s mother), Betty Field (Stella Johnson) and Telly Savalas (Feto Gomez).

It’s easy to comment on BIRDMAN OF ALCATRAZ since it tells its true story in an orderly fashion and without turning it into a melodrama. Wonderfully played by Burt Lancaster − a winner in Venice for his performance − and a solid cast of veteran thespians, admirably conceived for the screen by John Frankenheimer, Robert’s tale of violence, long struggle and redemption is an original classic bristling with humanity.

‘Moving’ and ‘inspirational’ are adjectives used too frequently in movieland today but, in this case, they are more than appropriate. I should know… a little bird told me.


MBiS

© 2011 – All rights reserved

Bicycle Thief (The)

Also known as: Ladri di biciclette
Genre: personal drama
With: Lamberto Maggiorani, Lianella Carrel, Enzo Staiola
Director: Vittorio De Sica
Release: 1948
Studio: Vittorio De Sica Productions, Mayer-Burstyn, Cifex Film
Rating: -
MBiS score: 9.2/10


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Story-line: to Antonio Ricci, his bicycle meant everything… until it was stolen.
Pluses: fine acting, world-class direction, a compelling and tragic story.
Minuses: absolutely none.
Comments: this gripping and heartbreaking film, one of the best examples of Italian neo-realism, has withstood the test of time. A true masterpiece. Do see it!


MBiS

© 2011 – All rights reserved

Rapture (The)

Genre: religious drama
Director: Michael Tolkin
Release: 1991
Studio: Rapture Productions, New Line Cinema − Fine Line Features
Quote from www.catholic.org (Book of Revelation, chapter 10, verse 10)
Rating: R
MBiS score: 8.6/10


There Are Some Who Never Think About It And Others Who See It Everywhere


‘Operator 134. What city? Hold on for your number… Operator 134. What city? Hold on for your number…’

Sharon (Mimi Rogers), an information operator, probably has one of the most brutal jobs in LA. Sitting in a dark and dreary cubicle, a headset glued to her ear, she is required to direct callers quickly – one every 15 seconds or so – and efficiently for hours on end. When her work is over, she shakes off her kinks the kinky way by cruising the streets with her friend Vic (Patrick Bauchau) in search of couples ready to share sexual fantasies. Doubt has not yet crept into her mind… the kind of existential doubt that turns whole lives around. With David Duchovny (Randy), Kimberly Cullum (Mary) and Will Patton (Foster).

Among Hollywood movies, THE RAPTURE is the rarest of rare birds. It doesn’t fit into any category, eschews formulas and refuses to compromise its vision for the sake of mass appeal. I’ve seen plenty of films in my time but, honestly, I can’t think of any other displaying such courage… or outright gall. Why are we here? Where are we headed? What can we do about it? Or should we even bother? It is these questions, the most crucial in human existence, that Michael Tolkin’s film dares to ask… and to answer in its own special way.

THE RAPTURE is a true motion picture paradox. As revealing as its title can seem − with its reference to salvation and the ultimate experience for Christian believers − you can scarcely imagine what this film will show you and how it will take you to its destination. Tolkin’s low-budget and low-key approach to Sharon’s story − to which other filmmakers would have given the blockbuster treatment, complete with superstar casting and full-blown special effects − is also surprising and even spooky… yet everything fits. Sharon’s conversion feels unforced, her New Agey turnaround satisfies her need for fulfillment and her actions and reactions certainly reflect human nature. It also helps that Mimi Rogers plays her demanding role with goggle-eyed bravery and conviction; all through Sharon’s journey, she succeeds in conveying each and every emotion, whether it be insensibility or suffering, panic or happiness, serenity or rage. The other cast members also deliver reasoned performances although Sharon’s dominance does limit their contributions. Production values are adequate, dialogues logical and well-constructed, the movie’s moods cold and foreboding, its images astounding. For the rest, expect the unexpected, as is the rule in life.

I should end my review with a word of caution. Some critics have hailed THE RAPTURE as a radical film while others have found it artificial and pompous. Its boldness will undoubtedly catch you off guard though it offers a rather faithful interpretation of the Holy Scriptures. When its denouement hits the screen, it will either amaze you, scare you off or revolt you but it won’t leave you indifferent for it speaks to the essence of what we are. Judging from personal experience, I was reminded of a passage in the Book of Revelation where the narrator was offered a small scroll to eat. ‘I ate it and it tasted sweet as honey, he writes, but when I had eaten it my stomach turned sour.’ It is mixed feelings like these that THE RAPTURE will arouse in you. This is why Tolkin’s film is so extraordinary, even for those of us who don’t believe in Christ.


MBiS

© 2011 – All rights reserved