Grand Prix

Genre: sports drama
With: James Garner, Yves Montand, Eva Marie Saint
Director: John Frankenheimer
Release: 1966
Studio: Cherokee Productions, Metro-Goldwyn-Mayer Studios Inc. (MGM)
Rating: -
MBiS score: 8.5/10


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Story-line: rev up your engines… another season of Formula One racing is under way.
Pluses: a strong international cast, interesting characters, solid thrills, first-rate production values and a powerful ending.
Minuses: GRAND PRIX may be a lengthy film (at 3 hours)… but it doesn’t feel long at all.
Comments: even if you care little about motor sports, this spectacular drama will astound you with its portrayal of men and women living in a jet-set world of speed, glamour and danger. GRAND PRIX is a genuinely suspenseful film that goes full throttle.


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Jindabyne

Genre: psychological drama
Director: Ray Lawrence
Release: 2007
Studio: Film Finance Corporation Australia (FFC), Nomura Babcock & Brown Productions, Redchair Films, April Films
Rating: R
MBiS score: 8.2/10


Gone Fishing, Gone Wrong



The workweek has not ended yet but Stewart (Gabriel Byrne), Carl (John Howard), Rocco (Stelios Yiakmis) and Billy (Simon Stone) are already dreaming about the great fishing they’ll enjoy over the weekend. Escaping the daily grind should do wonders for the foursome… and then again, it might not. With Laura Linney (Claire, Stewart’s wife), Sean Rees-Wemyss (Tom, their son), Betty Lucas (Vanessa, Stewart’s mother), Leah Purcell (Carmel, a teacher and Rocco’s friend), Deborra-Lee Furness (Jude, Carl’s wife), Eva Lazzaro (Caylin-Calandria, Carl and Jude’s granddaughter), Chris Haywood (Gregory), Tatea Reilly (Susan) and Alice Garner (Elissa, Billy’s wife).

As far as wilderness movies go, DELIVERANCE will please the action fan, MEAN CREEK showcases the younger set and JINDABYNE appeals to adult audiences of both sexes. This Australian production may not be a ‘pure’ adventure film − for it spends a good deal of time on personal and family issues before and after that fateful weekend − and its meticulousness may try some viewers early on but, when all is said and done, Ray Lawrence’s film stands as a mature, realistic take on guilt, responsibility and misunderstanding in our plain, everyday world.

Robert Burns famously wrote that ‘The best laid schemes of mice and men often go awry’ and JINDABYNE illustrates this fact of life with a frankness that rattles the conscience. For Stewart and his group, problems at home will be compounded by what happens on the other side of the mountain, new issues will arise and relationships will sour; even their long-awaited encounter with nature will seem creepy and hostile at times. Facing the unexpected and uncovering truths you never imagined, especially ugly ones, can infect your mind not for a day but for a week, a year or the rest of your life. Gender issues are also raised in JINDABYNE and we all know how potent and divisive they can be.

Whatever the genre, a movie is a collaborative work and, in JINDABYNE’s case, the result of many strong efforts. Beatrix Christian’s screenplay, which is based on a Raymond Carver short story, opens with a flush of intriguing snippets and, generally speaking, paints a rich and observant portrait of ordinary lives. Ray Lawrence, who brought us LANTANA, a film of similar ambitions, shows tact and patience in directing JINDABYNE’s complicated story. On screen, his acting team delivers solid turns, particularly Laura Linney. Production values, for their part, are satisfying throughout.

You have surely noticed how life can alert you to what’s ahead though you scarcely realize it at the time. Such a moment stands out in JINDABYNE, on the Friday night before the big outing, as the guys are sharing a meal with their ladies in a restaurant. When Billy acknowledges his love for Elissa, you will hear this curious exchange (quoted from memory):

- Carl: You’ll see, Elissa. Billy is leaving home a boy and he’ll return a man.
- Elissa: I want him to return as he is now.
- Jude: You can’t be sure… with those perverts.

Was it a sign of things to come? I do believe it was... but don't take my word for it. See JINDABYNE, a deceptive and ultimately haunting experience in cinema and in life.


MBiS

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Mediterraneo

Also known as: Mediterranean
Genre: psychological drama
With: Diego Abatantuono, Claudio Bigagli, Claudio Bisio
Director: Gabriele Salvatores
Release: 1990
Studio: Pentafilm, AMA Productions − Prestige Films, Buena Vista Worldwide Home Entertainment
Rating: R
MBiS score: 7.9/10


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Story-line: in 1941, eight Italian soldiers are ordered to take control of a Greek island… and find out that war isn’t all it’s cracked up to be.
Pluses: a gentle mood, good acting, a paradisiac setting and a logical screenplay by Vincenzo Monteleone.
Minuses: some viewers may find the story a bit lacking in content, which explains this film’s moderate MBiS score.
Comments: MEDITERRANEO, an offbeat film that involves no real violence, depicts stranded soldiers that time forgot. The old motto ‘Make love, not war’ would certainly apply to this competently made and visually appealing movie. Sounds like a pleasant time for cinephiles!


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Road To Guantanamo (The)

Genre: political docudrama
Directors: Michael Winterbottom and Mat Whitecross
Release: 2006
Studio: Revolution Films, Screen West Midlands − Roadside Attractions
Rating: R
MBiS score: 8.4/10


Welcome, Tourists, To Satan’s Cuban Resort


THE ROAD TO GUANTANAMO begins with a press conference in which President George W. Bush, referring to British citizens held captive in Cuba on terrorism charges, asserts that they are ‘bad people and we look forward to working closely with the Blair government to handle this situation’. From such a starting point, the film tells the tumultuous tale of Ruhel, Asif and Shafiq, the ‘Tipton Three’, who had travelled to Pakistan for a wedding, were taken prisoners by Northern Alliance forces in Afghanistan and were ultimately incarcerated in Cuba’s notorious Guantanamo Bay detention camp. With Rizwan Ahmed (Shafiq), Ruhel Ahmed (himself), Asif Iqbal (himself), Shafiq Rasul (himself), Farhad Harun (Ruhel), Waqar Siddiqui (Monir) and Arfan Usman (Asif).

Over the years, Michael Winterbottom’s directorial choices have been eclectic and fascinating. For one thing, he has shown a distinct interest in geopolitics and THE ROAD TO GUANTANAMO, codirected with Mat Whitecross, exemplifies his concern for world issues. This cold and special movie, which straddles the line between documentary and fiction film and may recall MIDNIGHT EXPRESS, tells the troubling story of three Brits who were accused of terrorism even though they had not seen combat. On screen, their confinement looks awful enough… imagine how nerve-racking and life-changing it must have truly been. In Cuba especially, they had to survive on a daily regimen of intimidation, interrogation and inhumanity that may disturb you; personally, I was appalled by the sheer brutality of their treatment.

Despite its messy subject, THE ROAD TO GUANTANAMO is remarkable for its proficient direction (honoured with a Silver Bear in Berlin), frantic editing and glorious visuals. The images captured in Pakistan and Afghanistan are particularly amazing, I thought. As a bonus, expect solid acting and a relentless narrative. This is powerful, riveting, outstanding cinema.

I see no need to comment further on THE ROAD TO GUANTANAMO because this is the kind of film you must experience for yourself. After seeing it, you will probably reflect on the war on terror that has been raging for ten years now, maybe even twenty. I know I did… and it doesn’t look any clearer now from my point of view. Are there only ‘good guys’ and ‘bad guys’ in this global chess game founded on ideology, politics and religion? Where do legitimate security concerns end and paranoia take over? Is the ‘war’ being waged on the right front? I find torment in these unanswered questions. Do you?


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Heartbreak Kid (The) (1972)

Genre: comedy
With: Charles Grodin, Jeannie Berlin, Cybill Shepherd
Director: Elaine May
Release: 1972
Studio: Palomar Pictures International, Inc. − Twentieth Century-Fox Films
Rating: PG
MBiS score: 8.0/10


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Story-line: looks like Leonard and Lila will make a great couple… if they can just survive their honeymoon!
Pluses: wonderful acting (especially by the above-mentioned trio and a very cranky Eddie Albert), able direction, a funny story by Bruce Jay Friedman and Neil Simon.
Minuses: none whatsoever.
Comments: in THE HEARTBREAK KID, there is a place for everything and everything’s in its place. This is what a successful comedy should look and feel like… it goes with the flow instead of forcing the issues. Wait till Charles Grodin drives you up the wall!


MBiS

© 2011 – All rights reserved

In the Bedroom

Genre: psychological drama
Director: Todd Field
Release: 2001
Studio: Miramax Films
Rating: R
MBiS score: 8.2/10


At What Point Does Pain Become Unbearable?


Romance can spring up anywhere and, in the humble fishing town of Camden, Maine, Dr. Matt Fowler (Tom Wilkinson) and his wife Ruth (Sissy Spacek) are pleased but also embarrassed. Their son Frank (Nick Stahl), who’s back from architecture school for the summer, has met a single mom named Natalie (Marisa Tomei) and has fallen for her big-time. But is this just a fling for Frank or the first sign of something serious? That’s the quandary facing the Fowlers. And what about Natalie’s ex-husband, Richard Strout (William Mapother)? How does he feel about it?

There is more to IN THE BEDROOM than my synopsis indicates − for one thing, it involves a lot of anguish as alluded to in my title − but the less you know before seeing it, the harder it will hit you. Todd Field’s excellent drama, which is based on a story by Andre Dubus III, doesn’t fool around with its subject matter. The dilemma posed to the Fowler family is shown unadorned, gut-wrenching and bitter.

Should I comment on this film’s production values? Not really, for they are unassailable. As for its cast, Sissy Spacek, Marisa Tomei and Tom Wilkinson are true to their well-developed characters and Nick Stahl exudes boyish charm but the real surprise, in my mind, comes from William Mapother who plays his dark role with complete conviction. Please note that, after an auspicious beginning, IN THE BEDROOM may seem to drag on halfway through − I felt it did, I confess − but don’t quit on it because the action picks up considerably after that. As you watch Matt struggling with his emotions, you wonder about Ruth’s… and the tension generated by this gravest of questions makes for a psychologically gripping third act that will keep you on edge until the closing credits.

For these reasons and IN THE BEDROOM’s mature reflections on personal relationships and the difficulties they can engender, the time you’ll spend watching it will be time well spent. The more you live, the tougher your options get to be.


MBiS

© 2011 – All rights reserved

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

© 2011 – All rights reserved

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).

---

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?’


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© 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.


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© 2011 – All rights reserved