REVIEWS OF RENTED DVDs I GET IN THE MAIL

Posts Tagged ‘based on true story’

MUTINY ON THE BOUNTY (1935)

In Action, Adventure, Best Picture Winners, Classic, Drama, Epic, History, M, Motion Pictures on June 21, 2010 at 1:51 am

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STUDIO – MGM

CASTCharles Laughton, Clark Gable, Franchot Tone, Herbert Mundin, Eddie Quillan, Bill Bambridge, Movita

DIRECTOR – Frank Lloyd

NOT RATED (MPAA Equivalent: PG)

In April 1789, the HMS Bounty set sail from Tahiti to the West Indies to transport hundreds of breadfruit tree saplings, in order to provide a cheap and readily available food supply for slave laborers there. She never arrived. The next year, the Bounty‘s commanding officer, Lt. William Bligh, returned to England to report that he had been set adrift in a mutiny led by his sailing master, Fletcher Christian. This wasn’t the first mutiny in the British Royal Navy, nor was it the last, but it is the most infamous, inspiring poems, novels, songs, and of course, movies. With that, I wish to introduce to you the Best Picture of 1935, Mutiny On the Bounty.

Based on the novel of the same name by Charles Nordhoff and James Norman Hall, Mutiny On the Bounty is a fictionalized account of the events that took place on the ship’s fateful voyage from England to Tahiti. Captain Bligh (Charles Laughton) is tasked with procuring the breadfruit trees because of his familiarity with the people and customs of Tahiti (It should be noted that, regardless of rank, all ship commanders are called “captain”). His sailing master, Fletcher Christian (Clark Gable, sans his trademark mustache), was in charge of carrying out the captain’s orders, morale, and the occasional midshipman training. One of those midshipmen was Roger Byam (Franchot Tone), whose assignment was to prepare a dictionary of the Polynesian language. It is through his eyes this story unfolds.

Fletcher Christian (Clark Gable) reacts to being called a "mutinous dog" by Captain Bligh (Charles Laughton)

Right away, Byam notices that Bligh is strict disciplinarian, even to the point of carrying out his portion of a punishment known as “flogging through the fleet” upon a dead prisoner. Once at sea, the Bounty tries for Tahiti by way of South America, but turns eastward through the Indian Ocean instead. Meanwhile, Bligh oppresses the crew further by inflicting punishment at whim, including one sailor getting keel-hauled (He dies). Meanwhile, Christian tries to provide a more lenient approach toward the crew, only to have Bligh bear down even more. Finally, their conflict becomes personal, when Bligh forces Christian to sign a falsified log book in front of the crew. Once at Tahiti, things seem to relax momentarily, until Bligh bears down even more harshly, and… well, you only need to look at the title to know what happened next.

Mutiny On the Bounty is an excellent example of Hollywood starting to come of age. From the moment the movie fades in, a sweeping dramatic score sets you up for a tale of truly epic proportions: You, the viewer, are about to bear witness to one of most notorious events in maritime history. From a technical standpoint, nearly everything stands out in this movie. The settings, the cinematography, even the sound quality all hold up very well. From a performance standpoint, Charles Laughton, Clark Gable, and Franchot Tone were quite memorable. In fact, all three were nominated for Best Actor (At the time, there were no Supporting categories. If they had existed, Franchot Tone would likely have received a nomination).

Oh, there are some inaccuracies, as happens with many historical dramas. For example, the actual mutiny was really relatively uneventful in comparison with the movie, keel-hauling was nearly non-existent in the 1780s, and Bligh did not attend any of the mutineers’ courts-martial (He was at sea). But the most telling inaccuracy is Gable’s voice. I say this in mild jest, as Gable seemed incapable of producing an English accent, while Tone fared somewhat better, and Shakespearean-trained Laughton was from Yorkshire, England. I seem to recall another more recent movie, in which an American actor played a legendary English character without an English accent. Fortunately, Gable’s performance was strong enough that we can forgive this transgression.

There are a couple of special features on the DVD. First is a brief clip from the Academy Awards ceremony in 1936, in which legendary producer Irving G. Thalberg accepted the Best Picture Oscar and gave his thanks to the cast and crew of the movie. And there is also a short about Pitcairn Island, the Bounty mutineers’ final destination, which shows how their descendants live in the film’s present day of 1935.

Nominated for eight Academy Awards, Mutiny On the Bounty is the last movie to win only the Best Picture Award. It is also the third (and last) Best Picture winner produced or co-produced by Thalberg (Grand Hotel and The Broadway Melody were the others). Though not the first movie to test the waters (pun not intended) of historical dramas, Mutiny On the Bounty stands out as a defining moment when the Hollywood Dream Factory finally figured out a way to hone their product and sell it to the masses. With performances nearly as strong as the film itself, it set a new standard in motion pictures (to be eclipsed a few years later by a little-known movie called Gone with the Wind). I recommend this movie as a good place to start for those interested in pre-1940s motion pictures.

4 (out of 5)

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THE BLIND SIDE (2009)

In B, Biography, Drama, Motion Pictures, Sports on May 11, 2010 at 10:43 pm

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STUDIO — Warner Bros.

CAST — Sandra Bullock, Tim McGraw, Quinton Aaron, Ray McKinnon, Jae Head, Lily Collins, Kathy Bates

DIRECTOR — John Lee Hancock

MPAA Rating: PG-13

In many parts of the United States, football is more than a sport; it’s practically a religion. This is especially evident through the South and Midwest, where college football reigns supreme. I can testify to this fact, as I have seen Bulldog-themed restaurants in Georgia, Longhorn-themed stores in Texas, and Cornhusker-themed everything in Nebraska. In fact, I can personally support the theory that life all but shuts down on Saturday afternoons in the fall in the state of Nebraska. After spending 16 years of my life there, I have brought back this observation: Go shopping in a department store during a Husker game, and life stands still while a play is in progress. When the ball is snapped, everyone stops in their tracks and listens intently to the radio broadcast (guaranteed to be on in at least 95% of the businesses in the state); if there’s a touchdown, they celebrate like they’re all guests of honor in a massive bachelor(ette) party. Then when the game goes to commercial, as if by magic, they go back to whatever they’re doing. It almost looks like a scene from the classic Star Trek episode “The Return of the Archons” (Just watch through the first sct, and you’ll see what I mean). I do, of course, say this in jest, but it is still fascinating to witness.

There is no mistake in identifying passionate football fans. They support their favorite teams until the ends of the earth, even if they have been “rebuilding” for 15 years. They wear their hearts on their sleeve, their wardrobe is adorned with the team colors of their choice, their cars are littered with flags, decals, and other paraphernalia, and they even plan social events around the games! This is true of nearly all passionate sports fans, but college football fans really love their sport, and they really love their school, no matter where they live. Such is the case of Leigh Anne Tuohy, an Ole Miss graduate living in Memphis, Tennessee.

Michael Oher (Quiton Aaron, right) at Thanksgiving dinner with the Tuohys (from left, Lily Collins, Sandra Bullock, Tim McGraw, Jae Head)

By now, I am sure that you have heard of Mrs. Tuohy, and the remarkable story of how she took in a kid from the wrong side of town because he had nowhere to go. That kid grew up to become Michael Oher of the Baltimore Ravens. They could not have been more different. She was an affluent, pretty, outspoken white woman with a family; he was a very large, very shy, very homeless black teenager with no ambition or direction in life. Yet, she took him into her home, fed him, clothed him, and guided him into becoming a young man who had found his destiny.

Okay, I’m not sure what has already been said about this movie, but I will say that, as sports movies go, this is one of the best I have seen in the last 20 years. One remarkable fact about The Blind Side is that it is the first motion picture with one actress billed above the title (by herself) to gross over $100 million. Now, I have had a soft spot for Sandra Bullock ever since she burst on the scene as the off-beat cop of the future in Demolition Man (1993). She is a quirky, slightly-left-of-normal girl next door, and I knew there was nothing but a bright career ahead for her. But never in a million years did I expect her to achieve serious critical acclaim, and I don’t think she did, either. When she co-starred in Crash (2004), things began to change. I noticed that Sandra Bullock was evolving from a movie star to an actress (there is a difference), and when you are an actor or actress who is also a movie star, really good things begin to happen.

The Blind Side contains fine performances from much of the cast, beginning with Bullock, who won Best Actress as Leigh Anne Tuohy. TIm McGraw was an agreeable Sean, and Quinton Aaron did very well, too. I did have one concern: Did Michael Oher, during the lost days of his youth, really lack intelligence, or did he just not care? Signs seem to point to the latter, and Aaron played from that angle fairly well (Although I did notice a few overly-vacuous spots in his performance). The breakout performance in this movie (to me, anyway) goes to Jae Head, who played Leigh Anne and Sean Tuohy’s son, S.J. First of all, he had all the best lines (“Enough with the rugby shirts! You look like a giant bumble bee!”), and it was very easy to see he and Quinton Aaron bonded well. Also, watching S.J. coach Michael through drills is a sight to behold! Oh, one more cool fact about this movie: The college football coaches in the film are the real deal. Some had retired and others moved on to other positions, but yes, Virginia, that really was Lou Holtz you saw on the screen.

The Blind Side is a wonderful and inspirational story of generosity, love, and good ol’ Christian beliefs. And football. Lots of football. If you haven’t seen this movie yet, then get thee to your Queue and line it up!

4 out of 5

HEAVENLY CREATURES (1994)

In Biography, Crime, Drama, H, Motion Pictures on April 12, 2010 at 12:54 pm

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STUDIO — Miramax 

CAST — Melanie Lynskey, Kate Winslet, Sarah Pierse, Diana Kent, Clive Merrison, Simon O’Connor 

DIRECTOR — Peter Jackson 

MPAA Rating: R 

A reader from New Zealand dropped a request in my lap: Review some of Peter Jackson’s early work. So, I threw a couple of darts at the wall, and one of them landed on Heavenly Creatures, Jackson’s take on the friendship between Pauline Parker and Juliet Hulme (Melanie Lynskey and Kate Winslet, both in their big-screen debuts), from the time they met at school in 1952, until their murder of Pauline’s mother, Honora, in June 1954. 

The movie starts as a sort of travelogue of Christchurch, New Zealand, an idyllic city which boasts friendly people, beautiful surroundings, and lots of bicycles. Suddenly, we lurch to a moment of terror: Two young ladies running through the woods, screaming in panic and covered in blood. From that moment, we are taken back in time to when these two girls first met at an all-girls preparatory school two years earlier. Right away, the dynamic between these two becomes very apparent. Pauline is very imaginative, but shy and withdrawn, while Juliet is adventurous, outgoing and worldly. But they form a bond right away because both girls had debilitating illnesses when they were young (Pauline had osteomyelitis, and Juliet had tuberculosis), and they became fast friends. 

Juliet and Pauline (Kate Winslet, Melanie Lynskey) on Easter Sunday, 1953

Prior to making this movie, Peter Jackson was best known for making low-budget horror movies. But when his wife suggested that he try his hand at a movie based on one of most infamous crimes in New Zealand history, little did she know that it would lead him to bigger and better things. But the two of them sat down and wrote the script, using writings from Pauline’s diary as a guide (The title even comes from a passage in the diary). Heavenly Creatures doesn’t focus on the murder and the trial, which were sensational in their own right, but rather it paints a portrait of the two girls’ friendship, the intensity of which brought concerns from both families that they were becoming a homosexual couple (considered a mental disorder at the time). Whether Pauline and Juliet were lovers remains under debate, that aspect of their relationship is explored in a surprisingly innocent way in this movie. 

There is a lot to talk about in Heavenly Creatures. Jackson’s skill as a director becomes apparent in this movie. He weaves a tale in both the real and imaginary worlds, and in such a way as to illustrate how Pauline and Juliet’s friendship grew stronger with each passing day. We, the viewers, are swept into this imaginary “Fourth World”, where James Mason and Mario Lanza are saints, and the girls are king and queen of the fantasy land of Borovnia. Soon, it becomes difficult to see where the real world ends and the imaginary one begins, especially when Pauline and Juliet begin to believe their parents (Pauline’s mother and Juliet’s father, specifically) are conspiring to separate them. 

For the then-newcomers Melanie Lynskey and Kate Winslet, this was a great debut for both of them. Lynskey’s shy and secluded Pauline was both painful and captivating, and Winslet proved she had star power from the second Juliet entered the classroom for the first time. Both of them were perfectly cast for this movie, and both of them have become well-known actresses as a result. They both displayed the youthful exhuberance necessary for girls of that age, as well as their characters’ obsession for each other, and their chemistry together was nearly perfect. 

Heavenly Creatures was shot on location in Christchurch. In fact, Peter Jackson went to great lengths to use as many actual sites of the events portrayed, including the now-demolished tea room where Honora ate her last meal. This lends a degree of authenticity to the movie and holds the viewer’s attention throughout. By the third act, Pauline and Juliet’s friendship had become so close, they began to take on each other’s behaviors, but to devastating effect. Pauline grew so confident so quickly, she overcompensated by lashing out at her mother. And when Juliet’s parents announced they were breaking up, she started suffering from separation anxiety. And this is merely the beginning of what became the two girls’ final act. 

Heavenly Creatures is a look at one of the world’s most shocking crimes of the 20th Century, one I would consider as notorious in New Zealand as Starkweather is in Nebraska, and Manson in California. I do not make this statement lightly, nor does Peter Jackson try to make light of it. Instead, we see two friends willing to do anything for each other, only in this case it went too far. 

3-1/2 out of 5

GOODFELLAS (1990)

In Action, Biography, Crime, Drama, G, Motion Pictures on April 9, 2010 at 1:49 pm

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STUDIO — Warner Bros.   

CAST — Ray Liotta, Robert De Niro, Joe Pesci, Paul Sorvino, Lorraine Bracco  

DIRECTOR —  Martin Scorsese  

MPAA Rating: R   

There is so much I can say about this movie, except that it has most likely already been said before. Goodfellas is, of course, on my short list of favorite motion pictures and, as I did with Patton, I will recount my experience by checking out the two-disk Special Edition of this movie.  

When I received Disk One, I literally watched this movie three times. First, I had to watch the movie itself, which is something of which I will never tire. The kinetic energy throughout this masterpiece grabs you by the throat and doesn’t let go until long after you’ve seen it (but more on that in a minute). Sure, there are some anachronistic gaffs here and there (A teenaged Henry Hill selling Black Market cigarettes with UPC barcodes on the cartons — in 1959!), but every performance, every characterization, gave me a sense of what life must have been like in the Mafia during its heyday. The whole first half of the movie shows the glamour, the connections, the camaraderie, and the partying, while the second half follows a steady descent into Hell, with drug addiction, greed, murder, and paranoia.  

Goodfellas recounts the story of Henry Hill (Ray Liotta), a half-Italian/half-Irish gangster associated with the infamous Lucchese crime family, and how he met up and partnered with two other mobsters, portrayed here as Jimmy “The Gent” Conway (Robert De Niro) and Tommy DeVito (Academy Award winner Joe Pesci). As you may have guessed by my last statement, some of the names were changed for the purposes of making this movie. Does this diminish the quality of this movie? Not in the least. Anyway, all three performances were mesmerizing, especially Pesci’s. His performance as Tommy was cemented in the now-infamous “You’re a funny guy” scene, and it sustained all way through.  

Tommy DeVito (Joe Pesci) and Henry Hill (Ray Liotta) enjoy a night on the town

 Also of note (especially for you fans of  “The Sopranos”) is Lorraine Bracco as Henry’s wife, Karen, and a brief appearance by Michael Imperioli in one of his first film roles, as Spider. Another face to watch for is Samual L. Jackson in one of his quieter roles, as Stacks Edwards. Look for a few famous faces as well, including Jerry Vale, Robbie Vinton (as his father, Bobby), and comedian Henny Youngman, in one of his final film appearances.  

Okay, by now, I’m sure you’re asking “Why the subsequent screenings?” Well, there are two commentary tracks, “Crook and Cop” and “Cast and Crew”. In the “Crook and Cop” commentary, Henry Hill and U.S. District Attorney Ed McDonald (who placed Henry and his family into the Witness Protection Program — and plays himself in the movie) give their insight to the events portrayed in the film from both of their unique perspectives. Hill would fill in some gaps in the story or explain why or how something happened, while McDonald talked about how difficult it really was to pin convictions on some of these wiseguys, problems with surveillance, and how the FBI employed what became known as the “Al Capone strategy” for getting a conviction: If you can’t get them for murder, get them for something else.  

The “Cast and Crew” commentary doesn’t cover the entire length of the movie; whole sections of the movie are skipped during the “silent” parts. But, Scorsese, producer Irwin Winkler, co-writer Nicholas Pileggi, cinematographer Michael Ballhaus, and cast members Liotta, Pesci, De Niro, Bracco, and Paul Sorvino, among others, all talk about their own perspectives on the making of this movie. Did you know that Ray Liotta and Henry Hill met up for a drink after the film’s release, and each was star-struck to meet the other face-to-face? Did you know that, as written, Goodfellas has no climax? And remember when I said this movie doesn’t let go? Well, did you know that Paul Sorvino, who had struggled for months to find his character, initially hated the completed film? It took a few hours afterward before he realized how great it really was.  

The second disk has a few documentaries, including a short with Henry Hill, called “The Workaday Gangster”. In it, he tells us, the audience, that the essence of what we see in Goodfellas is “99% accurate” from his perspective. Another features several directors influenced by Scorsese and/or Goodfellas, including Frank Darabont (The Shawshank Redemption), Antoine Fuqua (Training Day), and others. As a special treat, there’s even a four-minute snippet called “Paper Is Cheaper Than Film”, which literally illustrates how Martin Scorsese visualized some of the shots by writing notes and thumbnail sketches on the shooting script. 

Many people have argued for years which of Scorsese’s movies is his best. Some say it’s Raging Bull. Others would say Taxi Driver. Another camp might even cry out, “Well, The Departed won Best Picture”. Then there’s the Casino crowd. Exciting, visceral, unflinching, and unrelenting, Goodfellas is not only a classic gangster movie, it is a film for the ages. And to me, this is the epitome of Martin Scorsese’s filmmaking career. 

OUT OF AFRICA (1985)

In Adventure, Best Picture Winners, Drama, Motion Pictures, O, Romance on March 30, 2010 at 12:31 am

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STUDIO — Universal 

CAST — Robert Redford, Meryl Streep, Klaus Maria Brandauer, Michael Kitchen, Iman 

DIRECTOR —  Sydney Pollack 

MPAA Rating: PG 

In the summer of 1986, I was a strapping young lad of 21, stationed at Camp Red Cloud, in Uijongbu, South Korea. I had a girlfriend at the time named Lynda; she was also in the Army. One day, we were walking by the AAFES (Army and Air Force Exchange Services) movie theatre on post, when I noticed that Out of Africa was playing. I had heard it just won Best Picture at the Academy Awards, so I suggested to Lynda we go see it. To this day, Out of Africa remains as the only motion picture I had paid to see in a cinema which made me fall asleep. 

Naturally, one can understand my resistance to screen this movie again. But it was placed on my Request List, and I figured it was better to get it over with early on. Well, after watching it again with fresh eyes (and staying awake through the whole thing), I came away with a somewhat surprising opinion of this movie: It’s not as bad as I remember! 

Okay, hear me out. My memories of seeing it in Korea were those of disappointment, to say the least. Visually, Out of Africa is stunning, but the story had about as much “oomph” in it as an Andy Disk right hook. But today, I am different man than I was then. I am more open-minded, wiser, and more… seasoned. And on that note, let’s get into how I see Out of Africa today. 

Karen (Meryl Streep) entertains Denys (Robert Redford) at dinner

The movie stretches over many years, beginning in 1913, when a young Danish lady named Karen (Meryl Streep, in one of her myriad Oscar-nominated roles) enters into a relationship with a Swedish gentleman, Bror Blixen (Klaus Maria Brandauer). He brings her to Kenya, marries her, and they settle onto a nice, large plot of land for their cattle ranch coffee plantation. It quickly becomes a loveless marriage, and Karen is left in charge of the property, while her husband traipses around the far reaches of the Serengeti. Meanwhile, a somewhat free-spirited big-game hunter named Denys Finch Hatten (Robert Redford) quickly becomes enamored with her, and the two soon form a bond. 

If you are looking for action, this isn’t the movie to see. The most thrilling parts involve lions on the hunt, of which there are three, but then again, this is a romantic movie. Without a doubt, Out of Africa is a so-called “chick-flick”, even going so far as to follow certain modern romantic movie formulae. On the other hand, if you are in film school taking a course in cinematography, this movie is required viewing. If there is one good thing I can say about Out of Africa, it’s that it is one of the most beautifully filmed motion pictures I have ever seen, and I doubt few movies will ever top it (Another movie in this elite category is 1990’s Dances With Wolves). 

And speaking of Dances With Wolves, the musical score has a recognizable sound to it. That is because those sweeping violins you hear come from the trademark style of John Barry, who understandably received his third Oscar for musical score (and fourth overall) for his work in this film. As for the script, it is a good one, though some parts found me checking the time upon occasion. Meryl Streep’s performance was very good, and I have a lot of respect for the character she plays in this movie. Here, Karen is portrayed as an independent woman who was willing to work alongside her field workers; I have a lot of respect for bosses who don’t mind getting their hands dirty. Robert Redford is charming enough, and he was still a major box office draw in 1985, but I get the feeling the part might have been better served going to Mel Gibson, who at the time was just coming into his own in America, and a “serious” movie at that time would’ve proven him a capable actor who could do more than Mad Max. 

If this movie were to be remade today (2010), I get the feeling that Kate & Leo would reunite to do it. As it stands, with Meryl Streep and Robert Redford, I got the impression of an “off -the-rack” suit in a tailor-made environment, which I think is the primary weakness of Out of Africa; mediocre chemistry between the leads can hurt a film like this, and in this case, it did. Still, it makes for a beautiful postcard for the African continent, and even 25 years later, women will still swoon over the sparkle in Redford’s blue eyes. 

PATTON (1970)

In Action, Best Picture Winners, Biography, Classic, Drama, History, Motion Pictures, P, War on March 22, 2010 at 1:47 pm

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STUDIO — 20th Century Fox 

CAST — George C. Scott, Karl Malden, Michael Strong, Karl Michael Volger, Richard Münch, Siegfried Rauch, Michael Bates, Edward Binns, Paul Stevens, James Edwards 

DIRECTOR —  Franklin J. Schaffner 

MPAA Rating: PG 

I received a request from a friend of mine shortly after I set up this blog. It read “I would like you to freshly watch what you consider your favorite film and give me a review of it.” Well, since Patton is my favorite movie, and since I already have a copy in my personal collection, I elected to rent the two-disc Special Edition and give it a fresh look. 

The two-disc DVD includes a five-minute introduction by co-writer Francis Ford Coppola (yes, that Francis Ford Coppola), as well as a commentary track by him in the movie itself. Having just viewed the movie again, I came away from it with an observation that I hadn’t noticed before, which is that General Patton (at least, as portrayed in this movie) and I seem to share a dubious trait: Neither of us seems to know when to shut up! To me, a hallmark of a great motion picture is one you can watch again and again, and still notice things you had not seen before. And to me, Patton is such a movie. 

Gen. George Patton (George C. Scott) and Gen. Omar Bradley (Karl Malden) discuss Operation: Cobra

This movie opens with one of the greatest monologues ever put to film, as General George S. Patton, Jr. (Academy Award winner George C. Scott) addresses the audience as though they were his troops, in front of a giant American flag. This sets the stage for a motion picture which paints Patton as leader and renegade, romantic and tactician, contemporary and anachronism, pious and profane. To me, this is far and away the best performance I have yet to see out of any actor in any movie. George C. Scott nailed this one, and whomever it was who had recommended him for the part deserves recognition. In my opinion, of course… 

Why Patton? Even when I first saw this movie at the age of 11, I was immediately attracted to the complexity of the character, and of the man himself. Here was a man who, in one of the movie’s most (in)famous scenes, nearly weeps as he silently pins a Purple Heart on the pillow of a severely wounded soldier one minute, then angrily smacks around another with “battle fatigue” the next. The dichotomy of General Patton is reflected throughout the movie, but it is strongest here. Very quickly, Patton became one of my favorite subjects in my spare time, and, by extension, I soon began to absorb as much as I could about World War II as well. 

The cinematography may appear a little dated by today’s standards, but it symbolizes Patton’s solitude, first as a commander, then as an outcast. Earlier, I had alluded to the fact that both Patton and I had a history of our respective mouths being our own worst enemy. I won’t divulge any details here, but I can assure you that when you say the wrong thing, either by accident or by omission, it will backfire on you. In this movie, Patton’s encounters with the press appeared to cause him more trouble and more controversy than all the casualty lists generated under his command. But that apparently did not phase the Germans (at least in the movie), who believed him to be a brilliant commander; they followed Patton’s every move, even while he was little more than a glorified tour guide in the Mediterranean (a decision by Gen. Eisenhower which did prove a successful diversionary tactic in the months prior to the invasion of Normandy, in June 1944). 

As for the supporting cast, Karl Malden is convincing as Omar Bradley, Patton’s friend and colleague who had advanced to become his superior. Michael Bates is a dead ringer for British Field Marshal Bernard Montgomery, widely regarded as Great Britain’s greatest commander during the war, and portrayed here as Patton’s rival. And though I’m sure this was unintentional, I became a little leery of Patton’s aide and bona fide spin doctor, Lt. Col. Charles Codman (Paul Stevens), who seemed to know exactly what to say and how to say it to his fearless leader. Still, the story is solid, the battle sequences are memorable (and well-done for 1970), and nearly all the performances are spot-on. 

Oh, there are better movies out there, but Patton remains at the top of my list of the most influential movies of my life, and (to me) the standard by which biopics should be measured. I should note that Mr. Coppola drew from several different source materials in order to provide the most authentic and balanced portrayal of both Patton the general and Patton the man. And the score by composer Jerry Goldsmith, with its haunting trumpets that echo into the distance, puts the icing on the cake for this nearly perfect movie. 

JULIE & JULIA (2009)

In Biography, Comedy, Drama, J, Motion Pictures on March 1, 2010 at 11:47 am

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STUDIO — Columbia

CAST — Amy Adams, Meryl Streep, Stanley Tucci, Chris Messina

DIRECTOR —  Nora Ephron

MPAA Rating: PG-13

When this movie came out in 2009, I was skeptical about it. I had heard about the “Julie/Julia” project, but to make a motion picture about two separate lives about two different women who lived in two different time periods seemed far-fetched to me. And I must be up-front about this: Julie & Julia is not the kind of movie which (on the surface, at least) I would just pop in the DVD player and watch. But, since Meryl Streep received her 40th Academy Award nomination, I gave it a shot.

(Okay, I kid about Meryl Streep. But, as of this writing, she has received 15 Oscar nods – with two wins – since 1979. Nothing against Ms. Streep; she is an exceptionally talented actress. But it’s almost as if to say she’s the Academy’s “go-to” girl if they need a fifth name to fill out the Best Actress category, especially if she alters her voice in any way. But I digress…)

Julie Powell (Amy Adams) recalls her mother making Julia Child's boeuf bourguignon

About 25 minutes into this movie, I actually exclaimed out loud “I get it!” I actually began to see this as one portrait of two women who led parallel lives. And the parallels are almost uncanny! In case you are not aware, the late Julia Child was one of the most popular TV personalities of the 1960s and 1970s. In 1961, her book, Mastering the Art of French Cooking, was published. And her cooking shows, beginning with “The French Chef”, ran off-and-on from 1963 to 2000, and she is one of the reasons The Food Network exists today.

So, what are the parallels? For starters, Julia Child (Meryl Streep) was a former OSS file clerk in post-war Paris who became the first female graduate of Le Cordon Bleu. Julie Powell (Amy Adams), an occupant of a cubicle in a government office in post-9/11 New York City, decided to take on the ambitious project of re-creating all 524 recipes in Julia Child’s book. In one year. And write a blog about it. Both women overcame obstacles on their way to achieve their goals. For Julia, it was writing and re-writing her book for years, only to be rejected by numerous publishers untill one finally said “yes”; for Julie, it was the ridiculous idea of actually starting this blog of hers (at her husband’s suggestion), wondering if anyone would ever read it anyway.

Now, starting a blog is something I can personally relate to. I have just started this blog myself, and I can relate to Julie’s frustrations in the early days of her blog, whose only reader at the time seemed to be her mother. As of this writing, only my brother and a couple of friends have read these reviews. With that cloud of uncertainty hanging over me, I sometimes wonder if my efforts will ever bear fruit. Watching this movie reminded me that all I have to do is keep pressing forward; some day, this little blog of mine will have a life of its own. But, I digress again…

This movie was fun to watch. Seeing Meryl Streep as Julia Child, I began to ask myself in some scenes, “Where’s Meryl?” That is usually a good indicator of a good performance. And the food! Oh, my God! I could almost smell some of those dishes! Here I am, writing a review about a movie featuring gourmet cooking, and I’m eating a toasted bagel. It’s almost as if I’m saying that I’m practically insulting the film!

Writer/director Nora Ephron is a food lover, or “foodie”. That’s a little snippet of information I picked up while watching the “making of” featurette on the DVD. But her love of food comes through in spades here. There’s an old adage in the culinary arts that “presentation is everything”. If it doesn’t look appealing, you may not want to try it. Here, the presentation was delicious, tender, and rich, with butter! Lots of butter (a Julia Child trademark)! Julie & Julia is a great date movie, sure to bring out the passion in all of us.

Bon apétit!

4 out of 5