REVIEWS OF RENTED DVDs I GET IN THE MAIL

Posts Tagged ‘robert redford’

THE STING (1973)

In Action, Best Picture Winners, Classic, Comedy, Crime, Drama, Motion Pictures, S on April 27, 2010 at 11:16 am

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STUDIO — Universal

CAST — Robert Redford, Paul Newman, Robert Shaw, Charles Durning, Ray Walston, Eileen Brennan, Harold Gould, Robert Earl Jones, Dana Elcar, Dimitra Arliss

DIRECTOR — George Roy Hill

MPAA Rating: PG

Back in 1974, I went to the Universal Studios Tour (now known as Universal Studios Hollywood), and I took from that experience a few memories that have stuck with me ever since: lifting a van like the Six Million Dollar Man (Hey, I was 9!), the street scene backlot dressed up for shooting Earthquake (which really was the most powerful memory I have of that visit), and watching audience members reenact a chase scene from The Sting. At least, I think it was The Sting. Ah, memories…

Anyway, this 1973 Best Picture Winner marked the second and final collaboration of Robert Redford, Paul Newman, and director George Roy Hill (1969’s Butch Cassidy and the Sundance Kid was the first). It is a movie with crime, gambling, corruption, murder, revenge, the Great Depression… and it delivers plenty of laughs in the process. When a pair of Chicago grifters, Johnny Hooker (Redford) and Luther Coleman (Robert Earl Jones, father of James Earl Jones) pull a fast one on a money runner for a gambling operation, they discover they have stolen about $11,000 in cash. That night, Coleman tells Hooker he’s hanging it up, moving to Kansas City, and going legit. He instructs Hooker to look up a legendary con artist named Henry Gondorff (Newman). Later, when Hooker gets roughed up by a cop named Snyder (Charles Durning), he realizes his friend is in danger. He races back to Luther’s place, only to find his dead body on the street below. The next day, he meets up with Gondorff at a local merry-go-round/brothel, and they hatch a plan to pull a con on the man who had Luther killed, Doyle Lonnegan (Robert Shaw).

Henry Gondorff and Johnny Hooker (Paul Newman, Robert Redford) observe their "mark", Doyle Lonnegan (Robert Shaw, background)

Now, this is a movie in which the bad guys are really good guys, the cops are very corrupt, and the “mark” is a tough brute of a man whose look could kill if it wanted to. The con is on, and it’s performed admirably in what is probably the best caper film ever made. The plot moves forward with very few bumps along the way. There are even a couple of twists which, while I won’t reveal them, will surprise those who haven’t seen this movie yet. George Roy Hill seemed to demonstrate a certain efficient energy that sustains throughout. Newman and Redford are great (It’s a shame they made only two movies together), and the entire supporting cast, from Harold Gould as the dapper Kid Twist, to Dana Elcar as FBI Special Agent Polk, are all an excellent fit. This is arguably one of the best-cast movies in motion picture history. But the coup de grâce is casting Robert Shaw as Doyle Lonnegan.

I can remember Shaw in only two movies, Jaws (1975) and this one. I know, he did a lot more, and I am sure I will find him in future films I see. In Jaws, he was, of course, the crusty shark hunter who had met his demise by becoming his prey’s lunch. I had a hard time watching him in that movie, simply because he seemed to drone almost unintelligibly. It was nonetheless a good performance, but not nearly as good as the steely-eyed Lonnegan in The Sting. Here, he was a man of few words, but when he did speak, it meant something. He was tough-as-nails, with the resolve of an attack dog just waiting for the command to kill. By the way, you may notice that Lonnegan walks with a limp in this movie; that is because Robert Shaw had sprained his ankle playing handball right around the time shooting started!

Now, a word about the the now-iconic music of this movie. Composer Marvin Hamlisch decided to  incorporate several Scott Joplin rags into the musical score. While it is admittedly anachronistic with the period of the movie (by about 30 years), it turns out to be one of the few examples of musical genius in motion picture history. Joplin’s music sets the rhythm and tone of the plot so well, that “The Entertainer” is now forever engrained into the motion picture lexicon as the theme song to The Sting. Even as I write this article, I have that song playing in the background, and it just… feels right.

Thoroughly entertaining from start to finish, I could even go so far as to say that The Sting makes for a good family film, if the kids are over 10 years old. Yes, there are hookers, gambling, guns, and a couple of dead bodies, but they are balanced with (mostly) clean language, marvelous attention to detail, and a great sense of comedy. This is a solid movie from start to finish, and it will not disappoint.

4 out of 5

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ORDINARY PEOPLE (1980)

In Best Picture Winners, Drama, Motion Pictures, O on April 7, 2010 at 2:10 pm

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STUDIO — Paramount 

CAST — Timothy Hutton, Mary Tyler Moore, Donald Sutherland, Judd Hirsch, Elizabeth McGovern 

DIRECTOR —  Robert Redford 

MPAA Rating: R 

When I was in high school, my mother told me about this movie called Ordinary People, and that she all but insisted I watch it. To say it left  a lasting impression is somewhat an understatement. 

This is the directorial debut of Robert Redford, and it features some somewhat unusual casting: two TV actors (Judd Hirsch, who was still shooting “Taxi”, and Mary Tyler Moore), an active Julliard student (Elizabeth McGovern, the first student given permission to work during term), and the son of TV’s Ellery Queen (Best Supporting Actor Timothy Hutton, in his motion picture debut). Only Donald Sutherland was an established motion picture actor at the time, so on the surface, a lot seemed to be riding on whether this movie would be successful. Well, it was. This is an emotional, gripping movie which captured four Academy Awards, including the aforementioned Best Supporting Actor, as well as Best Picture of 1980. 

Conrad (Timothy Hutton) talks to Dr. Berger (Judd Hirsch) about his mother

Ordinary People follows the lives of the Jarretts, a well-to-do family living in the upscale community of Lake Forest, Illinois. On the surface, everything appears to be normal: Calvin (Sutherland) is a tax attorney in Chicago, his wife Beth (Moore) is more or less a socialite, and Conrad (Hutton) is a high school student in the choir and swim team. Yet, despite all the outward smiles, the Jarretts are dealing with a devastating one-two punch. First, older brother Buck (seen only in flashbacks) drowned in a boating accident, then Conrad tried to kill himself. 

Early on, it is established that Conrad’s suicide attempt was triggered by the boating accident (In flashbacks, we see the two brothers on a sailboat in stormy waters), and that he had spent several months in a psychiatric hospital afterward. Once Conrad leaves the hospital, however, what was once a tightly knit family slowly becomes unraveled. Beth wants desperately to show off to everyone that all is well, Conrad resents her for not seeing things as they really are, and Calvin is in the middle, trying to hold it all together. As the story progresses, we learn more and more about the Jarretts through Dr. Berger (Judd Hirsch), whom Conrad sees on an outpatient basis. 

On all fronts, Ordinary People makes for great character study. The performances by all the principal cast members were very strong, something rarely seen in movies. I think this is in part because Redford’s acting background made for great chemistry on the set. Speaking of Robert Redford, even though this is the first movie he directed, it is also some of his best work (He did win Best Director). And the Oscar-winning script was solid, as well. 

I’d like to focus on two of the performances for a moment, because they show how two different types of people deal with trauma, the aftereffects of which can either make or break a person. Timothy Hutton’s portrayal of Conrad showed us a teen so desperate to find an outlet for his pain, he felt the only way he could let go was to die. But he survives, and we follow Conrad during his recovery, a teen who was once broken, but trying to put himself back together again. Then there’s Mary Tyler Moore. At the time, she was America’s Sweetheart; her eponymous TV show was one of the most popular sitcoms of the 1970s. But as Beth Jarrett, she proved to the world that she could do much more than “turn the world on with her smile”. Beth is not a bad person, but her “solution” to these life-changing events was to simply sweep them under the carpet, as if it never happened (a trait I observed in my own father, as noted in a previous post). But Beth, who had apparently always been a decision-maker, overcompensates for her grief by controlling nearly everything around her, while at the same time shutting out her pain altogether. Like I said, Beth isn’t a bad person, but when you can’t feel grief, you really can’t feel anything. And the conflict in this movie is stemmed from the clashing personalities of both Conrad and Beth. But where Conrad tries to work through his issues, Beth just wants to file it away. 

I have experienced trauma in my life; we all have, at one time or another. It is how we deal with it that defines who we are. So I ask you, the reader, how do you face your trauma? Do you hide, or are you open? Do you act like it never happened, or do you talk about it? Do you turn to drugs or alcohol, or do you do something constructive to work through the pain? It is these questions, and more, which are explored but never fully answered in Ordinary People; the answers are left for you to figure out. 

4 out of 5

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.