Thursday, February 28, 2013
Below are images from "EVIL UNDER THE SUN", the 2001 adaptation of Agatha Christie's 1941 novel. The movie starred David Suchet as Hercule Poirot:
"EVIL UNDER THE SUN" (2001) Screencaps Gallery
Tuesday, February 26, 2013
"DJANGO UNCHAINED" (2012) Review
Over three years following the release of his 2009 movie, "INGLORIOUS BASTERDS", Quentin Tarantino courted success and controversy with a new tale set the past. Called "DJANGO UNCHAINED", this new movie combined the elements of the Old West and Old South and told the story about a recently freed slave-turned-bounty hunter in search of his still enslaved wife.
The movie begins with a gang of male slaves being transported across Texas by a group of slavers called the Speck brothers. The group encounter Dr. King Schultz, a German-born dentist, who also happens to be a bounty hunter. Schultz offers to purchase Django, whom he believes can identify a trio of murderous siblings called the Brittle brothers, who had worked as overseers for Django's previous owner. The Specks become hostile and Schultz kills one of the brothers. He then frees Django and leaves the wounded brother behind to be killed by the newly freed slaves. Django and Schultz come to an agreement in which the latter will give the former freedom, a horse and $75 for helping him identify the Brittle brothers. Once the pair achieve their goal at a Tennessee plantation owned by one Spencer "Big Daddy" Bennett, Schultz takes on Django as his associate and over the winter, collect a number of bounties. In the following spring, Schultz offers to help Django track down the latter's wife, Broomhilda von Shaft. They discover that she is owned by a brutal, yet charming Mississippi planter named Calvin Candie. The pair realize that in order to rescue Broomhilda, they would have to pose as potential buyers of a fighter slave in order to secure an invitation at Candie's plantation called Candyland.
Even before its initial release in movie theaters in late December, "DJANGO UNCHAINED" managed to attract a good deal of controversy. Producer/director Spike Lee declared the movie as an insult to his ancestors in a magazine article and his refusal to see it. Others have criticized the film for its violence and its use of the word "nigger". And some have criticized the movie for historical inaccuracy. They claimed that the practice of fighting Mandingo slaves never existed and that Tarantino depicted the Klu Klux Klan a decade before its actual existence. And Jeff Kuhner of The Washington Times complained that: "Anti-white bigotry has become embedded in our postmodern culture. Take Django Unchained. The movie boils down to one central theme: the white man as devil — a moral scourge who must be eradicated like a lethal virus."
Mind you, I have my own complaints about "DJANGO UNCHAINED". Actually, I have three complaints. One, I found the movie's chronological setting rather confusing. According to the movie's opening, it began in "1858 - Two years before the Civil War". Judging by the weather, Django's first meeting with Schultz in Texas occurred in the fall. Which probably means that the movie began two-and-a-half years before the Civil War, not two years. Yes, I am being anal about this. However, Django and Schultz accompanied Candie to Candyland in early May 1858 . . . at least according to a scene that featured Candie's head slave Stephen writing out a check for supplies. It is quite obvious that Tarantino got his time frame a little off. Was "DJANGO UNCHAINED" set between the fall of 1858 and the spring of 1859? Or was it set between the fall of 1857 and the spring of 1858? Only Tarantino cananswer this. I also found the character of Broomhilda von Shaft slightly underdeveloped. Some have claimed that her character is passive. I would disagree, considering she was introduced being punished for attempting to run away from Candyland. But aside from a scene or two, I feel that Tarantino could have done a little more with her character. And three, I have mixed feelings about Tarantino's use of flashbacks in this movie. Some of the flashbacks were well utilized - including those featuring Django's memories of Broomhilda being whipped and branded as a runaway, Schultz's trauma over witnessing the mutilation of a Candie slave named D'Artagnan, and Big Daddy organizing a group of night riders to attack Django and Schultz. But some of the flashbacks seemed to go by so fast that I found their addition to the film unnecessary.
As for the other complaints about the movie, I do have a response. Spike Lee is entitled to his decision not to see the movie. However, I do find his willingness to condemn the movie without seeing it rather strange. Criticism of Tarantino's use of violence in his movies have become repetitive in my eyes. "DJANGO UNCHAINED" is a Quentin Tarantino movie. Can someone name one of his movies that did not feature any violence? Because I cannot. And his recent films do not strike me as violent as earlier films such as 1993's "RESERVOIR DOGS". Also, violence has played a part in many slave societies throughout history . . . including U.S. slavery. Yes, the Ku Klux Klan was first organized in the late 1860s, after the Civil War. But the Klan's origins came from patrol riders, who were recruited by planters in many Southern states to maintain vigilance of both slaves and free black in local rural neighborhoods. So, the idea of "Big Daddy" Bennett organizing a group of local riders to attack Django and Schultz is not implausible.
In response to Jeff Kuhner's accusation of anti-white bigotry, Tarantino not only created the German-born Schultz, who helped Django attain freedom and find Broomhilda; but also a Western sheriff portrayed by television veteran Lee Horsley ("MATT HOUSTON" anyone?), who seemed very friendly to both the German immigrant and the former slave. Tarantino also created Candyland's head house slave, Stephen, who proved to be one of the film's worst villains. So much for Kuhner's accusation. A great deal of "DJANGO UNCHAINED" is set in the pre-Civil War South and its topic happens to be about American slavery. The use of "nigger" is historically accurate for the movie's setting. And I am surprised that no one has complained about the slur being used in Steven Spielberg's recent movie, "LINCOLN". Hell, the word is used throughout productions such as the two "ROOTS"miniseries, the three "NORTH AND SOUTH" miniseries, "QUEEN", the 1971 movie "SKIN GAME" and in a good number of other movie and television productions set in antebellum and Civil War America. Even the use of the slur in a production set in the 19th century North would be historically accurate. I also recall the use of racial slurs for whites in a few scenes. As for Tarantino's use of Mandingo fighting slaves in the movie . . . I have no explanation for its presence in this film. There is no historical evidence of this particular sport. And I suspect that Tarantino was simply inspired by the 1975 movie, "MANDINGO" and Kyle Onstott's 1957 novel upon which the latter was based.
So . . . how do I feel about "DJANGO UNCHAINED"? Frankly, I believe it is one of the best movies of 2012. And I also consider it to be another cinematic masterpiece by Quentin Tarantino. One of the aspects of "DJANGO UNCHAINED" was Tarantino's ability to take a rather dark topic like slavery and fashioned it into a explosive mixture of action, drama, suspense and some comedy. Many have complained that the movie should have been a straight drama, considering its topic. But I disagree. Yes, "DJANGO UNCHAINED" could have been an effective straight drama. But Tarantino decided to take a rare and unique route in unfolding his tale. And in doing so, he managed to fashioned a fascinating story that allowed me to experience an array of emotions that left me more than satisfied by the movie's last scene.
"DJANGO UNCHAINED" was not the first time comedy was used to reveal one of the darkest episodes in this country's history. This has been done in "SKIN GAME" and in television shows such as "BEWITCHED" and the comedy sketch series, "KEY & PEELE". Tarantino used the same mixture of pathos, horror, drama and comedy for many of his past movies - especially in"INGLORIOUS BASTERDS". I found this use of humor especially effective in scenes that included the surviving Speck brother's attempt to convince the slaves freed by Schultz not to kill him. I never knew that James Russo, who portrayed the surviving Speck brother, could be so funny. Django and Schultz's little exchange regarding the former's identification of the Sprittle brothers struck me as funny. I could say the same about Stephen's reaction to Candie's treatment of Django as a house guest and Lara Lee Candie-Fitzwilly's (Candie's sister) futile attempts to attract Schultz's attention. But the funniest sequence has to be the flashback featuring "Big Daddy" Bennett's recruitment of night riders for an attack on Django and Schultz. In fact, that particular scene practically had me rolling with laughter.
Some people have complained that "DJANGO UNCHAINED" is basically a revenge tale for African-Americans. I find this accusation rather odd, considering that Django's main objective was to find Broomhilda and get her out slavery by any means possible. And despite the movie's prevalent humor, Tarantino did not hold back in presenting not only the horrors and emotional traumas of slavery, but also racism. This was especially true in a handful of scenes in the movie. The opening scene featured an emotionally shell shocked Django being transported across Texas as part of a slave coffle. Other traumatic scenes include Candie's little speech on the inferiority of blacks, the erruption of violence at Candyland that resulted in Django hanging from a barn's roof, naked and bound and Stephen's maleovelent revelation of Django's fate as a slave for a Mississippi mining company. One horrifying scene that I found particularly brutal was a flashback featuring Broomhilda's brutal whipping at the hands of the Brittle brothers, while Django desperately tries to convince one of the brothers to spare her.
I really do not know what to say about the performances featured in the movie. I realize there are no Academy Award nominations for ensemble casts. If there were, I would nominate the cast of "DJANGO UNCHAINED". One, Tarantino cast old movie and television veterans in cameo roles. I have already mentioned Lee Horsley and James Russo. I also spotted the likes of Russ and Amber Tamblyn, Don Stroud, Tom Wopat, Cooper Huckabee, Robert Carradine, Michael Parks and a humorus special guest appearance by Franco Nero. Both Bruce Dern and M.C. Gainey (of "LOST") were especially scary in their brief appearances as Old Man Carrucan (Django and Broomhilda's former owner) and Big John Brittle. Both Dana Michelle Gourrier and Nichole Galicia gave solid performances as Cora and Sheba, Candie's housekeeper and concubine respectively. And Dennis Christopher's performance as Calvin Candie's obsequious attorney, Leonide Moguy, struck me as spot-on.
Don Johnson provided a skillful combination of charm, menace and humor in his role as Spencer "Big Daddy" Bennett, the Tennessee planter who served as the Brittle brothers' current employer. Jonah Hill had a funny cameo as one of his night riders. I could say the same about Miriam F. Glover, who gave one of the movie's funniest lines, while portraying one of Big Daddy's house slaves. Ato Essandoh of A&E's "COPPER" was very effective as D'Artagnan, the frightened fighting slave whose runaway attempt led to his brutal death. Laura Cayouette's performance as Lara Lee Candie-Fitzwilly, Candie's widowed sister, struck me as effective. On one hand, I found her attempts to seduce Schultz rather funny. On the other hand, her outrage over Candie's attempt to display a naked Broomhilda during supper provided a great deal of tension in the scene. Walton Goggins gave a memorable and scary performance as one of Candie's henchmen, Billy Crash. James Remar got to portray two intimidating characters - Ace Speck and Candie's main henchman, Butch Pooch. And he did a damn good job with both roles.
Although I had been critical of Tarantino's creation of the Broomhilda von Shaft, I must admit that Kerry Washington still managed to wring out a first-rate performance from the role. I especially impressed with her in scenes that featured Broomhilda's tense encounters with Stephen; and her subtle, yet pleased reaction to Schultz's purchase of her from Candie and her painful whipping by the Brittle brothers in one of the flashback. And I must admit that I found that last shot of her removing a shotgun from her saddle rather interesting. Perhaps after all that Broomhilda had endured, she was not taking any chances. I believe that the year 2012 will prove to be one of Samuel L. Jackson's best years professionally. Aside from portraying Nick Fury in the year's biggest hit, "THE AVENGERS"; he got to portray one of the most complex and villainous roles in "DJANGO UNCHAINED" as Candie's trusted and malevolent head house slave, Stephen. Watching the movie, I was struck at how much Stephen reminded me of the Mr. Carson character from the British television series, "DOWNTON ABBEY". Both characters possessed the same blinding loyalty, snobbery, jealousy over his position within the slave hierarchy, and anger toward anyone from their background who managed to rise higher than they (for example: Django). Jackson did a superb job in not only conveying Stephen's penchant for utilizing the old "Puttin' on Old Massa" routine publicly, but also his intelligence while in the private company of Django, Broomhilda or Candie. And by the way, the man has a nice singing voice. Many people have expressed surprise at Leonardo Di Caprio's portryal of the villanous, yet charsmatic Calvin Candie. I was not that surprised, considering I have seen him portray a villain before - as the cold-blooded Louis XIV in 1998's "THE MAN IN THE IRON MASK". But I do believe that Candie not only proved to be a more memorable villain, but also one of the actor's best roles ever. He was fantastic as the charming, yet brutal Candie . . . and at the same time rather contradictory. It was obvious that Di Caprio's Candie fervently believed in the superiority of whites; yet at the same time, he had no problems with allowing Stephen to handle the plantation's finances or accepting the elderly slave's intelligence and sharp observations about Django, Schultz and Broomhilda with very little reluctance.
Instead of portraying a villain, Christoph Waltz portrayed Django's friendly, yet ruthless mentor and partner; the German-born dentist-turned-bounty hunter, Dr. King Schultz. And he was fantastic. Waltz effectively portrayed Schultz's cold-blooded pursuit of wanted criminals for profit, yet at the same time; conveyed the character's disgust over the institution of slavery and open-mindedness toward Django, Broomhilda and other slaves. Waltz's best moments proved to be Schultz's encounter with the Speck brothers and Django in Texas, his taking down of the wanted Sheriff Bill Sharp (portrayed by Don Stroud), his reaction to D'Artagnan's mauling and the revelation of his disgust toward Candie. And Waltz proved to have great screen chemistry with Jamie Foxx. I believe that the latter's portrayal of the title character has proven to be vastly underrated by the majority of film critics and some moviegoers. I am a little disappointed, but not surprised. Django turned out to be a somewhat introverted character that was not inclined to speak very much . . . whether as a slave or a free man. Critics and filmgoers are not inclined to pay much attention to non-showy characters. Since Django proved to be a quiet character, Foxx resorted to good old-fashioned screen acting to convey most of the character's non-speaking moments. And he did a superb job in portraying Django's array of emotions - especially in the opening scene featuring the slave coffle in Texas, Schultz's killing of the criminal, his first view of Broomhilda at Candyland, and the confrontation with Candie during the latter's supper party. Ironically, another one of Foxx's best moments proved to be quite verbal in which he attempts to con a group of slavers for a mining company to take him back to Candyland in order to collect on a fake bounty. In the end, Foxx did a superb job in developing Django from a slave in shock over the traumatized separation from his wife to the soft-spoken, yet self-assured man who could be very ruthless when the situation demanded it.
I also have to say a word about the movie's behind-the-scene production. I was impressed by Sharen Davis' costume designs. She did a solid job in re-creating the fashions of the late antebellum period. However, I noticed a few oddball designs for Candie's slave mistress Sheba and a maid at a social club in Greenville, Mississippi; reflecting the planter's penchant for anything French. I suspect this was a visual joke on Tarantino's part. I was also impressed by J. Michael Riva's production designs and Leslie A. Pope's set decorations in the sequences for the Texas town featured in the movie's first 10 to 20 minutes, Candie's Napoleon Club in Greenville and especially the interiors for Candyland's mansion. Robert Richardson did an excellent in capturing the beauty of California, Louisiana and especially Wyoming with his photography. As he had done for "INGLORIOUS BASTERDS", Tarantino used already recorded music to serve as the score for his movie. I did notice that a few songs - especially one for the opening title sequence - seemed to have been written specifically for the movie. However, I do not know who may have written them.
It occurred to me that "DJANGO UNCHAINED" was Tarantino's second period piece in a row. And I found myself wondering if he planned to write and direct a third period movie as part of some kind of semi-historical trilogy. Whether he does or not, I must say that I was impressed with "DJANGO UNCHAINED". More than impressed. I believe it is one of the best movies I have seen released in 2012. And I feel that it is one of the writer-director's more original works, due to superb writing, direction and an excellent cast led by Jamie Foxx and Christoph Waltz.
Ohmigod! It's Crockett and Tubbs!
Monday, February 25, 2013
The Major Problems of “HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994)
Any fan of the John Jakes’ NORTH AND SOUTH trilogy would be more than happy to tell you that the worst entry in the author’s saga about two American families in the mid 19th century was the last one, ”HEAVEN AND HELL: North and South Book III”. Those fans would be speaking of the 1994 television adaptation, not the novel itself. Unlike many of these fans, I do not share their low opinion of the three-part miniseries. But I will not deny that ”HEAVEN AND HELL” had its share of problems. Below is a list of I consider to be its major flaws.
*Use of Montages - The miniseries did not hesitate to use montages to indicate a passage of time. Most of these montages centered on the Charles Main character, portrayed by Kyle Chandler. The problem with these montages was that they had exposed a blooper regarding Charles’ rank with the post-war U.S. Army in the first episode.
During a montage that featured Charles’ early courtship of actress Willa Parker (Rya Kihlstedt), Charles either wore corporal or sergeant stripes on his jacket. It went like this – Charles first wore corporal stripes, a fringe jacket and then sergeant stripes. And after the montage, Charles wore corporal stripes again.
*Orry and Madeline Main’s Presence in Richmond - BOOK II ended with Orry and Madeline Main (Patrick Swayze and Lesley Anne Down) attending the funeral of family matriarch, Clarissa Main. However, ”HEAVEN AND HELL” began with Orry and Madeline staying at a friend’s home in Richmond, in order to raise funds to feed the defeated post-war South. What in the hell for? The pair had a burnt home, an estate and family to care. They had no form of income or cash. And yet, they left their devastated home to raise funds for a cause that would have been implausible for them to achieve.
I realize that screenwriters Suzanne Clauser and John Jakes wanted an excuse to get Orry in Richmond so that he would be murdered by his old nemesis, Elkhannah Bent (Philip Casnoff). This could have been achieved in simpler fashion. For example, Clauser and Jakes could have used a funeral for an old comrade as an excuse to get Orry and Madeline to Richmond. This seems simple enough to me.
*Augustus “Gus” Main’s Age - In an article I had written about ”NORTH AND SOUTH: BOOK II”, I had pointed out that the screenwriters managed to foul up the age of Augustus Main, Charles Main’s (Kyle Chandler) only son by his first love, Augusta Main. Jakes and Clauser managed to repeat this mistake in their screenplay for ”HEAVEN AND HELL”. The third miniseries began with young Gus around the age of five. According to Charles, Gus had been born just before the war. Where did this come from? It was bad enough that Gus looked older than he should have in ”BOOK II”. Then they aged Gus even more, despite the fact that only a few months had passed between the second and third miniseries. Worse, Gus failed to age, as the story for ”HEAVEN AND HELL” progressed. Especially since the miniseries was obviously set between 1865 and 1868.
During my last viewing of ”HEAVEN AND HELL: North and South Book III”, I was surprised to discover that a good number of its so-called “bloopers” originated from writing mistakes that appeared in both ”NORTH AND SOUTH” and ”NORTH AND SOUTH: BOOK II”. Those “bloopers” include:
*Cooper Main - Prodigal Son - In John Jakes’ literary saga, South Carolina planter Tillet Main and his wife Clarissa had one nephew – Charles, and four children – Orry, Ashton, Brett and the oldest offspring, Cooper (Robert Wagner). However, Cooper was never featured in the first two miniseries. His appearance finally came in the third miniseries, ”HEAVEN AND HELL”. Those fans who had never read Jakes’ novels had accused the producers and screenwriters of creating the character for the miniseries. Personally, I never understood why the screenwriters of ”NORTH AND SOUTH” and ”NORTH AND SOUTH: BOOK II” had failed to include Cooper. After all, his presence proved to be vital to the saga by the third novel.
My only problem with Cooper’s presence in this third miniseries is that Jakes and Clauser had failed to create a back story to explain his disappearance from the first two miniseries. This failure made his appearance in this third chapter rather incongruous.
*Charles Main and Elkhannah Bent in Texas - Another plotline that took the fans of Jakes’ saga by surprise was the revelation that Charles Main had served under Elkhannah Bent in Texas, during the late 1850s . . . before the Civil War. No such story arc had been present in the first miniseries, ”NORTH AND SOUTH”. However, this plotline was present in Jakes’ 1982 novel. The first miniseries did show Charles serving in the U.S. Army in 1850s Texas. It also revealed Bent as an Army officer, visiting New Orleans, Louisiana around the same period. And New Orleans had served as one the main terminals in and out of Texas, east of the Mississippi River during the early and mid 19th century.
Charles’ past with Elkhannah Bent proved to be one of the major storylines in third story. The screenwriters for the miniseries had no choice but to include it. Especially since Charles and Bent’s past history played a major role in Jakes’ story. Most fans would probably hate for me to say this, but I believe that the screenwriters and producers for ”BOOK I” made a major mistake in their failure to include Charles’ experiences in Texas in the miniseries. Especially, since it proved to become an important storyline.
*The Return of Stanley and Isobel Hazard - I am surprised that many fans of the saga were surprised to see Stanley and Isobel Hazard (Jonathan Frakes and Deborah Rush) footloose and fancy free in this third miniseries. After all, they were last seen in ”BOOK II” facing prosecution for war profiteering. As it turned out, the couple was never investigated or prosecuted for war profiteering in Jakes’ second NORTH AND SOUTH novel, ”LOVE AND WAR”. Also, ”HEAVEN AND HELL” portrayed Stanley pursuing a political career, something that never happened in the first two miniseries. Yet, the literary Stanley Hazard had began his political career as far back as the second half of the first novel, ”NORTH AND SOUTH”. Again, another so-called “blooper” in ”HEAVEN AND HELL” originated from the screenwriters’ failure to be faithful to the novels when it counted.
*Revelation of Madeline Main's Ancestry - In the first miniseries, "NORTH AND SOUTH", the character Madeline Fabray LaMotte Main learned from her father that her mother was a quadroon (one-quarter African descent) and that she was an octoroon (one-eighth African descent). She eventually revealed this information to her love, Orry Main. Her secret ended up being exposed to both Elkhannah Bent and her despised sister-in-law, Ashton Main Huntoon (Terri Garber) in the second miniseries, due to Bent's discovery of a painting of Madeline's mother in a New Orleans whorehouse. Somehow, the Mains' local neighbors - including the local Klan leader, Gettys LaMotte (Cliff DeYoung) - learned about her ancestry. I would love to know how they managed this, because Bent and Ashton never had the opportunity to expose Madeline's secret. In fact, the entire storyline regarding the exposure of Madeline's ancestry is riddled with a good number of bloopers that originated in Jakes' first novel, "NORTH AND SOUTH".
*Miscellaneous Characters - Characters last seen in ”NORTH AND SOUTH: BOOK II” failed to make an appearance in the third miniseries:
-Semiramis – the Mont Royal house slave was last seen engaged to another one named Ezra. Both had been given land to farm by Clarissa Main in the last episode. A former slave named Jane (Sharon Washington) took Semiramis’ place in the third miniseries. However, Semiramis was only featured in the first novel. And Jane was featured in both the second and third novels.
-Ezra – Semiramis’ future husband and a character that had been created solely for the second miniseries and not featured in any of the novels.
-Hope Hazard – George and Constance Hazard’s (James Read and Wendy Kilbourne) had been a month before the Civil War broke out in the first miniseries and was seen in the second miniseries. However, she never existed in any of the novels. The literary George and Constance had two children – William and Patricia – in all three novels. And they were seen in ”HEAVEN AND HELL”.
-Virgilia Hazard – Portrayed by Kirstie Alley, George Hazard’s younger sister had been killed at the end of ”BOOK II” - executed for the murder of a congressman. However . . . this never happened in the second novel. And her character played a major role in the third novel. Unfortunately, she did not appear in the third miniseries. Her presence was sorely missed by me.
”HEAVEN AND HELL” was not a perfect miniseries. Its production values did not strike me as impressive as the first two miniseries. And it had its share of flaws. However, I was surprised to discover that it was a lot more faithful to Jakes’ third novel, ”HEAVEN AND HELL” than ”BOOK II” was to the second novel, ”LOVE AND WAR”. More importantly, a good number of changes made by the screenwriters of the first two miniseries produced some of the “bloopers” found in ”HEAVEN AND HELL”. I could accuse Wolper Productions and the screenwriters of ”NORTH AND SOUTH” and ”NORTH AND SOUTH: BOOK II” for failing to consult author John Jakes on how he would continue his saga in the third novel. But the problem is that Jakes also happened to be one of the screenwriters for all three miniseries. While co-writing the first two miniseries, he should have stood his ground and resisted some of the major changes made in them – especially in the second miniseries.
Sunday, February 24, 2013
Below are images from Peter Jackson's 2005 movie, "KING KONG". Starring Naomi Watts, Jack Black and Adrian Brody; the movie is the second remake of the original 1933 film:
"KING KONG" (2005) Photo Gallery
Friday, February 22, 2013
"JACK REACHER" (2012) Review
British author Lee Childs (aka Jim Grant) wrote a series of novels featuring a former U.S. Army Military police officer turned drifter, who is occassionally hired to investigate difficult cases. One of those turned out to be the 2005 novel, "One Shot", which was recently adapted as a motion picture that stars Tom Cruise.
When writer/director Christopher McQuarrie decided to adapt "One Shot" as a movie, one of the first things he did was change the story's title and location. The story became "JACK REACHER" and the setting was changed from a small Indiana city to Pittsburg, Pennsylvania. Like the novel, "JACK REACHER" began with the death of five random people by a sniper firing from a parking garage. Police detective Emerson finds evidence pointing a a former Army sharpshooter named James Barr, who was immediately arrested. Instead of confessing to the crime, Barr asked the police and District Attorney Alex Rodin to get drifter and former Army police Jack Reacher to help him. Reacher finally contacted Barr's attorney, Rodin's daughter, Helen Rodin. Reacher believed that Barr was guilty, because the latter had originally went on a killing spree during his last tour in Iraq, but got off on a technicality due to his victims being guilty of the gang rape of several Iraqi women. But Reacher's investigation of the crime scene, along with an encounter with local thugs hired to scare him off, made him realized that Barr had been framed and that the killing spree was merely a cover up for a specific victim.
In the end, "JACK REACHER" proved to be a first-rate action thriller that I enjoyed very much. I would never consider the movie to be one of the best starring Tom Cruise. The basic narrative for "JACK REACHER" did not strike me as particularly original. I have come across similar action or mystery tales in which a series of killings hid one particular murder. But I must admit this particular story presented it in a particularly original way - especially with such a non-conformist like Reacher serving as investigator. There were other aspects of the movie that impressed me. One, I found the opening sequence featuring the sniper's killing of the five people not only gruesome, but also nail biting. The tension in this particular sequence seemed ten-fold, when it looked as if one of the sniper's victims might end up being a young child. Once Reacher realized that either Detective Emerson or District Attorney Rodin may be working for the man behind the shootings, the reek of law enforcement reeked throughout the film's second half, increasing the movie's tension ten fold. The movie also benefited from a first-rate, three-way car chase through the streets of Pittsburgh; with the police chasing Reacher for the murder of a young woman, and Reacher chasing two of the bad guys. The chase sequence also emphasized Caleb Deschanel's colorful photography of Pittsburgh, a city that has struck me as quite charming during the past two decades.
There were a few aspects of "JACK REACHER" that troubled me. I wish that McQuarrie's script had allowed Cruise's Jack Reacher and Rosamund Pike's Helen Rodin to consummate the sexual tension between them . . . at least once. I did not require the movie to end with them as a newly established couple. But I figured that one night between the sheets would not have hurt. Honestly! I found myself inwardly screaming "Get a room!" every time it looked as if they were about to lock lips. But the bigger problem for me turned out to be the main villain - a former Soviet prisoner-turned-Russian mobster known as the Zec. Do not get me wrong. I believe that director-actor Werner Herzog gave an exceptionally chilly performance as the mobster. But . . . I could not help but wonder if author Lee Childs and later, MacQuarrie tried too hard to portray him as some kind of cold monster, willing to do anything to survive . . . even chew off his fingers while in prison, in order to prevent himself from succumbing to gangrene. The Zec even forces one minion to either chew off a finger or face death for the latter's mishandling of Reacher. I would have been impressed if it were not for the fact that the willingness to do anything to survive . . . or self-preservation is something of which just about every human being is capable. It is simply human nature. And in the end, I was not that impressed by the Zec. Also, I could have sworn that the Zec and his men were carrying out a contract on behalf of someone else. I certainly got that impression in his first scene, which I eventually found rather misleading.
However, I was impressed by the film's cast. I have already commented on Werner Herzog's portrayal of the mobster called the Zec. Australian actor Jai Courtney gave an equally chilling performance as Charlie, the Zec's main henchman and the shooter who kill those five people, in cold blood, in the opening scene. Robert Duvall made an entertaining addition to the cast as a former USMC veteran, who operated a gun shop frequented by the main suspect and the real killer. The year 2012 seemed to be the one for British actor David Oyelowo. He started out the year in "RED TAILS" (okay, not much of a start), but he finished out the year with an appearance in "LINCOLN" and a major role in this film. And I was very impressed by his portrayal of Detective Emerson. One, Oyelowo seemed to have a pretty good grasp of an American accent. And two, I found his portrayal of the police detective to be deliciously complex and murky. I could also say the same for Richard Jenkins, who gave a slightly twisted and sardonic portrayal as District Attorney Rodin. It seemed a pity that his appearances in the film seemed slightly limited.
It occurred to me that I have not seen Rosamund Pike in a major film production in quite a while. I do recall that she had appeared as Sam Worthington's leading lady in "WRATH OF THE TITANS". But I would rather forget about that particular film. Thankfully, she was much more memorable as Helen Rodin, the feisty defense attorney who hired Reacher. She possessed a solid American accent and more importantly, I enjoyed the way Pike infused both professionalism and emotion into her character. And her screen chemistry with Tom Cruise reeked with sexuality. Although I would not consider "JACK REACHER" to be among Cruise's top films, I must admit that I think his role as the eccentric former Army investigator might prove to be one of his better roles. I really enjoyed Cruise's performance as Reacher. Not only did he maintain the character's eccentricity, but he also projected a subtle weariness that made me understand the character's disappointment with society at large. He also infused a good deal of subtle humor that struck me as both entertaining and off-kilter. But more importantly, Cruise did a great job in projecting the character's unstoppable force, without having to be the same height (6'5") as the literary Reacher.
Like I said, I would not view "JACK REACHER" as one of the most memorable action movies I have ever seen. But I certainly would not regard it as mediocre. It possessed a solid story, written and directed by Christopher MacQuarrie. The movie also benefited from first-rate performances by a cast led by Tom Cruise in the title character.
Thursday, February 21, 2013
Below is a look at two major movies and a television movie that featured journeys aboard the famed Orient Express:
"ALL ABOARD THE ORIENT EXPRESS"
I will be the first to admit that I am not one of those who demand that a novel, a movie or a television production to be historically accurate. Not if history gets in the way of the story. But there is an anal streak within me that rears its ugly head, sometimes. And that streak would usually lead me to judge just how accurate a particular production or novel is.
Recently, I watched three movies that featured a journey aboard the legendary train, the Orient Express. Perhaps I should be a little more accurate. All three movies, "MURDER ON THE ORIENT EXPRESS" (1974), "MURDER ON THE ORIENT EXPRESS" (2010) and "FROM RUSSIA WITH LOVE" (1963) featured a famous route that came into existence nearly a year following World War I called the Simplon Orient Express. The original route for the Orient Express stretched from Paris to Istanbul via Strasbourg, Munich, Vienna, Budapest and Bucharest. Then in 1919, Compagnie Internationale des Wagons-Lits introduced a more southerly route, due to the opening of the Simplon Tunnel. This route stretched between Paris and Istanbul, via Lausanne, Milan, Venice, Belgrade and Sofia. Writers Agatha Christie and Ian Fleming made the Simplon Orient Express route famous thanks to their novels, "Murder on the Orient Express" (1934) and"From Russia With Love" (1957). And the movie adaptations of these novels increased the route's fame.
Both Christie and Fleming's novels featured the Simplon Orient Express' route from Istanbul to Yugoslavia. There are reasons why their stories do not stretch further west to as far as at least France. In "Murder on the Orient Express", the train became stuck in a snowdrift in Yugoslavia and detective Hercule Poirot spent the rest of the novel trying to solve the murder of an American passenger. And in "From Russia With Love", British agent James Bond and his companion, Tatiana Romanova, made it as far as either Italy or France. The 1974 and 2010 adaptations of Christie's novel, more or less remained faithful to the latter as far as setting is concerned. However, EON Production's 1963 adaptation of Fleming's novel allowed Bond and Tatiana to escape from the train before it could cross the Yugoslavia-Italy border.
While watching the three movies, I discovered that their portrayals of the Simplon Orient Express route were not completely accurate. I can imagine the thoughts running through the minds of many, declaring "Who cares?". And I believe they would be right to feel this way. But I thought it would be fun to look into the matter. Before I do, I think I should cover a few basics about this famous train route from Istanbul to Paris-Calais.
During its heyday, the Orient Express usually departed from Istanbul around 11:00 p.m. Following the rise of the Iron Curtain after World War II, the Orient Express extended it route to stops in Greece in order to avoid the Soviet-controlled countries. The only Communist country it passed through was Yugoslavia. When the train became the slower Direct Orient Express in 1962, it usually departed Istanbul around 4:15 p.m. I do not know whether a restaurant car and/or a salon "Pullman" car was attached to the Direct Orient Express when it departed Istanbul between 1962 and 1977. One last matter. In the three adaptations of the two novels, the Orient Express usually made a significant stop at Belgrade. It took the Orient Express, during its heyday, at least 23 to 24 hours to travel from Istanbul to Belgrade.
Let us now see how accurately the two "MURDER ON THE ORIENT EXPRESS" movies and the 1963 "FROM RUSSIA WITH LOVE" flick accurately portray traveling aboard the Simplon Orient Express (or Direct Orient Express) on film. I will begin with the "MURDER ON THE ORIENT EXPRESS", the 1974 adaptation of Agatha Christie's novel.
"MURDER ON THE ORIENT EXPRESS" (1974)
Following the conclusion of a successful case for the British Army somewhere in the Middle East, Belgian-born detective is on his way home to London, via a train journey aboard the famed Orient Express. When an American businessman named Samuel Rachett is murdered during the second night aboard the train, Poirot is asked by his friend and director of the Compagnie Internationale des Wagons-Lits, Senor Bianchi, to investigate the crime.
In this adaptation directed by Sidney Lumet, the Simplon Orient Express that left Istanbul did so at 9:00 at night. The movie also included a dining car attached to the train. One scene featured a chef examining food being loaded onto the train. This scene is erroneous. According to the The Man in Seat 61 website, there was no dining car attached to the train when it left Istanbul. A dining car was usually attached at Kapikule on the Turkish/Bulgarian border, before it was time to serve breakfast. The movie also featured a salon car or a "Pullman", where Hercule Poirot interrogated most of the passengers of the Istanbul-Calais car.
According to the "Seat 61" site, there was no salon "Pullman" car attached to the train east of Trieste, Italy. Christie needed the presence of the car for dramatic purposes and added one into her novel. The producers of the 1974 movie did the same. At least the producers of the 1974 used the right dark blue and cream-colored car for the Pullman. More importantly, they used the right dark blue cars for the train's sleeping coaches, as shown in the image below:
In the movie, the Simplon Orient Express reached Belgrade 24 hours after its departure from Istanbul. For once, the movie was accurate. Somewhere between Vinkovci and Brod, the Orient Express ended up snowbound and remained there until the end of the story.
"MURDER ON THE ORIENT EXPRESS" (2010)
This adaptation of Agatha Christie's novel first aired on Britain's ITV network in 2010. The television movie started with Hercule Poirot berating a British Army officer caught in a devastating lie. After the officer commits suicide, Poirot ends up in Istanbul, where he and a British couple witness the stoning of an adulterous Turkish woman. Eventually, the couple and Poirot board the Orient Express, where the latter finds himself investigating the murder of an American passenger.
I do not know what time the Simplon Orient Express departed Istanbul in this adaptation. The movie never indicated a particular time. This version also featured a brief scene with a chef examining food being loaded aboard a dining car. As I previously mentioned, a dining car was not attached until Kapikule. The movie did feature Poirot and some of the Istanbul-Calais car passengers eating breakfast the following morning. In this scene, I noticed a major blooper. Car attendant Pierre Michel was shown serving a dish to Poirot in the dining car. Note the images below:
Pierre Michel greets Poirot and M. Bouc before they board the train
Pierre serves breakfast to Poirot
Why on earth would a car attendant (or train conductor, as he was in the 1934 novel) act as a waiter in the dining car? Like the 1974 movie, the ITV adaptation also featured a salon "Pullman" attached to the train, east of Italy. In fact, they did more than use one salon "Pullman". As I had stated earlier, the westbound Simplon Orient Express usually acquired a salon "Pullman" after its arrival in Trieste. But in this adaptation, the producers decided to use the dark blue and cream-colored "Pullman" cars for the entire train as shown in these images:
This is completely in error. As I had stated earlier, the Orient Express usually featured a dark-blue and cream-colored salon "Pullman" between Italy and Paris. But it also featured the dark-blue and cream-colored seating "Pullmans" between Calais and Paris. There is no way that the Orient Express leaving Istanbul would entirely consist of the blue and cream "Pullman" cars.
However, the train did arrive at Belgarde at least 24 hours after its departure from Istanbul. Like the other movie, the train ended up snowbound between Vinkovci and Brod and remained there until the last scene. However, I am confused by the presence of the police standing outside of the train in the last scene. Poirot and the other passengers should have encountered the police, following the train's arrival in Brod, not somewhere in the middle of the Yugoslavian countryside.
"FROM RUSSIA WITH LOVE" (1963)
Ian Fleming's tale begins with the terrorist organization, SPECTRE, plotting the theft of the KGB's a cryptographic device from the Soviets called the Lektor, in order to sell it back to them, while exacting revenge on British agent James Bond for killing their agent, Dr. No. After Bond successfully steals the Lektor from the Soviet consulate in Istanbul, he, defector Tatiana Romanova and MI-6 agent Kerim Bey board the Orient Express for a journey to France and later, Great Britain.
While I found this adaptation of Ian Fleming's 1957 novel extremely enjoyable, I found myself puzzled by the movie's portrayal of Bond's journey aboard the Orient Express. It seemed so . . . off. In the movie; the Orient Express conveying Bond, his traveling companions and SPECTRE assassin "Red" Grant; departed Istanbul somewhere between 3:00 and 4:00 o'clock in the afternoon. The train departed Istanbul around nine o'clock at night, in Fleming's novel. Mind you, the novel was set in the 1950s and the movie, set in the early 1960s, which meant that its departure in the movie was pretty close to the 4:15 pm departure of the Direct Orient Express train that operated between 1962 and 1977. I do not recall seeing a dining car attached to the train, during its departure in the movie, so I cannot comment on that. But after the train's departure, the movie's portrayal of Bond's Orient Express journey proved to be mind boggling.
The main problem with "FROM RUSSIA WITH LOVE" is that Bond's journey proved to be the fastest I have ever witnessed, either on film or in a novel. It took the train at least three-to-four hours to reach Belgrade, following its departure from Istanbul. One, it usually took the Orient Express nearly 24 hours to reach Belgrade during its heyday. During the first ten-to-fifteen years of the Cold War, it took the Orient Express a little longer to reach Belgrade, due to it being re-routed through Northern Greece in an effort to avoid countries under Soviet rule. This was made clear in Fleming's novel. But the 1963 movie followed the famous train's original eastbound route . . . but at a faster speed. After killing Grant, Bond and Tatiana left the train before it reached the Yugoslavian-Italian border. Bond's journey from Istanbul to that point took at least 15 hours. During the Orient Express' heyday, it took at less than 48 hours. And during the 15 years of the Direct Orient Express, it took longer.
Unlike many recent film goers and television viewers, historical accuracy or lack of it in a movie/television production has never bothered me. I still remain a major fan of both "MURDER ON THE ORIENT EXPRESS" (1974 version) and"FROM RUSSIA WITH LOVE". And although I have other major problems with the 2010 "MURDER ON THE ORIENT EXPRESS", there are still aspects of it that I continue to enjoy. Historical inaccuracy has never impeded my enjoyment of a film, unless I found it particularly offensive. But since I can be occasionally anal and was bored, I could not resist a brief exploration of the Hollywood and British film industries' portrayals of the Orient Express.