"THE ADVENTURES OF HUCK FINN" (1993) Review

"THE ADVENTURES OF HUCK FINN" (1993) Review

Looking back, I realized that I have seen very few movie and television adaptations of Mark Twain's novels - especially those that featured his two most famous characters, Tom Sawyer and Huckleberry Finn. I take that back. I have seen a good number of adaptations, but it has been a long time since I have viewed any of them. Realizing this, I decided to review the 1993 Disney adaptation of Twain's 1885 novel, "The Adventures of Huckleberry Finn".

According to Wikipedia, "THE ADVENTURES OF HUCK FINN" mainly focused the first half of Twain's novel. After watching the film, I realized that Wikipedia had made an error. The movie focused on four-fifths of the narrative. It ignored the novel's last segment - namely Huck Finn's reunion with his friend, Tom Sawyer, at the Arkansas plantation owned by the latter's uncle. Actually, director/screenwriter Stephen Sommers combined the aspects of both this chapter and the previous one in which Huck meets the two con men - "The Duke" and "The King" - along with the Wilkes sisters into one long segment for the movie's second half. In fact, Sommers named the town in which the Wilkes sisters lived after Tom's Uncle Phelps. I know what many are thinking . . . "THE ADVENTURES OF HUCK FINN" is not a completely faithful adaptation of Twain's novel. Considering that I have yet to come across a movie or television production that is not completely faithful of a source novel or play, I find such complaints unnecessary. At least for me. Especially since I had very little problems with Sommers' adaptation in the first place.

Anyone familiar with Twain's novel knows what happened. A Missouri boy named Huckleberry Finn (who first appeared in Twain's 1876 novel, "The Adventures of Tom Sawyer") is living with a pair of widowed sisters - the Widow Douglas and Miss Watson - when his drunken and violent father, "Pap" Finn, reappears in his life, determined to get his hands on the money left to Huck by his late wife. After Huck spends a terrifying night with a drunken Pap, he decides to fake his death and head for Jackson's Island in the middle of the Mississippi River. There, he discovers Jim, Miss Watson's slave and one of Huck's closest friends, hiding out as well. Jim had escaped after learning Miss Watson's decision to sell him down the river. Huck initially condemns Jim for running away. But due to their friendship, he decides to help Jim escape and join the latter on a trip down the Mississippi to Cairo, Illinois. There, Jim hopes to find river passage up the Ohio River to freedom. Unfortunately, their plans fail fall apart and the two friends end up facing a series of adventures and different characters as they find themselves heading down the Mississippi River.

To be honest, I have never read a review of "THE ADVENTURES OF HUCK FINN". In fact, I have never seen the movie in theaters. Which is a shame. Because this film is damn good. I had seen the version that aired on PBS back in 1985. And I never thought any version could top it. Well, this particular version did not top it . . . so to speak. But, I do not regard it as inferior to the 1985 version. I believe that both movies are truly first-rate. I just happen to prefer this version, which was written and directed by Stephen Sommers. I do recall how many critics had initially dismissed the film, believing it had"Disneyfied" what is regarded by many as Mark Twain's masterpiece . . . well, at least in the many years following his death.

Sommers' screenplay had managed to "Disneyfied" Twain's story in one way. It avoided the use of the word "nigger" to describe Jim Watson and other African-American characters. Instead, some characters called Jim "boy" in a very insulting and derogatory manner. But there were other changes made to Twain story. Huck's joke to Jim by pretending he was dead was erased. And as I had stated earlier, the last segment that featured Jim being sold to an Arkansas plantation owned by Tom Sawyer's uncle, along with Huck's reunion with his best friend, had been removed. Personally, I had no problems with the removal of Tom's appearance. Like many literary critics - including those who admired the novel - I have never liked that particular subplot. Instead, Sommers had decided to end the story with a major sequence featuring Huck and Jim's "partnership" with the two con men who posed as the long-lost brothers of a dead rich man named Wilkes. This allowed Sommers to name Wilkes' town after Tom Sawyer's uncle Phelps. Sommers also allowed Huck to experience Tom's fate in the story. By getting rid of Huck and Jim's reunion with Tom, Sommers managed to end the movie on a more exciting note, instead of the anti-climatic one that seemed to mar Twain's story.

But there is one thing that Sommers did not do . . . he did not softened the anti-slavery and anti-racism themes from Twain's novel. Sommers not only retained the strong sense of travel and adventure along the Mississippi River in the story, he did an effective job of maintaining the author's anti-slavery and anti-racism themes. This was apparent in scenes that featured Huck and Jim's debate about the presence of non-English speaking people in the world, the two con men's discovery of Jim's status as a runaway slave and their blackmail of the two friends and finally, Huck and Jim's attempt to make their escape from Phelps' Landing to a northbound steamboat. To reinforce the theme, Sommers even allowed Jim to be caught by the Grangerford family and forced to become one of their field slaves - something that did not happen in Twain's novel. More importantly, Jim's decision to run from Miss Watson would have an impact on their friendship, which had already been established before the story began. This was apparent in Huck's reluctance to help Jim escape and the latter's knowledge of Pap's death . . . something he kept from the boy throughout most of the story. Jim's status as a runaway, along with the two con men's dealings at Phelps' Landing culminated in an exciting conclusion that resulted with a rather scary lynch mob after Huck and Jim's hides.

But it was not just Sommers' adaptation of Twain's story that I found satisfying. "THE ADVENTURES OF HUCK FINN" is a visually beautiful film. And the producers can thank veteran Hollywood filmmaker Janusz Kaminski for his beautiful photography. His rich and sharp colors, which holds up very well after 22 years, really captured the beauties of the film's Natchez, Mississippi locations. His photography also added to the film's early 19th century Mississippi Valley setting. However, Kaminski's photography was not the only aspect that allowed Sommers to beautifully recapture the film's setting. I was also impressed by Randy Moore's art direction and Michael Warga's set decorations - especially at a riverboat landing in which Huck, Jim and the two con men meet a former resident of Phelps' Landing. I noticed that Betsy Heimann's career in Hollywood mainly consisted of movie projects set in the present day. As far as I know, "THE ADVENTURES OF HUCK FINN" was her only movie project set in the past. I find this a pity, because I was very impressed by her costumes for the movie. In fact, I found them quite beautiful, especially her costumes for Anne Heche, Renée O'Connor and Dana Ivey.

However, the costumes also brought up a small issue I had with the movie. Exactly when is this movie set? Was it set during the 1820s or the 1830s? During a scene between Huck and young Susan Wilks, the former (who was impersonating the Duke and the King's Cockney valet) pointed out that George IV reigned Great Britain. Which meant the movie could be set anywhere between January 1820 and June 1830. But Heimann's costumes for the women, with its fuller skirts, seemed to indicate that the movie was definitely set in the 1830s. So, I am a little confused. I am also confused as to why Huck had failed to tell Billy Grangerford that the captured Jim was his servant. Why did he pretend that he did not know Jim? The latter could have been spared a brutal beating at the hands of the family's overseer. I congratulate Sommers for using the Grangerford sequence to reveal more on the brutality of 19th century American slavery. But he could have easily done this by allowing both Huck and Jim to witness the whipping of a Grangerford slave. I also had a problem with Bill Conti's score. Well . . . at least half of it. On one hand, Conti's score meshed well with the story and its setting. However . . . I noticed that some parts of his score had not originally been created for this movie. Being a long time fan of John Jakes' "North and South" Trilogy and the three television adaptations, I had no problem realizing that Conti had lifted parts of the score he had written for the 1985 miniseries, "NORTH AND SOUTH" and used it for this movie. 

I might have a few quibbles about "THE ADVENTURES OF HUCK FINN". But I certainly had no complaints about the film's cast. The movie was filled with first-rate performances from the movie's supporting cast. Colorful performances included those from Dana Ivey and Mary Louise Wilson as the kind-hearted Widow Douglas and her more acerbic sister Miss Watson; Ron Perlman, who was both scary and funny as Huck's drunken father Pap Finn; Francis Conroy as the verbose shanty woman from Huck tries to steal food; Garette Ratliff Henson as the friendly Billy Grangerford; Tom Aldredge as the suspicious Dr. Robinson, who rightly perceives that the two con men are not his late friend's brothers; Curtis Armstrong as the slightly brainless and naïve former resident of Phelps' Landing, who told the "Duke and King" everything about the Wilks family; and James Gammon as the tough sheriff of Phelps' Landing, who seemed to have a naïve regard for the two con men. Anne Heche, along with Renée O'Connor (Gabrielle from "XENA: WARRIOR PRINCESS") and Laura Bundy portrayed the three Wilks sisters - Mary Jane, Julia and young Susan. Both Heche and O'Connor gave charming performances. But I found Bundy rather funny as the suspicious Susan, especially in her interactions with Elijah Wood.

Of all the actors I could have imagined portraying the two con men - the King and the Duke - neither Jason Robards or Robbie Coltrane enter my thoughts. In fact, I could never imagine the gruff-voiced, two-time Oscar winner and the Scottish actor known for portraying Rubeus Hagrid in the "HARRY POTTER" movie franchise as a pair of 19th century Mississippi Valley con artists, let alone an effective screen team. Not only did the pair give great performances, but to my surprise, managed to create a very funny comedy pair. Who knew? But the pair that really carried "THE ADVENTURES OF HUCK FINN" turned out to be Elijah Wood as the titled character, Huckleberry Finn and Courtney B. Vance as Jim Watson. Someone once complained that Wood was too young to portray Huck Finn in this movie. How on earth did he come up with this observation? Wood was at least twelve years old when he portrayed Huck. Not only was he not too old, he gave a superb performance as the intelligent, yet pragmatic Missouri boy. More importantly, Wood did an excellent job serving as the film's narrator. Equally superb was Courtney B. Vance, who in my opinion, turned out to be the best cinematic Jim Watson I have ever seen. Vance did an excellent job in conveying the many facets of Jim's nature - his sense of humor, lack of education, pragmatism and intelligence. Vance made sure that audiences knew that Jim was uneducated . . . and at the same time, a very intelligent man. The best aspect of Wood and Vance's performances is that the pair made a superb screen team. I have no idea how they felt about each other in real life. On screen, they sparkled like fireworks on the Fourth of July.

"THE ADVENTURES OF HUCK FINN" may not be a literal adaptation of Mark Twain's novel. It is clear that writer-director made some changes. And I must admit that the movie possessed a few flaws. But in the end, I felt it was a first-rate adaptation of the novel that bridled with energy, color, pathos, suspense, humor and a sense of adventure. And one can thank Stephen Sommers for his excellent script and energetic direction, along with the superb cast led by Elijah Wood and Courtney B. Vance. It is one Twain adaptation I could never get tired of watching over and over again.

"THE ADVENTURES OF HUCK FINN" (1993) Photo Gallery

Below are images from "THE ADVENTURES OF HUCK FINN", the 1993 Disney adaptation of Mark Twain's 1884 novel,"Adventures of Huckleberry Finn". Directed by Stephen Sommers, the movie starred Elijah Wood and Courtney B. Vance: 


"THE ADVENTURES OF HUCK FINN" (1993) Photo Gallery

Favorite Films Set in the 1830s

Below is a list of my favorite movies (so far) that are set in the 1830s: 


FAVORITE FILMS SET IN THE 1830s



1. "The Adventures of Huck Finn" (1993) - Elijah Wood and Courtney B. Vance starred in this excellent Disney adaptaion of Mark Twain's 1885 novel about a young Missouri boy who joines a runaway slave on a journey along the Mississippi River toward the free states in antebellum America. Stephen Sommers directed.





2. "The Count of Monte Cristo" (2002) - James Caviezel starred as the vengeful Edmond Dantès in Disney's 2002 adaptation of Alexandre Dumas, père's 1844 novel. Directed by Kevin Reynolds, the movie co-starred Guy Pearce and Dagmara Dominczyk.





3. "Pride and Prejudice" (1940) - Greer Garson and Laurence Olivier starred in this entertaining adaptation of Jane Austen's 1813 novel. Robert Z. Leonard directed.





4. "The Count of Monte Cristo" (1975) - Richard Chamberlain gave an intense performance in the 1975 television adaptation of Dumas' novel. Tony Curtis and Kate Nelligan co-starred.





5. "Impromptu" (1991) - Judy Davis and Hugh Grant starred in this comedic tale about author George Sand's pursuit of composer Frédéric Chopin in 1830s France. James Lapine directed.





6. "Armistad" (1997) - Steven Spielberg directed this account of the 1839 mutiny aboard the slave ship La Amistad and the trials of the Mendes tribesmen/mutineers, led by Sengbe Pieh. The movie starred Djimon Hounsou, Matthew McConnaughey, Morgan Freeman and Anthony Hopkins.





7. "Wide Sargasso Sea" (2006) - Rebecca Hall and Rafe Spall starred in this 2006 television adaptation of Jean Rhys's 1966 novel, which is a prequel to Charlotte Brontë's 1847 novel, "Jane Eyre". It focused upon the early marriage of Antoinette Cosway (Bertha Mason) and Edward Rochester.





8. "My Cousin Rachel" (1952) - Olivia de Havilland and Richard Burton starred in this adaptation of Daphne Du Maurier's 1951 novel about a young Englishman's obsession with his late cousin's widow. Henry Koster directed.





9. "The Alamo" (2004) - John Lee Hancock directed this account of the Battle of the Alamo, the only production about the Texas Revolution that I actually managed to enjoy. The movie starred Billy Bob Thornton, Patrick Wilson and Jason Patric.





10. "The Big Sky" (1952) - Howard Hawks directed this adaptation of A.B. Guthrie's 1947 novel about a fur trader's expedition up the Missouri River. Kirk Douglas and Dewey Martin starred.

"THE MUMMY RETURNS" (2001) Review

"THE MUMMY RETURNS" (2001) Review

"THE MUMMY", the 1999 remake of the 1932 horror film proved to be a major success for filmmaker Stephen Sommers and Universal Studios. Two years later, both the director and the studio reunited its major stars for a sequel set a decade later. In doing so, Sommers and Universal created a four-movie franchise. 

Like the first film, "THE MUMMY RETURNS" began thousands of years ago, in ancient Egypt. However, this flashback focused on an Egyptian mercenary named Mathayus, who makes an unsuccessful attempt to conquer the land. He and his army is exiled to the desert of Ahm Sher, where most of them die from heat exhaustion, except for Mathayus. The latter offers his soul to the god Anubis for the power to defeat his enemies. The latter creates an oasis called Ahm Shere to hide the newly dubbed Scorpion King's pyramid and gives the latter a legion of humanoid jackal warriors to seek revenge. The Army of Anubis sweeps across Egypt, destroying everything in its path. But once their task is finished, Anubis claims the Scorpion King's soul and his army.

The movie jumps to the year 1933, which finds the O'Connell family - Rick, Evelyn ("Evie") and their son Alex - exploring the ruins of Thebes. Evie and Rick discover the bracelet of Anubis, unaware that Alex has stumbled across a trio of mercenaries attempting to take the bracelet for themselves. The family returns home to England, and unbeknownst to his parents, Alex tries on the bracelet and experiences a vision with directions to the Oasis of Ahm Shere. Unfortunately, a group of Egyptian cultists, who had hired the three thugs, invades the O'Connell estate and kidnaps Evie. The O'Connells' old comrade, the Medjai warrior Ardeth Bay, arrives to help, but is unable to prevent Evie's kidnapping. The cultists take her to the British Museum, where they resurrect the body of Egyptian high priest and sorcerer Imhotep. They plan to use his power to defeat the Sorcerer King. Rick, his brother-in-law Jonathan Carnahan, Alex and Ardeth arrive at the museum to rescue Evie. After the O’Connells, Jonathan and Ardeth manage to escape the army of mummified soldiers, Alex – who is still wearing the Anubis bracelet - is kidnapped by the cultists. The four adults track him to Egypt, where they recruit the help of Rick’s old World War I friend, Izzy Buttons, to rescue Alex from Imhotep and the cultists and prevent them from reviving the Army of Anubis.

I usually dislike horror films. But I noticed that the 1999 movie, "THE MUMMY" seemed more like an adventure film in the style of the INDIANA JONES movie franchise. I could say the same about " THE MUMMY RETURNS". And considering my dislike of horror films, I say “thank God”. However, the movie has enough elements to satisfy those who love this particular genre. This was especially apparent in the scenes that featured Imohtep’s murder of the three mercenaries, the O’Connells’ battle against the high priests mummified soldiers during the bus ride through London and during the finale sequence inside the Scorpion King’s pyramid at Ahm Shere. The sight of the Scorpion King as a transformed centaurid (or scorpion-monster) was enough to give me the heebie-jeebies. But if I had to select the one sequence that truly captured aspects of the horror genre, it was the one that featured the O’Connells’ attack upon the cultists in the Ahm Shere jungle that I found particularly off putting. Not only did the movie’s heroes have to attack the cultists in order to save Alex, both sides of the conflict had to deal the pygmy mummies that attacked and killed anyone or any army that marched through the jungle. What can I say? Those pygmies really freaked me out.

"THE MUMMY RETURNS" did feature a good deal of action sequences that seemed more like an adventure than a horror story – thank goodness. The O’Connells’ escape from the flooding of the Thebes pyramid, their escape from Imohtep’s attempt to drown them with a tsunami wave, their escape from the destruction of the Ahm Shere pyramid and various hand-to-hand fight sequences thankfully reminded me that "THE MUMMY RETURNS" was more of an adventure story. Also, Stephen Sommers provided a great deal of rich characterization and humor in his screenwriter. Like the 1999 film,"THE MUMMY", "THE MUMMY RETURNS" featured some sophomoric humor. But if I must be honest, a good deal of the humor seemed sharper and wittier this particular film – especially in the hands of one particular character, Izzy Buttons. In fact, my favorite line in the film came him:

"Whatever it is, whatever you need, I don't care. Forget it, O'Connell. Every time I hook up with you, I get shot. Last time, I got shot in the ass. I'm in mourning for my ass!"

I never mentioned this in my review of "THE MUMMY", but I was also impressed by Sommers’ handling of the sequence featuring Imohtep’s background and introduction at the beginning of the film. The opening sequence featuring the Scorpion King’s introduction struck me as mediocre. But I was very impressed by the flashback sequence about Evelyn’s past life in the form of the Princess Nefertiri and her witness of her father, Pharaoh Seti I. Sommers has a real talent for costumed melodrama and it would be nice to see him exploit it in the fullest in his career. This sequence also featured a first-rate fight scene between Rachel Weisz’s Nefertiri and Patricia Velásquez’s Anck-Su-Namun.

Of course, one cannot talk about "THE MUMMY RETURNS" without bringing up its visual effects. First of all, kudos to cinematographer Adrian Biddle for continuing the beautiful photography for which he was responsible in the first film. I especially enjoyed his work in the sequence that featured the parallel journeys across Egypt by both the O'Connell and Imohtep parties. Allan Cameron and his crew did an excellent job in re-creating not only England and Egypt of the early 1930s, but also ancient Egypt. The team of Ahmed Abounouom, Giles Masters and Tony Reading added a great deal to Cameron's work with their beautiful and colorful art designs. I have always enjoyed Alan Silvestri's music in past movies. But I must admit that I really appreciated his use of Middle Eastern or North African-style in the movie's score. I do admire the special effects created by the movie's visual effects team. I was especially impressed by their work in the Ahm Shere jungle sequence. However, there were times I found it a bit over-the-top. I noticed that Sommers hired his costume designer from the last film, John Bloomfield, to design the costumes for this film. And I wish to God he had hired someone else. I had no problem with Bloomfield's costumes for the ancient Egypt sequences. His costume designs for the 1933 scenes - namely the costumes for the female characters - were another matter. Honestly, they sucked. I was far from impressed by Bloomfield's re-creation of 1920s fashion for Evelyn's character in the 1999 movie. His re-creation of early 1930s fashions for the female characters were just as bad - as shown in the images below:

 

I can only shake my head in disbelief. The above were Bloomfield's idea of 1932-33 women's fashion? Really? They looked more like a modern-day take on the fashions of that particular era. The fact that both Weisz and Velásquez are sporting modern hairstyles does not help.

At least I cannot complain about the acting. An episode of "STAR TREK VOYAGER" featured the first project in which Dwayne Johnson portrayed a character other than himself. He had nothing to do but engage in a fight scene. "THE MUMMY RETURNS" featured his second role in which he portrayed another character. Again, he had no lines. At least Sommers managed to effectively direct him into expressing his character via body language. The other cast members, on the other hand, had speaking lines. The movie featured solid performances from the likes of Bruce Byron, Joe Dixon and Tom Fisher as the three thugs hired by the cultists to assist them. Alun Armstrong gave a surprisingly effective performance as Mr. Hafez, the leader of the Egyptian cultists. Unlike most Western actors, Armstrong managed to portray a non-Western villain without resorting to theatrical acting. My favorite performance came from Shaun Parkes, who was both hysterically witty as O'Connell's old friend, Izzy Buttons. I usually have mixed feelings about child actors. But I must admit that I enjoyed Freddie Boath's engaging performance as Rick and Evelyn's boisterous son, Alex. "THE MUMMY RETURNS" was the first movie or television production I had noticed Adewale Akinnuoye-Agbaje. And his performance as Mr. Hafez's chief enforcer, Lock-Nah, was . . . well, magnificent. In fact, I could say the same about his screen presence.

Patricia Velásquez may not have been the world's greatest actress. And there were times I found her verbal performance as femme fatale Meela Nais and ancient Egyptian courtesan Anck-Su-Namun a bit limited. She more than made up this flaw with a strong ability for silent acting and a very impressive screen presence. Again, she proved to have a great screen chemistry with Arnold Vasloo, who returned as the Egyptian high priest, Imohtep. What can I say about Vasloo's performance? The man is Imohtep - both in presence and performance. He did a marvelous job in conveying both the frightening aspects of his character and the latter's passionate love for Anck-Su-Namun. Happily, Oded Fehr reprised his role as Medjai warrior Ardeth Bey. And not only was he great, as always. For the first time, I became aware of Fehr's talent for comedic acting. John Hannah was as funny as ever as Evelyn's ne'er do well older brother, Jonathan Carnahan. I found him especially funny in his scenes with Boath and Parkes.

Rachel Weisz reprised her role as Evelyn "Evie" Carnahan O'Connell and I was surprised by the level of development in her character. Weisz did an excellent job in conveying the mature development of Evie and maintaining the character's familiar quirks at the same. Weisz was also excellent as the Princess Nefertiri, who was not only fervently protective of her father, but also suspicious of Anck-Su-Namun. The character of Rick O'Connell also struck me as surprisingly different in this movie. Like Evelyn, marriage and parenthood had developed him into a more mature personality. And like Evelyn, he also maintained some of his personality quirks. And Brendan Fraser did an excellent job in conveying both the familiar and different aspects of Rick's character.

"THE MUMMY RETURNS" effectively continued the exciting adventure and horror of the 1999 film, thanks to Stephen Sommers' writing and direction. And I enjoyed it very much, along with the entertaining performances of the cast led by Brendan Fraser and Rachel Weisz. But as much as I continue to enjoy it, there is a part of me that wished Sommers had not been so over-the-top with some of his direction and the special effects featured in the movie. It seemed as if he was trying to outdo his work in the first film. And sometimes, that is not a good thing.