Golden magnolias

"Steel Magnolias"
Overall Rating: ****


Six women in a beauty parlor: it doesn't sound like a scenario that would hold much appeal for men. However, playwright Robert Harling chose that as the setting for "Steel Magnolias," based on his family's experiences, and the result holds universal appeal.

"Steel Magnolias" opens with Annelle (Daryl Hannah) applying for a job at Truvy's hair styling salon. Truvy (Dolly Parton) is impressed with her skills, and hires her, just in time to help out for an important day, since not only do two regular customers, Ouiser and Clairee (Shirley MacLaine and Olympia Dukakis) have appointments, but M'Lynn Eatonton (Sally Field) and her daughter Shelby (Julia Roberts), two more regulars, are coming in for hairstyles in preparations for Shelby's wedding. The happy day has a cloud over it, however, since Shelby can't have children because of her diabetes.

The movie has plenty of laughs. For instance, when Drum (M'Lynn's husband, played by Tom Skerritt) can't find his gun, he makes one final attempt to clear a flock of birds from a tree near their house; I laughed for about twenty minutes the first time I saw what he did--and the results. Then there are the copious amusing lines, such as when Ouiser calls Drum "a boil on the butt of humanity." You will laugh plenty while watching this movie. Despite the many jokes, however, the movie is a tearjerker. Like many dramas that employ comedy, the funniest scenes tend to be towards the beginning, and the more touching ones towards the end; having laughed with the characters makes the later scenes even more moving. It may be an old trick, but it works admirably here.

All of the lead actresses are very good. Dolly Parton, in particular, just oozes southern charm here--and is a convincing small-town hair stylist. Shirley MacLaine and Olympia Dukakis, as Ouiser and Clairee, are the best. They both capture their characters' true natures, and they play off each other beautifully. Their deliveries are flawless--important since they have many of the film's comic lines. They both have strong presences on screen, and MacLaine and Dukakis are a big part of the film's success.

"Steel Magnolias" also has some other nice touches. For instance, in one scene, after a death in the family, the entire family is filmed in shadows. Then, at the Christmas festival, the filmmakers chose to play "Walkin' in a Winter Wonderland"--ironic, since the setting isn't that cold.

The movie adaptation of "Steel Magnolias" does lose some of the tight-knit feel the play has. The play has only six characters (all women) and one set, which helps to reinforce the close friendship of the women. The greater expanse of the film undermines this somewhat; on the other hand, the film does get one of the funniest movie sequences in return.

There isn't too much to be concerned about with children and this movie. There is a fairly dramatic (though non-violent) death scene, one shot showing numerous condoms taped to a car, and some strong language. While the PG rating is reasonable, I imagine that children, especially younger children would lose patience with "Steel Magnolias" during the serious scenes. It's not intended for children.

Many people complain that Hollywood doesn't make nice films anymore. There may be fewer such films now, but "Steel Magnolias" is definitely one of them. It's about nice people, and is amusing and moving. Even more importantly, it is very entertaining. "Steel Magnolias" may be the title, but this movie is pure gold.


Note: If you want to see the play "Steel Magnolias" for comparison, and live in the Jacksonville area, the Alhambra dinner theater is doing it in the summer of 2000. The last time they did it, they did an excellent job.

Title: "Steel Magnolias"
Release date: 1989

MPAA rating: PG
Overall rating: ****

Aprox. run time: 119 min.
Director: Herbert Ross
Writers: Robert Harling (play and screenplay)
Stars: Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis, Julia Roberts

Original URL: http://www.geocities.com/Hollywood/Mansion/7045/SteelMag.htm
Added to blog site: 8/5/09

Out of this world

"Stargate"
Overall Rating: ****½


The 1990s has been a decade for action and sci-fi movies. With sharper computer animation and bigger budgets, the special effects are getting more ambitious and often more impressive. Sadly, films will frequently rely completely on their visual effects, leaving the audience with a weak or non-existent plot; "Stargate" gets it right--they start with an exciting story and use the effects to boost it.

"Stargate" opens in Egypt of 1928, where an archeologist uncovers a large ring with mysterious writing on it. Its function remains a mystery until 1994, when an unconventional Egyptologist, Dr. Daniel Jackson (James Spader), is called in to investigate. Jackson discovers that the artifact is called a "stargate," and deciphers the cryptic writing on it--allowing the military to use it to open a wormhole to a distant galaxy. Under the command of Col. O'Niel (Kurt Russell), a team is sent through the stargate to investigate. Once they're on that distant planet, the question soon becomes who or what will the team find.

While all the actors are good, James Spader stands out. His character may be something of a standard nerd, but he's very endearing, partially from the writing but mostly from Spader's performance. His performance is excellent.

"Stargate" also has some nice touches. For instance, while the team is on the distant planet, there are no scenes on Earth--by not showing Earth, the filmmakers help reenforce the team's isolation.

I must admit, I didn't really notice the allusions to the Biblical book Daniel until I read another viewer's comments on the Internet Movie Database--but it's there, and highly appropriate. While it's not a strict adaptation of that book, Daniel deals with the Babylonian captivity and the writing on the wall, which have an obvious relevance to events in the film. Nor is the reference just for show: the theme of "Stargate" questions the role organized religion plays in peoples' lives. The main focus may be on ancient Egypt's pagan religion, but its questions are universal. The filmmakers also wanted to display the good in religion, and the allusion to the Bible performs that function extremely well.

Biblical allusions aside, however, like any good action/sci-fi film, "Stargate" has excellent special effects. The variety ranges from spaceship battles to alien animals to futuristic weapons--the quality is always excellent. Not all the effects are for pitched battles; one stunt sequence is hilarious (and one of the strangest first contact sequences ever). Unlike most action-sci-fi films, however, the story itself is thoroughly engrossing and exhilarating--the special effects are merely icing on the cake.

The big problem with "Stargate" is that several scenes are too dark to see. This undermines several fight sequences, since it's hard to tell what's happening. While you can figure out what happened later on, somewhat mitigating the situation, the darkness doesn't really fit with the film's feel. It's simply that the room was supposed to be dark, and wound up too dark.

While some of the fight scenes are hard to see, parents wary of violence should be aware that there is also significant violence that is clearly seen. Some of the violence is bloody (including a sequence with a severed body part), there is some strong language, and there's one scene where an apparently underage character tries to smoke (though goes into a fit of coughing from it). Parents should also be advised that there are references to a child dying from an accidental shooting. PG-13 is a fair rating for it; the film may be too intense for younger children, but is probably safe for teens.

Director Roland Emmerich is probably better known for his later work, "Independence Day;" while "Independence Day" is a top-notch action/sci-fi thrill ride that is easily worth the price of the video, I think "Stargate" is every bit as exciting, but more uplifting and intriguing. What I hope for with every action film is what I got with "Stargate."

Note: A disadvantage of loving this movie as much as I do is that I acquired the movie before the special edition came out. The special edition contains nine minutes of additional footage, including a new opening depicting something described later in the film. While the original version is perfectly enjoyable, I'd recommend the expanded version, if available.


Title: "Stargate"
Release date: 1994

MPAA rating: PG-13
Overall rating: ****½

Aprox. run time: 119/128 min.
Director: Roland Emmerich
Writers: Roland Emmerich, Dean Devlin
Stars: James Spader, Kurt Russell

Original URL: http://www.geocities.com/Hollywood/Mansion/7045/Stargate.htm
Added to blog site: 8/5/09

Why "The Cocoanuts?"

"The Cocoanuts"
Overall Rating: ****


Many movies tackle important philosophical questions, such as "What is the meaning of existence?", "What is the true nature of religion?", and "How should people relate to each other?". "The Cocoanuts" ignores all of these questions--but it does make "Why a duck?" into a much more complicated question.

Hammer (Groucho Marx) is a hotel manager in Florida during the land boom of the 1920s. Despite the boom, his hotel has a serious shortage of guests, He does have one wealthy guest, Mrs. Potter (Margaret Dumont), who rejects his romantic advances at every turn. He barely notices that her daughter, Polly (Mary Eaton) is in love with Bob Adams (Oscar Shaw), a young architect who works in the hotel, while Mrs. Potter wants her to marry Harvey Yates (Cyril Ring). Hammer can't miss the arrival of two new guests, Chico and Harpo, who will turn the hotel upside down completely.

The plot is extraordinarily thin, and the intellectual content comes mainly from the fact that the film is 70 years old. Harpo and Chico's characters don't even have names. Of course, with a steady stream of jokes, none of that matters, and "The Cocoanuts" provides a steady supply of laughs. This film has several of the Marx Brothers' famous routines, most notably the "Why a duck?" and "Ice Water" routines (the latter culminates in the line "Oh, you want some ice water? Well, get an onion, that'll make your eyes water."). Not a minute passes without a pun. Two connecting rooms in the hotel offer an opportunity for farce. This movie is an hour and a half of hilarity.

This is largely due to the Marx Brothers' efforts. Groucho, Chico, and Harpo are a wild trio; their talents made many films comedic masterpieces, and this is one of them. They did so much to define these roles that about ten years ago, when I saw a stage production of "The Cocoanuts," the actors impersonated the Marx Brothers. Speaking of the Marx Brothers, Zeppo, though unrecognized since he was usually the straight-man, is also good very good as a desk clerk. Margaret Dumont also shines, serving in her traditional role of unlikely romantic interest for Groucho. Basil Ruysdael is good as Hennessey, the detective who immediately becomes suspicious of Harpo and Chico--not without good reason.

Irving Berlin's music is delightful. Mostly, the songs are just elegant dance numbers in the grand Hollywood tradition. While not Berlin's best music, the songs are catchy. One very amusing number is the "operatic" song where Hennessey loses his shirt (goes topless--not broke); it's a rare light moment for the stern character. By modern standards, the audio quality isn't that good; when the film was made, however, any audio was a technological triumph--the promotions described the film as "all talking."

Parents probably don't have to worry too much about their kids seeing this. There is a fair share of innuendo, some minor comic violence, and characters who frequently have a casual attitude towards other peoples' property. While I might worry about kids imitating Harpo and trying to eat a telephone, "The Cocoanuts" is probably as safe as almost anything made in the past thirty years.

Many Marx Brothers aficionados obsess on the question of whether "Duck Soup" or "A Night at the Opera" is their best movie. While both those films are great, it's important to remember that their reputation is built on more than those two films. "The Cocoanuts" may not be the Marx Brothers' best film--but even typical Marx Brothers work represents truly great comedy.



Title: "The Cocoanuts"
Release date: 1929
Not MPAA rated; Hays Code compliant
Overall rating: ****
Aprox. run time: 93 min.
Directors: Joseph Santley, Robert Florey
Writers: Irving Berlin (music and lyrics), George S. Kaufman (play), Morrie Ryskind (film adaptation)
Stars: the Marx Brothers, Oscar Shaw, Mary Eaton, Margaret Dumont

Original URL: http://www.geocities.com/reviewsbyjohn/Coconuts.htm
Added to blog site: 7/27/09 (with minor editing)

Horrorshow

"A Clockwork Orange"
Overall Rating: ****½


Normally, I don't like horror movies. "A Clockwork Orange" isn't a normal horror movie, however.

Alex (Malcolm McDowell) is an evil man. A typical day for him consists of drinking drug-laced milk with his friends Dim, Pete, and Georgie (Warren Clarke, Michael Tarn, and James Marcus respectively), then accompanying them on trips to beat up a homeless man, pick a fight with another gang of youths, and steal a car to go out to the country, so they can beat up a writer (Patrick Magee) and rape the writer's wife (Adrienne Corri). Then Alex simply goes home, and listens to Beethoven as though nothing really happened. What could possibly be worse than Alex? Perhaps the efforts to reform him.

This is a classic battle between two monsters: in this case, the immoral individual and the leviathan state. What makes "A Clockwork Orange" particularly effective--and particularly scary--is that both monsters are completely real. The writers have excellent insights into their monsters. Alex doesn't show the slightest regard for others' rights or for morality; he doesn't even regard his victims as human beings (as an illustration, take his comment, "If you need a motorcar, you pluck it from the trees"). On the side of the state, the most telling line is when the prison official states, "We are not concerned with motives, with the higher ethics. We are concerned only with cutting down crime and with relieving the ghastly congestion in our prisons." There is a point to this battle of monsters: the government doesn't handle criminals well; the state tends towards either coddling them, or resorting to draconian punishments.

Despite its intellectual content, the film does suffer from a near total lack of sympathetic characters. Normally, I like to have someone in the film I can sympathize with, and here, only a few minor characters are somewhat empathetic. A film usually has to be extremely good in other ways to overcome this flaw.

Fortunately, "A Clockwork Orange" is good in every other regard, and the filmmakers show a great deal of creativity elsewhere. Some of it traces back to Anthony Burgess' book; the most prominent example is the futuristic slang, (where "horrorshow" has become a word for "excellent," for instance). The frequent slang, more than just linguistic speculation, creates even more distance between the audience and the protagonists.

This starting point is added to Kubrick's skill. Many scenes are dark, but all are adequately lit. The use of music is ironic, and gives the film an unreal feel: when Alex sings "Singin' in the Rain" while beating two helpless people, it somehow makes it all the worse. (And where would an uncultured thug acquire a taste for Beethoven, anyway?) Another nice touch is what happens to Dim and Georgie (also, take a close look at what Dim is wearing--there's another flourish in his costume--though identifying it would spoil the plot). Kubrick pays attention to the small details, and it shows here.

The actors also deserve credit for making "A Clockwork Orange" a great film. Among the supporting cast, Godfrey Quigley is probably the best, playing the prison chaplain--perhaps the only person in the film who shows genuine concern for Alex. There is no mistake about it, however, Malcolm McDowell commands this movie. His excellent performance is important because his character is in nearly every scene. His character is definitely paradoxical, having a taste for "ultra-violence," but at the same time, gently caring for his pet snake and loving classical music: McDowell captures Alex's human and inhuman sides with equal skill.

"A Clockwork Orange" is definitely not a family film. There is copious violence including graphic on-screen rape and murder, several graphic sex scenes including full frontal nudity, and some scenes where characters drink drug-laced milk. Add in some strong language (though this is less than might be expected, owing to the futuristic slang), graphic depiction of a brutal psychological "treatment," and the young protagonist's complete immorality, and the result is a film that, while interesting for adults, is completely unsuitable for children.

"A Clockwork Orange" is frightening, intriguing, and very well made. It is simply the best horror movie I've ever seen, and Stanley Kubrick has created a masterpiece in it.

Title: "A Clockwork Orange"
Release date: 1971
MPAA rating: R
Overall rating: ****½
Aprox. run time: 137 min.
Director: Stanley Kubrick
Writers: Stanley Kubrick (screenplay), Anthony Burgess (novel)
Stars: Malcolm McDowell, Patrick Magee

Original URL: http://www.geocities.com/reviewsbyjohn/ACO.htm
Added to blog site: 7/27/09

Schmaltz, but nice schmaltz

"White Christmas"
Overall Rating: ****


I've stated before that my critical side is more than a bit skewed when it comes to movies I grew up with; nonetheless, I'm going to launch into such a commentary yet again. "White Christmas" is a holiday tradition around my house, and we see it a couple of times around Christmas each year.

Bob Wallace (Bing Crosby), a Captain in the army in World War II, was a successful singer before the war. He and Phil Davis (Danny Kaye) put on a holiday show to entertain their fellow troops, but when the thee popular and respected General Waverly (Dean Jagger) is transferred, they also make the show a tribute to him. Later during the show, Private Davis saves Wallace's life when a surprise attack knocks over a wall; in gratitude, Wallace helps get Davis' singing career going after the war. Their nightclub act is wildly successful, however, Davis' matchmaking attempts aren't--that may not matter, since, while in Florida, the two of them see the Haynes Sisters' (Rosemary Clooney and Vera Ellen) night club act. Events quickly bring the four of them together, and reunite them with Gen. Waverly--now an innkeeper in Vermont.

To put it gently, "White Christmas" has a thin plot--mostly, its only function is to bounce the film from song to song and joke to joke. There are also several very obvious errors--for instance, the train shown in the film prominently displays a Santa Fe logo (though the Santa Fe never owned a line east of Indiana), and the size of the theater (a converted barn) strains all credibility. "White Christmas" is also possibly the most manipulative film ever made.

Of course, you don't really care about the problems while watching this film. It's fluff, but it's extremely nice fluff. "White Christmas" is a delight to watch. The sets (never mind that they're usually completely unrealistic) are spectacular, as are the dance numbers. The film also maintains a sharp look and sound--if anything betrays the fact that it's 45 years old, it isn't the technology.

While the plot may be thin, "White Christmas" has more than its share of jokes--you'll laugh for much of this movie. The funniest scene is probably the reprise of the sister song. The main attraction of "White Christmas" is Irving Berlin's music--not surprising since the film was named for one of his songs. Songs such as "White Christmas," "Love," and "We'll Follow the Old Man" are wonderful. Most of the songs aren't Christmas carols and this film presents a wide variety of Berlin's music.

The jokes and songs of "White Christmas" are brought to life by the performances of the cast. While the entire cast is good, a few stand out. Mary Wickes, as Emma, delivers a good performance in a supporting role. Bing Crosby is extremely good. He has both the voice for the songs and the timing for the jokes. The real star is Danny Kaye. In every respect, he keeps pace with Crosby, and even leads the way in many scenes. He is certainly one of the century's great and unappreciated talents.

"White Christmas" is absolutely, positively a family film. While there is a brief scene depicting an enemy attack in World War II, it probably the most bloodless battle scene in cinematic history.

"White Christmas" may not be the most intellectual experience, but it isn't meant to be. It has one purpose as a film, and it succeeds admirably--"White Christmas" is as warm and full of holiday cheer as a Yule log. A friend of mine recently said she didn't know anyone who didn't love "White Christmas." I'll echo that sentiment.


Title: "White Christmas"
Release date: 1954
Not MPAA rated; Hays Code compliant
Overall rating: ****

Aprox. run time: 120 min.
Director: Michael Curtiz
Writers: Melvin Frank, Norman Krasna, Norman Panama, Irving Berlin (music)
Stars: Bing Crosby, Danny Kaye, Rosemary Clooney, Vera Ellen

Original URL: http://www.geocities.com/Hollywood/Mansion/7045/Wht_Xmas.htm
Added to blog site: 8/5/09

Wild about Harry

"The Trouble with Harry"
Overall Rating: ****


Have you ever wondered what an Alfred Hitchcock comedy would be like? If so, you don't need to look in a parallel universe or alternate reality where the master of suspense is the master of comedy; you can simply see "The Trouble With Harry" to see Hitchcock at his funniest.

The film opens with Arnie (Jerry Mathers) walking through the Vermont woods. He ducks down as soon as he hears three gunshots and then hears a man shout, "OK, I know how to handle your type." Soon, Arnie finds the body of Harry Worp. Moments later, Captain Wiles (Edmund Gwenn) finds the body. Though a kind and gentle hunter, Wiles panics when he believes he has, albeit accidentally, killed someone. Deciding that he needs to bury the body, he sets off to do just that. He might even bury Harry--if it weren't for all the other people who come upon him in his work.

This is Hitchcock at his comedic best. "The Trouble with Harry" has a wonderful mix of sharp dialog and antics with the corpse (whose last name of Worp--pronounced like "warp"--is also perfect). For instance, when one character asks another about a deceased relative, he expresses the hope the relative died peacefully--only to find out that the man was caught in a threshing machine. As for Harry--let's just (or is that jest) say that being dead and buried doesn't put him to rest. Hitchcock even gets in a joke with "the end" (those words don't appear on screen). Still, Hitchcock purists can take heart; for how Harry died is something of a mystery; additionally, many traditional Hitchcockian elements, such as incompetent police and his famous cameo appearance, are also in "The Trouble with Harry." Hitchcock films often are mysteries with comic elements; this film is a comedy with a mysterious element--and a very funny comedy at that.

While Hitchcock's genius drives the film, the actors are equally critical. Edmund Gwenn is particularly good; he needs to be very endearing, and Gwenn is wonderfully charming. Shirley MacLaine is also very good as the flighty Jennifer Rogers--her character is also charming and likeable. MacLaine delivers a strong performance in her debut role. Jerry Mathers is also cute as the young Arnie.

"The Trouble with Harry" isn't perfect. I felt that the end is left a little up in the air. The filmmakers strain credibility in a few places, with a number of coincidences early on. All of the problems are relatively minor, however, especially accounting for the film's unlikely premise.

"The Trouble with Harry" is safe for kids. The death of Harry is not shown (though it's heard), but it's central to the film's plot, meaning that there are references to murder and to covering up crime. Parents may also be concerned about two on-screen thefts (both minor; in one instance, something is stolen from a dead man). Having been released in the days of the Hays Code (though later given an appropriate PG rating), "The Trouble With Harry" is tame when it comes to adult content.

While "The Trouble with Harry" isn't Hitchcock's best film, it isn't a lie to say that it's much better than many other filmmakers' best works. "The Trouble with Harry" is atypical Hitchcock fare, making it interesting historically for his fans. More to the point, it exhibits his genius for filmmaking and is an enjoyable evening's entertainment.


Title: "The Trouble with Harry"
Release date: 1955

MPAA rating: PG
Overall rating: ****

Aprox. run time: 99 min.
Director: Alfred Hitchcock
Writers: Jack Trevor Story (novel), John Michael Hayes
Stars: Edmund Gwenn, John Forsyth (plays Sam Marlowe), Shirley MacLaine

Original URL: http://www.geocities.com/Hollywood/Mansion/7045/Tr_Harry.htm

Added to blog site: 8/5/09

Miles long

"The Green Mile"
Overall Rating: ***½

This year, two prominent films have come out against the death penalty. Last spring, Clint Eastwood's "True Crime" presented a tale of a reporter searching for redemption who uncovers evidence suggesting that a convicted murderer might be innocent. Now, we have "The Green Mile." Like "True Crime," "The Green Mile" tells the story of a death-row convict who may be innocent--but that's about all the two films have in common.

The movie opens with the elderly Paul Edgecomb (Dabbs Greer as the old Paul, Tom Hanks as the younger) going for a morning walk. After his return to the nursing home, he sits down to watch TV with the other residents; when an upbeat dance sequence (Fred Astaire's "Cheek to Cheek" in "Top Hat") brings him to tears, he tells another resident what happened in 1935. When he was younger, he was a guard on Louisiana's death row, known as the "Green Mile;" 1935 was the year the enigmatic John Coffey (Michael Clarke Duncan) was sentenced to death.

The story is very well written. It's difficult to elaborate on why the story is well written without spoiling the plot, however, the total work comes together very nicely. Elements that seem at first to be barely related to the story--such as the mouse that shows up in the cell block or Edgecomb's morning walks--turn out to be integral to the plot. The film is moving when it tries to be moving, suspenseful when it tries to build suspense, and even has a couple of laughs to break the tension. It's entertaining despite its length.

Yet I have mixed feelings about its length of more than three hours. It is slow paced, especially towards the beginning, so it feels extremely long. On the other hand, I can't imagine what they could have cut--there are very few scenes that are superfluous. Perhaps it's too long, but it also needs to be long.

Michael Clarke Duncan is wonderful. He gives John Coffey a very gentle demeanor, appropriate for the empathetic character. This gentleness is difficult for Duncan to pull off because his physically large character has an imposing presence, and is complicated by the fact his character is a convicted murderer. Duncan's performance subtly lets you know that something isn't as it appears, and Duncan owns every scene he's in. Two other actors also deliver strong performances in supporting roles: Michael Jeter (who plays the murderer Eduard Delacroix) and Doug Hutchison (who plays the sadistic prison guard Percy) are both excellent.

The animal trainers also deserve credit. Mr. Jingles--the mouse that visits death row--steals every scene he's in, and provides some relief from the serious tone.

A significant flaw is that two actors play Paul Edgecomb. Dabbs Greer and Ton Hanks don't look enough alike to pull it off, especially considering the numerous close-ups of both of them. With modern special effects makeup, an actor of any age can really play an adult of any age as long as the actor is up to the physical demands of the role, so the use of two actors was a major special effects gaffe, and also compromised both actors' performances.

I'm also unsure about the movie's depiction of death row. Aside from Percy, all the guards are portrayed as being gentle, as are most (though not all) of the condemned men. Despite a few violent incidents (all centering around two specific characters--one guard and one convict), the film's Green Mile often seems like a gentle place; I doubt a real death row would ever leave that impression and while the film generally doesn't try for stark realism, I think the filmmakers stretch may things here.

There are, however, several violent sequences, including a number of graphically-depicted executions, one tame sex scene, some limited nudity, much strong language, and several sequences where some characters express bigoted beliefs. "The Green Mile" may be safe for teens despite its R rating and some very strong content, but it's definitely not appropriate for young children.

Lining up Frank Darabont as director and screenwriter (Darabont's previous directing endeavor was "The Shawshank Redemption") and with Tom Hanks as the top-billed star in this adaptation of Stephen King's novel, "The Green Mile" could refer to the pile of money they laid out to make it. Fortunately, while the commercials' statements that this if the best film of the year are overwrought, the film is definitely worth laying out a little of your own green to see.

Title: "The Green Mile"
Release date: December 10, 1999

MPAA rating: R
Overall rating: ***½

Aprox. run time: 188 min.
Director: Frank Darabont
Writers: Frank Darabont, Stephen King (novel)
Stars: Tom Hanks, Michael Clarke Duncan

Original URL: http://www.geocities.com/reviewsbyjohn/GreenMil.htm
Added to blog site: 7/28/09

Being a film critic...

"Being John Malkovich"
Overall Rating: ***


Last summer, while watching "South Park" on TV, I saw a commercial that looked like it got lost on the way to Art Bell's show. The commercial urged people to go to the JM Incorporated website, and there, JM Incorporated offered its customers the chance to be someone else. As it turned out, JM Incorporated was merely a very creative gimmick to promote "Being John Malkovich"--it's the company founded by two characters in this film. The gimmick worked, because it got me curious about a film I'd never heard of before, and the film is almost as imaginative as its advertising.

Craig Schwartz (John Cusack) lives a strange life. As an unemployed puppeteer, he is caught in a catch-22; he won't resort to stunts like his rivals use, but he won't play to the traditional audience of kids, either. He has a strained relationship with his wife, Lotte (Cameron Diaz), a pet store owner who seems more concerned with her parrot, chimpanzee, dog, ferret, and iguana than she is with him. Forced by economic necessity to take a job as a file clerk, he soon stumbles on a supernatural portal that leads into the mind of stage and screen actor John Malkovich (played by Malkovich). This portal has potential--both a business opportunity and as a self improvement tool for Craig.

The big problem with "Being John Malkovich" is that most of the characters are odious and manipulative. None of the characters seem to have a problem hijacking someone else's body, for instance. The film worked against itself for me, because it's about the type of people I generally don't want to see glorified in films.

However, while they don't play the types of characters I'd like to see, the actors did a good job. John Cusack does extremely well. Cusack almost makes his awkward character sympathetic, despite the fact that his character winds up locking his wife in the chimpanzee cage. Cameron Diaz is also wonderful as the consummate animal lover. She has her character's neuroses down pat--and yes, it's the same Cameron Diaz that was in "There's Something About Mary," but the difference between the parts, and even her appearance, is like night and day. Orson Bean is charming in his relatively small part as Dr. Lester--an enigmatic man of 105 who is obsessed with sex.

The film also has a delightful wit. For instance, floor 7½ in the skyscraper was perfect; aside from the humorous aspects of a skyscraper having one floor with five-foot ceilings, there's the nice symbolism in that, while the floor was designed for midgets (or so the story goes), it is now occupied by people who are spiritually rather than physically small. Then there's nice the touch that Craig, who is very controlling, is a puppeteer--a point not missed by Craig himself--enriched by the fact that he chooses to put on a marionette show of "Abelard and Heloise." Craig can't find love even when he controls both people.

Despite the nice touches, the filmmakers leave some big questions open. The film never reveals who built the portal or why; this isn't as serious as it sounds, since the whole film is outlandish. The real flaw is in the "big, existential" (as Craig puts it) questions raised by the portal. Craig finds happiness as John Malkovich: is he happy because he is someone else, or because he thinks that being someone else will solve his problems? Determinism or free will? Unfortunately, the filmmakers leave their view on the subject obscured.

"Being John Malkovich" is not a family film. There is some violence, though not much (two sequences where characters threaten each other with guns, several temper tantrums). There is also significant strong language and one scene where a character smokes marijuana. The big concern would be the sexual content; despite having no nudity, the sexual content is very prominent.

"Being John Malkovich" is on the short list for being the strangest film of all time; this one makes "Fight Club" look like realism. It may be hailed by some as an intellectual and artistic triumph, but I'm not convinced. Like its misguided hero, I don't think it realizes its full potential. Still, it has its moments, and whether you're John Malkovich or not, it may be worth a look.

Title: "Being John Malkovich"
Release date: 10/29/99 (limited)
MPAA rating: R
Overall rating: ***
Aprox. run time: 113 min.
Director: Spike Jonze
Writer: Charlie Kaufman
Stars: John Cusack, Cameron Diaz, Catherine Keener (as Maxine), John Malkovich

Original URL: http://www.geocities.com/reviewsbyjohn/Being_JM.htm
Added to blog site: 7/26/09

Computers take over the world

"Desk Set"
Overall Rating: ****


Last November--the first week, to be specific--marked the one year anniversary of my review service. Also, last October marked the thirtieth anniversary of Arpanet--the forerunner of the Internet. To celebrate both occasions (albeit somewhat belatedly), I thought I'd review an appropriate video: the 1957 classic about the encroachment of computers into our lives, "Desk Set."

Bunny Watson (Katharine Hepburn) is the head of the research department for the Federal Broadcasting Network and is a strong, intelligent, career-minded woman. So, when systems engineer Richard Sumner (Spencer Tracy) starts evaluating her department--shortly after a computer installation in payroll resulted in staff cutbacks--Bunny is concerned how Richard's work will affect her department. The question, however, soon becomes how his presence will affect her strained romance with network executive Mike Cutler (Gig Young).

The mark of a successful comedy is that it's funny--and "Desk Set" succeeds completely. The jokes vary in type, from sheer chaos of the Christmas party, to the subtle situation of Richard not noticing that Bunny is freezing during their outdoor lunch meeting--in New York, in November. While many romantic comedies suffer from a slow pace, "Desk Set" manages to keep the action moving.

The real strength of "Desk Set" is the cast. Joan Blondell, Dina Merrill, and Sue Randall are wonderful as Peg, Sylvia, and Ruthie, the women who work in the reference department. Two fairly small parts are very well played: Harry Ellerbe is great as Smithers--who works in the legal department and has a chaotic family life, and Ida Moore is excellent as the lady who, long ago, modeled the network logo--a regular visitor to the research department. Make no mistake, however, the star performances are delivered by Spencer Tracy and Katharine Hepburn. Hepburn is wonderful as Bunny; Hepburn always has a strong presence on screen, and her powerful demeanor works very well in this role. Tracy, though, steals the show--he is perfectly in touch with his computer geek character; in many ways, without trying, he helped define the type. Moreover, the two actors have great chemistry between them (it's not surprising that they made ten films together, nor that they had a long-standing romantic affair); here, their chemistry helps bring this odd couple together.

While the stars may be perfect here, the film as a whole isn't perfect. One minor problem is that the technology is too advanced: the computer does more than it seems like it should be able to do--particularly considering that the film is set in 1957. Perhaps this is nitpicking, and perhaps it would have been less noticeable to audiences of forty years ago, but it bugged me. I'd also add that the ending is a little unconvincing.

"Desk Set" is definitely safe for children. There are no sexual situations beyond kissing, no strong language, and no violence. The downside is that children--especially boys--probably won't be interested in an old romantic comedy. If you can get them to sit still, however, it's pretty safe.

When you think of taking a common fear and making a movie based on that fear, you'd normally expect a horror film, or at least a dark drama or science-fiction film. Nearly everybody worries that computers or robots will replace them in the workplace; it's a feature of virtually every job of the late 20th century. The genius of "Desk Set" is that it takes the pervasive fear--and uses it as the basis of a romantic comedy. The amazing part is that it works very well, and has held up for more than forty years despite the advance of technology.


Title: "Desk Set"
Release date: 1957
Not MPAA rated; Hays Code compliant
Overall rating: ****
Aprox. run time: 103 min.
Director: Walter Lang
Writers: Henry Ephron, Phoebe Ephron, William Marchant (play)
Stars: Spencer Tracy, Katherine Hepburn

Original URL: http://www.geocities.com/reviewsbyjohn/DeskSet.htm
Added to blog site: 7/27/09