The Black Cauldron

Tags

1980's, Animated, Disney, Fantasy, Grant Bardsley, John Byner, John Hurt, Nigel Hawthorne, Susan Sheridan, The Black Cauldron

Often forgotten in the wide spectrum of Disney movies and more frequently than not misunderstood because of its willingness to be dark, The Black Cauldron is in fact a rather excellent animated fantasy film.

In the mythical land of Prydain , Taran( Grant Bardsley) is a teenager who works as an assistant pig keeper with his guardian, the wise Dallben . Taran is a dreamer with ideas of being a warrior, but is often naive and foolhardy. One of the pigs he takes care of by the name of Hen Wen gets special attention, which Taran doesn’t understand at first. Though it becomes clear why Hen Wen is treated with such care when Dallben reveals a secret to the curious teenager . Hen Wen has the power of clairvoyance which puts her in a dangerous predicament. The ruler of Prydain is The Horned King( John Hurt), an evil demon who has his eyes set on discovering the mythical Black Cauldron. If he gets his hands on it, he can raise an army of the dead that will aid him in truly taking over the world.  fears that The Horned King would use Hen Wen to unearth The Black Cauldron and act out his diabolical plan for domination. sends Taran into hiding with Hen Wen, but Taran’s immaturity leads to Hen Wen being kidnapped by The Horned King’s minions. It’s up to Taran to rescue the pig. After infiltrating the castle inhabited by The Horned King, Taran helps Hen Wen escape but himself is captured. Thankfully along the way, he meets a host of characters who either aid him in his journey to stop the barbaric villain. There is the plucky Princess Eilonwy(Susan Sheridan), washed up and unlucky bard Fflewddur Fflam( Nigel Hawthorne) and unusual, fawning creature Gurgi( John Byner). Throw in dragon like creatures, three marsh witches and a group of underground fairies and the stage is set for adventure. 

There’s a rather epic feel to The Black Cauldron that’s reminiscent of The Lord of the Rings, and the two share a few similarities. A certain grandeur is here that adds levels of majesty for what it a film that’s really overlooked. I hope with this review I can bring The Black Cauldron to more notice among movie fans. While underrated, The Black Cauldron is far from flawless. At points, the tone can get a little scattershot and not quite know what to do with itself. Plus, some of the attempts at humour fall a bit flat and feel old hat. The story itself is standard swords and sorcery, but that shouldn’t be held against it because this movie is unabashedly dark and not afraid to be strangely mature and horrifying. Overall though and despite little foibles, it’s an undiscovered dark gem of a film that deserves a second chance and a new audience to appreciate what it was going for. The small quibbles shouldn’t detract from a Disney film with an overt difference and one that is often forgotten. When it goes for the creepy and menacing factor it definitely succeeds, due in no small part to the beautifully eerie animation and particularly The Horned King. The colours are moody and more subdued than most of Disney’s output, but is technically beautiful in their bleakness and sense of foreboding, with just enough light to bring hope. Scary and unnerving sequences abound in The Black Cauldron, it was after all the first animated film from The House of Mouse to revive a PG certificate upon release. Chief among the spooky and nightmarish scenes is the army of the dead. Anyone who has seen the film knows exactly which sequence I’m referring to and it still holds up as very disturbing and visually dazzling and dizzying. I’ll admit, The Black Cauldron is one of my favourite Disney films and mainly because it had the idea to go for something more grown up and not just pandering to little kids. The great Elmer Bernstein contributes a soaring, moody and wholly appropriate score that fits the fantasy like a glove. When the score hits the eerie heights, it’s really a thing of chilling beauty that doesn’t ignore the more rousing elements of the film.

A voice of largely English and upper crust voices bring their characters to life, though sometimes it can be a little too posh. Grant Bardsley is appropriately curious, adventurous and scrappy as our hero, while the soft voice of Susan Sheridan provides warmth and courage to the Princess Eilonwy. Nigel Hawthorne brings out distinction and humour as the bumbling bard swept along on the journey after being rescued from the dungeon; his voice is a case of it being amusing that he speaks so well and is so unlucky. John Byner uses an eccentric yet lovable voice to give life to the wild creature of Gurgi, who more often than not speaks in rhyme. He really gets the ups and down of the character well, showing both a cowardly nature and a growing loyalty. The voice you’ll remember the most though is the deep, gravelly tones of John Hurt as The Horned King. His voice booms with a menacing aura of authority and is truly spine chilling to hear. Without him as the voice, The Horned King wouldn’t work as a truly evil villain. Thankfully, the voice of John Hurt truly brings the monstrous demon to life to honestly scare the living daylights out of the viewers.

While immensely dark for a movie from a company marketed towards children, The Black Cauldron is definitely that but also a rousing fantasy adventure that maybe quite mature and shocking but has enough to make it a film that needs some re-evaluation.

Raiders of the Lost Ark

Tags

1980's, Action, Adventure, Alfred Molina, Denholm Elliott, Harrison Ford, John Rhys-Davies, Karen Allen, Paul Freeman, Raiders of the Lost Ark, Ronald Lacey, Steven Spielberg

Action/ adventure was given a new lease of life in Steven Spielberg’s Raiders of the Lost Ark ; a rollicking, entertaining tribute to old adventure serials with a classic turn by Harrison Ford and all the right ingredients for an energetic blockbuster. Raiders of the Lost Ark is truly one of those iconic films that never gets boring no matter how many times you’ve seen it. Trust me, this movie is simply irresistible.

The year is 1936 and rugged Indiana Jones(Harrison Ford), often refereed to as Dr. Jones or Indy, is an archaeologist/adventurer with a dry sense of humour, skill with a whip, fear of snakes and ability to think quickly on his feet. He works as a college professor when he’s not facing immense danger around the globe. We first meet him in the jungles of South America where he procures an artefact, faces down danger and meets his slimy rival René Belloq( Paul Freeman), who always seems to be one step ahead of him. Back at the university he teaches at, his friend Marcus Brody(Denholm Elliott) a museum creator approaches Jones with two American agents. As Indy has knowledge of ancient relics and cultures the U.S government wants his help in dealing with the growing power of the Nazis. It’s come to their attention that the Nazis are fixed on discovering the burial place of The Ark of Covenant; an ancient and innumerable chest that according to the Bible held the two stone tablets bearing The Ten Commandments. Also housed in it is immeasurable power that the Nazis wish to harness to further advance their cause. Jones worked with Abner Ravenwood, his old mentor and had a relationship with his daughter Marion(Karen Allen). Travelling to Nepal, he meets the tough talking Marion once more and learns her father is dead. She is now in possession of a headpiece that when used properly shows the whereabouts of the Ark. She isn’t too pleased to see Indy as he romanced her and then disappeared, which leaves him with a hell of a punch across the face on their reconnection. The fact that Marion has the key to discovering the Ark puts her in the firing line for trouble. This in turns leads the Nazis to her door, headed by the very creepy and sadistic Gestapo agent Arnold Toht(Ronald Lacey). Escaping and discovering the Nazi’s, along with Belloq are digging in Cairo, Indiana and Marion head there intent on stopping them. With aid from loyal digger Sallah( John Rhys-Davies), it’s up to Indy and Marion to stop the Ark falling into Nazi hands and being wielded as a devastating weapon on the world. 

Steven Spielberg directs this action adventure classic with panache, wit and a rip-roaring sense of entertainment and it ranks as one of his best films. You can clearly see the love and feeling of breathless action he infused Raiders with to make it so rightfully iconic. His infectious enthusiasm to recreate 30’s adventure serials transfers to the audience who are swept along with Indiana Jones in his quest to retrieve the eponymous artefact from the clutches of evil. Raiders of the Lost Ark bristles with excitement right from the celebrated opening and continues on with breathless action that also houses great characters and many instances that have become synonymous with pop culture. You’ve got that opening with Indy retrieving a golden idol from a cave that’s laced with booby traps( including one menacing boulder), a journey into the resting place of the Ark which is littered with snakes, Indy hilariously shooting a show off swordsman in a nonchalant manner, a scintillating truck chase sequence that puts the A in action and the unveiling of the Ark itself. It’s hard to just talk about one moment but I’ll do my best. The cinematography has a warm glow of yesteryear and just adds further to this exciting and escapist adventure that never leaves you. The visual effects still hold up and make the finale a sight to behold in both wonderment and shock. And one of the finest and most fondly remembered parts of this movie has to be the score from the maestro that is John Williams. I’ve long been a fan of his work and his score here is one of the reasons why. I mean you only need to hear a few notes of the now famous theme to feel chills on your neck and know you’re listening to greatness that embodies adventure, danger and just that giddy feeling of something magic at work.

Essaying the role of Indiana Jones is the incomparable Harrison Ford. He’s got the humour down, the intrepid feeling of adventure, plus charm and smarts to burn. Ford is compelling and it’s pretty damn impossible to imagine anyone else playing the part because he makes it his own with star quality, wit and a certain level of old school, heroic cool. It’s hard not to warm to Indiana Jones with Harrison Ford in such fine form and creating one of the most recognisable heroes of the silver screen. Aiding him is the beautiful but strong presence of Karen Allen. She portrays Marion as feisty and not afraid to rough and tumble; thankfully she has more to do that just a be a love interest. Not that her chemistry with Ford isn’t impressive( it’s extremely good), but it’s great to see that she serves a purpose here and can take charge when needed. A slimy turn from Paul Freeman makes Belloq a cultured yet rotten to the core adversary for Indy, while is creepiness personified as the Nazi agent with the most unnerving demeanour. Humour and a certain lovable nature comes courtesy of John Rhys-Davies, making the most out of his supporting role as loyal friend. The refined Denholm Elliott also stands out in a small role with his well spoken air and sense of a gentleman. Watch out for a young Alfred Molina in the opening scene as a treacherous tour guide who meets a grisly end after showing his true, deceitful colours. 

With compelling action, imagination, fine acting and a masterful director at the helm, Raiders of the Lost Ark is one of the most rip-roaring pieces of adventure entertainment you’re likely to see and trust me, you’ll never tire of it.

Steel Magnolias

Tags

1980's, Daryl Hannah, Dolly Parton, Drama, Dylan McDermott, Herbert Ross, Julia Roberts, Olympia Dukakis, Sally Field, Sam Shepard, Shirley MacLaine, Steel Magnolias, Tom Skerritt

Laughter, tears, joy and tragedy befall a group of Southern women in Steel Magnolias; a satisfyingly involving story of strength of friendship and celebration of women. Sporting a splendid cast of leading ladies and drama that’s peppered with comedy, Steel Magnolias has you laughing one minute and crying the next( and that’s what is so great about it.) Opened up from it’s stage setting, you have one beautiful movie.

In the Louisiana town of Chinquapin Parish; a group of women go through life’s ups and downs together, often in the local beauty salon. The women are no-nonsense mother M’Lynn Eatenton( Sally Field) , her spirited, type one diabetic daughter Shelby(Julia Roberts), beauty salon owner Truvy Jones( Dolly Parton), elegant widow Clairee Belcher(Olympia Dukakis), embittered and acidic grouch Ouiser Boudreaux (Shirley MacLaine) and new in town wallflower Annelle Dupuy( Daryl Hannah) . The film begins on the wedding of Shelby to lawyer Jackson( Dylan McDermott). Despite Shelby experiencing a hyperglycaemic shock in the morning, she is helped by her mother and friends and the wedding goes wonderfully. Meanwhile, Clairee and Ouiser spar constantly even though deep down they are close friends. Annelle goes through numerous changes, first from shy, woman child to more confident and sassy then overly zealous. Truvy has to contend with her husband Spud(Sam Shepard) being out of work and not showing her much in the way of affection. The big news is that Shelby decides to have a baby, despite the difficulties it could have on her body. M’Lynn is worried about her daughter’s health and isn’t exactly thrilled when Shelby announces her pregnancy. Shelby’s father Drum(Tom Skerritt) is happy for her and to an extend M’Lynn is, though the maternal terror she feels is still nagging at her as she comes around to the idea of it. Shelby gives birth to a baby boy, but tragedy may lie ahead for this wilful young lady. Through the tribulations of life, the Southern Belles band together with support, wisdom and a shoulder to cry on as they live up to the title of being as beautiful as flowers but tough and resilient when the occasion calls for it. 

Herbert Ross is on hand for sensitive direction and a feeling of genuine care for the source material, that opens out the original play setting effectively. He shows great affinity for fleshing out these fascinating women and all that they go through. These are the kinds of characters it’s easy to warm to as you can more often than not, see something of yourself in each of them. Yes you can argue that the film knows to manipulate emotions and does have sentiment, but since when is that actually a bad thing? Steel Magnolias earns the laughs and tears because of its excellence in terms of characters and feelings. I don’t mind things being weepy or sentimental, as long as they do it with style and are well executed( which this movie definitely is.) I think it’s unfair to just refer to it as a chick flick, as it has a lot more going for it than just that label. For one, it’s a celebration of women’s strength and unity in times of crisis that truly knows how to move the audience. And the humour, which is plentiful, goes alongside the more serious stuff nicely. Both compliment the other and know how to really impress the audience in this drama about how friendship can get you through the tough times and sometimes laughter and tears do mix. It’s pretty impossible not to get swept into the dramas and events of Steel Magnolias; it’s an emotional but rewarding ride that is peppered with nice humour and it’s heart being firmly in the right place. Seriously, if you don’t shed not one tear during this movie, your tear ducts have clearly been removed or you’ve got a swinging brick where your heart and compassion should be. A gentle yet well suited score really benefits Steel Magnolias and goes along efficiently with the big occasions the film covers, from wedding to Christmas and then Easter. 

One of the finest assets in Steel Magnolia’s arsenal is the sublime cast of mainly women. Here’s a group of actresses clearly relishing these relatable and well drawn characters that they breathe great life into. Heading things is the ever impressive Sally  Field who truly shines in her dependable way and gets to display the full gamut of feelings. She’s got the varying emotions of her character just right from deep love for her daughter to grave seriousness, immense strength and tenderness in the face of tragedy. Field has always been great at playing motherly characters and she doesn’t disappoint here with a performance that ranks up there as one of her finest, particularly in a late devastating scene that will move even the hardest of hearts. Seriously, Field truly gives it her all as an opinionated yet caring mother terrified of what might happen to her frail daughter. Julia Roberts, who was a year away from super stardom and following memorable work in Mystic Pizza, is beautifully vibrant, genuine and vulnerable as the frail Shelby, who doesn’t want to let her medical condition rule her life and takes drastic action despite warnings of what it could do. The character could have been too much of a martyr, but Roberts wonderfully avoids that with a wilful, delicate and passionate performance that showcases her undeniable star charisma and ability. A lot of the humour is derived from an on form Shirley MacLaine, who spits out bitchy one liners with relish and feeling. You’ll definitely have fun watching her as the town’s meanie who is actually a lot more caring than she cares to let on. Backing her up in sassy fashion is Olympia Dukakis, who is a hoot as the classy but not above fun Clairee. MacLaine and Dukakis obviously enjoy working together as their characters clash often but then make up in often humorous ways. Dolly Parton adds pearls of wisdom and an infectious exuberance and optimism that only she can provide. It’s a treat seeing the multi talented Parton here. Daryl Hannah, decked out in gawky glasses and coltish demeanour, provides laughs and a certain homespun set of foibles. Her character is always changing but her heart is always there and Hannah plays that splendidly. As the women are so indomitable and cover most of the film with their stories, the men are relegated to the sidelines. Though saying that, Tom Skerritt gets quite a number of fine moments to shine in naughty fashion, while Sam Shepard has a fine scene opposite Dolly that’s truly touching. Dylan McDermott is unfortunately saddled with a part that really doesn’t ask for much except being a handsome suitor to Shelby. 

Heartfelt, bittersweet and brilliantly acted and scripted, Steel Magnolias is a sensational production that makes you feel so many different things. I wish you all a great time with this gem of a movie that truly touches you, makes you laugh and is enjoyable. 

The Blue Lagoon

Tags

1980's, Adventure, Brooke Shields, Christopher Atkins, Drama, Leo McKern, Randal Kleiser, Romance, The Blue Lagoon

A romantic drama that is more remembered for the skin shown and hidden from young Brooke Shields and Christopher Atkins, The Blue Lagoon is hardly what you’d call intelligent viewing. It gained negative reviews on release but was a big money maker at the box office. The cinematography and music are the big highlights here, but The Blue Lagoon is the kind of movie you’d call something of a guilty pleasure though the flaws shown are noticeable.

In the Victorian era, young cousins Emmeline and Richard are on a boat. They are journeying across the ocean but a fire onboard soon interrupts it. The children are separated from Richard’s father and end up in a rescue boat with boozy cook Paddy( Leo McKern) . After days of drifting, they come across a desert island. Exploring, it appears they aren’t alone and that a tribe resides on the other side of the island. Paddy forbids both children to visit there, while teaching them survival skills in the process. They are left to fend for themselves after Paddy has a drunken binge and drowns. Years later, the two have grown into athletic, attractive teenagers( and are now played by Brooke Shields and Christopher Atkins). They’ve learned to be self-sufficient and have fashioned a hut to live in. Richard spends most of his days hunting fish for food and exploring, while Emmeline admires the beauty of her surroundings. With both not having much education and having been marooned from civilisation for a long duration, they often don’t understand what they are feeling in any shape or form. This is most prominent in terms of attraction to each other, as they don’t know how to deal with their raging hormones and changes in their bodies. Puberty is hitting for Emmeline and Richard, though they are not really aware of what entirely it is. Yet as their feelings grow into love and they discover the joys of sex, they aren’t prepared for pregnancy or even a chance of survival from the outside world.

Randal Kleiser, of Grease fame, is the director of The Blue Lagoon. He does a decent job, though his overall approach is uneven and choppy. I feel like big parts of the story have been cut out and that the adventure which was promised in pasts wasn’t there. The main point everyone mentions is the sexual content between Brooke Shields and Christopher Atkins. Shields was 14 at the time of filming and Atkins was 18. Atkins did his own nude scenes, while Shields had a body double and had her hair stuck to her chest to cover her modesty. While the sexualisation of the two is questionable and would certainly not be allowed today, it’s the fact that film wants to be a showing of natural love but is clearly peek a boo stuff involving young people that stands out. Sex in itself is something natural but The Blue Lagoon treats it in a way that’s on a pedestal yet attempting to seem to be classy . In actuality, The Blue Lagoon is not classy because of the film not having much in the way of realism or sense and is obviously wanting box office returns with the promise of revealing content. I don’t understand how it expected to be one thing when it’s actually the other, marketing might be to blame. The Blue Lagoon wants to be sexy and somehow chases and discovers it can’t be. It’s not difficult to see why the film raised eyebrows on release and is still spoken about now. I must say while there is nudity on show, large parts of it are obscured and films nowadays definitely display more than what is shown in The Blue Lagoon. But I can understand the stir of this film back in 1980, I doubt something like this would be made today.

The script is pretty risible, trying to almost be a sexier Swiss Family Robinson while promoting itself as being a natural and free expression of burgeoning desire. It leaves the stars uttering lines that raise laughter rather than sweetness or sexiness. Plus, certain plot points like the tribe that are on the other side of the island are practically all but forgotten and blink and you’ll miss it. It’s as if someone just cut out that part and thought it would help( in reality, it doesn’t). The best things in The Blue Lagoon are the cinematography and music, which actually provide some feeling of atmosphere. Néstor Almendros is the cinematographer and his use of natural lighting is inspired at capturing the romanticism of paradise and supplying us with an array of breathtaking vistas. He breathes life into the film and shows the set location of Fiji to beautiful effect. Aiding the cinematography and the film itself is the lush music that is simply gorgeous. It has such a sweeping and intoxicating aura to it that is better than the film it belongs too. That can be said of both aspects as you do have to admire them, but obviously wish the film had more to involve us.

The acting from Brooke Shields and Christopher Atkins was lambasted on release. Yet while neither is perfect or especially earth shattering, they aren’t horrendous and have some moments to shine. It’s the writing that doesn’t give them a lot to do, often making the characters sound unconvincing. I know they are supposed to be uneducated and unaware of things, but they come off as dim witted. Thankfully, Shields especially has enough charm and presence to compensate this. Not amazing by most standards, Shields, with her prominent eyebrows and dazzling eyes, at least suggests her character’s changing mindset and unsure feelings with some semblance of conviction, As I’ve said, Shields is hardly delivering Oscar worthy work here, but is decent enough and her face is made for the camera. Christopher Atkins comes off less well, mainly seeming overly petulant or over the top . I think both where cast for their attractiveness that is hard to deny, but they are stranded with a story that doesn’t allow much for them to work with. At least they are both watchable (Shields in particular) , considering the main focus of The Blue Lagoon is on them and they are mainly required to be attractive and lounge about in tropical surroundings. Both became stars, with Shields becoming a face of the 80’s and teen idol in the process. Leo McKern, in the time he’s seen in the film, has bluster and fear but most importantly he does move the often slow movie forward.

So thanks to delightfully arresting cinematography, gorgeous music and wonderful setting, The Blue Lagoon has at least three things going for it. Despite its dopey logic and wanting to have its cake and eat it, the film is at least watchable and has the handsome pairing of Brooke Shields and Christopher Atkins.

The Seventh Sign

Tags

1980's, Carl Schultz, Demi Moore, Drama, Jürgen Prochnow, Manny Jacobs, Michael Biehn, Peter Friedman, Supernatural Thriller, The Seventh Sign

A mostly engrossing apocalyptic drama/ thriller with religious and mystical overtones, The Seventh Sign didn’t do good business on its original release. But while it is flawed, there is also plenty to praise in this imaginative film that has a gloomy yet hopeful tone and a convincing central performance from Demi Moore.

Around the world, strange phenomena is occurring. In Haiti, all marine life dies in the ocean. In Israel, a desert village that was seized by terrorists is found covered in ice. Meanwhile, in Venice, California, Abby Quinn(Demi Moore) is a young woman who is looking forward to giving birth in two months. She is supported by her decent and hard working husband Russell(Michael Biehn), but she can’t shift feelings of terror as result of an unsuccessful first pregnancy. She’s also been experiencing vivid dreams of ancient times in which a man is struck across the face and asked “Will you die for Him?” Abby and decide to rent out their garage apartment, while is currently on a court case defending a young man with Down’s Syndrome who killed his incestuous parents and claims it was the will of God. The lodger they find is named David(Jürgen Prochnow), a quiet man who seems to know things before they happen and things he couldn’t possibly know. The thing is he is the man who has been present at each of these disasters and is the instigator who breaks the seals that start them. It becomes apparent that the unusual events around the world are part of a biblical apocalypse. There are seven signs referenced in the holy book and David seems to be the bringer of them. His presence begins to unnerve Abby and with more unusual portents of the apocalypse swirling around, she becomes fearful for the life of her unborn baby. It transpires that everything is somehow linked and comes back to Abby and her baby. Around this time, a mysterious priest, Father Lucci(Peter Friedman) appears, having followed the signs and his means may not be that altruistic. Abby confides in Avi( Manny Jacobs) a Jewish student training to be a rabbi, who is familiar with religious texts and helps her to unearth more of the apocalyptic future. But can Abby figure it all out before chaos reigns and her baby is born? And just how does her and the baby she’s carrying slot into the end of the world?

Carl Schultz directs as efficiently as he can and fashions out a fascinating thriller, with deep religious overtones . Certain areas of it require work, but Schultz gives it his all with the material. Visually, the moody cinematography is sublime at bringing a level of gloom into proceedings and a strange mystical aura hovers over it. The Seventh Sign is overall a very creepy film that’s also surprisingly deep in regards to the Apocalypse. It grounds the fantastical events and signs in a real world setting that is truly well executed and not without thought. Biblical prophecy and some elements of Jewish religion and mythology are what keeps The Seventh Sign really going. The sequences of destruction are memorable and unnerving( the blood red moon and a climactic earthquake are highlights , while not going full on overboard with effects). Saying this, I would have preferred if the film had a bit longer on the running time as it may have fleshed out the story even more and elevated it to masterful. As it stands, The Seventh Sign is still a watchable mix of religious drama and supernatural thriller. Mystery is kept reasonably high as Abby attempts to decipher visions and omens in order to save her baby from something she thinks is sinister. The liberal helping of confusion and reason may be here, but The Seventh Sign still holds your attention, despite the logic sometimes lacking for my liking. The hopeful colouring to the film redeems a bit of it with a certain message of hope stirring emotions. I very much enjoyed the Gregorian chanting and synths of the score by Jack Nitzsche. He is skilled at really bringing out that unusual side to the movie through his music and I for, genuinely liked how effectively used it was.

At the heart of The Seventh Sign is Demi Moore with a moving portrayal. She’s got a certain relatability to her here that goes a long way in earning audience sympathy. We witness her frightened mind and burgeoning realisation at the dark situation at hand, with Moore beautifully getting across her desperation and confusion with aplomb. Moore ensures that we emotionally attach ourselves to Abby and her journey into the unknown as the End of Days rages at her door. Her eyes have a deep sadness and vulnerability to them that is often on display in gorgeous close up, but it’s a bubbling strength and bruised resilience that truly shines through for Demi Moore. Simply stated, Moore is the lynchpin and emotional core of The Seventh Sign that is what sticks in the mind after the credits. Michael Biehn is fine as the supportive but concerned husband. The role isn’t much of a stretch but Biehn plays it well. Jürgen Prochnow, of intense face and strong jaw, brilliantly plays the dichotomy of David. He’s both incredibly menacing yet never in your face, but then deceptively gentle and knowledgeable. It’s a fine balancing act that he pulls off admirably. Also on the talk of dichotomy, Peter Friedman, though he appears late, is also a good example of walking between welcoming and very creepy. Manny Jacobs is suitably knowledgable as the young student that Abby comes to rely upon. 

A flawed film that could have benefited from a bit more on the running time to really get to the nitty gritty of it, The Seventh Sign is nonetheless a very entertaining and unusually thoughtful film.

Scandal

Tags

1980's, Based on a true story, Bridget Fonda, Britt Ekland, Drama, Ian McKellen, Jeroen Krabbé, Joanne Whalley-Kilmer, John Hurt, Michael Caton-Jones, Scandal

A dramatisation of the Profumo Scandal of the early 60’s, Scandal is a stylish and well acted evocation of the time and excellently focuses on the nature of guilt and a powder keg situation and who suffers and rises as a result of it.

In 1959, society osteopath and charming man Stephen Ward( John Hurt) meets the beautiful young showgirl by the name of Christine Keeler(Joanne Whalley-Kilmer). Immediately entranced, he asks her to live with him and she accepts. Their relationship is mainly platonic as he schools her in the art of moving in higher circles to which he aspires. After a makeover, Christine is ready for the future as Ward introduces her to wealthy gentlemen who she can spend the night with. Joining her is the saucy and fun loving fellow showgirl Mandy Rice-Davies(Bridget Fonda), who goes along with the fun of the time and enjoys the attention. At first, the girls are in it for the fun and Stephen is their sponsor as they share the beds of powerful men and he hears details. Keeler in particular is between the sheets with most notably Minister of War, John Profumo( Ian McKellen) and alleged spy Eugene Ivanov( Jeroen Krabbé) . An inevitable fallout begins when Christine feels used by the whole situation and you can see that Ward is realising he is out of his depth. Scandal engulfs everyone when an angry and dejected Christine sells the story to the papers, setting off a tragic set of events that brings down the Conservative Government and embarrasses the Establishment in the early 1960’s.

Michael Caton-Jones has the right feel for the time where you can sense that times were for the changing and the Sexual Revolution was about to explode. We also get insights into the people behind the headlines and a bit of insight into this revealing affair that captured everyone. Parts of the film drag on occasion and can get a bit dull, but the dark second half more than makes up for any langurs. I would have liked to have seen some characters a little more such as Profumo and , but when they were on screen they were good to view. A tiny bit of expansion is what I wanted just a bit more of, though I understand that the story was mainly focused on Ward. Although it deals with affairs and sexual encounters, Scandal isn’t overtly sleazy. Yes there is nudity and some unusual activity going on, but it doesn’t feel cheap and exploitative because of this immensely watchable true story that was quite the event in its day and shook things up on a massive scale. Plus, I think it skewers the whole myth of those higher up in society being above others in terms of decency, when in fact they are just as bad as anyone else. And who can forget the allure of Christine and Mandy getting ready for a night out; eyeliner going on and stockings being applied, to the sound of ‘Apache’? On a visual level, the glamour and chance of new promise that started with the 60’s is rendered beautifully.

The ever excellent John Hurt turns in one of his most underrated performances as the eventual scapegoat in the spiralling situation. While Ward was no angel, he was used as whipping boy and discarded by the friends in high society who themselves were far from lily white. John Hurt masterfully plays to the flaws of this charming man, but finds sympathy to his eventual fate that befell Ward, who paid for his attempts to move in the right circles. It’s a hard act to pull off, but Hurt does it with considerable skill in finding the lonely heart of a man undone by his actions and given the lions share of blame. Joanne Whalley-Kilmer project a feeling of naive innocence to start and then progress to unearth a sexy and alluring confidence. Whalley-Kilmer is a sensual presence on screen with her dark hair and doe eyes shining. Her biggest triumph is the mystery she encapsulates when playing Keeler; sometimes you are unsure of what she is thinking or likely to do. Through subtle flashes, we view a young woman at the centre of controversy and reacting in all sorts of ways to it.

A wonderfully and impeccably cast Bridget Fonda is a high point; clearly savouring her role as the sexy Mandy with whom Christine finds herself friends with. She’s got the confidence, razor sharp wit and slinky glamour that is superbly put to great use. It’s her who gets the humour and good lines in Scandal and makes the most of them. Although I would have liked to have seen more of him, Ian McKellen is reliably good as Profumo, showing a man paying for his desires and jeopardising everything he’s worked for in return for the company of a beautiful young woman. The same can be said of Jeroen Krabbé, though it’s Mckellen who emerges as the most interesting of the two. A sexy supporting part is afforded to Britt Ekland, who is a stunning beauty and makes the most of her short time on screen.

A well directed and well cast look at The Profumo Affair, Scandal is intriguing and inviting in its exploration of culpability and Parliamentary ruin.

The Company of Wolves

Tags

1980's, Angela Lansbury, David Warner, Fantasy, Horror, Micha Bergese, Neil Jordan, Sarah Patterson, Stephen Rea, The Company of Wolves

Director

Neil Jordan

Starring

• Sarah Patterson as Rosaleen
• Angela Lansbury as Grandmother
• Micha Bergese as The Huntsman
• David Warner as Father
• Stephen Rea as Young Groom

A visually arresting and thematically rich dark fairy tale from the pen of Angela Carter and immense craftsmanship of Neil Jordan, The Company of Wolves sucks you right into its world of haunting dreams and metaphors that will be impossible to shake once you’ve viewed them.

The Company of Wolves takes place almost exclusively in the dreams of a young girl by the name of Rosaleen. She dreams of living long ago in a village, surrounding by a foreboding forest. Her older sister is killed by a wolf, sending the village into shock. Her Grandmother, who is wise and filled with stories, arrives and begins informing the sheltered Rosaleen on dark subjects. She explains that her sister wasn’t taken by any wolf, but a werewolf. She goes on to warn her granddaughter of not straying from the path in the wood and keeping distance from men whose eyebrows meet in the middle. Grandmother also gifts Rosaleen with a red shawl, which she almost always wears. At this time, Rosaleen is fascinated by the stories, which include one about a husband going missing. When he returns, his wife has remarried and his rage comes flying out in the form of a transformation into a wolf. Despite the warnings from Grandmother about wolves and that many of them are hard to tell in human form, Rosaleen can’t help but be curious about the opposite sex and alternates between running from growing up and grasping for it. One day, she is sent to visit Grandmother meaning she must take the path through the forest. Let’s just say things get interesting and many things Grandmother told her come into fruition once she meets a mysterious and most unusually seductive Huntsman.

Neil Jordan is the perfect director for The Company of Wolves, due to his skill with visuals and also haunting atmosphere. Both are very much in evidence here as is his wise decision to focus on story rather than just scares. Don’t get me wrong, The Company of Wolves is most certainly an adult horror, but it has more thoughtfulness going for it than you’d think. In short, Jordan is at his best with this movie. The Company of Wolves chock full of symbolism and Freudian overtones, plunging us further into the mind of a young girl who is both excited by and terrified of her own burgeoning sexuality. Carter, adapting from her own spin on fairy tales that was entitled ‘The Bloody Chamber’ and collaborating with the visually inclined Neil Jordan, are a dream team at incorporating the sense of innocence being lost and the feverish emotions of puberty, when the world seems alien to a person. As a viewer, you are taken on quite the experience that slowly intensifies and gathers staggering momentum in terms of thematic material and. The sexuality angle and subject of changing is never far from the screen, with lycanthropy standing for the body altering as you grow up and the way that Grandmother warns of not leading the path( in other words, straying into sin).  It’s not a movie for everyone as the narrative and structure may confuse certain viewers. But for those willing to see a dreamlike horror fantasy that covers curiosity, sexuality and darkness, you should be in for a treat. The effects, mainly in the transformation scenes, use animatronics which might not have the smoothness of CGI, but at least have something more unusual and downright creepy to them. I found myself getting very unsettled as people morphed into werewolves and screamed out in pain as their bodies underwent a severe transformation, which contains all member of messages and interpretations. The eerie sets resemble something from a Hammer Horror and are accentuated by a red heavy colour palette, combining danger, passion and death into an already heady cauldron. A spooky and bubbling score from George Fenton further amps up the unsettling nature of the stories and the dreamlike way they are presented to us.

Young Sarah Patterson possesses a radiant innocence and naivete that is played well and you can see her mind in overdrive as the temptation of adulthood comes calling to her. With her soft voice and angelic face, she is an ideal vision of Little Red Riding Hood in this passionate and very dark fable. Angela Lansbury is on scene stealing duty; capturing a loving kindness and uneasy creepiness of the wise Grandmother who is full of story and warning. Lansbury is a pro in every sense of the word and I loved her eccentricity and slightly off kilter appeal in The Company of Wolves. Micha Bergese has this downright slippery and creepy vibe that is employed to fine effect as he slinks his way around Rosaleen and tempts her. It’s all in the voice and the eyes with him. David Warner is the young girls father in a supporting role, while Stephen Rea makes his story undeniably unnerving and spine-chilling. But by far the biggest star is the atmosphere of it all.

A dark and menacing variation on Little Red Riding Hood and a commentary on reactions to coming of age, The Company of Wolves spins a compelling web of creepy fairy tales and evocative material that you’ll find yourself thinking over for a long time.

Escape from New York

Tags

1980's, Action, Adrienne Barbeau, Donald Pleasence, Ernest Borgnine, Escape from New York, Harry Dean Stanton, Isaac Hayes, John Carpenter, Kurt Russell, Lee Van Cleef, Science Fiction

The ever wonderful Gill invited me to take part in a blogathon to honour Kurt Russell and I simply couldn’t refuse.

Director

John Carpenter

Starring

• Kurt Russell as Snake Plissken
• Lee Van Cleef as Bob Hauk
• Ernest Borgnine as Cabbie
• Adrienne Barbeau as Maggie
• Harry Dean Stanton as Brain
• Isaac Hayes as The Duke
• Donald Pleasence as the President

John Carpenter’s science-fiction action film Escape from New York is rightfully held in high regard for its vision and plot. And with atmosphere, imagination and a bad ass lead character to boot, it’s hard to disagree.

The year is a then futuristic 1997. Manhattan Island has been turned into a maximum security prison where once you go in, you never come out. In the main area that was once the central hub, anarchy reigns supreme with violence and destruction. When the President’s plane is hijacked and he crash lands in Manhattan, he is taken hostage by the local crime boss The Duke and his goons. He was supposed to be attending a peace summit with the Soviet Union, but that goes completely out the window with the events that unfurl. Sneaky and manipulative Commissioner Bob Hauk then strong arms the most unlikely person ever to rescue the President from an almost certain death. That person is Snake Plissken, a cynical ex soldier, serving time for theft. Snake is understandably not at all on board with this plan. But after being told that if he rescues the President within 24 hours he could be pardoned, he accepts reluctantly. Though Hauk makes sure he will do it as he has micro explosives implanted in Snake’s neck that will detonate if he doesn’t complete the mission. Hauk knows that Snake would use the opportunity to escape but has him by a tight leash now. With time ticking away, Snake enters the city where he encounters violence from various factions and some assistance by a rag tag group of renegades. They consist of a joking cab driver, hard edged lady and know all.

John Carpenter keeps events imaginative and engaging, with his ingenuity on clear display. I’ve always admired what he brings to a movie and he has the story be one that is very taut and entertaining. Some will say that the film has dated parts, which it does in areas, but the anachronistic touches really add to the oddball personality of the film that it isn’t easy to see why it’s a cult movie. Carpenter plays up the outlandish aspects of the story and the desecration of humanity, mainly in the case of Snake and his no cares attitude towards everything. On the visual front, the practical effects have aged well, with the shots of New York through a futuristic lens being particularly inspired. We get a grimy dystopia to witness and one that has certainly influenced many a film since. Escape from New York is often billed in some quarters as an action movie(which in many cases it is), but for me it’s more about the moody atmosphere than anything else. The cyberpunk echoes and vision of a world in free fall really make sure that Escape from New York is a film to remember. John Carpenter himself provides the pulsing electronic score that compliments the futuristic setting and has just the right notes of darkness there too.

Kurt Russell completely owns the screen as the growling, scowling yet sardonically witty bad ass that is Snake. Russell provides the cynicism and swagger of a man who doesn’t believe in anything and is proud of it. He is ironically the last person you’d think of to rescue a president and that is what ultimately drives the plot. Seriously, Snake ranks as one of the most charismatic and bad ass anti heroes there is. Lee Van Cleef is on nasty form as the scheming and controlling Comissioner who uses Snake to his own advantage. Ernest Borgnine, Adrienne Barbeau and Harry Dean Stanton flesh out the crew that Snake falls in with excellently.With some serious style, Isaac Hayes rocks it portraying the crime boss who stands in the way of Snake succeeding. And there’s Donald Pleasence appearing as the President, who it is revealed is not as squeaky clean as he seemed.

Exciting, inventive and engrossing, Escape from New York is John Carpenter at his imaginative and full blooded best, aided by a fine performance from Kurt Russell as one of cinema’s best anti-heroes.

Half Moon Street

Tags

1980's, Bob Swaim, Drama, Half Moon Street, Keith Buckley, Michael Caine, Nadim Sawalha, Sigourney Weaver, Thriller

The quite fabulous Gill is celebrating the career of Michael Caine with a blogathon about him. Naturally, I was more than happy to take part in doing this and I have chosen Half Moon Street to review.

Film Title

Half Moon Street

Director

Bob Swaim

Starring

• Sigourney Weaver as Dr. Lauren Slaughter
• Michael Caine as Lord Bulbeck
• Nadim Sawalha as Karim Hatami
• Keith Buckley as Hugo Van Arkady

It may be a mixed bag in various aspects, but the dramatic thriller that is Half Moon Street is very watchable and has its moments. It most benefits from the work of Weaver and Caine and what transpires between them more than anything else.

Dr. Lauren Slaughter is an American research fellow residing in London and working at the Arab-Anglo Institute. Slaughter has a PhD from Harvard and has spent a number of years doing field work in China. She is smart, driven and completely frustrated with her job at the moment. Partly, this is due to the ingrained attitudes of men being superior within many in the workplace. Though the job is something she is immensely skilled at, it doesn’t pay well enough and she is struggling with her low wages and is living in a bed sit, that leaves a lot to be desired. Lauren doesn’t know how she’s going to feel at all comfortable in both work and personal life. Her annoyance at events continues as something she wrote is plagiarised by a higher up colleague and she isn’t considered for a prestigious study in Kuwait. One day, she receives a video in the post. It details the Jasmine Agency; an escort agency for wealthy clients, many from the Middle East. Lauren decides to moonlight as an escort for money so she can live without worry and have some semblance of power. In the escorting work, she finds more control over men and independence than she does at her job at the Institute. Her attitude towards things is one of cool confidences, but one particular date makes an impact on her. She meets Lord Bulbeck, a diplomat who is involved with Middle Eastern affairs. The two hit it off and soon a genuine relationship that is more than just sex is developing for them. They are compatible in viewpoints and humour, plus both are somewhat outsiders in one way or another. But it was no accident that Lauren was set up with Lord Bulbeck. A hidden group is monitoring events between the couple and is using both as pawns in an effort to stop Bulbeck in his attempts to forge a peace deal between Arabs and Israelis. Both are not aware of what is bubbling underneath their budding romance.

Bob Swaim is a good director and his sense of style is on display in Half Moon Street can be viewed. But he often over complicates things by trying to say too much with the story and needlessly dragging out parts of it. On the negative side, the film itself takes too long to bring the thriller element out into the open. There is suspense that it manages when the danger hits, but the attempts at mystery feel flat and tacked on. If the thriller areas had been addressed earlier on and given more footing in Half Moon Street, it may have been a different story for the movie. Onto the positive notices and Half Moon Street does have a good few. The script, while requiring several leaps of faith, does have something to say about the workplace and why someone like Lauren Slaughter would turn to an escort job to keep afloat. The most impressive aspect is the relationship between Slaughter and Bulbeck; they have a great affinity with each other and you do buy into their attraction to the other. I liked watching two fine actors create this relationship with each other on screen and do it justice. The material is lifted thanks to the script but mostly the stars. An exotic flourish in the music score, that gets romantic as the characters become closer is exemplary in doing the job of crafting atmosphere in a movie like Half Moon Street.

Whatever faults Half Moon Street has, the performances by Sigourney Weaver and Michael Caine are just right. Weaver has this cool and detached attitude, partnered with a quick wit and a bemused yet sly smile. She really plays the role of Lauren Slaughter very well, balancing the independence and sexiness of a woman getting some control in her life and scoffing at chauvinistic behaviour. Matching her is Michael Caine with a lot of charm and intelligence. There’s a real twinkle in the eyes here and his work as Lord Bulbeck reflects a man of great influence and down to Earth affinity. It helps that both Weaver and Caine share an immediate chemistry with each other as love blooms for the characters. You really believe them together as a couple and that’s really down to the actors and what they accomplish, even if the movie lets them down in many ways. In supporting parts there is Nadim Sawalha and Keith Buckley as possibly shifty men who surround Lauren in their own ways. Both don’t have much to work with however, with the lion’s share of things going to Caine and Weaver.

A movie that can be both tedious and extremely gripping depending on which way it’s going, Half Moon Street elicits fine work from the two main stars and has some atmosphere of which it can be proud of.

A Christmas Story

Tags

1980's, A Christmas Story, Bob Clark, Comedy, Darren McGavin, Drama, Jean Shepherd, Melinda Dillon, Peter Billingsley

Film Title

A Christmas Story

Director

Bob Clark

Starring

• Peter Billingsley as Ralphie Parker
• Darren McGavin as Mr Parker
• Melinda Dillon as Mrs Parker
• Jean Shepherd as Adult Ralphie

A warm-hearted, funny and overall perennial Christmas classic, A Christmas Story is required viewing at this time of year.

It is the run up to Christmas in the early 1940’s and nine-year-old Ralphie Parker is an excitable boy. The one thing in the world that he wants for Christmas is a Red Ryder BB gun. So he sets in motion plans to convince everyone he should receive his desired gift. The problem is that it isn’t as easy as that as his wish is greeted with the remark ‘You’ll shoot your eye out.’ His eccentric family; a grumbling father who prides himself on , a caring yet firm mother often keeping the peace and an awkward little brother, provide a lot of the humour present. Ralphie attempts to persuade his parents, his teacher and even Santa that the Red Ryder BB gun is the best gift, but finds himself hitting stumbling blocks a long the way. Between dodging the local bully and the various annoyances caused by grown-ups, Ralphie attempts to make his plan a success. Along with other vignettes, we follow Ralphie in his quest to get that treasured toy gun in any way possible for his young mind.

Bob Clark is the inspired guy directing this seasonal favourite with love and appropriately from a child’s point of view. It’s a credit to him and the winning screenplay that Ralphie doesn’t become some whining brat, instead being a little boy with a big imagination who desperately wants that Red Ryder BB gun . This is one of many things that really creates such a warm atmosphere, as we can all see ourselves a little in Ralphie and his insatiable love for the gift he wants. A Christmas Story is essentially a rumination on the adventures of childhood and how everything looks through youthful eyes. dares, games and observations on everything around it are all here for us to enjoy and also reflect ourselves on our own adventures in the younger times of life. With added insight also given info how family can be quirky but no matter how strange, they matter at the end of the day. The framing device of an adult Ralphie narrating his campaign to get his desired present is inspired and the often wry but still excited words we hear, still let us remember the kid that’s inside all of us. There is a very personal slant to the film as it is narrated by Jean Shepherd, whose semi-autobiographical book was the basis for the film. A Christmas Story is extremely successful at getting to the heart of what it means to be a kid; how things seem a big deal when you’re little, how events can seem unfair but can pan out well in the end and how Christmas plays such a big part of it all. We’ve all surely felt like Ralphie at one point or another with that one special present we lust after as if our lives depended on it? And we’ve all experienced what we deem to be unfair treatment and behaviour that seems strange from adults, best envisaged in unusual scenes that highlight the fears of Ralphie. That’s why A Christmas Story resonates so beautifully with me and almost everyone else who sees it; the fact that it is not afraid to tread into moments of darkness, before bringing it back to fun and lightness with adventure coming through again. And talk of memorable moments in a movie; A Christmas Story boasts plenty. From the leg lamp that Mr Parker wins and proudly displays in the front room to Ralphie’s friend getting his tongue stuck to an icy lamppost  as a dare, there’s no shortage of parts to love about A Christmas Story.

Our main cast is totally amazing and so well suited to their roles, cleverly embodying them with a great deal of fun. Peter Billingsley is marvellously engaging as the protagonist of Ralphie. Everything revolves around him and the young Billingsley, with his large eyes and wonderful facial expressions, gets across what it is like to be a kid wanting something so desperately. You really can’t see anyone else playing Ralphie as Peter Billingsley is so good at it. And we really want him to get that Red Ryder BB gun because of how well and how relatable Ralphie ultimately is. Darren McGavin is exceptional as the serious and often gruff father who does love his family, he just doesn’t show it enough. The serene and protective side of the family comes with the lovely Melinda Dillon as the mother, whose support and doting are balanced with her degree of fairness and quiet authority. Having Jean Shepherd be the narrator was a fantastic choice as his voice is so full of both childlike glee and an adult’s view of things. It works on so many levels within A Christmas Story and is yet another reason to love it.

A fun evocation of nostalgia, the awkwardness of childhood and above all Christmastime, A Christmas Story lives long in the mind and heart. You can watch this movie every time it is near the December 25th and never get bored, due to the spirit and love it has.