Watership Down

Tags

1970's, Adventure, Animated, Denholm Elliott, Drama, Harry Andrews, John Hurt, Martin Rosen, Michael Graham Cox, Richard Briers, Watership Down, Zero Mostel

Director

Martin Rosen

Voice Cast

• John Hurt
• Richard Briers
• Michael Graham Cox
• Harry Andrews
• Denholm Elliott
• Zero Mostel

An animated tale of survival in nature that is surprisingly mature( and many would say traumatising), Watership Down is often referred to as a film that terrified a generation of kids who thought they were seeing a film about cute bunnies. Yet while brutality is certainly not shied away from here, it’s the soul and message of Watership Down that shines the brightest.

In a warren in the English countryside, a group of rabbits live with their own beliefs on creation and how life is supposed to be. It seems so peaceful, but it is about to be shaken to the core. One rabbit by the name of Fiver has a strange vision of the destruction of their warren and warns everyone to get out. His brother Hazel believes him but they are shunned by the chief rabbit. Along with a small band of other rabbits, they stealthily leave the warren at night, joined by one of the Owsla( or in human terms, person of authority and order) Bigwig, who was originally skeptical of Fiver’s vision. They encounter all manner of danger in their search for a new home, including vicious predators, the human world and the only doe being picked off by a bird. Now without a woman among their number, they have to find some in order to continue their species. Aided by a crazed but helpful gull named Kehaar, they may just find it. It’s when the group encounters the tyrannical General Woundwort , who rules over his warren of rabbits with supreme brutality, that things turn very dark and tense for everyone. For Woundwort is a brute who will kill anything as soon as look at them, if they disobey his regime. With Hazel at the helm, he mounts an attempt to free the does from the harsh control of Woundwort. But it definitely isn’t going to be easy to create this dream paradise for them all to live in once everything is over.

Martin Rosen beautifully captures the poignant emotion and red and tooth in claw depiction of nature in the Richard Adams’s novel. Though a bit more on the running time might have been in order, Watership Down is really hard to find fault with. The animation, which boasts the feeling of landscape, watercolour painting and a naturalistic colour palette, is second to none and partnered with some unusual dreamlike sequences that stand out for their terror and vision. I mean, when we see what became of the original warren it is some skin crawling stuff. The claustrophobia of rabbits squashed on top of each other, their red eyes glowing as they are gassed is freaky and nightmare inducing. And people thought this was a movie simply for young kids? Now sometimes it is hard to tell the difference between certain rabbits, but this is a minor hitch in what is otherwise an immensely moving and startlingly honest look at how nature works. The morals of sticking together and the dangers of oppressive tyranny are well observed, with obvious parallels to the Second World War. The thematic value of Watership Down is what has made it endure for so long. It doesn’t pander to the audience or patronise, and while there are those who criticise the violence and horror, they should remember that the overall message of the film is one of finding peace, even though life is a hard journey. But as violence and shock are big parts of the movie, they can’t be ignored. I must admit to still being surprised how visceral many of the scenes are that are featured here, they still hold up on gruesome and unflinching score. The fighting, blood and bleakly brutal vision of nature is never far from view and many scenes have a lot of palpable tension. But in a way, featuring genuine violence( albeit involving anthropomorphic bunnies), it presents something different in an animated movie. Many times we go in expecting something squarely aimed at children, but I’m certain many were surprised when they discovered the bleak overtones and poignancy of Watership Down. I have massive amounts of respect for Watership Down in retaining the novel’s unflinching examination of survival and not dumbing it Down one ounce for audience satisfaction. Sometimes films try to be just a little bit too kid friendly, to the point that the film is ridiculously cheery. Believe me when I say, that is most definitely not the case when it comes to Watership Down. And I can’t review this movie without mentioning the haunting addition of ‘Bright Eyes’ sung with conviction by Art Garfunkel. It’s bound to bring a tear to the eyes.

The talented voice cast, featuring John Hurt, Richard Briers and Michael Graham Cox are exemplary at giving life to their characters and finding heart there. With such a wide breadth of voice work( also including Harry Andrews as the terrifying Woundwort, Denholm Elliott as a rabbit whose as enigmatic as he is creepy and the comedy stylings of Zero Mostel as a bird that helps the main rabbits out), it’s hard to not appreciate the ability and skill that each of them brings to the table.

Visceral yet beautifully rendered and vividly thematic, Watership Down is a film to treasure, no matter how graphic some of it is. After all, you’ll probably never forget this movie once you’ve viewed it.

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Paddington

Tags

2010's, Adventure, Ben Whishaw, Comedy, Hugh Bonneville, Imelda Staunton, Jim Broadbent, Julie Walters, Madeleine Harris, Michael Gambon, Nicole Kidman, Paddington, Paul King, Peter Capaldi, Sally Hawkins, Samuel Joslin

Film Title

Paddington

Director

Paul King

Starring

• Ben Whishaw as Paddington Bear
• Hugh Bonneville as Henry Brown
• Sally Hawkins as Mary Brown
• Julie Walters as Mrs. Bird
• Nicole Kidman as Millicent
• Madeleine Harris as Judy Brown
• Samuel Joslin as Jonathan Brown
• Peter Capaldi as Mr. Curry
• Jim Broadbent as Mr. Gruber
• Michael Gambon as Uncle Pastuzo
• Imelda Staunton as Aunt Lucy

A sprightly, adventure-filled and heartwarming take on the classic stories of Michael Bond’s marmalade loving, eponymous bear, Paddington is one of those movies that it’s hard to find fault with. Primarily, this stems from the fact it’s so much fun and an utter delight of comedy, heart and wonder.

We begin in the jungles of Darkest Peru, where we discover an English explorer happening upon two very intelligent bears with a love of marmalade. In time, he teaches them about modern life and even gets them to talk. Before heading back to civilisation he promises them a home in London if they should ever need it. The two bears, named Pastuzo and Lucy, have a nephew with them many years later; a curious and fun-loving bear who shares their taste for marmalade. But their harmony is shattered when an earthquake hits and kills Uncle Pastuzo. Aunt Lucy is getting older and can’t take care of Paddington as she once could. she remembers the explorer’s words of promise about there always being a home in London. Stowing her nephew into a cargo ship, she bids him farewell in the hope he will find a happy, new home. Upon arrival in London, he is met with hostility and all hope for a lovely, caring family to take care of him seems lost. That is until he encounters the Brown Family at Paddington Station. The mother, Mary, gives him the name Paddington and being a kind, considerate person, she offers to house him in her home. Her fussy and killjoy husband Henry, who is obsessed with keeping things risk-free, is completely against the idea of Paddington living with them. The children Judy and Jonathan, are thrilled to have Paddington with them, despite their father’s trepidation. Paddington is most curious to know more about the professor who visited Darkest Peru all those years ago and roping the family into things, he gets them into a whirl of unintentional mischief and laughs. But there is an evil taxidermist by the name of Millicent who has discovered Paddington and will stop at nothing to make him part of her sinister collection, now on his tail. Cue much mayhem, thrills and adventure for the bear and the Brown Family.

Paul King directs with an enormous amount of heart, humour and deeply felt love that explodes from almost every frame. It will take someone with a real damp view of life to not smile or have fun with a movie such as this. King just pushes all the right buttons of raucous humour, heartfelt sentiment and just plain adventure in a way that is spellbinding and an utter delight throughout. sense of magic and feel good factor it has going for it. It’s adventure of the highest level that proves totally sprightly and accessible to all ages. The blending of CGI in the title character and the real-life surroundings, that are continuously colourful, is seamlessly done. On a visual level, Paddington scores major points. The bright as a button colour scheme and adventurous ways of showcasing this zany fable are here in a glorious pot of love. And speaking of love, the film truly gets across the message of accepting people and loving one another beautifully and with clarity. The humour covers a wide spectrum from the mischievous and playful(Paddington accidentally flooding the Brown’s bathroom for starters) to nods and winks to older members of the audience, without missing a beat or getting overstuffed. It’s rare to come across a film such as Paddington that can be a ball for everyone watching. It has a style and care to it that many movies that aim for every age can sometimes miss in the long run. The high-reaching and upbeat score are on full duty; bringing out the simply amazing story and film that it accompanies. Put quite simply, you couldn’t ask for a more enchanting movie than Paddington.

Ben Whishaw beautifully voices the title bear with a childlike adventure and sense of mischief. His relaxing tones and enthusiasm can be heard so well that it’s really difficult to imagine another person voicing Paddington with the same skill as Whishaw has. Hugh Bonneville and Sally Hawkins play well off one another as total opposite mum and dad. Bonneville is staid, careful and unwilling to entertain fancy notions, Hawkins is imaginative, lovely and slightly zany. Both consummate actors invest a lot into their respective roles(which also goes for pretty much the entire cast, who are finely assembled). The ever-dependable Julie Walters has a whole bundle of fun as the elderly relative of the Brown’s, whose quick wit and precision with cleaning ensures things are up to her tidy standards. Nicole Kidman is a dark delight as the villain of the piece; a Cruella like woman who wants to add Paddington to her collection. Kidman is both menacing and tongue in cheek funny, while also embodying something seductively devious too. It’s obvious that she had a really fun time playing this type of character just from the looks on her face. Child actors Madeleine Harris and Samuel Joslin are ideal for the roles of the Brown children who take the bear under their wing. Peter Capaldi is very amusing and slimy as the local nosy neighbour getting in trouble with the evil taxidermist, while Jim Broadbent provides sage as a man who helps point Paddington in the direction of what he seeks. Briefly found voicing Paddington’s relatives in Darkest Peru are Michael Gambon and Imelda Staunton, whose pathos and warmth are felt from the get go, despite only being on the screen for a short duration.

Hilarious, riotously entertaining and aimed at all ages, Paddington takes its place as a firm favourite that will pull you in with its message of family and its massive beating centre that is the lovable bear.

The Seventh Voyage of Sinbad

Tags

1950's, Adventure, Alfred Brown, Fantasy, Kathryn Grant, Kerwin Mathews, Nathan Juran, Ray Harryhausen, Richard Eyer, The Seventh Voyage of Sinbad, Torin Thatcher

Film Title

The Seventh Voyage of Sinbad

Director

Nathan Juran

Starring

• Kerwin Mathews as Sinbad
• Kathryn Grant as Princess Parisa
• Torin Thatcher as Sokurah
• Richard Eyer as the Genie
• Alfred Brown as Harufa

Boasting a whole lot of excitement and the amazing stop motion skills of Ray, The Seventh Voyage of Sinbad is fun with a capital F that retains a magical quality to it that never dims. So sit down and be transported into a daring time of quests and magic that is hard to resist.

Legendary adventurer and captain Sinbad is travelling back to Baghdad when his ship is driven towards a strange island known as Colossa. Going ashore with his crew,  Sinbad encounters Sokurah, a magician fleeing from a Cyclops and grasping a magic lamp. Managing to escape the large beast through the use of the lamp and the genie inside, Sokurah comes aboard with Sinbad. He explains that he needs the lamp, which was lost when running away, but Sinbad is reluctant to return to the island. Sinbad is to be married to the beautiful Princess Parisa, who has journeyed with him on his voyage. Their marriage will unite two countries in peace and love, benefiting from the fact they are so very much in love with each other. On their return to Baghdad, things take a turn. Sokurah, angry that he’s been refused , secretly uses his magic powers to shrink Parisa to miniature height. This plays into his plans as Sinbad is desperate to regain his soon to be wife and potentially stop any violence between the two nations. Sokurah tells them that if they want to reverse her shortage of stature they must travel back to Colossa and acquire the egg of a giant bird to make a potion that will reverse the magic. What Sokurah really wants is to get his dirty hands on the magic lamp and use it for his own greed. Sailing back to Colossa with a doubtful crew, Sinbad knows that this journey isn’t going to be easy as he must battle against an array of marvellous creatures if he wants any chance of Parisa getting back to normal again and preventing any animosity between two kingdoms.

Nathan Juran contributes pleasing direction that allows events to be one entertaining adventure by being unobtrusive and letting the effects and magic take deep hold over the audience. The main thing that The Seventh Voyage of Sinbad is rightly remembered for is the quite wonderful stop motion animation of Ray Harryhausen. His personal stamp is there whenever any of the succession of beasts appears; his craftsmanship is something to be greatly admired and marveled at for the sheer dedication and thought gone into it. Harryhausen was a master of spectacle and extraordinary sights and it is for all to see in this excellent fantasy film. From the angry Cyclops to the two-headed bird known as the Roc, the mind of Harryhausen conjured up such greatness and a feeling of otherworldly possibility. At the time of release, his creations must have been revolutionary and met with amazement. The same can still be said now as without his guidance and talent, modern animation and visual advancements may not have been crafted in order to emulate some thing of his greatness. Swashbuckling adventure and fantasy are at the forefront of this flick, starting from the beginning and never letting up. This is a movie the whole family can enjoy as it has something for everyone. It provides pure escapism into a magical tale of heroic deeds and unusual creatures that is rollicking and bracing in almost every aspect. We never seem to see movies such as this anymore, but it’s probably for the best as modern movies may miss out on that special something these fantasy/adventures had. The exotic flourishes of the score from the majestic Bernard Herrmann only heighten this gloriously magical fantasy extravaganza.

Kerwin Mathews is handsome choice for Sinbad and while not the world’s greatest actor, his physicality and masculinity are extremely appropriate for the part of the legendary adventurer. Kathryn Grant is beautiful and sweet as the Princess whose plight is what brings the story into action. The two make a very attractive couple in this magical tale of heroism and danger. Torin Thatcher is made for playing villainy and he plays to that with relish. Just looking at his intense and often alarming eyes, he exudes a slimy sense of power and nastiness. In support there is the young Richard Eyer starring as the boy Genie who can grant any wish and Alfred Brown as Sinbad’s loyal friend Harufa.

The Seventh Voyage of Sinbad is good old-fashioned adventure at its height with imagination and thrills galore. For a movie that the whole family can love and for an adventurous time, you can’t go wrong with The Seventh Voyage of Sinbad.

Sea Wife

Tags

1950's, Adventure, Basil Sydney, Bob McNaught, Cy Grant, Drama, Joan Collins, Richard Burton, Sea Wife

The wonderful Gill and Cat invited me to take part in their Then and Now blogathon. I decided to review two movies, twenty years a part to fit in with the theme. As Joan Collins featured on one of the banners, it seemed only right to review two movies starring the great lady. The first up is Sea Wife.

Film Title

Sea Wife

Director

Bob McNaught

Starring

• Joan Collins as Sea Wife
• Richard Burton as Biscuit
• Basil Sydney as Bulldog
• Cy Grant as Number Four

An adventure drama from the 50’s that may not be high art and a tad disjointed, Sea Wife is nonetheless a worthwhile enough movie that holds the attention for its relatively short running time.

In 1942, a cargo ship in Singapore is boarding people before the Japanese Army arrives. They are however soon under attack, causing everyone to evacuate the boat. One a lifeboat, four disparate people end up escaping and separated from everyone else. None of them are really referred to by their real names, instead we get to know them through the nicknames they assign each other. There is military Officer Biscuit, beautiful Sea Wife( who is secretly a nun), bigoted businessman Bulldog and black purser Number Four. Frictions and tensions quickly rise as Bulldog and his prejudiced views belittle Number Four. Also, Biscuit begins to fall in love with Sea Wife, unaware that she is really a nun and is bound by her vows to God. Following being nearly thrown overboard in a storm, near starvation and desperation, they eventually end up washed onto an island. And while they all attempt to think of ways to make it back to civilisation, events take a tragic turn.

Bob McNaught and his direction are passable and do the job, yet can feel rather labored and in need of a fixer upper. The opening stretches of Sea Wife are the best areas of the film, with the attack of the ship and the subsequent introductions to the characters ending up quite fascinating. Sea Wife, while dated, is quite surprising since good doesn’t always triumph over bad here. In most old movies, good often prevails but in Sea Wife there is a definite melancholy to it that marks it out as something different. Plus, the topic of racism is approached with depth and a sensitivity rarely seen in a 50’s movie. Yet there are definitely some parts of the overall product that could have been improved. The sentimental nature is laid on a bit too thick in stretches and I think my biggest gripe was that events, especially when concerning the latter stages, feel rushed in comparison with the parts where we get to know the characters. A tad more expansion and some more back story for all of them would have been a blessing to this film. The flashback device is pretty nifty and well employed, while lending a bit more depth than what the script often gives us. Focusing on the attempts of Biscuit to find Sea Wife after the tumultuous events on the island, it gives more nuance to the film than it really should have. The music score for the film has a real sweeping quality to it, that I really enjoyed and found beautiful to listen to.

As the eponymous character, Joan Collins is the main focal point of the film. Although known primarily for playing super bitches and glamour goddesses, it’s somewhat refreshing to see a very young Joan Collins in a serene and sincere role. There’s a real sweetness to her here and her beautiful face often speaks volumes in terms of feeling. If you’ve only ever thought of Joan Collins as the aforementioned diva, please check out Sea Wife to see another side to her. You may be surprised to see her play a nun, but it actually works. The ever intense Richard Burton is on hand too, with his customary seriousness and brooding, ideal for his part of the pining man. Basil Sydney really gets into character as the horrible racist, whose prejudices and nastiness, are rendered in full villainous form. Finally, we have Cy Grant as the abused yet useful man, who suffers at the hands of Bulldog simply because of his skin colour. It is with the cast that Sea Wife rises above its many flaws. And while their roles are not what you’d call the best written, they all make them work.

No classic of adventure by means, but still owning enough moments and good acting to tide us over, Sea Wife is an interesting movie to be sure.

Mogambo

Tags

1950's, Adventure, Ava Gardner, Clark Gable, Donald Sinden, Grace Kelly, John Ford, Mogambo, Romance

The effervescent Virginie asked me to join her blogathon on classic star Grace Kelly. With Kelly being an iconic movie star and a real life princess, how could I ever refuse? To honour the beauty and splendour of Grace Kelly, I decided to review the romantic adventure Mogambo.

Film Title

Mogambo

Director

John Ford

Starring

• Clark Gable as Victor Marswell
• Ava Gardner as Eloise ‘Honey Bear’ Kelly
• Grace Kelly as Linda Nordley
• Donald Sinden as Donald Nordley

A gorgeously photographed romance/adventure, Mogambo provides good entertainment and classic Hollywood stars to be dazzled by . And while it isn’t major league work from John Ford, its star quality and passion is still very much exciting to view.

Victor Marswell is a rugged, experienced big game hunter and safari businessman whose life is going smoothly in the wilds of Kenya. With his business booming, he can’t really ask for more. Events however take a turn with the arrival of Eloise ‘Honey Bear’ Kelly; a gorgeously outspoken and free-spirited showgirl who has been stood up by a suitor. Having to occupy the same space with Marswell until the next boat back to her planned journey, the two sparring individuals begin a sensual relationship. But Marswell is more concerned with his business and cools the relationship, much to Kelly’s consternation. Yet Kelly’s journey back is halted and run aground, meaning she has to return to Marswell. Around this time, anthropologist Donald Nordley and his posh wife Linda arrive, with wanting to observe the gorillas of the region for study. The prim Linda, who is all about manners and decorum, begins to take a liking to Marswell, seeing as her husband is more concerned with his studies. This of course arouses jealousy from Kelly, who takes it upon herself to stir things up for all involved. While Donald remains oblivious to his wife’s obvious attraction to the uncouth Marswell, a love triangle falls into place.The competition is on as both Kelly and Linda angle for the affections of Marswell amid the wild landscape.

John Ford takes us on safari with his gift for using visuals and settings to capture the attention and contribute beauty. Ford has often done this in his classic Westerns and here is no different. Mogambo may not be a masterpiece, but there’s no denying the sumptuous visual direction of the great John Ford and his keen way of making locations come to life. Animals and wide, vast sights are glimpsed in nearly every frame of this torrid take, accentuated by alive cinematography and luscious colour. Mogambo is very much a melodrama and one of feverish emotions as wild as the surroundings. This approach is well utilised for the torrid feelings that attempt to be kept under wraps, but spill over with delicious passion and fruitful events. Only later on foes the drama get a little too overwrought for its own good, thankfully the stars and scenery can make up for those cracks. Mogambo is also a very saucy movie, Granted, the sexual sizzle is mainly confined to innuendo given the time period the movie was in, Mogambo still steams things up in its own naughty way. It’s the verbal sparring of the three that brings fire and vibrancy to a sometimes sleepy film; one-liners and veiled seduction are checked off the list and explored frequently against picturesque backdrops.

The stars are the thing and you couldn’t have asked for three more glamorous people than Clark Gable, Ava Gardner and Grace Kelly. Clark Gable, now in the later years of his career, still has the charm and panache to pull of his part. He is world-weary but immensely jaunty, especially in that grin that he employs. He wasn’t known as the King of Hollywood for no reason. The ravishing Ava Gardner is relaxed and appropriately sassy, cracking one liners with ease and wit. Her devilish appeal and devastating good looks are matched by her subtle shading of the character who is tough, sexy and unexpected. Gardner is suitably fetching and confident in her acting; obviously relishing the sizzling role given to her. Grace Kelly rounds out the central trio and at the point of major stardom, beautifully plays the repressed Linda who is not quite as innocent or lily-white as we first see her. Kelley has the right amount of ice and fire for the part( which would later lend itself well to roles in Hitchcock movies) and looks simply gorgeous throughout. Starting off prim and almost childlike, her desire emerges and her reserve thaws to show a passionate woman. It’s a nice part for Grace Kelly that compliments the work of Gable and Gardner. Donald Sinden is not given a whole lot to do, besides remain largely ignorant of what is transpiring around him.

So while overlong as a movie and often sometimes plodding, Mogambo is redeemed by the great cast and passionate approach. A glamorous adventure that is simple in story, but pretty excellent in execution with the best in the business being and in front of the camera.

The African Queen

Tags

1950's, Adventure, Humphrey Bogart, John Huston, Katharine Hepburn, Robert Morley

The sensational Crystal is hosting a blogathon dedicated to the talents of icons Spencer Tracy and Katharine Hepburn. I was more than happy to join in and celebrate the fineness of these two stars. For my celebration of Miss Hepburn, I decided to review the excellent adventure that is The African Queen. The next review for Spencer Tracy will be of Broken Lance.

Film Title

The African Queen

Director

John Huston

Starring

• Humphrey Bogart as Charlie Allnut
• Katharine Hepburn as Rose Sayer
• Robert Morley as Reverend Samuel Sayer

Filmed largely on location in well documented circumstances and benefiting from the direction John Huston and pairing of Humphrey Bogart and Katharine Hepburn, The African Queen is high adventure that remains evergreen and always exciting.

It is 1914 in German East Africa and prim spinster Rose Sayer is along with her Reverend brother Samuel working as missionaries with a local village. With the First World War occurring at this point, uncertainty rises and escalates when the Germans set upon the village and burn it down. An injured Samuel submits to fever and quickly dies, leaving Rose devastated. Hope comes in the unlikely form of gin-swigging and uncouth tramp steamer owner Charlie Allnut; who delivers supplies to many villages and has met Rose before. Taking pity on her, he takes her aboard his steamer, known as The African Queen. Immediately, the two clash over a difference of opinion and anything they can. Rose is a well-bred, respectable lady who doesn’t take kindly to Charlie’s man about the world behaviour, while Charlie finds his lay about lifestyle challenged by a woman he considers prissy and obstinate. As they continue down the river, their bickering temporarily stops as Rose unusually suggests helping the War effort. Knowing that a German patrol ship blocks any path or form of attack later down the river, Rose suggests fashioning some of Charlie’s supplies into an array of combatants in order to sink the ship. Charlie thinks the idea is ridiculous at first, but getting to know Rose, agrees to her terms. Thus resumes the sniping and arguments as their journey to adventure is fraught with hot weather, dangerous tides and animals. Over this time of surviving the river, Charlie and Rose begin to fall in love, after much reluctance to acknowledge such feelings.

John Huston is the captain of this movie and his maverick spirit is never far from view. Choosing to shoot largely on location in Africa posed difficulties, but his sense of fun and blend of adventure, romance and humour is ideally pitched and depicted to such a loving degree. The initial set up is well done, but The African Queen truly gets going once both Rose and Charlie are on the eponymous boat and the oil-water dynamic sets in. Observing them clash due to different upbringings and divides is what gives The African Queen its playful spirit that no amount of time can diminish. Their impulsive plan to thwart the Germans is daring and the stuff of a Boy’s Own Adventure; ranking it for me as definite must see movie for anyone who hasn’t yet had the pleasure of viewing this classic. We have so many memorable moments to entertain here including riding through the rapids, Rose applying a multitude of salt to Charlie’s leech infested body and the overall journey down the river are just some of the highlights from this gloriously engaging adventure. There’s nary a dull moment as the script and energy keep things bubbling at a nice, exciting temperature. The African Queen is practically a roller coaster on water, with every turn bringing with it gorgeous views, multiple dangers and romance for our two principal characters. The location shooting, which has been extremely well documented for its tribulations, that ultimately added with the flavour of the film, make it adventure and fun of the highest denomination. A grand but always puckish score is the great accompaniment for Rose and Charlie down the river.

Humphrey Bogart collected an Oscar for his winning portrayal of a rough and ready but dissolutely charming captain. With his cheeky grin and gruffness being offset by the fact that he’s really a decent guy underneath it all, Bogart makes the role his own. Katharine Hepburn is equally as excellent with a blend of uptight primness and burgeoning spiritedness that is most accomplished. Hepburn is sharp, strong yet vulnerable and full of life, a mix that she inhabits with vigor. Watching as Rose emerges from her refined nature to becoming a lively heroine of resilience is a great thing and completely down to the greatness of Katharine Hepburn and her talent. And watching the chemistry between the two as they bristle and bicker, before coming to love the other is just another string in the movie’s impressive bow. It’s a shame these two stars didn’t make any other movies together as their chalk and cheese personalities would have been well served if given the chance. Robert Morley appears briefly as Rose’s brother, whose death fills her with a desire to help the War effort in her own way.

The African Queen is fine movie making and a deserved classic that has lost none of its original charm or fun factor. If you haven’t seen it, I implore you to do so for its adventure and pairing of Bogart and Hepburn.

White Squall

Tags

1990's, Adventure, Balthazar Getty, Based on a true story, Caroline Goodall, Coming-of-Age, Eric Michael Cole, Jeff Bridges, Jeremy Sisto, John Savage, Julio Oscar Mechoso, Ridley Scott, Ryan Phillippe, Scott Wolf

Film Title

White Squall

Director

Ridley Scott

Starring

• Jeff Bridges as Captain Christopher “Skipper” Sheldon
• Scott Wolf as Chuck Gieg
• Jeremy Sisto as Frank Beaumont
• Ryan Phillippe as Gil Martin
• Eric Michael Cole as Dean Preston
• Balthazar Getty as Tod Johnstone
• Caroline Goodall as Alice Sheldon
• John Savage as McCrea
• Julio Oscar Mechoso as Girard

Inspired by true events of a and the storm they ran into along the way, Ridley Scott’s White Squall is an underrated adventure/coming of age film that while a tad formulaic, is riveting entertainment and spectacle throughout.

It is the early 60’s and a group of teenagers sign up to sail on a ship known as the Albatross for several months. The curriculum is both a mixture of scholarly work and more importantly the practical seafaring variety. The ship is commanded by experienced and tough Captain Christopher Sheldon, who is referred to throughout as Skipper. He is a take no prisoners captain who doesn’t tolerate slacking or idleness. The ship also has Skipper’s wife and medic Alice, English teacher McCrea and cook Girard on board. The main boys comprise of personable and searching Chuck Gieg(who also functions as narrator), the much abused and insecure rich kid Frank Beaumont, timid and vulnerable Gil Martin, misbehaving show off Dean Preston and wise-cracking Tod Johnstone . Their voyage will take them through the South Pacific and the Caribbean, and be a rites of passage for all. At first, the ragtag group of recruits is at odds with Skipper’s methods and continually rebel. His rigorous training takes flight as he expects them to learn discipline, respect and teamwork while aboard. Not that this will be easy as the boys test him with all they’ve got in various ways. He however is not above this challenge and enforces his authority with his tests and  Gradually, a newfound respect and sense of teamwork is discovered among them all. They all manage to bond together to form a skilled set of young men, with Skipper growing quietly fond and protective of them. Experiencing misadventures and mishaps binds them as a group and the training from Skipper more than pays off. Yet just as everyone is coming together, disaster lurks in the distance. They find themselves coming into the view of a ferocious storm, which will test each and every one of them as danger approaches.

Within Ridley Scott at the helm, you know the direction isn’t going to disappoint. And Scott brings his trademark eye for visuals to this exciting story, while still getting to the human heart of the themes of survival and camaraderie. Scott has this tale under his command and allows us time to learn about the crew before disaster hits later on. Spectacle is something Ridley Scott does superbly, but his equally excellent building of emotion and heart is also worthy of praise, particularly in White Squall. Gorgeous vistas and sights are glimpsed, presenting life at sea as something ripping but just as easily challenging and not for the weak of heart. The coming of age aspects of White Squall are far from original but we’ll plated and envisioned. It helps that you buy into the initially green boys growing up and after scrapping and disagreements in the beginning, can be there for each other and pull their weight in times that it is needed. The movie isn’t perfect however, with some of it really going too slow. I believe that because you know imminent tragedy will come you are waiting for it to happen, and it can make you impatient. This presents both a slight flaw and a positive; the build up at least establishes quite a few of the characters to us and let’s us observe their changes under the tutelage of the Skipper, while it can get to be a chore when you’re anticipating the big set piece to flower. Any in pace is however made up when the storm hits and we are dealt an exciting and emotion driven wallop. Using fast cuts, slow motion and stirring yet tense music, the scene is an extended action piece that is mightily impressive in almost every aspect. This intense and ferocious scene where we see the boys go beyond everything they’ve learned can to survive and face danger head on is one of considerable impact and vision. I can’t wax lyrical enough about this scene and what it accomplishes, both on an action level and on emotional clarity. The ending chapter feels a tad tacked on, but can be forgiven for what has come before. A dramatic score is just the ticket for this movie, finding both beauty and danger in its rhythms.

Jeff Bridges exudes a tough, compelling yet fair persona as the captain, mostly referred to as Skipper. He’s the kind of man to keep you in line but reward you if you comply and be part of the team. Bridges boasts a dignity and wry wisdom that inspires both admiration and trepidation among the boys. For me, Jeff Bridges has always been a fine actor when he quietly and subtly gets into part, which is what he does in White Squall. A sea-captain often allows the opportunity to overact and be loud, but Bridges has a more disciplined and nuanced angle that is largely more effective than over dramatic antics. You believe him as this leader because if the commanding energy and the fact that he doesn’t care whether his crew likes him, as long as they pull together even needed. A finely tuned and thoughtfully played performance from the great Jeff Bridges is what we get. Scott Wolf is the main eyes and ears of the film, providing the narration and likable attitude of the movie. He has a certain wonder in his eyes as he observes the events on the ship and he makes a really great lead character. Jeremy Sisto is very impressive, digging into the troubled mind of a spoiled kid, constantly berated by his father and singled out. If this kid could only get a break, he might be able to flourish. Ryan Phillippe is appropriately scared and in a muddle, mainly down to the character feeling he is so weak in all of this, when he’s actually pretty smart. The classic bully comes in the form of Eric Michael Cole, who reveals that he’s really a shy person with no self-esteem that is complimented by Balthazar Getty as the know it all joker. Though these characters feel rather archetypal in the scope of things, they are acted with sincerity. While the previously mentioned actors get parts that they can work with, the rest are awash in a sea of white T-shirts and suntan. As the main woman in the film, Caroline Goodall isn’t given a whole lot to do, but still shows her mettle when the occasion calls for it. John Savage provides some comic relief as the ship’s sonnet quoting teacher along with Julio Oscar Mechoso.

While it’s nothing particularly new, White Squall succeeds in the strength of its story, acting and command under Scott’s stylish yet emotive and exciting direction. For my money, this is a pretty undervalued movie in Scott’s filmography that deserves a watch.

The Edge

Tags

1990's, Action, Adventure, Alec Baldwin, Anthony Hopkins, Elle MacPherson, Harold Perrineau, Lee Tamahori, The Edge, Thriller

Film Title

The Edge

Director

Lee Tamahori

Starring

• Anthony Hopkins as Charles Morse
• Alec Baldwin as Bob Green
• Harold Perrineau as Stephen
• Elle MacPherson as Mickey Morse

An exciting adventure thriller that wisely eschews the desire to be just about non-stop action, The Edge keeps interest throughout thanks to a cool script and good acting from the leads of Anthony Hopkins and Alec Baldwin. It isn’t the kind of film that is going to garner awards, but it is still entertaining and has some welcome changes to what we have come to expect.

Billionaire Charles Morse accompanies his much younger model wife Mickey on a photo expedition to Alaska. Also along for the shoot is fashion photographer Bob Green. Charles is a quiet and introspective man who reads a lot and has a very good memory. Lately, he has come to believe that his beautiful wife may be straying with the slightly arrogant Bob. He can’t prove this, but it does bother him. So when Bob wants to employ the services of a local man and persuades Charles to come with him and his assistant Stephen, it seems strange that he should go. Though edgy as he suspects Bob of coveting his wife, Charles goes along anyway, if anything it seems to confirm suspicion. Yet when they can’t find the man, they search around for him among the huge wilderness. This is cut short as the plane crashes into the wilderness, killing the pilot. Stranded in the middle of nowhere, the three men make a stab at returning to safety, which is thwarted by death traps and power of nature. Soon enough, unprepared Stephen is killed by an enormous bear that is stalking them. Left now are Charles and Bob, whose differences are vast and opinions of the other are far from glowing. Thankfully, Charles has an excellent memory and having read about the wild, puts his knowledge to good use as he and Bob journey for what could be safety. Over time and worn down by the surroundings, Bob warms to Charles a lot more and the two begin to share a slow but slightly uneasy kinship. Yet the seeds of doubt are still present and could break apart the fight for survival and return to civilisation. And there is also the rather large and savage bear on their tail that refuses to rest until the two men become its next meal. Hacking through dangerous terrain and braving the extreme elements, Charles and Bob must find a way to finally overcome animosity to work together. Yet can their differences and grudges thaw in order for them to pursue survival in a dangerous climate?

I’m not the biggest fan of director Lee Tamahori. His later efforts following this film, mainly Along Came a Spider and Die Another Day, leave a lot to be desired. But I have to say that his direction here was actually atypically skillful and took me by complete surprise. If only he continued to direct like he does here, he could be a credible director. Stunning and accomplished camerawork makes the wilderness locations eye-catching in beauty and amount of scope it conjures up. It also successfully suggests the enormity of the two men’s plight as they are often shown small a against the trees and mountains they journey through. One of the best areas within The Edge is the screenplay from David Mamet, that is punchy and fresh. It takes a rather simple set up and embellishes it with wit and depth, both of which are rather lacking in many other adventure action films. It is most successful in the characters of Charles and Bob, who while they seem to develop something of a respect for each other, still have an underlying feeling of tension to them. And The Edge while witty and dramatic, doesn’t leave the action by the wayside. Far from that, it has some amazing action scenes, particularly the bear attack sequences, that act in accordance with character development and for the most part hold up in a taut way. I was very impressed and surprised by how well the film came together. Though The Edge is far from flawless; the main issue is that it’s rather overlong and stretches things a bit too much. Though with that being my only niggle, it is safe to say that The Edge is a film I genuinely found myself thrilled by. A mood enhancing score does wonders, while offering glimmers of hope for the stranded men.

It is the cast of The Edge that elevates what could have been a routine exercise. Anthony Hopkins is his intelligent and memorable best here, peppering his role with an unassuming demeanor and splashes of humour. The role of Charles is one where knowledge provides power and endurance is something he gains from his harrowing experiences. And it must be stated that Anthony Hopkins, being the professional he is, contributes a very good performance to The Edge that provides it with substance. Alec Baldwin similarly impressed me with an unexpectedly vulnerable turn as the shallow but cracking Bob. Vulnerability is not normally a word I would associate with Alex Baldwin, but he pulls it off admirably and his chemistry with Anthony Hopkins is what keeps the film ticking over. Because the main basis of the film surrounds Hopkins and Baldwin, the supporting players are not given much to do that is memorable. Harold Perrineau is good in his relatively small part of the doomed Stephen, but his character is merely a plot device. The same goes for Elle MacPherson who plays the model wife of Anthony Hopkins. She is beautiful that is true, but her part is pretty thankless.

An unexpectedly well done action thriller that has refreshing character development and some fantastic dialogue, The Edge is definitely underrated stuff that while far from perfect, knows the balance between action and drama and can supply both effectively.

The Jungle Book

Tags

2010's, Adventure, Ben Kingsley, Bill Murray, Christopher Walken, Giancarlo Esposito, Idris Elba, Jon Favreau, Lupita Nyong'o, Neel Sethi, Scarlett Johansson, The Jungle Book

Film Title

The Jungle Book

Director

Jon Favreau

Starring

• Neel Sethi as Mowgli
• Ben Kingsley as Bagheera
• Bill Murray as Baloo
• Idris Elba as Shere Khan
• Lupita Nyong’o as Raksha
• Giancarlo Esposito as Akela
• Scarlett Johansson as Kaa
• Christopher Walken as King Louie

When I was first informed that they were doing another version of The Jungle Book, combining live action with CGI, I’ll admit to being a bit skeptical over how successful it would turn out. I’m happy to report however that this interpretation from Disney is a triumph in almost every department, while adding some new touches to the adventure tale. Trust me, you’ll be blown away by this version of the beloved story.

Mowgli is an orphaned man cub, who is raised by a pack of wolves deep in the Indian jungle. He was brought there by the panther Bagheera, who watches out for the young and wild boy. While the wolves treat him as family, the leader of the pack Akela, disapproves of the boy using tricks considered human and wants him to be more like a wolf. Raksha, a female wolf acts as a strong mother figure for Mowgli and considers him her son. Yet as Mowgli grows older, the threats to him become more pronounced. The main one is the reappearance of the evil tiger Shere Khan, who strikes fear in the heart of all the other animals. Having been burned by humans in the past, Shere Khan has a deep hatred for man and seeing Mowgli vows to kill him. Fearing for the safety of young Mowgli, Akela has Bagheera take him back to a man village where it is hoped he will be safe from Shere Khan. Mowgli doesn’t want to leave, but sees that the danger posed to him is great. Yet getting to that village is no easy task as Mowgli and Bagheera become separated and he must fend for himself. Thankfully he encounters Baloo, a lazy but lovable bear who he quickly forms a bond with. Yet there is peril to be found in the jungle in many forms and with Shere Khan attempting to draw him out, it comes down to Mowgli to discover where his place in life is.

Jon Favreau directs with a sure hand, crafting The Jungle Book as an entertaining yet heartfelt production of massive scope. The CGI is quite simply breathtaking and awe-inspiring, worthy of every ounce of praise that has been aimed at it. Nary a frame of The Jungle Book is wasted due to the precision of the direction and the sheer majesty of everything going on. Everything in this Disney production looks so life-like, you could almost touch it and taste it with your senses in every shot. The jungle comes alive on the screen, resplendent with dangers and adventures for young Mowgli, as well as the audience too.  In a different move, the darkness quota is significantly raised like never before. This gives The Jungle Book that something else that balances being a fun adventure with some genuine moments of danger. Moments that signify this shift are plentiful; from the large snake Kaa revealing the past of Mowgli while reeling him in to a large and menacing Orangutan-resembling ape King Louie, who wishes to harness the power of fire. And the biggest one is having Shere Khan as a ferocious beast who was scarred by man and looks frightening from the very moment he appears. I must say this new direction of making things darker really impressed me because it infuses the film with probably the darkest presentation of the source material yet doesn’t forget the atmosphere of fun that children and adults alike can enjoy. The coming of age elements are brought out with deeply riveting and soulful results as Mowgli attempts to find his place. An excellent music score highlights the thrilling adventures and soul of The Jungle Book. It was also a blast hearing some of the songs from the 1967 animated version, but done in other ways to distinguish it and not make the film a remake.

Newcomer Neel Sethi, as the only physical performer in the film, is naturally convincing as the curious and rebellious Mowgli. Considering that he would have been acting against nothing, he marvellously conveys a big load of emotions and reactions that never ring false for a second. The voice cast for the animals that inhabit the jungle are expertly employed and add their own inflections to their parts. I have always found Ben Kingsley as an actor to have something of a stately presence and this feeling of authority is reflected in his voicing of Bagheera, which emanates with wisdom and firmness. The amusing and always joyful Bill Murray is inspired as the honey-guzzling Baloo, who provides the comic moments of the film with a dash of classic Murray sarcasm. A real standout among the voices is Idris Elba as the evil Shere Khan. His booming, resonant voice utilized to maximum effect that makes the creature genuinely scary and filled with rage. Reverberating whenever he shows us, Elba’s voice is a clear winner. The assured and nurturing inflections from Lupita Nyong’o as the motherly Raksha pull out the emotional centre of the story and go a long way to creating moving results. Giancarlo Esposito has the required feelings of strength and leadership in voicing the head wolf of Akela, while the seductive voice of Scarlett Johansson colours the segment with her as Kaa the snake with a hypnotic impact. Christopher Walken’s distinctive voice is put to excellent use as the gigantic King Louie, with him sounding like something of a dodgy deal maker in the gangster mode and a menacing force. As strange as that combination sounds, it works wonderfully for this creation.

Imaginative, lushly directed and filled with something for everyone, The Jungle Book is a wonderful film in every way. Whether it’s the visuals, cast or the story, every department pulls tether to breathe fresh life into the well-known story and put a new stamp on it. I can’t think of a movie of late that has left me so thrilled and excited to talk about.

Twister

Tags

1990's, Action, Adventure, Bill Paxton, Cary Elwes, Disaster Film, Helen Hunt, Jami Gertz, Jan de Bont, Philip Seymour Hoffman, Twister

Film Title

Twister

Director

Jan de Bont

Starring

• Bill Paxton as Bill Harding
• Helen Hunt as Jo Harding
• Jami Gertz as Melissa Reeves
• Cary Elwes as Dr. Jonas Miller
• Philip Seymour Hoffman as Dusty

A tense, special effects laden disaster flick, Twister is big on the thrills that never let up and make it an extremely entertaining wild and windy flick. Simple in plot and characterizations it may be, but no one is going to watch this film for outstanding characters so just surrender to the white knuckle ride.

Bill Harding is a former storm chaser and weather researcher who has decided to settle down as he plans to marry his girlfriend Melissa and has recently become a television weather man. The problem is Bill’s estranged wife Jo(herself a meteorologist and fellow storm chaser) hasn’t signed the divorce papers yet after they separated some time before. Travelling with Melissa, he seeks out Jo, who is with a group of scientists in Oklahoma. The exceedingly driven Jo has managed to perfect a series of devices by the name of DOROTHY, which Bill had worked on when they were together. The devices function by releasing thousands of sensors into a tornado and getting important information( the catch being that you have to be very close to a tornado to enable it). With this knowledge they could glean from the device, they may be able to help create a more advanced storm warning system, resulting in less damage if people are informed much earlier. Yet his timing is just as a series of very destructive tornadoes are headed their way which Jo plans to tackle so that she can put the creation to good use. Soon, Bill’s wild desire to be a storm chaser again returns and he joins Jo on her mission to execute DOROTHY, much to the opposition of Melissa. The group also has to contend with and race against Dr. Jonas Miller, a slimy guy who ripped off their ideas and has created a similar device, though he’s had all the corporate sponsors and funding and is only in it for the money. Yet with each tornado becoming more destructive than the last, just how far are Jo and Bill willing to venture in the name of both science and adventure?

Jan de Bont is an exceptional director of action and his skill set can be viewed in various exciting ways during Twister. Utilizing swirling cameras and a lightning pace, de Bont never stops for breath once the tornadoes getting going. We are quite literally thrust into the terrifying but exhilarating path of the destructive tornadoes and what a blast it is. Through the use of special effects that still hold up remarkably well, the spectacle of each intense twister is marvellously executed. Standout scenes abound, especially the big finale tornado that finds Jo and Bill ducking for cover in a barn as it is ripped from around them until there’s nothing left. As I previously stated, character development and seriousness is not the order of the day here. Yet this doesn’t do detriment to Twister’s impact as it never sets up to be character driven or literate, instead opting for an extravaganza of action and danger. Sound design and effects are equally as excellent when it comes to simulating the intensity of Mother Nature and the destructive forces she can conjure up on an unsuspecting people. By far the biggest stars of this film are the tornadoes themselves, as they make for very memorable visions of destruction and terror. A rousing musical score from Mark Mancina mixed in with rock songs from Van Halen is very effective and furthers the feeling of action and tension that the team encounters along the dangerous journey.

While the characters are somewhat thinly drawn, the cast is mostly impressive. Playing the estranged couple and fellow storm chasers, Bill Paxton and Helen Hunt are very good; bringing out more character than was probably written on the page. Both get across the collective desires and obsession to put their device into use and how these aspirations are what leads them both into the harmful path of near death in the cross-hairs of oncoming storms. A weak spot in the generally good acting is Jami Gertz as Bill’s terrified and annoying fiancée. She is only required in the film to berate and shriek as loud as she can and the sole purpose of her is so that Bill will visit Jo. Cary Elwes does the slime ball shtick very well as the villainous opposition who wants to use the storms as a way to make money. The rest of the science team have roles that generally all blend together, which lets the excellent Philip Seymour Hoffman stand out as the hyperactive Dusty, who lives for the thrill like no other.

So while character development is clearly on the back burner, Twister is all about the danger and destruction and in both aspects it succeeds with sensational results. Don’t look for any logic here, just sit back, fetch some popcorn and enjoy this roller coaster of a film.