Heat

Tags

1990's, Action, Al Pacino, Amy Brenneman, Ashley Judd, Crime, Danny Trejo, Dennis Haysbert, Diane Venora, Heat, Heist Film, Jon Voight, Kevin Gage, Michael Mann, Mykelti Williamson, Natalie Portman, Robert De Niro, Ted Levine, Thriller, Tom Noonan, Tom Sizemore, Val Kilmer, Wes Studi, William Fichtner

The delightful Gabriela asked me to take part in a blogtahon about Al Pacino. As he’s one of my favourite actors, I couldn’t refuse. So here’s my late entry with a review of Heat.

An engrossing action thriller with a sheen of depth and sense of character to it, Heat, with the talented Michael Mann at the helm, takes the heist film and fashions something breathtaking, surprisingly intelligent and always riveting.

In Los Angeles, Vincent Hanna(Al Pacino) is an overly dedicated, arrogant cop. His obsessed work rate has strained his third marriage to the tired Justine( Diane Venora) and made sure he can’t connect with his troubled stepdaughter Lauren( Natalie Portman) . He becomes aware of skilled thief Neil McCauley( Robert De Niro) when he and his team, consisting of talented but troubled Chris Shiherlis(Val Kilmer), edgy and pumped Michael Cheritto( Tom Sizemore) and new member crazed Waingro(Kevin Gage) steal bearer bonds from an armoured car. Things escalate when loose canon Waingro shoots a guard, causing two others to be killed to avoid being a witness. Neil is furious as he wanted a smooth operation and now they are wanted for felony murder. Mainly, Neil wants a way out of crime and lives by a code that says he can walk away from absolutely anything when he feels the heat coming from the law. This has largely made him a loner and someone who doesn’t form personal attachments. But things change when he falls for pretty and endearing Eady( Amy Brenneman). His right hand man Chris is good at the criminal job but can’t kick a gambling habit, which has estranged him from his understandably angry wife Charlene(Ashley Judd). Meanwhile, Hanna starts putting the dots together and unearths more plans of Neil’s to stage more heists, culminating in one last big score . Both men will collide and discover a strange parallel with the other, though they can easily take the other down if either encounters the other along the way. The game of cat and mouse gets more dangerous as the film progresses, also showing that  both men are people who live by their own code that has directed them in life

Michael Mann is firing on all cylinders with Heat; conjuring a story of cops and robbers with more on his mind than just action. Not that Heat ever shortchanges is on action, but the dedication to plot and the little details that form are simply sublime touches. I especially enjoyed how Heat opens; setting up the characters and revealing just enough to set the appetite then discovering how it’s all linked. It’s a little thing, but it really cements your attention on the film. Back to action and Heat delivers it in spades, with particular praise being reserved for the running shootout on the streets. With quick cutting, pulse pounding imagery and a general feel of genuine danger, it’s one of the finest set pieces put on film as bullets fly and bodies fall. On the point of how Heat looks, the moody colour palette and danger with which Los Angeles is depicted with is second to none. The setting becomes just as important as the characters in the story with Los Angeles appearing as dark, unforgiving and melancholy. And for a movie that is almost three hours long, the time flies as we are that engrossed by the film that we are witnessing. Sure it might seem an excessive run time and a few minor bits ramble, but every frame feels warranted as does the enviable attention to detail that I live for. It’s one of the most action packed but inventively detailed and I enjoyed how it weaved the characters and their lives together so it fitted. It’s hard to find fault with Heat, with only a few minor parts that ramble a bit. Apart from those very small things , it’s simply masterful as a film and I can recommend Heat enough.

Where Heat truly shines and rises above many a generic action thriller or heist/ crime flick, is in its unusual dedication to giving the characters substance and a sense of having lived life. We truly get a chance to know these people and watch how their lives unravel as violence, dedication and duality collide. The relationships at the core of the film, Vincent and his wife Justine , the chance of love for Neil and Eady and Chris’ damaged union with Charlene, all add something and are explored with rare insight .Credit is down to Michael Mann for fleshing these parts out and allowing us to go between who we want to succeed. It’s most unusual to watch as our sympathies and sense of loyalty swings like a large pendulum. They are two sides of the same coin and we get to see it in full bloom in the now famous coffee shop scene. We finally see two iconic actors meet on film( they were both in The Godfather Part II but never shared scenes) and the results are sublime. Everything comes together beautifully as two men bare their souls and find an unexpected sense of respect with the other, despite their current opposition. Elliot Goldenthal is the composer and his music is sublime at matching the varying moods on screen, with a certain percussive shimmer and drums taking a large part of things. Plus adding strings brings out a certain feeling of sadness as the main men find that their lives and have morphed into stubborn ways from which each tries to escape. It’s atmospheric and action packed all at once, without forgetting human emotion.

Heat scores highly for its impressively extensive cast, headed by man of the hour Al Pacino and fellow acting Titan Robert De Niro. Al Pacino is excellently convincing as the  strutting, obsessed cop who has all but destroyed what’s left of his personal life. With Pacino in the part you get the showmanship of a man who’s good at what he does and knows, tempered with underlying regret at how he’s obliterated anything close to him. It’s a fine showcase for the great man and layered too, displaying some of Pacino’s finest work. Matching him as the criminal counterpart is Robert De Niro as the master thief. Possessing a steely look, ruthless intelligence and a hidden gentleness, De Niro breathes life into the part of criminal with a code who finds it changing in never expected ways. Put simply, he’s electric in a subdued but powerful way. And whenever he and a Pacino meet, it’s simply extraordinary. Val Kilmer brings forth a weariness to his part of a skilled thief but hopeless gambling addict. For Kilmer it’s all in the eyes, which exude alternating strength, action and vulnerability throughout. Tom Sizemore has the dangerous persona and sense of inducing fear, particularly skilled when it comes to the action that erupts.

Though the film is largely composed of men, the women of Heat hold their own and are pretty integral to the story. Amy Brenneman, with her fresh faced charm and sense of kindness is the main woman in Neil’s life and though she doesn’t realise it, she starts to change his way of thinking. Ashley Judd, with a combination of grit and sadness, essays the part of a wife fed up with her husband’s inability to change. The part could have been a throwaway and thankless one, but Judd gives it dimension. The same can be said for Diane Venora, who is also a wife who wants more from her husband. She’s fierce and not afraid to confront him on it which I like. A young Natalie Portman, though only seen in a brief few scenes, still stands out as a troubled youngster struggling with life and not feeling like anyone is listening. Although seen for only a short time, Portman is pivotal to a later part of the story that impacts on Hanna.

The rest of the supporting cast is a regular who’s who of familiar faces who give life to the characters surrounding those at the centre. Standing out is William Fichtner as a slippery man in too deep and not knowing it and Kevin Gage as a very creepy guy who is part of the reason the team feels the heat from the cops. Then you have Jon Voight as the fence who you know has been doing the job as long as anyone can remember and Dennis Haysbert as a former criminal trying to do good but finding it tempting to slip back into a life of wrong. Plus that’s not forgetting Ted Levine, Wes Studi, Mykelti Williamson, Tom Noonan and a memorably pivotal Danny Trejo. It’s a stacked cast, but it’s Pacino and De Niro who are the centre and boy do they make Heat soar.

A dazzling, stylish yet unexpectedly human crime/ action thriller, Michael Mann’s Heat is a film that always gets your attention in nearly every department. Simply put, it’s unmissable.

The Devil’s Advocate

Tags

1990's, Al Pacino, Charlize Theron, Connie Nielsen, Horror, Jeffrey Jones, Judith Ivey, Keanu Reeves, Supernatural Horror, Taylor Hackford, The Devil's Advocate, Thriller

Film Title

The Devil’s Advocate

Director

Taylor Hackford

Starring

• Keanu Reeves as Kevin Lomax
• Al Pacino as John Milton
• Charlize Theron as Mary Ann Lomax
• Jeffrey Jones as Eddie Barzoon
• Judith Ivey as Alice Lomax
• Connie Nielsen as Christabella

The Devil’s Advocate may have its fair share of flaws, but thankfully this doesn’t distract from the creepy impact of the film that for the most part successfully criss-crosses genres and features very credible performances from the cast.

Kevin Lomax is a young hotshot lawyer in Florida who has never lost a case that he took. It is precisely this knack for succession that puts him on the radar for a law company in New York, headed by the strange but very charismatic John Milton. Kevin’s God-fearing mother warns him of dangers but he refuses to listen, dismissing what she says as delusions because of her faith. Soon enough, Kevin has moved from Florida to New York and accepted the job in the prestigious law firm, bringing his beautiful wife Mary Ann with him and into a luxurious and spacious apartment. Under the tutelage of Milton, who always seems to be lurking around and is morally corrupt but is very seductive in his offers of luxury and power, what Kevin has left of a conscience is slowly eroded away as his own ambitions and vanity begin to cloud his judgement and he has no qualms about defending the guilty. Meanwhile, a neglected Mary Ann begins to feel increasingly alienated and sees gruesome visions of demons, that lead to her mind disintegrating with fright and uncertainty. As the high-profile cases role in and Mary Ann’s mental capacities crumble alarmingly, Kevin, though blinded by his skyrocketing career, slowly unearths the fact that his superior Milton is somehow not of this world and a deep force of disturbing darkness who has his own devious plans for the young lawyer.

The direction is very well handled by Taylor Hackford, who really knows how to invest a movie with a creeping sense of mystery without overdoing it. Although there is a feeling that everything promised to Kevin is a little too good to be true, many things come as a surprise thanks to the skillful direction of Hackford. I admire the way The Devil’s Advocate builds up slowly and then quickens as the darkness becomes more and more apparent. The exploration of themes of vanity, greed and power were superbly observed with little nods to the damaging and very horrifying results of them as witnessed here in the style of a morality play. Now The Devil’s Advocate isn’t a perfect film and it does have flaws. The chief one being that while the melding of genres between supernatural horror/thriller and courtroom can be well done, the horror aspect, complete with gruesome special effects, dwarfs the legal part of it. That isn’t to say that the courtroom scenes aren’t good, it’s that the supernatural horror/thriller elements emerge on a greater level during the course of the movie. The other flaw is the length of the film, which could have benefited from a few cuts as it runs for too long in the end. Besides these flaws, The Devil’s Advocate is still very entertaining to watch and downright scary in parts with disturbing visuals and demonic ideas. A choral based score that starts out with a veneer of lush enticement soon gives way to something much more frightening, mirroring Kevin’s rise to power and the strange vents that he seems oblivious too as they close in.

Keanu Reeves is not usually my favourite actor(if I’m honest I find him to be a bit wooden in delivery) but he is ideal casting for the role of ambitious Kevin, who is seduced by a world of power that it is almost too late for him to see the horrific darkness that lies underneath everything that he sees. Then we have Al Pacino, full of fire and untamed energy burning across the screen as the Devil, whose seductive and hypnotic presence causes ruin everywhere he looks. Pacino gives the part his all and it really shows in his intense delivery during some electrifying scenes. But I must say the most effective performance in The Devil’s Advocate for me was that of Charlize Theron. Burrowing into the emotional turmoil of Mary Ann as she is neglected and lonely, Theron displays the shocking mental evaporation of her as visions swirl around her and the once bright woman who was full of life is left in unchangeable despair and torture. Jeffrey Jones is well used as a jealous co-worker of Kevin’s who suspects murky machinations behind the scenes, while Judith Ivey exudes a sage presence as Kevin’s religious mother who warns him of the depravity that will await him but to no avail. A sizzling Connie Nielsen slinks across the screen as a seductive worker in league with Milton on his scheme.

It could have done with being a bit tighter in terms of running time and not been as overly ambitious, but for what its worth The Devil’s Advocate sticks in the memory thanks to mysterious and occasionally horrifying elements and cast.

Ocean’s Thirteen

Tags

2000's, Al Pacino, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Comedy, Crime, Don Cheadle, Eddie Jemison, Ellen Barkin, Elliott Gould, George Clooney, Matt Damon, Ocean's Thirteen, Scott Caan, Shaobo Qin, Steven Soderbergh

Film Title

Ocean’s Thirteen

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Al Pacino as Willy Bank
• Ellen Barkin as Abigail Sponder
• Andy Garcia as Terry Benedict
• Don Cheadle as Basher Tarr
• Elliott Gould as Reuben Tishkoff
• Casey Affleck as Virgil Malloy
• Scott Caan as Turk Malloy
• Eddie Jemison as Livingston Dell
• Carl Reiner as Saul Bloom
• Shaobo Qin as Yen
• Bernie Mac as Frank Catton

The concluding movie in the classy and cool caper series, Ocean’s Thirteen thankfully returns to the vein of the first movie after going off the boil with Ocean’s Twelve. And thank goodness Thirteen delivers the goods as I was a bit apprehensive of which way this movie could go. I’m happy to report it went in a very slick direction and was an enjoyably breezy affair.

Thirteen begins with flamboyant but lovable businessman Reuben Tishkoff being tricked into signing over his share of a new casino to egotistical Willy Bank. Reeling from the shock, Reuben suffers a heart attack and remains bedridden from the experience. Angered, suave Danny Ocean reconnects the old team; slick Rusty, thief Linus, outrageous Basher, the amusingly feuding Malloy brothers Virgil and Turk, witty Frank, technology guy Livingston, old con man Saul and acrobatic Yen. As revenge on the traitorous Bank, Danny wants to humiliate him on the opening night of his new casino. Formulating a plan to rig the games by infiltrating suppliers so that Bank will be cleared out of money, tarnish his sterling reputation and just about anything else to ruin him, the gang knows that if it is successful justice for Reuben will be done. Yet one part of the plan requires a powerful underground drill to simulate an earthquake and after one attempt, the drill breaks forcing them to rethink. Eventually, though they’re all reluctant to do so, they acquire the service of former enemy Terry Benedict, who can finance them with a new drill and get his own back on old rival Bank. Benedict also wants to steal an extensive diamond collection belonging to Bank which adds even more danger to the complex plan. It’s getting this elaborate plan to flow smoothly that poses the biggest problem, as well as Bank’s eager to please PA Abigail and whether or not Terry will double cross anyone. So will Danny and his merry band of thieves be able to pull of this vengeance fueled plan?

Once more, Steven Soderbergh shows of his flair for panache with inspired direction that utilizes many of the snappy visual tricks he so often likes to use. His use of split screen and overlapping images creates a jazzy and snazzy effect as the revenge plan playfully begins. Las Vegas looks a million dollars and the characters do too, in a film that thanks to Soderbergh’s great devilish eye flows along nicely as mischievous plans and justice is served to Bank for misdeeds. Whereas Ocean’s Twelve went completely overboard with its twists, Thirteen keeps it a bit more simple and largely benefits from not indulging in show off tactics. The plan that Danny and the crew formulate is essentially a complex revenge game, but for the audience it never becomes too complicated to understand as we’re rooting for their plan to work on the dastardly Bank. A wonderful script, filled with wit and hilarity, brings out the fact that the crew isn’t doing this job for a thrill. The job is for something more personal than just money or wealth, proving that there may in fact be honor among thieves after all. There is the added bonus of the chemistry with the cast again and the fact that almost everyone is given something to do, something which Twelve didn’t do so well. You do get a sense of glee watching the guys wreak havoc on Bank, via tricks and disguises, and hit him where is hurts, his money.  All of this fun and amusing antics are backed up by a sizzling score that reverberates with old-school swing and silky jazz riffs. The only real flaw in Thirteen is that it isn’t as good as Eleven, but has oodles of style and wit that put it very close to it and acres above Twelve.

The ensemble cast are clearly having a blast that radiates off the screen with energy and verve. George Clooney is on fine form as the urbane Danny, doing his own brand of justice and revenge with panache and humour. Backing him up is the charms of Brad Pitt as Rusty, who is one of the main brains in the plan to humiliate Bank for crossing the line with Reuben. Matt Damon shows a flair for comedic antics as Linus, who is finally given some credit that he’s fought for so long to get. Watching as he is disguised with a bulbous nose and Bond villain hair and having to woo the efficient Abigail is a real hoot and Damon sells it all the way with hilarious enthusiasm. Sporting a dodgy spray tan and larger than life ego, Al Pacino is at home essaying the persona of the arrogant and morally corrupt Willy Bank, who is going to be hit for all that he is worth by the suave crew. As the lone female in the movie, Ellen Barkin is hugely amusing as the perfectionist PA Abigail, who unwittingly helps the crew in their daring plan after being charmed by a disguised and pheromone infused Linus. Sporting ruthless and oily tics, Andy Garcia is deceptive as the former enemy brought in to help, who may or may not be trustworthy. Don Cheadle exudes an over zealous and flamboyant antics, while Elliott Gould puts his heart into Reuben, whose heart attack puts in motion the revenge for Bank. Casey Affleck and Scott Caan are wonderfully comical as the Malloy twins, particularly in their stint undercover at a Mexican plastics facility where they unintentionally cause the workers to rise up against woeful underpayment. Nervous energy comes courtesy of Eddie Jemison, while sophistication is given by veteran Carl Reiner and athletic prowess from the lithe Shaobo Qin. Out of all the cast, Bernie Mac is unfortunately not given a lot to do which is a shame as his character of Frank is usually a comic highlight and the fact that this was one of Mac’s last film roles before his early death.

So while the first Ocean’s is my favourite, Thirteen manages to capture some of the witty and flashy charm of it and more than make up for the debacle of Twelve. If it’s enjoyment you require, Ocean’s Thirteen more than does the job with sizzling sophistication and proves that thirteen isn’t always an unlucky number.

My Dream Movie Cast

Tags

Al Pacino, Judi Dench, Kevin Bacon, Monica Bellucci, My Dream Movie Cast, Natalie Portman

I was recently asked about who my dream cast for a movie would be and it really got me thinking. So for today’s post I’m going to list 5 actors and actresses who I would put in a movie if I could. Hope you all enjoy.

Al Pacino:

He has been one of my cinematic idols for years and is super talented. He may have not been in much recently, but his work still stands up so well. To have an actor like him on a set really raises the bar in terms of performances.

Judi Dench:

A national treasure of talent and wit, Judi Dench is a force to be reckoned with. With her iconic voice giving life to the words she speaks and a glint in her eye, Dench never fails to amaze me.

Kevin Bacon:

This man literally lights up the screen with his presence and versatility. From affable and charming to frightening and chilling, Bacon is an actor I hugely admire and would be happy to have in a cast.

Monica Bellucci:

The beautiful and talented Monica Bellucci has that ability to say so much without words and it really grips from the movies I’ve seen her in. None of her work ever feels forced or histrionic, it’s very calm but speaks volumes about the characters in the most expressive way.

Natalie Portman:

An intelligent performer of depth, Natalie Portman exudes a sense of confidence and maturity that is hard to resist. She takes risks in her work and is able to burrow into the character’s head with acute observations. It would be an honor to have Miss Portman in a movie.

So what does everyone think of my dream movie cast?

 

 

Frankie and Johnny

Tags

1990's, Al Pacino, Comedy, Drama, Frankie and Johnny, Garry Marshall, Hector Elizondo, Kate Nelligan, Michelle Pfeiffer, Nathan Lane, Romance

Film Title

Frankie and Johnny

Director

Garry Marshall

Cast

• Al Pacino as Johnny
• Michelle Pfeiffer as Frankie
• Hector Elizondo as Nick
• Nathan Lane as Tim
• Kate Nelligan as Cora
• Jane Morris as Nedda

A funny and often touching tale of two people falling hesitantly in love, Frankie and Johnny is a romantic comedy drama boasting great performances and a poignant screenplay that pierces to the heart of the meaning of love for different people.

Johnny is a middle-aged men who has just been released from prison. He has an exceptional talent for cooking and whilst searching for a job is hired by Nick, the Greek owner of a busy diner in Manhattan. It is here that Johnny first lays eyes upon Frankie, a plain waitress who tries to keep emotional attachments at arm’s length. He is immediately smitten and tries to woo the distant Frankie, finding it will be a hard task to convince her that love exists as she seems to turn him down every time he tries to express himself. Through his relentless pursuit of her, he gradually gets her to emerge from her shell and speak of why she doesn’t like attachment. Prepare for funny and soul-searching moments as they gradually see the good in each other in this warm, romantic comedy.

As the happy, hungry for life Johnny, Al Pacino shows a flair for comedy as we watch his various declarations of love met with a no. He has excellent chemistry with Michelle Pfeiffer, and provides their scenes with a dramatic and tender charm. At the time of the film’s release, much was made by critics of Michelle Pfeiffer being “too pretty” for the role of the lonely and forlorn Frankie. Yet I disagree, as she adeptly rises to the challenge and creates a beautifully touching performance, filled with a dejected melancholy and vulnerability that eventually gives way to hope. Standout’s from the supporting cast include Hector Elizondo as the manager of the diner, Nathan Lane as Frankie’s gay neighbour who wants the best for his close friend and Kate Nelligan as the sassy, gum-chewing waitress Cora, whose discussions with Frankie regarding men are hysterical to watch. Garry Marshall manages to sidestep some of the usual formula involved in romantic comedies to form a tender love story that will make you laugh but touch your heart deeply, sometimes at the same time. Adapting from his own play, Terrence McNally fills the film with comedic and equally insights into the ways the heart works when it comes to love. This is most evident in the way he writes the scenes in which Johnny tries to impress Frankie with his knowledge of Shakespeare and old music. When he mentions that they were made for each other because their names also are the title of a song, she replies “Didn’t they end up killing each other”? Johnny’s hilarious answer to this is “No she killed him, so I’ve got the edge there”. This is one of many witty and loving sparks of dialogue that appear throughout the film to give it a tender but never cloying examination of hesitant romance.

Witty, warm and tinged with subtle melancholy, Frankie and Johnny provides excellent roles for the cast, sparkling chemistry between Al Pacino and Michelle Pfeiffer and makes an emotional connection with the audience, making the material very relatable.

The Godfather Part III

Tags

1990's, Al Pacino, Andy Garcia, Crime, Diane Keaton, Eli Wallach, Francis Ford Coppola, Joe Mantegna, Sofia Coppola, Talia Shire, The Godfather Part III, The Godfather Trilogy

Film Title

The Godfather Part III

Director

Francis Ford Coppola

Starring:

• Al Pacino as Michael Corleone
• Diane Keaton as Kay Adams
• Andy Garcia as Vincent Mancini-Corleone
• Talia Shire as Connie Corleone
• Eli Wallach as Don Altobello
• Joe Mantegna as Joey Zasa
• Sofia Coppola as Mary Corleone

The third and final entry into the epic Godfather Saga, Part III is commonly seen as the weakest. It is true that it doesn’t live up to the incredibly high standard of the two films before it, but taken as a film by itself and as the conclusion of the saga it isn’t as bad as some make it out to be.

The year is 1979 , Michael Corleone is ageing and a shadow of his former self. He is haunted by decisions he has made in the past, most prominently ordering the death of his brother Fredo, and has been trying to make family as legit as possible as a way of redemption. But no matter how hard he tries to distance himself from the business, the more it keeps coming back to him. The first instance of this is the presence of Mafia boss Joey Zasa, a cunning, double-crossing man who has a bone to pick with a member of Michael’s family. The family member is Vincent, the illegitimate son of the late Sonny, whose temper and volatile actions are clearly are inherited from his father. Michael takes Vincent under his wing and sees potential in his young nephew to inherit the position as Don. The other instance that pulls Michael back into the crime game, is a deal with the Vatican Bank, that is in actual fact a concealed swindle of Michael’s money. Whilst having to cope with all of these events, the guilt-ridden Michael tries to patch up old wounds with his ex-wife Kay, and is further troubled by Vincent’s relationship with his naive, young daughter Mary.

As I’ve mentioned earlier there are flaws within the last part of Francis Ford Coppola’s film. For one, the plot involving the Vatican Bank Scandal is sometimes to hard to follow and certainly outlandish. Also, although I respect Sofia Coppola as a director, she is unfortunately miscast in the role of Mary, a  fact that many critics pointed out at the time. Sofia Coppola, despite this criticism has established herself as a respected director since this and good for her. Now I’ve spoken about the negatives, I will proceed to the positives.

Al Pacino effectively conveys Michael’s remorse for his past misdeeds and his reluctance to get involved in any further crime. His scene with Diane Keaton as the long-suffering Kay, in which both characters admit that the still care for each other is certainly a touching moment. Admirably supporting him is Andy Garcia, who is frequently electrifying as Vincent, capturing the violent nature of him but showing an undying loyalty and humanity when it comes to protecting his uncle from opposition. Talia Shire is equally as good, showing Connie’s metamorphosis from downtrodden, abused wife to master manipulator and right hand woman to her reluctant older brother. It is Shire’s best performance in the series in my opinion. As always, the music and stunning cinematography are up to an impeccable standard, showing the nostalgic glow of family ties and the savage brutality of the crime lifestyle. All of this builds up to a bullet-ridden and devastating climax to Coppola’s unbeatable trilogy.

This may be one of my most controversial reviews, but I personally think the film, because of the reputation of the other’s has been neglected to the sidelines.

Which actors and actresses have the best voices?

Tags

Al Pacino, Bette Davis, James Stewart, Katharine Hepburn, Maggie Smith, Marlon Brando, Morgan Freeman, Susan Sarandon, Tom Hanks

There are many stars who have a distinctive and memorable voice, if I listed them all I would need a book. So the question today is, which actor or actress has the best voice? Which star has a voice that you could listen to without getting bored? It can be someone really famous in the acting business or someone not so well-known. Whatever the answer, please give it and feel free to comment.

Here is a list of actors and actresses I consider to have great voices off the top of my head;

Maggie Smith

Susan Sarandon

 

Tom Hanks

 

Morgan Freeman

James Stewart

 

Katharine Hepburn

Al Pacino

 

Marlon Brando

Bette Davis

My favourite actors and actresses

Tags

Al Pacino, Bette Davis, James Stewart, Maggie Smith, Natalie Portman, The Godfather Trilogy

There are many movie stars who come and go over the years. But the ones that are listed and described below are the ones that have made a significant impact on me and my movie watching in my life.

James Stewart- In his heyday, Jimmy Stewart was one of the top leading men. He wasn’t considered conventionally handsome but seen as gawky and ungainly. But boy could he act!!! My favourite films of Stewart are the many he made with Hitchcock who often used him as the archetypal wrong man. Rear Window is a must see for Stewart fans. And who can forget that famous voice he possessed and the countless imitators who have tried to copy it?

Bette Davis- Another performer not sen as conventionally attractive, Davis worked with what she had and left an indelible mark on the screen. She was best cast as the bitchy or scheming woman who delights in the misery of others but also as women who suffer in some way. Those famous eyes used to convey many emotions on-screen and her voice to blast out acidic put downs and withering insults. For me,when Davis was on the screen everything else stopped and I was immediately drawn to her. Her best performance in my opinion is as the aging actress Margo Channing in All about Eve.

Maggie Smith- A grand dame of acting, Maggie Smith is proof that age doesn’t diminish good opportunities in movies. She imbues her characters with many memorable traits and is highly skilled at portraying waspish grandmothers and stern duchesses. Whatever movie or TV show I watch her in I enjoy, especially when she gets the chance to deliver hysterically bitchy lines and punishing glares.

Al Pacino- What more can be said about Pacino? He is an influential and extremely talented individual who has been acting for over four decades. Whether playing hero or villain or sometimes the tragic hero, he is amazing in his acting delivery. If he is ever forgotten, people will always remember him in The Godfather. And it’s shocking that the studio didn’t even want to cast him. The Godfather without Pacino is just unimaginable.

Natalie Portman- For me, Natalie Portman is one of the leading actresses of her generation. Emerging as a precocious talent at the age of 12 as the Lolita-esque Mathilda in Leon, she made a seemingly easy rise to adult stardom. I like Portman because she is never afraid to take risks; she shaved her hair for V for Vendetta and trained intensley for months for her Oscar-winning role as an unstable ballerina in Black Swan.  A talented and intelligent actress who I hope will continue her amazing career.

Part 2 will follow very soon.

The Godfather Part II

Tags

1970's, Al Pacino, Crime, Diane Keaton, Francis Ford Coppola, John Cazale, Robert De Niro, Robert Duvall, Talia Shire, The Godfather Part II, The Godfather Trilogy

Film Title

The Godfather Part II

Director

Francis Ford Coppola

Cast

• Al Pacino as Michael Corleone
• Robert Duvall as Tom Hagen
• Diane Keaton as Kay Adams-Corleone
• Robert De Niro as Young Vito Corleone
• John Cazale as Fredo Corleone
• Talia Shire as Connie Corleone
• Lee Strasberg as Hyman Roth
• Michael V.Gazzo as Frank Pentageli

Synopsis: The continuing saga of the Corleone crime family. The film centres on the business of Michael Corleone, as he becomes the new Don and shown in flashback is the rise to power of his father before him. The film couples the stories together to show Michael’s dilemmas and doubt and his father’s gradual ascent to becoming the all-powerful Don.

Many people thought that it was going to be hard to surpass a masterpiece like The Godfather, but all naysayers were silenced when this sequel was released and many declared it equal to its iconic prequel. Rarely has a sequel been quite as well received as The Godfather Part II. It also doubled the first film’s Oscar wins by collecting six including Best Picture, the film remained the only sequel to win this award until Lord of the rings: The Return of the King won in 2003.  Whilst the first film is justly seen as the best, I personally think that Part II is just as good and actually reveals more on the history of the Corleone family and how it became an organized crime family.

Whilst the first film is well-known for the iconic scenes that abound, Part II has some justly famous moments that linger long in the memory.  The main thing that I like about the film is the cross cutting between Michael’s eventual downfall and the ascent of his father, this gives the film a profound and darker quality as we witness two stories running parallel to each other. Another aspect that makes the film intriguing is its expansion on certain characters, most notably Fredo, Connie and Kay, whose roles become more important and significant to this epic ongoing saga of the Corleone family.

Corleone Origins

One specific scene that has resonance with me is the flashback scene in which a nine-year-old Vito arrives in New York an orphan after his mother was murdered by the local Don.After escaping Sicily with the help from the local peasants, Vito climbs aboard a ship and sails for freedom. As you know what he later becomes it is interesting to see him has a young child and how certain aspects of his early life influenced his life in later stages.  His wide-eyed look at the Statue of Liberty is significant as I can relate to the experience of moving to a new place and not knowing anyone or what is going to happen.  The music in the background adds to the feeling of being in a foreign place and the journey endured for it.  The cinematography is outstanding as the sepia tones clearly highlight the period feel of the film and give it a nostalgic edge.

The rise of the Don

The other scene in my opinion is the turning point of the young Vito, here brilliantly portrayed by a young Robert De Niro, is when after witnessing the power wielded by Don Fanucci and after he tries to extort money from him, he secretly follows him and kills him. People may think that it sounds shocking but Vito doesn’t kill him for the fun of it, he kills him because of the things he has done to other people close to Vito and to Vito himself. The masterful sequence starts with the quiet Vito scaling the roofs of various buildings like a predator silently stalking its prey, following Fanucci as he makes his way through the parade, people falling on their feet to show respect as they know what consequences can happen if they get on the wrong side of him.  Vito then enters Fanucci’s apartment and silently waits for him to appear armed with a gun Clemenza told him to mind for him. After Fanucci enters his apartment he sees Vito and doesn’t expect anything, but then Vito emerges and shoots Fanucci in the chest, his gun silenced by a towel and the celebrations outside. He then retrieves money from him and destroys evidence of the gun. What I find so interesting in the scene is the gradual transformation of Vito who realises the importance of power and honour and how it can be used. By killing Fanucci he takes over as the more respected Don of the neighbourhood who by his own admission “knows how to repay a favour”, but who everyone knows not to cross with their lives. I like the way in which Coppola captures the two sides of the new Don as he is seen after killing Fanucci, calmly going back to see his wife and young children on the steps of their apartment. Coppola also helps elaborate on the central themes in the movie as Vito tells a baby Michael that he loves him, further foreshadowing the feeling of honour. It is also a sly reference to the fact that Michael in the future becomes completely different to what he originally was.

Beyond redemption

The most lasting moment of the film comes at the very end of it. This moment is haunting as we see Michael, older than he really is sitting outside on a chair with an expressionless look on his face. In my opinion he has realised what it means to be the Don and that he is beyond redemption for the things he has done.  Even though Michael is someone who has done bad things, I still have some sympathy with him, as I don’t see him as a villain but more of tragic hero.

As with the first movie, Part II has an exceptionally good cast. Pacino again delivers an outstanding performance, but the person who stood out for me was Cazale as his role as Fredo is expanded on. This time he gets more of a story as he begins to resent Michael for being one of his father’s favourite kids. This ultimately leads to Fredo’s downfall as he goes against the family.  Diane Keaton is good as well, her character of Kay now becoming embittered and tired of her husband’s lies. The scene in which she tells Michael that she has aborted her baby and he viciously strikes her is very effective; the acting by Pacino and Keaton is amazing. Pacino’s eyes say everything without him speaking as they begin to bulge with anger at Kay’s confession.

The other member of the cast that I thought did a fantastic job was De Niro as the young Vito. It must have been a hard act to follow on from the pivotal and extremely memorable Brando, but De Niro gives a revealing quality to his performance as the man before he was the Don. The uncanny likeness between De Niro and Brando is what makes the performance so good. Talia Shire reprises her role as Connie, but her character has significantly changed morphing from down-trodden wife to loose, hard-drinking girl who has had many loveless and empty marriages. Shire is great as Connie and brings a rebellious quality to her character as she constantly tries to get and Michael and get money off him.

In my opinion, Part II is equally as good as the first part. Part II is more profound and revelatory than its predecessor, tracing the origins of one of cinema’s most memorable families. In my view, Part II achieved a rare feat; it is a sequel that will be remembered as more than just the second part of a series but as a cinematic achievement.

The Godfather

Tags

1970's, Al Pacino, Crime, Diane Keaton, Francis Ford Coppola, James Caan, John Cazale, Marlon Brando, Robert Duvall, Talia Shire, The Godfather, The Godfather Trilogy

Film Title

The Godfather

Director

Francis Ford Coppola

Cast

• Marlon Brando as Don Vito Corleone
• Al Pacino as Michael Corleone
• James Caan as Sonny Corleone
• Robert Duvall as Tom Hagen
• John Cazale as Fredo Corleone
• Diane Keaton as Kay Adams
• Talia Shire as Connie Corleone

Synopsis: The story of an Italian-American family involved in organized crime in post-war New York. The head of the family has three sons, one daughter and an “adopted” son. One of the sons will eventually take the reins of power from the ageing Don; volatile Sonny, weak-willed Fredo or war hero Michael.  The story concerns the passing of power from one generation to another and the effect that it has on the family.

I know that many people will take one look at this review and think, “Why does The Godfather need to be reviewed?” After all it is common knowledge to many that it is one of the most acclaimed films in the history of cinema. But before people judge it too quickly, please listen, read my review and see what I have to say about this movie that changed my life.

The Godfather is the epic, operatic and masterful story of the Corleone crime family, directed by a young Francis Ford Coppola whose name will forever be associated with this hugely influential and iconic film. It is often seen as one of the most influential movies and also one of the best ever made. No other film has entered into popular culture quite like The Godfather, words from the script are now embedded in the minds of moviegoers and who knows how many people have attempted an impression of Marlon Brando’s ever present and pivotal Don. One need only look at The Soprano’s or Scorsese’s later work to see how much of an impact the film has made. It is hard to imagine a world without The Godfather. Unlike the typical gangster films of the 1930’s and beyond that featured gangsters against FBI or police such as The Public Enemy , The Godfather examines the more personal side of the business portraying the Corleone’s as a family who believe in a sense of honour and duty no matter the cost or bloodshed. It is essentially a family drama that happens to be about organized crime.

There are three specific scenes in the film that are important to me for different reasons; the wedding scene, the death of one of the sons and the baptism scene.

What I find so interesting in the opening  scene of the Don’s only daughter Connie’s wedding , is the clear dichotomy that is shown between family and business, which is emphasised by the dimly lit court that the Don is holding indoors and the jovial, sunny and celebratory atmosphere occurring outside.  
Whilst the multitudes of guests gather outside in the sunny heat, the family patriarch Don Vito Corleone is listening to various stories of people who require his “assistance”. The Don is an ageing man whose raspy voice and deliberate movements belie an exceptional intelligence and sense of judgment. Outside whilst the celebrations are taking place, Coppola takes the time to introduce the other members of the family. Vito’s eldest child Sonny is a hot-headed, bullish and arrogant man with a temper that knows no boundaries, Fredo is the second eldest son and the weakest member of the family, Tom Hagen is the Don’s “adopted” child and lawyer with an extremely level head who often acts as the voice of reason and Connie as the only girl amongst four boys is a spoiled young woman. Then one of the most important characters is introduced, the white sheep of the family and war hero Michael. Michael is one of the only members of the family who does not want to be involved in the business .Out of all of the Don’s children; Michael is by far the most interesting and most complex character in the film. At the wedding he brings along Kay Adams, his all-American WASP girlfriend who has no idea of the family’s business. I think that the introduction of Kay is used so that the audience can see what she is seeing as she is not Italian-American and the customs between her upbringing and the family’s culture is varied. When I watched the film, I saw its examination of the family from two points of view; as a family that will do anything to uphold honour and loyalty and like Kay, unsure of the dynasty and their way of life. The examination of the family even though they are involved in organized crime is presented like any other family celebrating a significant event. This helps back up the point that they are just like any other family, they just happen to do bad things usually for good reasons. It presents the character of Don Vito as a man who by his own admission would do anything for his family. He is just like every other father who cares a great deal about his relatives and would go to any limits to protect them.

One of the most effective scenes in the film and the one that had an impact on me was the brutal slaughter of bullish eldest son Sonny. It had a huge impact on me because I could see that something bad was going to eventually happen to him because of his volatile behaviour and actions, but I just didn’t know what. Even though it is obvious that something is going happen to Sonny because if his temper, his death is still one of the most emotional and shocking moments to grace the screen. For its time, the murder of Sonny was shocking. But it hasn’t lost any of its original impact on the viewer or the events that follow on from his demise.  Before this scene, Sonny has found out that Carlo has been beating his sister up.  Although he promises his terrified sister that he won’t do anything, he takes revenge on Carlo by viscously beating him up in the middle of a street. Just before he leaves the barely conscious Carlo, he warns him that if he touches his sister again he will kill him. Carlo ignores this and after a pregnant Connie finds out he has been having an affair and berates him about it, he mercifully attacks her. The build-up to Sonny’s demise then starts with him receiving a phone call from his sister. In a barely audible voice she explains that her husband Carlo has beat her, Sonny clearly angered by this sets out to kill Carlo. This unfortunately leads to his demise which is set up by Carlo himself. Whilst driving to Connie’s house, the car in front of Sonny on the highway by a station stops. At this moment, you know that something bad is going to occur. It turns out there are more people at the station than Sonny thought. As he tries to escape after sensing that something is wrong,  Carlo’s henchman pop up from the station and the car in front. Then the bullets start to fire at Sonny in a fast paced motion, throwing his body about in a particularly unsettling fashion.  This graphic depiction of death was clearly influenced by the famous finale of “Bonnie and Clyde” in which the two eponymous lovers are violently gunned down in slow and fast motion.  I think that Coppola references “Bonnie and Clyde” because it was one of the first films to feature extreme violence and also because it broke new ground as to what was seen as acceptable in film. The demise of Sonny made me think about how I would feel if it was a member of my family and what I would do. I felt sympathy for Sonny because even though he has done bad things he did them for the honour and values of his family.

The penultimate scene of the film is the brilliantly edited sequence that intercuts the baptism of Connie’s child with the killing of the heads of The Five Crime Families. The juxtaposition between the beginning of life and the end is mesmerising to watch.  I remember watching this sequence and being amazed at how technically and cinematically effective it was. I also remember the scene for the sight of a now changed Michael being asked if he renounces Satan and at that exact moment his hit men take out the family enemies. The scene is a clear indication of how Michael has now become the cold and calculating Don he wasn’t expected to become. Twinning the holy presence of religion and the brutal massacre of others was a stroke of genius.

The turning point for the family and the film is the arrival of Sollozzo, a gangster with the backing of another family who wants to import narcotics but requires the assistance of Vito. When Vito refuses, Sollozo’s men gun him down but the ageing Don doesn’t die.  What follows on from these events is what makes the film so compelling especially the slow-building metamorphosis of Michael from reluctant youngest son to ruthless and calculating Don. The film is more than just an average crime movie; it is an insightful and almost Shakespearean family saga, in the model of King Lear. Even though The Godfather is justly famous for the showier and exciting parts that occupy the film, it is the elegiac and personal study of family values and ties that gives the film its edge.  The film’s cinematography is outstanding in the way that it captures the emotions and creates atmosphere onscreen; a classic example is the opening scene in the Don’s office that is low-lit to give a sense of shadiness. Also in the various scenes of Michael hiding out in Sicily, the lighting and mise-en-scene give the film an old-fashioned and sweeping quality. The music featured throughout the film is haunting and clearly suits the languid and thoughtful pace at which the movie runs.

One of the most successful aspects of the film is the cast that Coppola assembled. It goes without saying that no one else could be as good a Don as the legendary Brando, but the real revelation of the film is the young then almost unknown Al Pacino. His performance is amazing as Michael changes from bystander to ruthless boss; this performance clearly shows that risky casting does pay off. Equally as good are Caan and Duvall as two very different characters, the volatile Sonny and the level headed Tom. Out the few women in the film, Kay is the most rounded character and Diane Keaton makes her an interesting female presence in a male-dominated movie. She is at first naïve of the family business but she gradually begins to realize what is happening. Despite this, she dearly loves Michael and the final shot of the film in which the door is closed metaphorically and literally on her dejected face as Michael becomes the new Don is heart breaking to watch

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If I had to summarise what The Godfather was about in three words they would be family, honour and power. If anyone out there has not seen it please watch it, I promise you it will change your life. After all it is in the words of the Don ,simply an offer you can’t refuse.