The Passion of the Christ

Tags

2000's, Biblical, Biblical Drama, Hristo Shopov, Jim Caviezel, Luca Lionello, Maia Morgenstern, Mel Gibson, Monica Bellucci, Religious Drama, Rosalinda Celentano, The Passion of the Christ

Depicting the last twelve hours in the life of Jesus Christ, Mel Gibson’s unrelenting religious drama pulls no punches on the brutality scale. Though that does offer hope, if you can get make your way through the startling brutality depicted. All in all, The Passion of the Christ emerges as a truly powerful and emotion churning film.

We begin in the Garden of Gethsemane where Jesus(Jim Caviezel) knows he will be betrayed . Judas( Luca Lionello), one of his trusted disciples, betrays Jesus for pieces of silver and leads them to where the master he followed is . Arrested, Jesus is accosted by priests and faces the temptation of Satan. Watching are his disciples, plus his mother Mary(Maia Morgenstern) and Mary Magdalene(Monica Bellucci), who are devastated by the proceedings that follow. As the hours pass by, it’s an emotional rollercoaster for all involved. From being taken to the conflicted governor Pontius Pilate(Hristo Shopov) to his scourging by soldiers, Jesus is put through sickening abuse and soul shaking cruelty. Despite being tortured and mocked, Jesus remains as resolute as he can in his conviction of his purpose to be the saviour of the people. As his torture continues, Jesus eventually carries the cross to his place of death as jeering crowds and devastated followers continue with him. The hope of resurrection comes in a soulful conclusion with the ascension of the Messiah.

Mel Gibson directs with real conviction and pardon the pun, passion. He’s created a film that doesn’t sugarcoat or simplify the last twelves of Jesus Christ’s life . I’ve found that often in religious movies depicting Christ, the brutality and hardship of his last hours is watered down and over rather quickly . And while many of those movies are fantastically made and crafted, The Passion of the Christ is a different movie altogether. Gibson crafts a truly harrowing experience that both rewards and scars. The decision to have the film be in Aramaic, with also bits in Latin and Hebrew, is an interesting one that I think pays off because it makes things feel realistic and immediate. Now I’ve read that there are those who view as anti-Semitic because the main people wanting Jesus put to death are Jewish priests. While I can understand where the accusation is coming from , though I don’t believe that the film itself is anti-semitic . It rather shows how there is sin and darkness on either side of things and how man can often be cruel and shockingly vicious towards others . The scenes of vicious brutality are intercut with flashback from Christ’s past, including the Last Supper and rescuing Mary Magdalene from the street. These scenes are bathed in a beautiful glow which counteracts the almost muted colour palette of the early passages, followed by glaring brightness as the journey towards crucifixion comes into motion. All of this is strikingly shot and realised by the talented cinematography Caleb Deschanel .  His work is stark yet strangely beautiful; reminiscent of old fashioned painting and artwork. Among the savagery on show, the cinematography holds moments of soulful grace. The focus on eyes throughout is arresting in a very visual sense and in between the often harrowing images depicted, translates a lot of emotion to the audience. Sound editing makes every moment of brutality stand out, particularly the sound of the whip that cuts in the back of Jesus and into the ears of the audience. A truly haunting score from John Debney heightens all the emotions displayed in a way that is truly hypnotic, dark and yet stirring as it unfolds. For many viewers, the level of brutality, violence and general intensity will prove too much for them. And it is true that The Passion of the Christ is a test of endurance on both the emotions and the stomach. Some parts of it due feel like overkill, like a beating that refuses to end. But I believe that’s the main point of the movie and that by refusing to shy away from the brutality, it is attempting to bring a level of reality to the story which is often eschewed for something nicer. 

Jim Caviezel is truly astounding as Jesus Christ in what is obviously an immensely challenging role. Caviezel finds the core of strength that comes through when experiencing startling torture. His soulful expression, underneath viciously inflicted wounds, brings volumes of depth and beatific humanity to Christ. Put through the emotional and physical mill, Caviezel is on hand to deliver a performance that says so much and is filled with deep reverence and dignity throughout. Maia Morgenstern is sublime as Mary, the mother of Christ who is seen throughout the movie enduring every parent’s worst nightmare. What this woman conveys with her eye is simply extraordinary; you feel every emotion goes through her and is expressed on her marvellous and nuanced face. My hats off to the immensely talented and totally believable Maia Morgenstern.  The same can be said of Monica Bellucci, who doesn’t have a lot of dialogue but whose face speaks more than reams of dialogue ever could. Both women are truly superb as the important women in the life of Jesus. They both must watch with mournful, expressive eyes, the man they care about go through immense pain in order to save people from their sins. And they truly deliver work that like that of Caviezel, burns itself into the memory for its power. Hristo Shopov, who possesses a palpably haunted and weary aura, plays Pilate as a man who is damned if he does and damned if he doesn’t . The burden weighs heavy on him and Shopov plays this convincingly and authenticity .Rosalinda Celentano appears in the brief but important role of Satan. With her piercing visage and unnerving aura, she’s a memorable part of The Passion of the Christ and pretty unforgettable. Luca Lionello appears as the traitorous Judas, who soon feels the immense guilt and feeling of disgust that comes with betraying someone who trusted you. Lionello embodies when he’s on screen this feeling of self-hatred and regret as demons swell around him. 

At the end of the day, The Passion of the Christ is both a soul shaking and powerful movie. It’s not for the faint of heart and I wholeheartedly mean that , but if you have the stomach, it’s an unforgettable experience.

The River

Tags

1980's, Drama, Mark Rydell, Mel Gibson, Scott Glenn, Sissy Spacek, The River

Film Title

The River

Director

Mark Rydell

Starring

• Mel Gibson as Tom Garvey
• Sissy Spacek as Mae Garvey
• Scott Glenn as Joe Wade

An uplifting look at the human spirit and the resilience of it are brought to the table in The River, which at the time of release was a socially conscious film that looked at the plight of farmers and their lands, as there became a big call for other business. Some of the things in it don’t quite hold up and there are bits of melodrama that sink in, but The River regains its footing and due to the good work from the cast and

Tom and Mae Garvey are married farmers living on their land in Tennessee with their two young children. Their farm is placed in a precarious position as it lies adjacent to the river, which overflows every so often due to storms. The family struggle along but their unwavering resolve and strength keeps them in tact. Yet tough times are about to arrive in various forms that will test the Garvey’s more than ever before. Recently, the land value has dropped and with the terrible conditions slowly getting worse, many nearby farmers are forced to sell their land. On top of this, slimy land owner Joe Wade has his own plans to flood the family and benefit from the water supply, first trying to buy up all the land that he can. This is something that would put the Garvey family out of a home and a livelihood if it were to go through, but the stoic Tom( whose family has owned the farm for generations) refuses to budge. Part of this is due to fact that Joe used to be in love with Mae years before and animosity between the two men thwarted any chance of friendship. But as Tom has run up debt and supplies dwindle, he and Mae are forced to consider the offer. Refusing, Tom in order to get some extra money to keep the farm going, becomes a scab laborer. Difficulties become noticeable as his stubbornness to even consider Wade’s offer weighs heavily on him and his family. Mae tends to the farm, but as driven as she is, begins to see that the tough times are just beginning for everyone and that it is going to take a lot of work to stop the farm from being swept away. Can Tom and Mae make it through the testing times as the river threatens with intent and Wade keeps pushing?

With unfussy yet intimate directing, Mark Rydell gets us to relate to the Garvey’s in their plight. He unearths the way that their livelihood is so important to them, but how a change could also do just that. The constant wrestling of what they should decide drives a significant part of The River; with Tom standing firm but Mae at least teases the idea to save any more hardship. Now The River is no flawless movie it must be said and a few issues arise. The screenplay, as emotive and soulful as it is, can quickly become a little too black and white when it tries to bring in the politics of business vs the farmer’s resolve. I mean, I can understand the sense of heroism in there, but at times it completely neglects the other side which could have had currency, by becoming a bit melodramatic. The grey areas could have been explored in greater depth as well. Also, at two hours, The River a little too long for its own good and could have been trimmed a bit. All in all, the negative aspects of the film are easily put aside thanks to the heartening tale and sense of hope that emits through even the darker stages. Vilmos Zsigmond brings his assured and striking powers to the cinematography that greatly benefit the movie, by capturing nature as both beautiful and bleak sometimes at the same time. The deepening of the colour palette brings out the harsher and more dramatically driven areas of the story, yet the glimmering sense of something on the horizon for Tom and Mae remains in subtle fashion. John Williams is on score duties and successfully provides a rousing musical accompaniment to the journey of the Garvey’s as they battle adversity head on.

Mel Gibson does especially well in the role of Tom. Embodying an undying stoic and stubborn quality, he is often a flawed man who is trying to do the right thing. The fact that the character is often his own worst enemy aids the drama of The River and Gibson gets this across, while still generating a hardworking and heartening sympathy for the man. Farming and a sense of honor are in this guy’s blood and the fact that he stands up to fight, while being at odds with a lot of things, is quite inspiring. But for me the best performance in The River comes from Sissy Spacek. Her part of the farmer’s wife could have easily been relegated to the sidelines and contributed nothing, but the luminous Spacek breathes life and fresh air into Mae. With her expressive face, we glimpse her love for her husband and family as well as her unbending will, that is challenged significantly by the trying hardships endured. But although the character may look quiet and meek, she is the complete opposite. With Spacek in the part, the emotive quota goes up and her natural warmth and depth of talent are displayed in full glory in what is a winning performance of sincerity. Scott Glenn does quite well as the main villain of the piece, though it must be stated that there are times when all he needs is a moustache and an evil laugh, and he’ll become a joke. The character is not written particularly well, but Glenn being the good actor that he is, at least injects a little something else into a cardboard cutout.

A little over dramatic at times and a tad too long, The River nonetheless stands as a beautifully rendered movie, enlivened and given emotional clout by the vibrant visuals and performances, particularly the one from Sissy Spacek.

Mad Max Beyond Thunderdome

Tags

1980's, Action, Adventure, Angelo Rossitto, Bruce Spence, George Miller, George Ogilvie, Helen Buday, Mad Max Beyond Thunderdome, Mel Gibson, Robert Grubb, Tina Turner

Film Title

Mad Max Beyond Thunderdome

Directors

George Miller and George Ogilvie

Starring

• Mel Gibson as Max Rockatansky
• Tina Turner as Aunty Entity
• Bruce Spence as Jedediah
• Angelo Rossitto as Master
• Helen Buday as Savannah Nix
• Robert Grubb as Pig Killer

The final part of the original trilogy, before the excellent Fury Road exploded onto cinema screens, Beyond Thunderdome always seems to be the film in the Mad Max canon that gets a mixed reception. While it doesn’t have the ferocity of The Road Warrior or the grim ambiance of Mad Max, it has an outlandish, outrageous and thrilling adventure that is a fun ride throughout. Seriously, Beyond Thunderdome is not as bad as I heard people say it was, people really need to go back and watch this entry in the series to reevaluate their opinion of it.

It is fifteen years since we last saw lone drifter Max. We pick up with him in the Australian desert of the post apocalypse, making his way to nowhere. His ride of camels is hijacked by Jedediah and his young son, a pair of aviator bandits who commandeer his belongings. Max continues to push on until he comes upon Bartertown. The place is a sleazy pace in which anything, including one’s life can be traded if the price is right. The town’s energy comes from the rearing of pigs and their feces which in turn makes methane. Max is brought to the attention of the town’s ruler, the flamboyant Aunty Entity. While this Amazonian runs the place, she does have an uneasy truce with Master Blaster, an amalgam of a clever dwarf connected to a mountain of brute strength. In exchange for Max’s fighting ability and a duel with Blaster in the arena known as Thunderdome so that she can tighten her hold on the town, Aunty will give Max the supplies his needs to be on his way. Agreeing to this, Max takes on Blaster in the weapon covered arena but stops from killing his opponent when he has a change of heart upon seeing who he really is. Enraged, Aunty banishes Max for betraying her and sends him deep into the deserts. After almost dying from exhaustion and dehydration, he is rescued by a tribe of children who bring him to their camp. The tribe, who crash landed on a plane years before, believes that Max is the captain of the plane brought back so that he can lead them to hope. Although he tries to deny this fact and originally has no intention of helping them out, Max soon sees that he must and leads them through the deserts. The only hitch in the plan is that they must cross through Bartertown along the way, where there is sure to be a battle on Max’s hands.

While others may say that Beyond Thunderdome is the most commercial of the three, it doesn’t stop it being enjoyable. George Miller and co-director George Ogilvie do a sterling job of bringing another dimension to the series. Yes there is still the darkness lurking around in the apocalyptic settings, but there is also humour and crazy ideas at play which make it fresh. Miller still brings plenty of action to this film, including a cart chase which ranks as spectacular in my book and the unforgettable duel inside Thunderdome, where Max must utilise his strength while being suspended on wires. Yet the focus here is adventure of mythical properties with Max becoming the unlikely saviour of the tribe and being considered the deity that will bring them hope in this time of danger. Stunning visuals and spectacular set pieces are the order of the day here and they don’t disappoint at all; the biggest highlight being Thunderdome itself which is just a master work of glorious set design. The unusual but highly effective music score works wonders to highlight this idiosyncratic world that Max has found himself in and the sense of danger that always follows him wherever he goes. And not forgetting the two songs provided by Tina Turner, the best being the classic ‘We Don’t Need Another Hero’.

Essaying the role of Max once again, Mel Gibson has clearly grown into the part effectively. Max here is gruff, impatient yet deep down damaged from the pain of the past which seems to drive him in to violence. He may have more dialogue this time around, but Gibson still retains that emotional reticence that made the character of Max so iconic in the first place. Music superstar Tina Turner makes an impression, slinking across the screen like a cunning vixen in chain mail as Aunty Entity. She clearly relishes the flamboyant part and contributes a diva like aura of delicious ruthlessness and fabulous sexuality. Bruce Spence returns to the Mad Max fold only this time as another character, though he is still as deliriously crazy as he was in his other role. Angelo Rossitto is funny as Master, the diminutive leader of Bartertown caught in a power struggle with Aunty. Helen Buday is fearless and strong as Savannah, one of the older members of the tribe that Max comes to the aid of. And then we have Robert Grubb, who is suitably crazed as Pig Killer.

Outlandish and highly enjoyable, Beyond Thunderdome is an underrated third entry to the Mad Max series.

 

 

Mad Max 2: The Road Warrior

Tags

1980's, Action, Bruce Spence, Emil Minty, George Miller, Kjell Nilsson, Mad Max 2: The Road Warrior, Mel Gibson, Michael Preston, Vernon Wells, Virginia Hey

Film Title

Mad Max 2: The Road Warrior

Director

George Miller

Starring

• Mel Gibson as Max Rockatansky
• Bruce Spence as The Gyro Captain
• Vernon Wells as Wez
• Michael Preston as Pappagallo
• Emil Minty as The Feral Kid
• Kjell Nilsson as Lord Humungus
• Virginia Hey as The Warrior Woman

After the grimness of the first Mad Max, George Miller stepped it up a gear with this sequel, armed with a bigger budget and a better grip on the story. Surpassing its predecessor in terms of spectacle and action, Mad Max 2: The Road Warrior is a lightning paced film of futuristic battles and apocalyptic carnage that is not to be missed by anyone.

Supplies of gasoline are dwindling fast in the future and has caused violence and destruction in the wake of its near absence. After the death of his wife and son in the first film, former cop Max wanders the desert wasteland an alienated man in search of gasoline and food. Max has become withdrawn and reticent with only the need to survive keeping him going in the chaos. Max soon encounters a psychopathic gang of punk motorbike riders in his search for survival, coming face to face with the utterly crazed right hand man Wez. It transpires that the gang are led by the muscled man mountain Lord Humungus. His followers regularly pillage what they can from an oil refinery run by the reasonable Pappagallo and his good settlers who are desperate to escape the constant threat of violence and death that hangs over them on a precarious basis. Max is aided by the crazed but very helpful Gyro Captain who helps him into the camp. At first, Max just wants his car which was taken and some fuel so he can continue journeying on in the never-ending desert and has no interest in helping anyone else out. Yet somehow his emotionally scarred barriers are broken down and he begins to help the settlers in their attempts to thwart Humungus and his cronies which leads to one hell of a showdown.

George Miller really shifts gears here and delivers a high-octane thrill ride of pumping action and turbo-sized thrills. Miller really gets a grip on the story and crafts one of great excitement and danger. I admire how he used sparse dialogue in this film, it really adds to the impact of the visuals which in turn do a lot of the storytelling. The Road Warrior is a visual marvel, with the dusty landscape of the deserts and scant resources playing a key part to the post-apocalyptic doom that Max finds himself in. The Road Warrior thankfully doesn’t suffer from the lulls in narrative of the first movie and emerges as a more polished and confident action movie which barely pauses for breath once the glorious action is set into pulse-pounding motion. Fast-paced chases and attacks form the action-packed backbone to The Road Warrior and create a dazzling array of stunts, inventive weapons and fierce battles. I also appreciated the nods to the western genre within The Road Warrior. We have the lone drifter searching what could be seen as a frontier, the battle for supremacy over something precious and the breaking down of the drifter’s emotionally devoid shield. The costume design is simply outstanding, with the leathers of Max’s costume and the punk rock attire, consisting of red Mohawks, shiny chains and chaps setting the standard for cinematic and apocalyptic chic that would be copied in a multitude of futuristic movies. A grand and majestic score provides ample excitement and intense atmosphere as Max joins the villagers in their quest to escape almost certain death. The Road Warrior just captures your interest from the start and doesn’t let go as you join Max on this journey through the wasteland.

Mel Gibson once again stars as Max and cements him as a cinematic hero. Combining the laconic qualities of a man who has lost faith in everything with the capabilities of violence and buried humanity that are awakened, Gibson is nothing short of iconic in this film. It’s safe to say this was the role and film that catapulted Gibson to super stardom and beyond. Bruce Spence exudes mad as hell craziness and strange antics as the Gyro Captain, who goes from being Max’s prisoner briefly to very helpful aid. Vernon Wells gets the crazy costume and psychopathic traits just right as Wez, one of the more vicious members of Lord Humungus’ cronies. Michael Preston brings wise leadership and calm assurance to the role as Pappagallo, who is probably the most sane person in the movie. Emil Minty, though he doesn’t utter a word and communicates in grunts and cries, is suitably helpful as The Feral Kid who is more than adept with survival and comes to look up to Max. Out of all the characters who Max comes into contact with, I believe it is The Feral Kid who brings out his hidden humanity that he has shut away from the world. Bodybuilder Kjell Nilsson uses his considerably muscly and intimidating physical stature to excellent effect as the violent and deep-voiced Lord Humungus. Rounding out the main cast is Virginia Hey, who displays a burning ferocity as The Warrior Woman.

The Road Warrior is just one of those movies were all the elements flow together to create a hell of a ride.

Mad Max

Tags

1970's, Action, George Miller, Hugh Keays-Byrne, Joanne Samuel, Mad Max, Mel Gibson, Steve Bisley, Tim Burns

Film Title

Mad Max

Director

George Miller

Starring

• Mel Gibson as Max Rockatansky
• Joanne Samuel as Jessie Rockatansky
• Hugh Keays-Byrne as Toecutter
• Steve Bisley as Goose
• Tim Burns as Johnny the Boy

A highly influential movie on futuristic action flicks, Mad Max made a name for George Miller and its young star Mel Gibson. Although made on a shoestring budget, it’s a film that reverberates with apocalyptic madness and hell for leather action. It may not have the non-stop craziness and the big budget scope of later films in the series, but Mad Max still retains an electrifying and intense impact to this day.

In the future, the Australian highways and surrounding areas are bleak and violent shadows of their former selves. There is no order in this world as psychopathic motorbike gangs terrorise innocent people, heroes seem to be no more and civilisation is almost non-existent. From what is left of the police force now called MFP, we have Max; a good cop just wanting to retire with his wife Jessie and young son, but who is constantly having to deal with the madness around him in the form of marauding crazed bikers. Max is disillusioned with the barren wasteland and the police force and just wants out of it as soon as he can so he can live what is left of a civilised life. In the rip-roaring opening scenes, Max is involved in a high-speed chase with a deranged biker knows as Nightrider. The pedal to the metal chase ends with Nightrider’s fiery and explosive death. Because of this, many of his psychopathic cohorts, led by the vicious Toecutter, descend upon the surrounding areas, plaguing the innocent people they pass on the way. Angered by the death of one of their own, the gang decide to get even by brutally injuring Max’s best friend and fellow cop Goose. They then take things one step further by killing Jessie and her son. Broken inside by this, Max straps on his leathers and jumps in his high-powered car with revenge and uncontrollable rage the only things driving him on as he hunts down the gang responsible for shattering his life.

Considering the low budget, George Miller in his directorial debut contributes elements of great style and action. He paints a hauntingly grim picture of the future, capturing a dust bowl atmosphere of no hope and insanity breeding everywhere. Mad Max stands as an influential film because of that picture, but also for the stunts and camerawork. The camera glides at a truly unnatural speed around these brutal events, giving them extra moments of shock and awe. Miller certainly has an assured hand when directing the action sequences and gives them a very frenetic quality. Where Mad Max falters is the pacing, which at times can’t balance the seriousness and action. After the high-octane opening, events slow down to focus on exposition. As the first film in the franchise it is understandable to do this, but it does make the narrative lull. Yet when the violence and carnage hits, it becomes a hell of a revenge-riddled ride in the last hour for both Max and the audience. Burning like a turbo booster, the action on display is explosive and brutal. Standout scenes are the opening chase which ends in an inferno and Max giving a crazed biker two choices of escape before the car he is tied to explodes. So even though the pace lulls very much in the middle, it certainly builds up to the unleashing of madness and violence. A perfectly building score helps aid the flat parts of the narrative and chart Max’s descent into revenge from which no one is safe.

A young Mel Gibson is excellent in the role of the eponymous cop; showing us with skill the broken soul of a good man being replaced with intense anger and deep fury as he sets out to destroy those who have torn his life into pieces. It is truly a star-making role for Gibson which would lead him all the way to the top of the crop of actors. Joanne Samuel radiates innocence in the secondary role of Max’s tragic wife. As the leader of the vicious biker gang, Hugh Keays-Byrne is unpredictable and crazy as hell. Steve Bisley makes his mark as the rather unfortunate Goose, while Tim Burns is wildly convincing and deliriously creepy as the warped Johnny the Boy. All the characters are played well, but it’s Gibson’s turn as the good cop who goes vigilante which is the most memorable.

Bristling with innovative ideas and well-mounted foundations, Mad Max is an excellent introduction to the character and the eventual series of films he would populate.

 

Hamlet(1990)

Tags

1990's, Alan Bates, Franco Zeffirelli, Glenn Close, Hamlet, Helena Bonham Carter, Ian Holm, Mel Gibson, Nathaniel Parker, Paul Scofield, Stephen Dillane, Tragedy, William Shakespeare

Film Title

Hamlet

Director

Franco Zeffirelli

Starring

• Mel Gibson as Prince Hamlet
• Glenn Close as Queen Gertrude
• Alan Bates as King Claudius
• Helena Bonham Carter as Ophelia
• Ian Holm as Polonius
• Paul Scofield as the ghost of King Hamlet
• Stephen Dillane as Horatio
• Nathaniel Parker as Laertes

In this adaptation of the classic William  Shakespeare tragedy, Franco Zeffirelli assembles an unexpected but engaging cast and directs with vigour and atmospheric skill in an attempt to show an individuality from other versions of the play. And he certainly does a good job of it.

The film begins with the funeral of Hamlet’s father, the King of Denmark. Hamlet’s mother Gertrude is saddened but seems a little too close to her late husband’s brother Claudius. Surely enough, the two marry soon after and Claudius becomes king. The young Prince Hamlet is puzzled by this courtship at first, but information regarding the sudden remarriage soon comes his way in eerie fashion. One night after hearing from his trusted friend Horatio that an apparition has been wandering around the castle at night, he is visited by the ghost of his father, who informs him that he was murdered by Claudius so he could take the throne. Hamlet swears revenge on his uncle and descends into madness as he attempts to complete the murderous task.

The first thing to note in Hamlet is the visual style. Dark and hushed shades of blue over the castle, which are juxtaposed with glaring images of sun capture the themes of life and death and the complementary nature of each. The camerawork is stunning as it glides around the surroundings and quite often nestles close to a character, this technique is especially useful and full of impact when Hamlet delivers monologues. Ennio Morricone provides the atmospheric and melancholy music, giving Hamlet a gloomy and suspenseful edge. What many purists will take issue with is the removal of certain parts of dialogue and the transference of certain pieces into different scenes. Yet, with this the film has a strong pace and in some ways makes it more accessible to those unfamiliar with the play. Only at certain times does the removal of parts of dialogue cause Hamlet to lose its way.

Heading the cast is Mel Gibson as Hamlet. At first I wasn’t sure that Gibson would fit the role of Hamlet, but surprisingly he makes the role his own. He contributes vigor, sadness and madness to the part as Hamlet becomes more vengeful and his delivery of dialogue is excellent. Unlike many who portray Hamlet as constantly brooding, Gibson has more fun with the role by adding intelligence and a playful smile which eventually gives way to sinister grins . Glenn Close is effectively cast as Gertrude who changes from grieving widow into a sexually liberated woman after marrying Claudius. The scenes between Close and Gibson are interesting to watch because of the ambiguous nature of their relationship. This unusual examination of mother-son relations adds dimension to the story and adds an edge to the classic piece by giving it more dramatic prominence. Alan Bates makes for a quietly villainous Claudius, whose scheming is masked by a courteous exterior. Helena Bonham Carter brings deep sadness to the role of the tragic Ophelia, whose treatment at the hands of Hamlet sends her spiralling out of control. The sight of her bare foot, chanting old love songs with wild eyes and mournful voice whilst wandering around the castle is a chilling sight to behold. Ian Holm makes for an intelligent Polonius, while Paul Scofield gives wisdom to the part of the King’s ghost. In supporting roles, Stephen Dillane and Nathaniel Parker are wonderfully effective in the parts of Horatio and Laertes.

Liberties taken with the text aside, Zeffirelli makes a vigorous movie of Hamlet that adds another spin to the classic tragedy.

Chicken Run

Tags

2000's, Chicken Run, Comedy, Imelda Staunton, Jane Horrocks, Julia Sawalha, Mel Gibson, Miranda Richardson, Phil Daniels, stop motion, Timothy Spall

Film title

Chicken Run

Directors

Peter Lord & Nick Park

Voice Cast

• Julia Sawalha as Ginger
• Mel Gibson as Rocky
• Miranda Richardson as Mrs. Tweedy
• Tony Haygarth as Mr. Tweedy
•  Jane Horrocks as Babs
• Imelda Staunton as Bunty
• Lynn Ferguson as Mac
• Benjamin Whitrow as Fowler
• Timothy Spall as Nick
• Phil Daniels as Fetcher

Synopsis: A band of desperate chickens trapped in a prison-like farm, seek the help of a cocky American rooster in order to escape from being made into chicken pies by their sadistic owner and her oafish husband.

A glorious stop-motion send-up to Prisoner of War movies such as “The Great Escape”, Chicken Run possesses something for every one of every age to enjoy. It has the comedy to engage young children but a serious, emotional side that adults can equally relate to. There is humour, pathos and thrilling action sequences that will keep you on the edge of your seat. The stop-motion is just fantastic to look at.

The main aspect I liked about this film was the array of different characters. The film establishes the five man band rule commonly featured in Prison Dramas;

• There is the main focal point and hero Ginger

• The perfect foil to the hero Rocky

• The big guy and local cynic Bunty

• The ditzy chick of the bunch Babs

• The smart one in the form of Scottish Mac

The old school Fowler, who always speaks of his RAF days, acts as a mentor to the other chickens as he introduces discipline to them and eventually comes up with the main method of escape.  

This reminded me of how humans are usually in one way or another put into groups such as this with each individual having a unique or special quality.  I also think that the various nods to POW films are funny and inventive, this is clearly shown in the opening scene in which Ginger and the others attempt another escape at night, only to be thwarted by Tweedy and her two evil dogs.  The scene is a clear homage (and spoof) of “The Great Escape”.

Poultry Prison

Whilst the humour is hysterical throughout the film, there are equally emotional and sad moments as well. The many escape attempts of the chickens make the audience feel sympathy for them. One of the most memorable scenes occurs near the beginning of the film; the chickens have all lined up as the evil Mrs. Tweedy comes to inspect their egg count. The scene is reminiscent of POW films in the set-up of the chickens behind a chain-link fence and being under the rule of another power. The scene is deliberately filmed from low-angle shots to give the sense that Mrs. Tweedy is the one in control and the chickens are cowering beneath her. As she continues to menacingly patrol up and down the lines, she notices on her records a shortage of eggs from a certain chicken named Edwina. The terrified Edwina is then taken away to what all of the chickens refer to as “The Chop”, in other words where they are to be killed. Ginger leaves the line and climbs to the roof of one of the pens. Although we don’t actually see Edwina being killed (we just see the shadow of Tweedy raising the axe), it’s the sad reaction of the other chickens as the thud of the axe comes down that leaves a lump in the throat and a tear in the eye. The scene is further saddened as an upset Ginger watches a flock of birds fly over the fence, symbolizing her desire to escape from the farm and live in freedom.   

Rocky the Rhode Island Red

Despite this, or maybe because of it, Ginger tries to boost morale with another escape attempt, to which the others are not so sure. This leads the way for the arrival of Rocky, a rooster who, unbeknownst to the rest of the chickens, can’t fly but has been blasted from a cannon as part of a circus act. He promises to teach them how to fly but later has a crisis of judgment with himself.  Rocky makes for an interesting character as shown by his brittle arguments with his polar opposite Ginger. He is the perfect foil to the character of Ginger. They are like chalk and cheese in terms of personality.

 Tweedy’s evil plan

One of the most exciting sequences comes after the arrival of the pie machine. Before this, the selfish and heartless Mrs. Tweedy has grown tired of collecting eggs and seeks a new way of making money for herself.  With the machine built, Tweedy wants to test it out and takes Ginger to be the first victim. The reaction of the other chickens as they panic intensely lightens the mood before the action begins. Rocky then decides to rescue her and he silently enters the farm. Ginger is strapped to restraints as the machine starts and edges her closer towards the dropping chute.  The music that underscores this scene adds an adventurous and action-packed feeling. Rocky then finds himself searching for Ginger whilst trying to avoid the various instruments of death such as the roller to flatten the pastry. To slow the machine down, Rocky sticks a carrot into the gravy producer causing the pressure to rise. After finding themselves in the oven, Rocky falls into the pies whilst Ginger manages to find the exit. To stop the exit from closing Ginger uses a spanner to wedge it open; she then goes back and manages to save Rocky just in the nick of time.  After escaping from the machine they find a poster of Mrs. Tweedy’s chicken pies and decide to show the other chickens what she is up to.

Rocky becomes a hero

The scene changes how Ginger sees Rocky as a character. Before this she sees him as being arrogant, but after saving her she starts to see him as a hero and takes a shine to him. This is also when Rocky begins to feel like a fraud and starts to feel for the other chickens. This is especially evident after Fowler, who originally looked at Rocky with a disdainful eye, gives him a medal of honour for his rescue of Ginger. After this, Rocky decides to run away, this is a move that upsets the chickens, as they all believed he was the answer to their prayers. Fowler non-intentionally gives them an escape idea of building a crate to fly out of the farm.  They work against the clock to build it whilst Mr. Tweedy attempts to repair the machine for his merciless wife. In this quest, they are aided by two sticky-fingered rats known appropriately as Nick and Fetcher, who provide some great comic scenes.  As they attempt to fly away, Tweedy tries to thwart the plan but Rocky heroically returns and aids them.  By doing this, Rocky has gone from being the anti-hero to the hero.  A nail-biting climax follows as a demented and evil Tweedy again tries to cut off the escape plan in psychopathic fashion.

If you are looking for a film that has laughs, sadness and glorious effects then “Chicken Run” is the film I would advice you watch. This film will seriously make you reconsider eating chicken pie ever again.