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Reviews
Glory (1989)
absolutely spectacular
GLORY is one of the most inspiring and moving films about war I have ever seen. The characters of Freeman, Washington, and Broderick were so vividly created and full of spirit, that the viewer can really experience the passion and intensity they have in their fight for freedom. The scene before the final battle (the assault on Ft. Wagner), where the regiment is singing `Oh, my lord
` is one of the most moving scenes ever filmed. Although the battle scenes may not have the technical precision of the first 30 minutes of Spielberg's SAVING PRIVATE RYAN, or Kubrick's PATHS OF GLORY, they were still masterful. Specifically, the Ft. Wagner assault was downright beautiful, with the spectacular, colorful lighting from the flashing of artillery and a beautiful score. It was as if the beauty of the scene reinforced the `glory' that the 54th was fighting for.
To top it all off, GLORY was also very historically accurate (from the decrease in pay to the holding out of shoes by the quartermaster), unlike recent Mel Gibson works: THE PATRIOT & BRAVEHEART). The fact that it was all true only added to the emotional intensity.
I consider GLORY to be the greatest Civil War movie ever, and maybe the greatest war movie, period. It also contends with RAGING BULL, EMPIRE STRIKES BACK, THE SHINING, RAIDERS OF THE LOST ARK/LAST CRUSADE, & FIELD OF DREAMS as the best movie of the 80s.
The Patriot (2000)
good patriotic, historical fiction
For all of those critics who bash this movie for its historical inaccuracies, you have to understand that this movie never proclaimed to be a factual documentary. It is simply BASED on events that transpired and the lives of a number of important figures during the Revolutionary War. With this view in mind, I thought the Patriot worked very well, stirring up some much needed patriotic feeling into our cynical society of today.
As far as the inaccuracies, I actually thought there were a lot more inaccuracies in Braveheart, a wonderful film with a story that bears little resemblance to the actual story of William Wallace. For those who doubt all of the brutal tactics used by the British, the real-life British Officer Banastre Tarleton was known to be almost every bit as evil as the Tavington character in the movie. With that said, I don't know of any event where he burned a church full of people, that might have been a little much. However, he did execute captured colonists and civilians, and was known as being astonishingly ruthless. In real-life, Lord Cornwallis actually approved of Tarleton's tactics (the movie gave him a more positive outlook), and was so incensed after he was defeated at the Battle of Cowpens, that he chased Nathaniel Greene's army all across the Carolinas. The result was that he eventually tired his army out and allowed Greene to make a few stands that sent Cornwallis to Yorktown.
Others have complained that the movie did not show any of the brutality of the Americans. It thought the shot of Mel Gibson repeatedly bashing the British soldier with blood all over his face and clothes, as well as the instance where the militia continued to kill British soldiers after they shouted for surrender, managed to give some of the American brutality.
With that said, I did have a few problems with the movie. There were a few scenes of laughable cheesiness, such as Heath Ledger's girlfriend standing up in church to give her speech about independence, and the mano-a-mano fight between Tavington and Martin. I would also have liked to see more of an exploration of the internal struggle between loyalists and patriots. Also, the movie made it sound as if the slavery problem was not such a big deal-something must have happened then between the Revolution and the Civil War! Overall, however, a well-done, beautiful (the sets and costumes seemed very authentic), & inspiring movie. *** (out of four stars)
Interesting note: Mel Gibson, was not cast as `The Swampfox' Frances Marion (the character that Benjamin Martin was clearly based on ), because it was found that Marion spent his free-time hunting Indians!
The Big Lebowski (1998)
If you will it dude, such a great movie is no dream
Since I saw The Big Lebowski for the first time in the movie theaters over two years ago (I saw it twice in the theaters), I have probably watched it between 50-75 times. I was awed by the overall atmosphere the movie conveyed upon first viewing, and was shocked that every subsequent time I saw it, it just got better and better. Even to this today, I notice something new and different upon each viewing.
Critics who complain that the movie doesn't have a plot miss the point. First of all, there is a plot, albeit a wacky and zany one (a Coen Brother's trademark), that many people may not fully understand on first viewing. Second, the plot is only there to serve as a background for the amazing characters, scenes, and dialogue that the movie focuses on. The interplay between `The Dude' & `Walter' is absolutely hysterical. Just one example that comes to mind (I could've picked just about any bowling scene) is Walter commenting on the Gulf War, comparing `the man in the black pagamas' to the current adversary, `a bunch of f**eaters where towels on their heads, trying to find reserve on a Russian tank' while The Dude is painting his nails.
I could go on and on about my favorite scenes, but I'd just have to recite the entire movie, because every single scene is so exceptional. From the repeated dialogue (`this aggression will not stand', `chinamen', `Pilar'), to the incredible fadeouts and transitions (`that wasn't here toe, dude'), you really have to see it multiple times to understand just how incredibly well-crafted this movie really is.
In my mind, The Big Lebowski is the best of the Coen Bros.' movies, outdistancing Barton Fink. That is an enormous compliment, because I love all their movies. It is also possibly the funniest movie I have ever seen, and holds a spot in my top ten movies of all time.
Arthur Digby Sellers!!!
A Clockwork Orange (1971)
possibly the most powerful, thought-provoking film of all-time
In my opinion, A Clockwork Orange is Kubrick's best film, and may be the best film of all time. The opening shot that tracks backward from a close-up of Alex is only rivaled by the opening shot of A Touch of Evil. Kubrick takes the use of color to new heights, constantly using orange and blues (a color scheme he returned to in Eyes Wide Shut). Certain images from the movie are ingrained in my mind--such as the close-up of the handicapped writer's face while he is going insane.
The movie successfully addresses so many issues that are pertinent to society, including the nature of the criminal mind, retribution, and political exploitation. However, I think that the central theme is the role of free will and is exemplified by the argument made by the prison chaplain after Alex has undergone the treatment--Is he really human if he has no free will to make a decision? Kubrick would argue that he is half-human, half-machine, as the title of the movie indicates (Clockwork referring to a machine and orange referring to the organic, living fruit).
Finally, how could you write about this movie and not mention the music--the beautiful works of "Ludwig van" often serving as a wonderful contrast to the violent images on the screen. The music adds to Alex's character so much--how many "droogs" would you expect to listen to Beethoven? A Clockwork Orange succeeds at every level, and it would be impossible to ever analyze it completely.
The Graduate (1967)
great but often misunderstood film
Many people who saw The Graduate on its original release, including critics like Roger Ebert, have misinterpreted the main point of the film. Ben Braddock is NOT a hero that is supposed to glorify the rebellion of the 60s generation. The viewer is NOT supposed to stand up and cheer after the final scene. Ben is supposed to represent the confused state of a college graduate stuck in between youth and adulthood. As best depicted by the scene where he holds the hotel door open for both the elderly group and the younger group, he feels alienated from both generations. He does not want to hear the loud music of the car next to him at the drive-thru, nor is he interested in `plastics' or the materialistic pleasures of his parents.
He has no idea what he wants out of life, and only thinks that marrying Elaine will be the solution to this problem. As the last shot depicts (which may be the best final shot in film history), Ben only seems to be happy for a few seconds after he and Elaine get onto the bus with no money, no prospects, and no certain future. In fact, Nichols cleverly uses Paul Simon's Sound of Silence, and drowns out much of the background sound to show that Ben's is in the same position at the end of the film as he is at the beginning. He has not found what he really wants to get out of life and is as confused as ever. This scenario is not dated nor is it only appropriate for the 60s, it can apply to anyone who is lost or has no idea what to do with his or her lives.
Nichols' brilliant direction reinforces the complex exploration of confusion and uncertainty. The flow of shots after he first sleeps with Mrs. Robinson is incredible, as is his use of the swimming pool to enforce his entrapment. He effortlessly switches in and out of focus at different depths of each shot to emphasize certain characters and dialogue. It goes without saying that the performances by Hoffman and Bancroft are first-rate. Add Paul Simon's haunting Sound of Silence, Scarborough Fair, and the instrumentals of what would become Mrs. Robinson, and you have songs and images that downright haunting. As a recent college graduate who was not even born in the 60s, I can say that this film has not dated, and is deserving of its #7 ranking by the American Film Institute.