My Favourite Film Of All Time - #2 - THE DEPARTED (2006) *****

Cops or Criminals. When you're facing a loaded gun what's the difference?

Having reviewed Jonathan Demme's acclaimed serial-killer thriller SILENCE OF THE LAMBS (1991) yesterday and given major praise for it, that particular film whilst majorly popular with many who I know, nothing will beat my choice for the greatest thriller of all time, from the king of movie violence himself, Martin Scorsese with his recently successful cop film THE DEPARTED (2006). For me, whilst watching it in the cinema with my dad, I knew from the first couple of scenes prior to the opening credits that we were both in for a treat as were Scorsese fans who had grown to love his films over the past 35 years. Controversially however, this IS my favourite film from him and there are several reasons why which would include a quality cast, a brilliant script, some clever editing, a swanky soundtrack, an astonishing twist; the list goes on. Sure others like TAXI DRIVER (1976) and GOODFELLAS (1990), have that in a way, but sadly I wasn't around to watch those films back in the day but admittedly I probably would have loved them as much as The Departed. But this film is on my top 10 of all time, and the rest of the review will unearth the truth as to why I consider it a spectacle in terms of film-making. 

Set in Boston, an opening sequence introduces us to a young boy named Colin Sullivan, who becomes involved with gangster boss Frank Costello (Jack Nicholson) who takes Colin under his wing and tries to teach him the importance of choosing the career of a cop or a criminal (as the quote contests). When Colin grows up (now played by Matt Damon), we see him successfully passing a training course to work for the police department's Special Investigations Unit led by Captain Ellerby (Alec Baldwin) but he is actually working as an informant for Frank (basically as a rat in the department) to uncover information from his 'colleagues' about their plans to stop the gangster boss's involvement with shipping in drugs. In the meantime though, the department's head people Captain Queenan (Martin Sheen) and Sergeant Dignam (a foul-mouthed Mark Wahlberg) are using rookie cop Billy Costigan (Leonardo Di-Caprio) to go undercover for them by joining Costello's gang and trying to find out what their plans are too. Billy's incorporation into the gang starts rough but soon he is welcomed by Frank who is assisted by chief henchman Mr French (Ray Winstone) with their involvements in committing various crimes such as murder and assault, which leaves Billy in a tough predicament with trying to not get found out.

Colin on the other hand builds his reputation in the department up well and succeeds in charming police psychiatrist Madolyn (Vera Farmiga) who becomes romatically involved with him and even moves into his new home, though Frank is unhappy about Colin's lack of realization about if she finds out information about him. After Frank and his gang (including Billy) pull off a mass drug deal from under the noses of the police, the pressure gets to Billy whose mind is warped as he tries to see Madolyn about advice for his traumas. After an intial fall out with her, the pair end up having a one night stand, and this complicates things more for Billy as he then tries to meet up with Queenan about pulling out of his informant role, but a tragic accident leaves Billy knowing that he has to try and bring Costello down. Stakes are raised when both the police and the mob realize there's a traitor among them, and that both Billy and Colin are both in danger of losing their cover and even their lives. This can only change if they can find out who is the informant of their respected groups is. This proves to be the pinnacle of the film's climax starting with the police's attempts to confront Frank once and for all but even when the discovery of both men becomes revealed, the case of Billy trying to uncover Colin leads to an amazing and unexpected twist that completely messes with our heads.......

A remake of the popular Asian thriller INTERNAL AFFAIRS (2002), it has a story which is driven so perfectly and well directed by Martin Scorsese. With this film Scorsese uses his skill to show the hard and gritty tough life on the streets as he once did so often as well as his fine attention to detail with amazing plot dynamics. What both of these things culminate into is a well rounded and balanced film with an unlimited focus of cops and gangsters. DiCaprio, increasingly maturing as an actor since becoming Scorsese's muse, fits right in as the streetwise cop, while Damon brings his usual authoritatively and calm approach to the part though his Irish-like accent is a little distilling sometimes. Nicholson, yet again playing another villain, owns every scene he's in with his portrayal of Costello, providing a crazed attraction to his menacing character and in my opinion one of his best performances. Wahlberg produces a fiery but very energetic supporting role and though the swearing can be too inappropriate, it certainly suits such a gritty and thrilling film like this. Martin Sheen, Alec Baldwin and Vera Farmiga all give good support in such a terrific ensemble film that again allows Scorsese to continue working with such aspiring actors. The cinematography is morbid and spot on, capturing the character of its Boston setting while Howard Shore's score is as good as a soundtrack can be, with some quality music that captivates the mood of the film including Dropkick Murphys, Roger Waters and Scorsese's favourite, The Rolling Stones. The film itself is intense, funny, exciting, suspenseful, superbly acted, violent, has great characters, and has one of the most shocking twists you'll ever seen. And there's not a boring moment in it's two and a half hour running time.

Truth be told, Scorsese doesn't reinvent himself with this movie. The violence, the foul-mouthed dialogue and the soundtrack including "Gimme Shelter" - none of that is new territory. Still, it's a fabulous treat to watch the master at work. There's no one who makes a gangster movie like Scorsese. The plot may not seem original but the film gives you a feeling of something new with the intensity of that of a drama and the awe of an action flick. At its core, "The Departed" is a well-crafted, well-written, and well-acted film noir in an age where style usually triumphs over the narrative quality e.g. the rat in the film's last shot. The significance of the memorable quote tells us that no matter who you are or what you've done; when death is staring you in the face, it takes no prisoners. And with this film, Scorsese takes no prisoners with what he has achieved especially with thrilling audiences and giving us a classic of a film, what's the difference eh?

SILENCE OF THE LAMBS (1991) ****(1/2)

"To enter the mind of a killer she must challenge the mind of a madman"

One of the most renowned thrillers of recent years becomes the latest big-name film to be reviewed by moi, a brilliantly adapted story from Jonathan Demme makes this one of THE great edge-of-your seat films as SILENCE OF THE LAMBS (1991), sets the standards for the serial killer genre with two fantastic lead performances, clever writing and some memorable moments that spawned two prequels and a sequel that never lived up to the standard of the original classic. Despite the mainstream appeal of the film, the grainy lighting and laid-back budget give it an art-house feel that sets it apart from other such films that were as successful. The film manages some effectively disturbing scenes that make it a not altogether pleasant viewing experience. However it is best watched with some flava beans and a nice Chianti...

FBI starlet Clarice Starling (Oscar winner Jodie Foster) gets given the tough task of interviewing a notorious cannibal by her boss Jack Crawford (Scott Glenn) as part of an investigation that is going on which sees a crazed serial-killer named Buffalo Bill (Ted Levine) traveling round various states kidnapping women and torturing them before killing them and using their skin as clothing. The FBI are keen to track down Bill but need Clarice to speak to murderous Doctor Hannibal Lecter (Oscar winner Anthony Hopkins) about his association with Bill years earlier when he was a teacher. The two have a good conversation that eventually goes sour because Lecter becomes annoyed with Calrice's attempts at "dissecting" him. Clarice leaves but after an unsavory incident with another patient in the next cell, Lecter calls her back and gives her a riddle containing information of a former patient of his. This riddle leads to a severed head and eventually Lecter offers to profile Bill in return for a transfer from his current facility. In the meantime Bill strikes again, abducting a young woman named Catherine Martin (Brooke Smith) who turns out to be the daughter of a United States Senator (Diane Baker). A fake deal is offered to Hannibal who agrees, but then discovers it not to be true. A new deal is then made with the Senator's permission which then sees Lecter being transported to Tennessee where he reveals all the information he knows about Buffalo Bill.

The severed head found had belonged to the lover of Bill. He also gives the real name of Bill, but Clarice believes it to be false information, possibly an anagram. She confronts Lecter about the false information he gave the senator. Lecter refuses to share until Clarice reveals the truth of her worst childhood memory. She does so, and Lecter gives the Buffalo Bill case file to her before being escorted away. That night Lecter escapes his cell, brutally killing two police officers in the process. He escapes by pretending to be one of the officers, wearing his face over his own (one of the most horrid but brilliant moments in film). Clarice is notified of Lecter's escape, before diving into the case file, trying to find information until she discovers Bill knew one of the victims before her murder. Clarice travels to the victim's hometown where she realizes Bill is tailoring a woman suite made from flesh. Throughout the film, he has kept Catherine in a well in his basement but is clearly obsessed with his female victim's skins as he yearns to be a transvestite. Clarice then tells Crawford who informs her that they're on their way to pick up Bill, who has been identified with a real name. Clarice realizes Crawford is wrong, and while she continues interviewing around the town she discovers she's found her man leading to a tensioned ending through Bill's basement, that leaves the audience wondering what will become of the characters, another questioned to be answered is what has become of Hannibal Lecter?

The mood of this film is heightened by Jonathan Demme's great direction, with such detail in all the sets and locations. The film is made with a great attention to detail and is without a doubt an American classic though widely loved across the globe. Entering the incarceration with Clarice is a classic movie sequence, as are many more throughout the film. Director Demme draws out the Lecter introduction scene, building our anticipation for Hannibal. When we finally stand there in front of him with Clarice, we realize what all the hype was about. Lecter is only on screen for sixteen minutes but Hopkins uses these sixteen minutes to create one of the most wicked villains that film has ever seen (in fact he was named AFI's greatest villain in film). He remains behind bars or in restraints for all but a couple of those minutes, yet he's still able to create a strong fear. The audience are left afraid of the man, but would love to have a conversation with him. His charm and personality becomes so inviting that many would take the risk of ending up as one of his entrées. Foster is just as subtle with her performance but not the best Oscar winning performance by a female star. Creating such a strong female character is not an easy task, but Foster does makes it look so. Clarice holds her on not only against the men at her department, Buffalo Bill, but Hopkins as well. The scenes between these two great actors are just so much fun to watch, plain and simple. Demme uses a style of shooting with his cinematographer that has the actors staring straight at the camera. This isolates characters, making conversations more intimate, putting you in the film, experiencing it with the characters. It's a simple thing, but it goes a long way. The visuals, music, tight script, performances and pacing all work in greatness to create a unique film. My only negative about the film is the tendancy to drag out with certain scenes while Brooke Smith as the female hostage overacts to a great extent with her constant cries for help and by the end you can't help but feel she needed to be silenced but that becomes the only flaw of this great film. The Silence of the Lambs is one of the best psychological thrillers. Thomas Harris's best selling book is faithfully transferred to the screen. It's one dark twisted disturbing ride. Ffffffffffff!

DR STRANGELOVE (1964) ***

"Gentlemen, you can't fight in here! This is the War Room"

 

 

There are certain ways to enjoy comedies whether they be slapstick e.g. AIRPLANE (1980) or intelligent e.g. IN THE LOOP but with the latter, it is a case of how to interpret the comedy with its darkish humour. That is what brings me to Stanley Kubrick's war satire and one of his more memorable films; DR STRANGELOVE OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) which over the years has developed itself as a well written farcical achievement from Kubrick. However my interpretation of the film (which as usual is discussed later on) is that I believe it lacks the humour and is sometimes confusing to understand and hating to say it like this but I consider it one of THE most overrated films I've watched which hopefully will lead to debate after giving it a second viewing (I had previously watched the film at university but needed another viewing to gain more depth about it). The focus of making fun of the nuclear arms race is understandable but there are many aspects which let the film down through questionable statements or stereotype characters. It is still possible though for me to like parts of it which have led to its mass popularity with audiences over the past 45 years and 'overrated' is still a word I like to associate it with.

Set in the midst of the Cold War, United States general Jack D. Ripper (Sterling Hayden) orders plan R into operation as he sets his plane on an irrecoverable bombing run into Russia. One of the planes led by farmer Major King Kong (Slim Pickens), sets its course right and from the start to the finish it looks clear that nothing could stop this plane. Captain Mandrake (Peter Sellers) tries to convince Ripper to give him the code but the pair end up locked in the generals office with the military sent by President Muffley (Sellers again) to try and retrieve the code from Ripper. Powerless to stop them with the relevant three letter access code the President and his advisers plan to warn Russia as best they can to prevent as many of the planes reaching their targets as possible. However when the Russian Ambassador warns of the doomsday machine – a machine that will destroy all life on earth in response to a nuclear attack things become desperate although General Buck Turgidson (George C. Scott) shows his fascist attitude towards the Russian believing that he is giving representatives of his country some information about America. Another suspicious dwells on former Nazi politician Dr Strangelove (Seller's third character) who gives his opinion about how the world could change if this bomb does go off. The main aim though is stop the attack and although Mandrake succeeds in getting the code to alert the fleet to abort their mission, the one plane that has been focused on in the film is making a desperate run to it's target which makes things look bleak for the world.

Though this film frustrated me, I would like to discuss the highlights of it from my perspective. The symbolistic values of the film plays its part to bizarre detail but adds to its quirkiness. The great black joke of "Dr. Strangelove", is that nuclear stalemate is a kind of sexual frustration (or strange love) to the evolved male and that there are strong, dangerous drives conspiring to launch the ultimate attack. The film is awash with sexual imagery, from the saucy references on the aircraft in the first scene, to the atomic ejaculation in the final scene. Guns, cigars, swimsuits, playboy centrefolds and sexually dysfunctional wheelchair bound degenerates, the film's entire language is a consistent ballet of creation (sex) and destruction (war). The final scene, while played for laughs, is actually a frightening image of a communist future. The final moments are frightening in their truth leading one to put themselves in a position of the characters. For the acting though my praise for Sellers is talked about later (though also a bit of hate for one of his characters). Sterling Hayden is great as General Ripper – he delivers his madness with a straight face throughout and is assisted well by Seller's first character in the film. However for me the standout is George C. Scott – not exactly a comedy actor but he is frantic and over the top with his communist paranoia and the debut of James Earl Jones is also definitely worth mentioning.

Now the problems....the plot itself is the weak point of the film: it's irrelevant to us today although there is also the boring factor. The movie is an hour and a half, but it felt more like five. Scenes drag on to the point of ridiculousness, trying to flesh out the paper-thin plot. It basically fizzled out at the end, not knowing quite where to go and instead just stopping. The comic relief in this so-called masterpiece consists of caricatures and other sight gags, rather than clever dialogue. The jokes are blunt, and the puns and names that may have been considered daring or risqué once upon a time now just seem like the worst kind of childishness. Sellers plays his roles very well, a tough performance to ask for with playing three different characters. Mandrake is giving snootiness and wit and is a very well made character with his nervous fear for Ripper's sanity, and as the President he does his job well with giving the character some steel and a bit of hilarity e.g. the phone conversation but as Dr Strangelove this is the one that annoys me. What relevance does a defecting Nazi in a wheelchair, with a hand that acts on its own accord, have to the plot? None. Slim Pickens in particular made me roll my eyes in annoyance too with his stereotypical role as a redneck commander is something you wouldn't really see nowadays because of how irritating his role is, ironic though that he was involved in one of film's most memorable scenes (see below). Overall, Dr Strangelove certainly has its lovers and its critics and sadly I call myself a critic of this film, I am a huge fan of Kubrick's work but Dr Strangelove is one of those dark comedies that lacks the 'comedy' and this makes it a frustrating watch but it has its moments. If you want to enjoy a political satire for the modern generation, watch In the Loop instead, a much more hilarious and significant film for the time but never rule out the oldies.

ENTER THE DRAGON (1973) ***(1/2)

"The first American produced martial arts spectacular!"

 

 

In the years since his bizarre and tragic death, martial arts legend and master Bruce Lee has become an icon within the Kung-fu movie genre. Having only previously played a couple of American speaking parts before, this was Lee's introduction to Western audiences, but due to his tragic death just weeks before the film's American release, it would never be known what he would have been capable of as a box-office star. However ENTER THE DRAGON (1973), certainly was the film that made his career and it made him famous because of it and although the sadness being that he would never make it big in other films, this type of film which combined Asian art with American brutality helped its popularity with audiences who soon became obsessed with the ambition to become involved with kung-fu fighting.

Lee plays the role of a character who shares his surname Lee, stars as a martial arts expert who is recruited by the British government to infiltrate an island fortress, under the cover of being invited to a martial arts tournament, to investigate a possible slavery/drug ring led by a former nemesis of his. However he isn't the only fighter taking part in the tournament as he is accompanied on the trip by American socialite Roeper (John Saxon) who is on the run from debt-collectors and African American pimp Williams (Jim Kelly) who has a run-in with the cops. Lee is made aware of the situation going on in the island through an undercover agent Mei Ling (Betty Chung) who is posing as a geisha for the villain who hosts the tournament. The participants of the event are given luxury within the place including nice food, a stylish environment and given women to lust over but clearly something is amiss at this isolated island fortress, as Lee discovers that his nemesis Han (Shih Kien) is the host of the tournament and is also the leader of the same gang that murdered his sister. This being the simple reason for Lee wanting revenge but as the tournament kicks in, the fighters take part in brutal contests with Lee, Roeper and Williams showing their strength in fighting. However Lee becomes determined to find out information, but the death of one of the two other fighters complicates things, although he soon discovers that Han is keeping prisoners in his underground cave. This eventually sees Lee fighting it out with Han in a riotous and full-blown showdown that also involves hundreds of men using their hands and feet to fight to the death, in an action-packed finale that really did kick start the use of Kung-Fu moves in Hollywood blockbusters.

The action really does make the film exciting with its amazing fight sequences, from the first fight to the last. Lee himself choreographed his fight stunts and clearly it is obvious that he was such an excellent performer of the art. Many of the fights in this movie, more specially the ones where Lee is involved, have a surreal feeling to them. He brings a kind of grace to his action scenes that have yet to be topped by any actor alive today. Lee even brings many of his own personal philosophies to this film, which makes much sense and perhaps help to understand some of the more philosophical elements to the story. Of course, the plot is simple and slightly predictable but the action really does help it become more memorable than other action films which have tried the same kind of method. The script by Michael Allin felt like a James Bond flick but this film being much more violent than anything you'd see in a pre-Daniel Craig as Bond film. The acting is also typical of this genre though Lee does stand out well with his good speaking of English but the energy of his fighting made him become more acceptive as an action hero character. Kien Shih is compelling as the evil Han, even if his fight scenes are, at times, a bit less convincing than the master Lee's or the fact that his voicing in the film is dubbed. Lee and Shih are the performance highlights of the film. Though Saxon does a passable job, his performance is a bit unconventional at times while Kelly's dialogue in the film is wooden but obviously part of the cliches of action films of the 1970s. Another big mention deserves to go to the music which many Takeshi Castle fans will associate with the Honeycomb maze challenge on the show but in this though its cheesy, it adds to the fun of what made a great action film. Bruce Lee was forever immortalized with this film and it will be cherished and praised forever even if some fight scenes in this get too tiresome to watch. A flawed but enthralling film that certainly had everybody kung-fu fighting!

LAWRENCE OF ARABIA (1962) - 4 STARS

"A Mighty Motion Picture Of Action And Adventure!"

My personal experience with film was back in school as it changed through my viewing of LORD OF THE RINGS: RETURN OF THE KING (2003) which was and still is my all time favourite film. It was from watching that, which allowed my passion for film to get started and I wanted to start things off by watching a film which featured similar battle scenes to that of the fantasy epic. The first film of my juggernaut sweep which got things started was David Lean's masterful epic LAWRENCE OF ARABIA (1962), a masterpiece thought to be highly regarded by many film fans and even my most popular director Steven Spielberg acclaimed it as his favourite. This gave me confidence of buying it on DVD a few years back and watching it and initially my first viewing wasn't exhilarating to say the least especially with it being a three-and-a-half hour picture set mostly in the desert. However I appreciated its visual splendor as well as the terrific cast and some beautifully shot scenes though I remember thinking back then it was overrated. But I finally gave it a second viewing today and really got myself into the film a lot more deeper and that's how one can appreciate something when giving it another chance!

The film begins with the death of the title character T.E Lawrence (played with energetic tenacity by a debut role from Peter O'Toole) who is killed in a motorcycle accident in England in 1935. His funeral is attended my many, who saw him as a national treasure who was also a born leader during his time in Arabia, but it is clear that there is something complicated about what he achieved back in World War One that obviously made him unpopular with certain people. The film traces back to Cairo during the war where Lawrence, then a commanding officer, is instructed by his superiors to assist a prince (Alec Guinness) in helping the Arabians rebel against the Turkish, and should they fail, then the English army will be chased away from the land. Lawrence's journey across the desert with his guide ends with the latter being killed by a darkly clothed sheik named Sherif Ali (Omar Sharif) just because the guide was illegally drinking from a well. Although the pair head their separate ways they are reunited at the same camp with the prince who wants the Arabians to seize control of a seaside town named Aqaba. Lawrence soon makes himself more well known to the prince by insisting they can gain control of the settlement but it would mean leading the men across a torrid desert over the course of a few days in blistering heat. Alongside Sherif, Lawrence manages to keep the army in shape as they eventually escape the desert (though he does take the risk of rescuing one soldier who is left behind). They are then joined on the quest to confront Aqaba by fiery Arabian leader Sheik Auda (Anthony Quinn) and soon the Arabian army unleashes its ferocious fury on the settlement with a superb sweeping attack caught splenderly on camera by cinematographer Freddie Young. Lawrence's rise from commanding officer to national hero becomes apparent as the success of leading the army to glory makes him realise how much he loves the country.

His commitment to the Arabians is proven more when he returns to Cairo still wearing his robe clothing to speak to General Allenby (Jack Hawkins) and Mr Dryden (Claude Rains) about getting the Arabians more weapons and money to help them with winning the war but clearly the bureaucratic thoughts of Allenby and Dryden about whether they should have their independence is being kept quiet. Nevertheless Lawrence returns to the Arabians and is now fitting in nicely as a leader eager to help these people secure their freedom. The allies under his direction, attack and disrupt the Turks' efforts to maintain control of the territory, whilst the British army and its heavy guns pushes ever deeper into the area: not until his job is done does Lawrence learn that the French and British governments have carved up the middle-east between them and that the battle-lines for the 21st century are already being drawn.American journalist Jackson Bentley (Arthur Kennedy) becomes intrigued about writing about Lawrence with the hopes of getting the U.S. interested in the war, by presenting them with a larger-than-life hero. It is Lawrence though who is treating himself as a sort of Christ-like figure who thinks of himself as immortal which clearly raise concern from Sherif who has become fascinated with Lawrence's effect on the Arabian people. As well as wrestling with himself, with his own demons, and with the cruel desert environment, he is also faced with culture clashes which pit not only the imperialists against the indigenous populations, but also the mercenary practices of the Arab guerrillas against the discipline of the British army. After a run-in with a Turkish officer (Jose Ferrer), Lawrence's immortality gets to him and by the film's ending which includes a brutal attack on a Turkish convoy, he finds himself
not knowing which side he is on, nor which party he belongs to which adds to the tragic element of how he has become overcome with killing and giving orders.

The film is the story of a solitary adventurer who always knew he was different, but in Arabia he discovers that his proportions are heroic. Perhaps this is the secret of Lawrence of the legend, that at the bottom of all the violent action is a protagonist about whom one cares. A puzzling personality whom one glimpses but never fully understands. Throughout the picture one has a sense of a man discovering his own unique dimensions. Scripted by the inimitable Robert Bolt and directed by David Lean, Lawrence of Arabia is one of those films without a weakness, despite drawing complaints for its near four hour length. Every component is here, everything one needs for a great adventure film, many spectacular sequences, each of them so perfect: Lean cuts to the sun again and again, turning it into a character; Lawrence striding on top of a captured train, parading before rows of cheering Arabs; the scene between Lawrence and Ferrer illuminating Lawrence's strange perversity, a mixture of masochism and repressed homosexuality; the scene when Sherif appears on his camel, an exceedingly long take in which a strange figure is first resolved out of waves of heat and then, as he approaches, becomes a frightening threat to Lawrence's escort at the desert well. Maurice Jarre's phenomenal music also helps keep the film going. I'm sure some of the scenes of people crossing the desert would have been tedious without his music, but with his majestic music transplanted over the images they are simply compulsive viewing. O'Toole understands that the most influential figures in history could also be the most difficult and ruthless when they needed to be, and he gives Lawrence an incredibly complex characterization, leaving his audience in doubt as to whether he should be worshiped or feared, or perhaps both. Omar Sharif is also superb and it is easy to see why he became a big international star following his charismatic performance. Guinness, Quinn and Hawkins also shine in a stellar supporting cast that adds to the film's epicness. There are no talking parts for women. There is no love interest. There is no happy ending. It is a product of Hollywood showing its guts, which it seems to have lost. 'Lawrence of Arabia' is an awe-inspiring Goliath of cinematic perfection.

A LEAGUE OF THEIR OWN (1992) - 3 1/2 STARS

"A woman's place is on home, first, second, and third"

Normally I am not one to become involved in watching films where women are the main focus and 'comedy' is used to describe a film they are in e.g. SEX AND THE CITY (2008), but a particular film like this one which combines a group of likable characters, a heartwarming story and a fun American sport is what makes A LEAGUE OF THEIR OWN (1992) a very genuine success. The charming direction from Penny Marshall and a strong award winning cast which includes Tom Hanks, Geena Davis and Madonna helps benefit the film as we are taken back in time to a period where women playing baseball was seen as laughable back in the 1940's but over the course of the story, we become attached to the characters and cheer them on as they try to overcome the odds Rocky-style and go the distance!

The story starts with an elderly woman named traveling with her daughter to a Baseball stadium where a group of other old ladies are involved in helping out with the place. Through this woman's eyes we are taken back forty years earlier to the 1940s where the Second World War was at its peak, the men were away fighting and the women were staying at home awaiting their return. We see this woman in her early thirties, Dottie Hinson (Geena Davis) who is a talented female baseball player who also pitches for her local team. While she is very good at the sport, her younger sister Kit (Lori Petty) is arrogant but passionate about playing but is not quite as good as her sibling. The pair live on a farm together but news is rife about a recently formed baseball league involving women known as the All American Girls Professional Baseball League which is to try and get the girls to do something different then their stereotypical role of cooking and cleaning. Cynical baseball scout Ernie (Jon Lovitz) manages to get the girls to come to Chicago to become part of this league and both succeed in getting into the same team known as the Rockford Peaches which is supervised by league executive Ira Lowenstein (David Strathairn). The girls get to know different personalities in their team including shy but unnerved Marla (Megan Cavanagh), loud-mouth Doris (Rosie O'Donnell) and sultry romanticist Mae (Madonna in dark looks mode). The team then soon find themselves a coach to help them in the shape of former Baseball star turned alcoholic Jimmy Dugan (Tom Hanks) whose career has left him washed up (in the literal sense of the word) and is treating the whole set-up as a joke believing that women can't play. However Dottie plays the part-time role of coach and manages to succeed in getting the team to become winners despite Jimmy spending most of his time spitting and vomiting in drunk mode

Over the course of the film, the women start getting better and better in the games and even attract media coverage but some struggle to handle their own personal problems with Dottie waiting in anguish for her husband Bob (Bill Pullman) to return home from the war safely though one of the women ends up suffering a loss later in the film. However soon she and Jimmy end up understanding each other as he supports her and soon he manages to show a strong interest in helping the girls with getting to the World Series. Another player has to put up with her loud son causing headaches for the group while Marla ends up proving she isn't ugly by gaining a man. Things soon start to become awkward for both the team and the league with Ira's boss Harvey (Garry Marshall) wanting to finish the set-up because of the war's imminent end but Ira insists on trying to keep it going as its popularity continues to grow. The team despite their marvelous season suffer through jealousy as Kit becomes envious towards her sister gaining the attention of everyone and after a fight with Doris, she struggles with wanting to stick around. However a mistake from Ira leads to her being transferred to another team for which she blames Dottie for it and the pair fall out. Towards the end of the film Dottie is eventually reunited with Bob and ends up quitting the team just as they prepare for the World Series but the case of whether she enjoys it gets to her and soon she and her sister find themselves on opposite sides when their two teams come face-to-face in a gripping final....

In many ways this is a throwback to an earlier time when films set out to warm the hearts of the audience and uplift their spirits. Sure, you can't win them all, but you can try, is what this film makes us feel, and if you do, something good will happen. There is of course a somewhat self-conscious retrospective look at the sorry political and social state of women sixty years ago, but Marshall does not wallow in the politics. Instead she emphasizes a fun-to-watch tale with real human characters. The unpredictable, but believable ending makes agreement to that though the final scene involving a reunion between the players is touching and authentic. The cast is very good and does a great job. Geena Davis shines as the no-nonscence pitcher whose reluctance to do the sport while showing her concern for her husband's safety and her sister's well being adding the emotional side to the film. Hanks proves dislikable for the first half of the film but his transformation from a crude, uncaring drunk to the team's hard-nosed but soft-hearted leader is very well and believably done. Petty makes Kit to be a spoilt brat but that is for a reason to try and make the relationship between her and Dottie strained. O'Donnell, Lovitz and Strathairn also lend their own different support during the film though unsurprisingly Madonna despite her sultry role, is a bit unbelievable to be playing a baseball player. Pullman is also wasted in his brief role. With Madonna being an unlikely type of person to play baseball, it is through clever editing that makes the female players look amazing at the sport but making them look too good. Also history shows that most of the events that happen in the film were fictional and you can see why. That is part of the film's flaw with some unbelievable moments such as Dottie doing the splits while taking a catch as well as the infamous urinating scene from Hanks which lasts for a ridiculous 53 seconds! Though the film aims to be a comedy, there is a lack of it and only adds slapstick to make up for it and really the dramatic element helps it. More than anything, this film posed a number of dramatically compelling questions but left them unanswered. In the end however you know that these were the women who were brought together because they all had the guts, determination and talent to change the face of American sports and Marshall deserves a lot of credit of proving that girls can play sports in such entertaining fashion!

DEAD MAN'S SHOES (2004) - 4 STARS

"God will forgive them. He'll forgive them and allow them into Heaven. I can't live with that"

My passion for gritty British films over the last couple of year had been supported by watching some very brutal but realistic pictures including TRAINSPOTTING (1996), NIL BY MOUTH (1997) and THIS IS ENGLAND (2006). All these films added to how harsh British society is, with the mixture of drugs, violence and racism all accounted for the social aspect of the country. Having been a fan of director Shane Meadow's most acclaimed production This Is England (as well as the current spin-off series which is currently broadcasting), I decided to look at his previous film DEAD MAN'S SHOES (2004), which sets the theme of family and vengeance in a story that would probably make a great hour long drama on BBC or ITV but yet gives itself a strong message about standing up and protecting those you care for. It is a straightforward morality tale: brutal, stark and nobody wins. It is simple in narrative, but the message is timeless.

Ex-soldier Richard (Paddy Considene) returns to his hometown in the Midlands where he is planning something vengeful towards a gang of men, involved with drugs, who caused harm to his mentally challenged brother Anthony (Toby Kebbell) a few years ago. The gang led by malicious Sonny (Gary Stretch) start to become suspicous when Richard, wearing a gas mask, starts to unsettle various members of the gang who begin to know who he is. Several flashbacks reveal what the gang did to Anthony at their house such as make him smoke pot, have sex with a woman by force and get beaten around by Sonny when he refused to commit oral sex. Eventually after Sonny and Richard have a confrontation in the street, the gang's paranoia finally gets to them as they all try to stick together only for one of the men to be brutally slayed by Richard, leading to the gang seeking their own revenge. They all travel up to a farm where he is situated but an accidental moment leads to the gang fleeing and soon it becomes obvious that Richard will track them down. One by one they all eventually made to suffer at the hands of him and after showing no mercy towards them, he soon remembers that there is still one more person to find and confront as the realisation of Anthony's suffering is brought up.

What Meadows managed to create was a gritty and powerfully made low budget film demonstrated by a cleverly made story and make us show our support for Richard trying to gain his revenge on the gang. It is only when the truth about Anthony's incident emerges that we soon grow to hate the gang even more especially towards the film's climax. Its a dark film, but Meadows has a knack of using humour to ensure his work is never miserable or too depressing. For example the talkative Midlands exchange between the characters of Big Al (Seamus O'Neill), Herbie (Stuart Wolfenden) and Tuff (Paul Sadot) as they try to explain their situation to Sonny or even more shockingly the scene where Sonny accidentally shoots one of his own men with a sniper rifle is gloriously farcical. The cast itself works together well with a powerfully constructed performance from Considene who gives a convincing depiction of a man struggling to balance his desire for revenge and redemption and he invokes sympathy and fear from the audience in a performance to rival similar characters played by De Niro or Bronson. Kebbell excels in a stunning film debut with so much emphasis being placed in such a difficult role but he pulls it off brilliantly while Fletch stands out from the rest of the other cast with such a nerved performance where his character knows what his fate could be, as well as that Meadows also manages to use various characters from his other films to pop up e.g. George Newton (Gyppo) and Jo Hartley (Marie) whi also appeared in This Is England.

The cinematography is bluntly physical and realistic, the music well placed in the film. A terrific script from Meadows and star Considene give us a story that after an hour you think is over but is let down by Richard having one person to find which becomes the apparent focus, that lets it down for me, it becomes a little anti-climatic for the way a couple of the characters are killed but when we get to the ending, his aim for what he had to do does take away the excitement of it all. There are also numerous short spatial sequences that develop the plot regarding Anthony, and with the denouement we are more than aware of the brutality enacted on Anthony, but, ironically, never actually empathise with how brutal or damaging those acts were. Some say the film is also similar to GET CARTER (1971), which features the same kind of plot but sadly has not been appreciated by more audiences but could still become a British masterpiece in years to come. However provided they are happy with the lack of Hollywood polish, this is a film to be recommend to any lovers of the thriller genre. It becomes another notion of what these British films are aiming for, this is England through all the dark elements and on screen we just know it is.

SUNSET BOULEVARD (1950) - 4 STARS

"A HOLLYWOOD STORY: Sensational...Daring...Unforgettable...Sunset Blvd"

The tragedy of celebrity is presented in such grim reality in Billy Wilder's gritty focus on Hollywood deception and fall of grace; SUNSET BOULEVARD (1950). Until 1950, American films were strictly entertainment, some deeper than others. Studio executives were very protective of image and star-making. In some ways, everything seemed perfect. Billy Wilder, Charles Brackett, and D.M. Marshman, Jr. created a stunning work of art that splits the Hollywood sign in two and exposed a dream factory for what it really is: a struggle to both gain and keep composure in the limelight. The comedy is sly, the drama is of epic proportions because it's not JUST a story about Hollywood or an aging actress. It's really about the giving up of dreams.

In the movie's beginning we are shown a scene of a man lying dead in a pool outside a mansion with police and reporters circling around his body. The narrator explains to us about how this man got into the predicament which becomes the focus of the story. B Movie writer Joe Gillis (William Holden) is struggling to make a living in Los Angeles and has tried (and failed) to make money through the many scripts he has forwarded to movie executives. The fact is, he needs it not just for his wealth but to clear debts as he owes money and a car to a couple of collectors who plan to take that away from him. After being pursued by the debt collectors, Joe bursts a Tyre driving down Sunset Boulevard, a well know street, famed for its celebrity status though looks more like a ghost town, and he is forced to leave the car in a garage outside a grotty looking mansion. However he is soon confronted by stern worded butler Max (Eric von Stroheim) who escorts Joe to the owner of the house which leads to a mix-up. This owner turns out to be reclusive former silent film actress Norma Desmond (Gloria Swanson), a middle-aged has-been who still believes that she is a star despite her age and her lack of involvement in films in the last twenty years. She wants to make a 'return' to the movies and seeks Joe's help in adapting her stories in order to be welcomed back to Paramount Studios where back in her heyday she was one of the biggest stars in America, but clearly her refusal to accept her aging or the politics of Hollywood that worship youth have affected her badly. She had previously worked with acclaimed director Cecil B. DeMille who Norma still believes is willing to give her a role in his films unaware that the parade is long gone. Joe's paranoia about Norma is proven by her getting Max to move his stuff from his apartment into her mansion and clearly she is trying to gain control of Joe in a mysterious way by taking pressure off him with making him feel at home.
 

As Joe continues to try and adapt Norma's stories, it is clear that his writing isn't the only thing she's after from him as he soon finds out when she arranges a private party with just him and her dancing to a band playing. His refusal to get romantic with her gets a horrified reaction from her and he soon leaves her returning to his normal life. He attends a New Year's Eve party hosted by his friend Artie (Jack Webb) and his fiancee Betty Schaefer (Nancy Olson), who earlier in the film ridiculed Joe's story idea in front of a producer. Betty attempts to make amends with Joe unaware of what he's been up to and clearly there is sexual chemistry between the pair as they talk up the idea of adapting one of Joe's stories but a phone call from Max forces Joe to return to the mansion where it emerges Norma has attempted to kill herself. He reluctantly agrees to help her get better and the pair embrace leading to an unlikely relationship and as the film progresses, her happiness is brought back by feeling loved again, leading to changes around the mansion while she also gains the confidence to return to Paramount Studios to see De Mille on the film set. Unfortunately it is clear that Norma will not be back on screen anytime soon despite the attention she receives, though Joe decides to get his writing career back on track by adapting his story with Betty while Artie is away. It is Norma who starts to become paranoid about Joe leaving the house at night, as he secretly plots his story with Betty at Paramount Studios, though the pair soon grow closer leading to a kiss which leads to her declaring her love for him. However after discovering a secret from Max about his relationship with Norma, Joe finds himself facing a showdown with her about his affair with Betty in which her jealousy and insanity get to her with her madness leading to a tragic end.

Ultimately, it's the genius of Billy Wilder that keeps things in balance. It features a witty, clever and extremely well-written script and a terrible main four cast members who all received Oscar nominations for their roles. Holden's performance is well looked at as you see the pity, anger and helplessness on his face when he realizes how much Norma is using him and that he's trapped. The beautiful Nancy Olsen gives a strong performance in a rather small part while Erich von Stroheim is chilling and disturbing as Max whose secret towards the film's ending shows us why he too has come to such a state.The main acclaim though goes to Swanson who as Norma is the symbol of lost fame and has become the talk of legend. What is ironic about her character is that she may be playing herself in an odd way. She herself was an actual silent star whose career went down the drain after the talkies came about. Adding to the film's propaganda is the perception of one key theme; Love. You only have to look at what these people have done for love of another person or love of fame. Max loves Norma. Norma loves Gillis. Gillis loves Norma and Betty. Betty loves Gillis and Artie. Artie loves Betty. And all of them love Hollywood which lends an immoral 'moral tale', which sometimes leaves a bad taste. The great musical score of Franz Waxman enhances the film while John Seitz's black and white photography brings us back to that time. Scenes are shot right on the lot of Paramount Studios (even the front gate), and Norma's mansion is an unforgettable piece of history and gloom helped by the shattering conclusion which produces one of THE infamous last lines in film.

But for some younger audiences this is really one of those films that has aged. Meaning, some people will appreciate it, but others will find it hard to sit through. Painfully slow at times and just plain old aged it really takes a good understanding that this is an older film to appreciate. Sunset Boulevard lost out to ALL ABOUT EVE (1950), the Hollywood masterpiece about the Broadway stage, at the Oscars that year. The major corporation wasn't ready to award itself because some people didn't care for the way that the film was portraying itself (showing the dark, seamy side). The stick that DeMille got from his supporting role is also a little unfair on him as he was moving on through the ages yet Norma wanted to remain silent with her roles but some people are a little too accusing of one of the most important director's of the 1950s. However that doesn't stop the film from achieving its aim of lambasting the system. It can still be a realistic depiction because of its reflection of Hollywood. It can give you the idea of the dream land's transformation into a nightmare.

THIS IS ENGLAND (2006) - 4 STARS

"Run with the crowd, stand alone, you decide"

The harsh reality of British socialism is displayed in raw terms by acclaimed director Shane Meadows whose BAFTA-winning triumph THIS IS ENGLAND (2006), set the tone for what was happening back in the 80s in terms of the culture and the events that were occurring during that period. The opening montage which uses a jazzy piece of music in the background uses real footage of the major situations going on in the year 1982 such as Margaret Thatcher's political campaign getting underway, Charles and Diana's wedding, the miner strikes and of course, the Falklands War. Some images in the montage come from pop culture that is remembered including the fashion and the songs that made it big but showing the Falklands War with shots of men lying dead shows what a flawed decade it was. These events played their part in setting up the society with which the film focuses on through Meadows' own personal experiences and takes us back to when Britain especially was struggling to cope with mass unemployment and immigration becoming a major topic.

Twelve-year old Shaun (a tremendous film debut from Thomas Turgoose) is part of the struggles of the 1980s, coming from a run down area in Barnsley, living with his widowed mother (Jo Hartley) whose husband (and Shaun's father) died in the Falklands War and wears shoddy clothes. After a run in with a Pakistani shopkeeper, Shaun is then bullied in school by a lad who makes taunts about his dad leading to a fierce fight. Whilst walking home from school he bumps into a group of skinheads led by friendly Woody (Joe Gilgun a.k.a Eli Dingle from Emmerdale) and is supported by other lads including charismatic Jamaican born Milky (Andrew Shim) and paranoiac, overweight groupie Gadget (Andrew Ellis) as well as a couple of others. The lads spend their time rebelling against the system incorporated by Thatcher which is proven by Woody allowing Shaun to join them in venting their anger out on an abandoned house in the countryside which initially causes jealousy from Gadget who believes Shaun is trying to take his place in the group but they eventually make up. Soon Shaun explores a different kind of feeling with being amongst these people and is later introduced to Woody's girlfriend Lol (Vicky McClure) and her band of friends including Gothic Smell (Rosamund Hanson) who takes a shine to Shaun. They give him a makeover which sees him wearing combat shoes, clothes that suit the group and of course, has his head shaved to look like a skinhead much to his mum's horror. She confronts the group but is instead thankful to them for helping Shaun through his rough period though things are soon about to change drastically for them. During a party which sees Shaun and Smell share a couple of passionate kisses, a pair of hard looking blokes burst into the party looking threatening but it turns out to be an old friend of Woody's named Combo (played with fiery bitterness by Stephen Graham) who has served time in prison and his henchman Banjo (George Newton).

 It is clear that Combo is a different kind of person to Woody particularly when he tells a story about a confrontation he had in prison with a black convict much to the group's awkwardness (Milky especially). After meeting Shaun as well, Combo arranges with the group to meet him at his flat to discuss the idea of driving the foreign citizens of England out the country in which it is obvious that he is a shocking idealist, a man reveling in frustration at the way England has been overrun by immigrants, the way Margaret Thatcher has capitalized on the citizens of England and how decent Englishmen are homeless and jobless. He also ridicules the reason why men have been forced into a pointless war which leads to Shaun reacting badly knowing that his dad probably died for nothing but is reassured by Combo that they can sort things out. However Woody and the group know that Combo is a pure racist despite his attempt to make them feel bad about not sticking up for Milky when he was telling the prison story. It sees Woody, Lol, Milky and Kes walk out but Shaun, Gadget, Pukey (Jack O'Connell) and Meggy (Perry Benson) remain with Combo with all of them having their reasons to rebel against the foreigners. This sees the newly formed group attend a meeting in the countryside involving other racist groups led by main official Lenny (Frank Harper) to try and show as much distant towards the foreigners as possible eventually driving them away. Pukey drops out of the group after insulting Combo's belief about driving them out, but they continue to march on with them practicing their confrontations by spraying abuse on walls and Shaun especially being taught to use racist language. He then gets his chance of revenge against the Pakistani shopkeeper from earlier in the film thanks to the groups' help while also earning their respect. However Combo's more personal side gets to him following a humane encounter with Lol and Shaun soon learns that everyone has their own hidden emotions as proven in the film's final twenty minutes where Combo's brutal side gets to him when Milky hangs round with the group during the evening. This moment of madness leads Shaun to realize that his future won't be prospective as displayed in the final scene where he gives up the dream of being like Combo for a more relaxed conclusion.

Typically for a British film, This Is England is exceptionally well written with some infectious dialogue and fully-fleshed characters, though one of the film's stand-out factors is that of Danny Cohen's cinematography. He shoots the film in such grim lighting which foreshadows the time and depression with which the characters find themselves in, further helped by the colorful but bizarre costumes that show the decade with such cultural tenacity. The characters and the actors who play them deserve a lot of credit with newcomer Thomas Turgoose, who himself came from a rough background, providing a stern and powerful debut as youngster Shaun, one of the best child performances in film. The trauma he goes through with being bullied in school as well as being from a poor home and a father who is dead attracts our sympathy and soon we see him develop over the course of the film by taking part in more extreme acts though it is impossible not to feel for his profound facial expression and sympathize with his early age portrayal of innocence. Of course the initiation of Shaun into the skinhead group is heart warming friendship and the character of Woody is a symbol of goodness. Gilgun's accent may be strong in the film but he gives Woody heart and treats Shaun like a younger brother and it is easy to see that their scenes together are very genuine. For me though, the stand out is Stephen Graham, who has developed as an actor over the years and gives his role as Combo a lot of bitterness but also a sense of complexity and something flawed about him. There are times when he goes too far with racial behaviour particularly the confrontation with the Pakistani shopkeeper but towards the film's shattering climax, we see just what drives him over the edge when it comes to personal values. The supporting cast do their job well with McClure, Shim and Ellis doing a considerable job with the roles. Hanson does a decent role as Smell but the relationship between her and Shaun is certainly a little sickening particularly when they share the snogging scene. It is hard to believe that she would've been attracted to a boy who was not only so much younger, but also looked so much younger. Hartley as Shaun's mum fails to add much to her role and not much is given to her to improve but obviously the ensemble cast is still wholesomely impressive. Another slight disappointment is how rushed the ending is which is also partly because the movie is too short and feels unfinished dealing with all its character's fates. But the upcoming spin-off series for this film THIS IS ENGLAND 86' at least will allow us to carry on enjoying these characters and seeing what has happened to them within the few years since this film's story ended. Shane Meadows certainly has been improving as a director with this film being a seemingly effortless achievement that matches a warm, humorous portrayal of a young lad growing up with his experience of the cold brutality that came with the 80s skinhead culture.