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BankofMarquis (1832 KP) rated A League of Their Own (1992) in Movies
May 26, 2020
My Favorite Baseball Movie of All Time
I am a big fan of movies. I am a big fan of baseball. So, inevitably, I get asked what my favorite baseball movie is - and my answer surprises many. Beyond a doubt, my favorite baseball movie is the 1992 comedy A LEAGUE OF THEIR OWN, directed by Penny Marshall and starring Geena Davis and Tom Hanks.
I just rewatched this film (for the umpteenth time) and it still works very, very well.
Set during WWII, A LEAGUE OF THEIR OWN tells the story of the All American Girls Professional Baseball League - set up by owners of Major League baseball as many, many of the male professional baseball players were overseas fighting in the war.
Set up as a sibling rivalry story between star player Dottie Henson (Geena Davis) and her kid sister Kit (Lori Petty) who is always in Dottie's shadow, ALOTO shows the start-up of the league, the initial reluctance of the general public to embrace it and the eventual winning over of those that mocked it by actually playing good, hard-nosed ball.
This indifference (turned to acceptance) of this league is shown through the eyes of alcoholic, former Major League star Jimmy Dugan (a pre-Oscars Tom Hanks). After a strong 1980's in film, the first part of the 1990's was not kind to Hanks (JOE vs. THE VOLCANO tanked and the less that can be said about BONFIRE OF THE VANITIES the better). This film was considered a bit of a "comeback" film for him and he came back very, very well. His Jimmy Dugan is irascible, vulgar and angry but has a good heart that shines through. It was this role that would catapult Hanks into SuperStardom later in this decade (with films like PHILADELPHIA, FOREST GUMP, SAVING PRIVATE RYAN, SLEEPLESS IN SEATTLE, APOLLO 13 and THE GREEN MILE). So, remember, without Jimmy Duggan, their probably would not be a Woody from TOY STORY (at least not a Woody voiced by Hanks).
Geena Davis is strong in the lead role of Dottie. Davis is a natural athlete and a very intelligent individual (she was a semi-finalist for the U.S. Olympic Archery team and is a member of MENSA) and both attributes shine through in her portrayal of Dottie. She is strong, graceful and sure-headed in her approach to her goal - to be the best at what she is currently doing. The pairing of Davis and Hanks is interesting for you see great chemistry between these two characters - 2 characters that are compatriots and, perhaps, friends, but...which is unusual in a film such as this...NOT love interests for each other.
Faring less well in this film is Lori Petty as kid sister Kit who just wants a chance to get out from under her sister's shadow. I don't blame Petty's performance - she does the best she can with the material she is given, but her character is "whiny, pouty and shouty" throughout the film and was just not someone I cared about.
That cannot be said for the strong list of actresses that were cast as members of the Rockford Peaches - the team that Dottie and Kit play for (and that Jimmy Dugan manages). Director Penny Marshall insisted that all of the women cast actually be able to play baseball, so cut many, many good actresses that just couldn't be believed as baseball players. Madonna (of all people) shows a passable ability to play ball - as well as a winning personality as "All the Way" Mae, the team's centerfielder. In her first film role, Rosie O'Donnell almost steals the film as loud Long Island 3b Doris Murphy. Megan Cavanagh (2b Marla Hooch), Tracy Reiner (LF/P Betty "Spaghetti" Horn), Bitty Schram (RF Evelyn Gardner who was the cryer in the "there's no crying in baseball" scene), Ann Cusack (illiterate OF Shirley Baker), Anne Ramsey (1B Helen Haley) and Freddie Simpson (SS/P Ellen Sue Gotlander) all make a believably passable group of ballplayers that you want to spend time with.
Special notice needs to be made to the always dependable David Strathairn (as Ira Lowenstein - the guiding light to this league) and Jon Lovitz (who is the star of the first 1/4 of this film as Scout Ernie Capadino). They both bring needed life to moments of the film when it need it the most.
All of these elements are brought together wonderfully by the smart, thoughtful and emotionally rich direction of Penny Marshall. She was on a bit of a roll in this part of her career, having helmed BIG (1988) and AWAKENINGS (1990 - with Robin Williams and Robert DeNiro) previously. She went "3 for 3" as a Director with this one. She keeps the film moving along smartly, pausing just long enough at times to bring in some emotion and then follows it right up with some gut-busting laughs.
While I am not thrilled by the events of the final game (I think it is a little contrived and one of the principal characters gets a reward they don't deserve) but that is a "nit" on this film, for it is the journey - with characters that are fun to spend some time with - that makes this film works.
Oh...and Marshall also puts in some of the real players from the league in a finale that serves as a well-deserved salute to these womeon
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
I just rewatched this film (for the umpteenth time) and it still works very, very well.
Set during WWII, A LEAGUE OF THEIR OWN tells the story of the All American Girls Professional Baseball League - set up by owners of Major League baseball as many, many of the male professional baseball players were overseas fighting in the war.
Set up as a sibling rivalry story between star player Dottie Henson (Geena Davis) and her kid sister Kit (Lori Petty) who is always in Dottie's shadow, ALOTO shows the start-up of the league, the initial reluctance of the general public to embrace it and the eventual winning over of those that mocked it by actually playing good, hard-nosed ball.
This indifference (turned to acceptance) of this league is shown through the eyes of alcoholic, former Major League star Jimmy Dugan (a pre-Oscars Tom Hanks). After a strong 1980's in film, the first part of the 1990's was not kind to Hanks (JOE vs. THE VOLCANO tanked and the less that can be said about BONFIRE OF THE VANITIES the better). This film was considered a bit of a "comeback" film for him and he came back very, very well. His Jimmy Dugan is irascible, vulgar and angry but has a good heart that shines through. It was this role that would catapult Hanks into SuperStardom later in this decade (with films like PHILADELPHIA, FOREST GUMP, SAVING PRIVATE RYAN, SLEEPLESS IN SEATTLE, APOLLO 13 and THE GREEN MILE). So, remember, without Jimmy Duggan, their probably would not be a Woody from TOY STORY (at least not a Woody voiced by Hanks).
Geena Davis is strong in the lead role of Dottie. Davis is a natural athlete and a very intelligent individual (she was a semi-finalist for the U.S. Olympic Archery team and is a member of MENSA) and both attributes shine through in her portrayal of Dottie. She is strong, graceful and sure-headed in her approach to her goal - to be the best at what she is currently doing. The pairing of Davis and Hanks is interesting for you see great chemistry between these two characters - 2 characters that are compatriots and, perhaps, friends, but...which is unusual in a film such as this...NOT love interests for each other.
Faring less well in this film is Lori Petty as kid sister Kit who just wants a chance to get out from under her sister's shadow. I don't blame Petty's performance - she does the best she can with the material she is given, but her character is "whiny, pouty and shouty" throughout the film and was just not someone I cared about.
That cannot be said for the strong list of actresses that were cast as members of the Rockford Peaches - the team that Dottie and Kit play for (and that Jimmy Dugan manages). Director Penny Marshall insisted that all of the women cast actually be able to play baseball, so cut many, many good actresses that just couldn't be believed as baseball players. Madonna (of all people) shows a passable ability to play ball - as well as a winning personality as "All the Way" Mae, the team's centerfielder. In her first film role, Rosie O'Donnell almost steals the film as loud Long Island 3b Doris Murphy. Megan Cavanagh (2b Marla Hooch), Tracy Reiner (LF/P Betty "Spaghetti" Horn), Bitty Schram (RF Evelyn Gardner who was the cryer in the "there's no crying in baseball" scene), Ann Cusack (illiterate OF Shirley Baker), Anne Ramsey (1B Helen Haley) and Freddie Simpson (SS/P Ellen Sue Gotlander) all make a believably passable group of ballplayers that you want to spend time with.
Special notice needs to be made to the always dependable David Strathairn (as Ira Lowenstein - the guiding light to this league) and Jon Lovitz (who is the star of the first 1/4 of this film as Scout Ernie Capadino). They both bring needed life to moments of the film when it need it the most.
All of these elements are brought together wonderfully by the smart, thoughtful and emotionally rich direction of Penny Marshall. She was on a bit of a roll in this part of her career, having helmed BIG (1988) and AWAKENINGS (1990 - with Robin Williams and Robert DeNiro) previously. She went "3 for 3" as a Director with this one. She keeps the film moving along smartly, pausing just long enough at times to bring in some emotion and then follows it right up with some gut-busting laughs.
While I am not thrilled by the events of the final game (I think it is a little contrived and one of the principal characters gets a reward they don't deserve) but that is a "nit" on this film, for it is the journey - with characters that are fun to spend some time with - that makes this film works.
Oh...and Marshall also puts in some of the real players from the league in a finale that serves as a well-deserved salute to these womeon
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Jumanji: The Next Level (2019) in Movies
Dec 15, 2019
I said this when I reviewed Jumanji: Welcome to the Jungle, but Jumanji was one of my favorite movies going up. I was extremely reluctant to see the 2017 film. However, I walked out of the theater happy as can be. The movie wasn’t perfect, but it was charming and entertaining, and I felt it was a good modernization of the Jumanji experience.
Then they announced the sequel, and all that fear and panic (not much, but you know… melodrama) kicked back in. Given the state of some sequels these days, I couldn’t imagine how they would be able to do this, and do this well. But I had hopes considering how good the previous entry in the franchise was. Could it be just as good?
The Jumanji: The Next Level releases 2 years after Welcome to the Jungle, and just as much time has passed for our four heroes: Spencer (Alex Wolff), Fridge (Ser’Darius Blain), Bethany (Madison Iseman), and Martha (Morgan Turner). We see the four friends leading their different lives and getting excited to reunite over the holidays.
Everyone, except for Spencer that is. Spencer missed the feeling he had as Doctor Smolder Bravestone (Dwayne Johnson) in Jumanji, so he decides to try and fix the game and re-enter to recapture that feeling. The game was smashed to pieces in the last movie, but Spencer retrieved it and it’s been sitting his basement ever since.
The next day, when the four adventurers are supposed to be meeting for brunch, the remaining three get worried when Spencer doesn’t show. So they head over to Spencer’s place to find Spencer’s Grandfather, Eddie (Danny Devito), and an old friend, Milo (Danny Glover), who also don’t know where he is. Soon they discover the broken remnants of the game and that they’ve been fixed (sorta) and eventually they realize that Spencer has gone into the game again.
They decide to head back in, but somethings a little different this time around, as both Eddie and Milo get pulled into the game as well. All our game characters return: Bravestone, Professor Sheldon “Shelly” Oberon (Jack Black), Franklin “Mouse” Finbar (Kevin Hart), and Ruby Roundhouse (Karen Gillan). But will our young adventurers be controlling the same characters, and what of Eddie and Milo? I can’t say without spoiling so much more.
Now that we have the description out of the way, I will say that I loved this film. Not quite as much as the previous entry, though. I didn’t have high hopes for The Next Level as the trailers and commercials just seemed to be overselling certain aspects of the film, but the film was great.
A good follow up story, excellent acting from our four mains, and enough changeup to allow it to not be essentially the same movie as the first. The acting is great. The plot, while a little predictable, was good as well. The music and score really set the tone and pace of the new Jumanji movies, and in such a good way.
One of the only real criticism I had was that Johnson became a little annoying with his characterization for most of the movie in this film, but that could be intended. A good pallet cleanser, though, was Kevin Hart as he literally played the polar opposite and it was a good balance. The other issue I had was that the finale of the third act seemed a little cheated. It was so rushed, relied heavily on the video game trope and never explained why what happened did happen.
Overall, though, this film is a worthy successor to Welcome to the Jungle and you should definitely check it out. Good for the family, just like the first. I personally cannot wait to see what happens in the next film. There is an obvious set up for third in the reboot, or it could be just left as is. Such is the way of Jumanji.
4 out of 5 stars.
Then they announced the sequel, and all that fear and panic (not much, but you know… melodrama) kicked back in. Given the state of some sequels these days, I couldn’t imagine how they would be able to do this, and do this well. But I had hopes considering how good the previous entry in the franchise was. Could it be just as good?
The Jumanji: The Next Level releases 2 years after Welcome to the Jungle, and just as much time has passed for our four heroes: Spencer (Alex Wolff), Fridge (Ser’Darius Blain), Bethany (Madison Iseman), and Martha (Morgan Turner). We see the four friends leading their different lives and getting excited to reunite over the holidays.
Everyone, except for Spencer that is. Spencer missed the feeling he had as Doctor Smolder Bravestone (Dwayne Johnson) in Jumanji, so he decides to try and fix the game and re-enter to recapture that feeling. The game was smashed to pieces in the last movie, but Spencer retrieved it and it’s been sitting his basement ever since.
The next day, when the four adventurers are supposed to be meeting for brunch, the remaining three get worried when Spencer doesn’t show. So they head over to Spencer’s place to find Spencer’s Grandfather, Eddie (Danny Devito), and an old friend, Milo (Danny Glover), who also don’t know where he is. Soon they discover the broken remnants of the game and that they’ve been fixed (sorta) and eventually they realize that Spencer has gone into the game again.
They decide to head back in, but somethings a little different this time around, as both Eddie and Milo get pulled into the game as well. All our game characters return: Bravestone, Professor Sheldon “Shelly” Oberon (Jack Black), Franklin “Mouse” Finbar (Kevin Hart), and Ruby Roundhouse (Karen Gillan). But will our young adventurers be controlling the same characters, and what of Eddie and Milo? I can’t say without spoiling so much more.
Now that we have the description out of the way, I will say that I loved this film. Not quite as much as the previous entry, though. I didn’t have high hopes for The Next Level as the trailers and commercials just seemed to be overselling certain aspects of the film, but the film was great.
A good follow up story, excellent acting from our four mains, and enough changeup to allow it to not be essentially the same movie as the first. The acting is great. The plot, while a little predictable, was good as well. The music and score really set the tone and pace of the new Jumanji movies, and in such a good way.
One of the only real criticism I had was that Johnson became a little annoying with his characterization for most of the movie in this film, but that could be intended. A good pallet cleanser, though, was Kevin Hart as he literally played the polar opposite and it was a good balance. The other issue I had was that the finale of the third act seemed a little cheated. It was so rushed, relied heavily on the video game trope and never explained why what happened did happen.
Overall, though, this film is a worthy successor to Welcome to the Jungle and you should definitely check it out. Good for the family, just like the first. I personally cannot wait to see what happens in the next film. There is an obvious set up for third in the reboot, or it could be just left as is. Such is the way of Jumanji.
4 out of 5 stars.
LeftSideCut (3778 KP) rated Power Rangers (2017) in Movies
Jan 31, 2020
Contains spoilers, click to show
About 85% of this reboot of the popular 90s show Power Rangers is quite a broody and charming enough story about a group of five (mostly outcast) teenagers finding a bond and friendship after discovering that they've be given superpowers. This is spliced with the odd training montage of them all learning how to harness their new found powers.
It pretty straightforward, and thanks the main cast, it's fairly enjoyable.
Lead by Jason (Stranger Things' Dacre Montgomery), the five friends are probably the main positive about the film.
As the movie draws on, we are teased with just enough Power Rangers material to keep the intrigue afloat - the presence of Zordon (Bryan Cranston), Alpha 5 (Bill Hader) and Rita Repulsa (Elizabeth Banks), glimpses of the Zords and so on, but the narrative never strays too far from this core theme of strength through friendship.
That is until the final act of course...
I'll admit that I felt a swelling of excitement when the Power Rangers finally appeared in full armour, kicking the shit out of faceless CGI henchman, but it's at this point that director Dean Israelite goes FULL POWER RANGERS. We even get the classic theme tune as the Rangers charge towards Goldar (eye burning CGI, but kind of cool) and Rita in their Zords (also kind of cool) but here in lies the main problem with the film as a whole.
The nostalgia is laid on so thick that it feels like a completely different film. With the first 3/4 being somewhat grounded in realism (sort of), with serious themes and relatable human characters, the final act of flat out Power Rangers absurdity doesn't quite gel. I have no problem with either approach, but I feel like maybe the writers should have picked one and stuck with it.
The well developed teenagers that we've spent and hour and half with at this point are suddenly wise cracking and quipping like there's no tomorrow. The big climatic battle looks ok, but it has that really overplayed Kanye West song obnoxiously blasting throughout (which just gave me *shudder* Suicide Squad vibes), and after being built up to be a genuinely threatening villain, Rita is easily dispatched by a big CGI bitchslap into CGI space, by the big CGI hand of the big CGI Megazord (still kind of cool).
It's just a little meh.
I have fond memories of Power Rangers from my childhood, and I realise that this modern retelling is also aimed at a younger audience, and in that respect I'm sure it's very entertaining, and I give credit to the writers for touching upon more adult issues, but overall, I wish it had been better. Power Rangers is silly, but it does genuinely have scope to be an epic franchise.
Final note - the running Krispy Kreme joke got old very quickly 🖕
It pretty straightforward, and thanks the main cast, it's fairly enjoyable.
Lead by Jason (Stranger Things' Dacre Montgomery), the five friends are probably the main positive about the film.
As the movie draws on, we are teased with just enough Power Rangers material to keep the intrigue afloat - the presence of Zordon (Bryan Cranston), Alpha 5 (Bill Hader) and Rita Repulsa (Elizabeth Banks), glimpses of the Zords and so on, but the narrative never strays too far from this core theme of strength through friendship.
That is until the final act of course...
I'll admit that I felt a swelling of excitement when the Power Rangers finally appeared in full armour, kicking the shit out of faceless CGI henchman, but it's at this point that director Dean Israelite goes FULL POWER RANGERS. We even get the classic theme tune as the Rangers charge towards Goldar (eye burning CGI, but kind of cool) and Rita in their Zords (also kind of cool) but here in lies the main problem with the film as a whole.
The nostalgia is laid on so thick that it feels like a completely different film. With the first 3/4 being somewhat grounded in realism (sort of), with serious themes and relatable human characters, the final act of flat out Power Rangers absurdity doesn't quite gel. I have no problem with either approach, but I feel like maybe the writers should have picked one and stuck with it.
The well developed teenagers that we've spent and hour and half with at this point are suddenly wise cracking and quipping like there's no tomorrow. The big climatic battle looks ok, but it has that really overplayed Kanye West song obnoxiously blasting throughout (which just gave me *shudder* Suicide Squad vibes), and after being built up to be a genuinely threatening villain, Rita is easily dispatched by a big CGI bitchslap into CGI space, by the big CGI hand of the big CGI Megazord (still kind of cool).
It's just a little meh.
I have fond memories of Power Rangers from my childhood, and I realise that this modern retelling is also aimed at a younger audience, and in that respect I'm sure it's very entertaining, and I give credit to the writers for touching upon more adult issues, but overall, I wish it had been better. Power Rangers is silly, but it does genuinely have scope to be an epic franchise.
Final note - the running Krispy Kreme joke got old very quickly 🖕
BookInspector (124 KP) rated Zero in Books
Sep 24, 2020
Living with a complete geek, I learned to love technology. It is kind of mesmerizing how technology is taking over our lives, that is why I was very intrigued by the blurb of this book. After reading the book, I am kind of petrified of how much of our personal data is actually collected without our knowledge… Or maybe because of our ignorance?
The protagonist in this novel is Cynthia, a single mother and investigative journalist, who lives in London. I really liked, how realistic the main character was, she is kind of old-fashioned when it comes to technology, and all the new findings really leave her confused. Also, I liked Cynthia’s personality, I think she was really curious, brave and adventurous. The Author offers a huge variety of characters in this book, representing different sectors and different perspectives, and in some places, I found it difficult to identify who belongs where, but to my luck, there was a handy list of characters at the back of the novel, which helped me.
The narrative was really thought-provoking. Elsberg highlights many aspects of data collection and usage, which really got me thinking. The story is told from multiple perspectives, and that kind of kept my interest going. To enjoy this book, you have to like technology, there is a ton of terms and IT processes being discussed, so if you not into computers, this book will not make sense to you. 🙂 I loved that author chose different settings in this book, incorporating his native town – Vienna. Also, I think, that the author used his knowledge of advertising and influencing people very smartly, and I bet, that the search for smart glasses will increase after reading this book. 😀 (Because I am definitely going to search 😀 )
I enjoyed author’s writing style, for me, it was understandable, action-filled and constantly changing. The whole book was fitted into eight chapters, and for me, they were really long. Even though every chapter shared multiple events, it still kind of dragged to me a sometimes… 😦 (I love my short chapters!) The ending rounded up the story very nicely, but there are so many unanswered questions, that it is kind of bugging me. 😀 I really liked The Circle, and I think with a good director, this book could be a superb movie.
So, to conclude, It is a very well crafted story, which feels kind of futuristic, but when you think about it, most of the things are already happening in one form or another. It is filled with smart characters, plenty of action, and I think it is kind of a wake-up call for all of the people, who are glued to their gadgets and the internet. So, “Hey, parents – do you know what your child is up to? “ Do read this book to find out why, and I hope you will enjoy it. 🙂
The protagonist in this novel is Cynthia, a single mother and investigative journalist, who lives in London. I really liked, how realistic the main character was, she is kind of old-fashioned when it comes to technology, and all the new findings really leave her confused. Also, I liked Cynthia’s personality, I think she was really curious, brave and adventurous. The Author offers a huge variety of characters in this book, representing different sectors and different perspectives, and in some places, I found it difficult to identify who belongs where, but to my luck, there was a handy list of characters at the back of the novel, which helped me.
The narrative was really thought-provoking. Elsberg highlights many aspects of data collection and usage, which really got me thinking. The story is told from multiple perspectives, and that kind of kept my interest going. To enjoy this book, you have to like technology, there is a ton of terms and IT processes being discussed, so if you not into computers, this book will not make sense to you. 🙂 I loved that author chose different settings in this book, incorporating his native town – Vienna. Also, I think, that the author used his knowledge of advertising and influencing people very smartly, and I bet, that the search for smart glasses will increase after reading this book. 😀 (Because I am definitely going to search 😀 )
I enjoyed author’s writing style, for me, it was understandable, action-filled and constantly changing. The whole book was fitted into eight chapters, and for me, they were really long. Even though every chapter shared multiple events, it still kind of dragged to me a sometimes… 😦 (I love my short chapters!) The ending rounded up the story very nicely, but there are so many unanswered questions, that it is kind of bugging me. 😀 I really liked The Circle, and I think with a good director, this book could be a superb movie.
So, to conclude, It is a very well crafted story, which feels kind of futuristic, but when you think about it, most of the things are already happening in one form or another. It is filled with smart characters, plenty of action, and I think it is kind of a wake-up call for all of the people, who are glued to their gadgets and the internet. So, “Hey, parents – do you know what your child is up to? “ Do read this book to find out why, and I hope you will enjoy it. 🙂
Gareth von Kallenbach (980 KP) rated Battle of the Sexes (2016) in Movies
Jul 11, 2019
1972: Billie Jean King (played brilliantly by Emma Stone) just became the Grand Slam Champion of the Women’s Tennis Association. She had challenged the inequity of pay between the Men’s and Women’s Tennis Tour. Once she learns that the tournament for the Lawn Tennis Association is paying Women one eighth of the Men’s purse. She goes up against Jack Kramer (Bill Pullman at his misogynistic best). Billie, with her Manager, Gladys Heldman (Sarah Silverman in spectacular form echoing a more subdued version of Bobbie Fleckman) leave the LTA and start their own Women’s Tour. Which became the Virginia Slims tournament.
Around the same time, Bobby (Steve Carell, playing Riggs like a manic Pagliacci) the once Pro Slam Champion who now works in a nondescript office at his father-in-law’s business. Bobby, the dreamer, is a gambler figuratively and literally. The man who’s inner child has taken the reins on the run. He is the clown who needs constant attention, and the showman who could sell the Golden Gate. Carell, gives an exceptional performance, riling us up with cringe-worthy moments and showing us the man that is so certain of his abilities that he forgets the fable of the tortoise and the hare.
We are brought into relationships that these two athletes have with their families and loved ones. Of what they went through before the epic, world famous Battle of the Sexes in the Houston Astrodome. The film serves us a picture of the time where women had recently began the feminine movement and Women’s Liberation. The entire feel of the movie is set solidly in the seventies, the sexism rampant and accepted as the status quo. Misogyny is socially acceptable and Riggs and friends epitomize the attitude.
There is also the story of Billie Jean, realizing an attraction to a woman she meets before the starting her tour. Marilyn (Andrea Riseborough was magnetic), the hairdresser that was instantly drawn to Billie. We also get the treat of seeing the magnificent Alan Cumming as Ted, the charming designer of the women’s fantastic tennis outfits. Wallace Langham as Henry, the tailor.
The story is built up to the historic Battle of the Sexes at the Astrodome. We see the work that Billie does in preparation. Daily drills and practice games. Bobby’s confidence in his ability to deliver a win that mirrored the decimation of Margaret Court (Jessica McNamee) who at the time was the top female tennis player in the world.
The directing duo of Jonathan Dayton and Valerie Faris (Little Miss Sunshine) delivers us a well balanced, heartfelt film with a stellar cast. The soundtrack brings us into the early seventies and the costuming is quantum leap back to the time where polyester leisure suits and colorful shirts were the height of fashion. This is a love story of Billie Jean King and Tennis
Around the same time, Bobby (Steve Carell, playing Riggs like a manic Pagliacci) the once Pro Slam Champion who now works in a nondescript office at his father-in-law’s business. Bobby, the dreamer, is a gambler figuratively and literally. The man who’s inner child has taken the reins on the run. He is the clown who needs constant attention, and the showman who could sell the Golden Gate. Carell, gives an exceptional performance, riling us up with cringe-worthy moments and showing us the man that is so certain of his abilities that he forgets the fable of the tortoise and the hare.
We are brought into relationships that these two athletes have with their families and loved ones. Of what they went through before the epic, world famous Battle of the Sexes in the Houston Astrodome. The film serves us a picture of the time where women had recently began the feminine movement and Women’s Liberation. The entire feel of the movie is set solidly in the seventies, the sexism rampant and accepted as the status quo. Misogyny is socially acceptable and Riggs and friends epitomize the attitude.
There is also the story of Billie Jean, realizing an attraction to a woman she meets before the starting her tour. Marilyn (Andrea Riseborough was magnetic), the hairdresser that was instantly drawn to Billie. We also get the treat of seeing the magnificent Alan Cumming as Ted, the charming designer of the women’s fantastic tennis outfits. Wallace Langham as Henry, the tailor.
The story is built up to the historic Battle of the Sexes at the Astrodome. We see the work that Billie does in preparation. Daily drills and practice games. Bobby’s confidence in his ability to deliver a win that mirrored the decimation of Margaret Court (Jessica McNamee) who at the time was the top female tennis player in the world.
The directing duo of Jonathan Dayton and Valerie Faris (Little Miss Sunshine) delivers us a well balanced, heartfelt film with a stellar cast. The soundtrack brings us into the early seventies and the costuming is quantum leap back to the time where polyester leisure suits and colorful shirts were the height of fashion. This is a love story of Billie Jean King and Tennis
Kristy H (1252 KP) rated An Unwanted Guest in Books
Mar 11, 2019
Eerie read with a rather tidy ending
Mitchell's Inn is a lovely lodge far away from the hustle and bustle of it all--there's no wifi, just a relaxing setting, good food, and comfortable rooms. But this particular weekend, things go awry when a bad storm hits, covering the Inn in ice and knocking out the power: there's no phone service or the ability for anyone to leave the premises. Then, by morning, one of the guests is dead. It could be an accident, but no one can say for sure. And when the second guest dies, it's certain: they are trapped with a murderer. There's no power, no contact with the world, and someone is slowly killing them off. Is someone else next and how do the remaining guests stay safe?
"It feels like they're playing at something, some sort of parlor game, or murder mystery evening, with the lights out. Only no one's having fun."
Believe it or not, I've never read a book by Shari Lapena, but I was drawn to this one due to the Agatha Christie comparisons, as I'm a sucker for anything similar to Christie. And this one definitely had some likenesses, with the guests trapped in the Inn, limiting our pool of suspects (and victims). Weirdly enough, my brain kept occasionally going to the movie Clue too - silly, I know, but something about the setting!
This book draws you in from the beginning; the first death happens fairly quickly. There are a lot of characters to keep track of: most are in pairs, and I found myself flipping back a page or two trying to remember who was attached to whom for a while. The narration style is in very short paragraphs, each from the perspective of a different guest. This gives you a bit of whiplash feel at times, as you never really get to fully immerse yourself in anyone's point of view. Still, while I did feel things slowed slightly after the first death, for the most part it keeps things moving fairly quickly and lets you see things from a variety of sides.
Lapena is also very descriptive and sets the scene well. It's easy to picture this lovely Inn--which quickly turns dark and disastrous. The book is actually creepy and eerie at times; I won't go into detail as to why, to avoid spoilers, but I definitely found myself a little spooked. In fact, I was surprised the guests were so calm in the beginning, what with a dead woman and no power! (Don't worry, it won't last.) The novel allows you to think how you'd feel in that particular situation. It certainly doesn't encourage you to go vacation at a remote Inn anytime soon.
I was certainly completely perplexed at whodunnit, so kudos to Lapena for that. With such a limited cast of characters (and getting slimmer every moment), that's quite a feat. I thought the ending was a bit tidy and I was left feeling oddly letdown; I'm not sure I can even explain why.
Overall, I enjoyed this one even I didn't wildly love it. It does have a bit of a Christie feel to it, and it kept me guessing. The scene setting is excellent, and I liked the eerie, trapped sense I felt while reading. It wraps up a tad neatly, but I'd still recommend it.
"It feels like they're playing at something, some sort of parlor game, or murder mystery evening, with the lights out. Only no one's having fun."
Believe it or not, I've never read a book by Shari Lapena, but I was drawn to this one due to the Agatha Christie comparisons, as I'm a sucker for anything similar to Christie. And this one definitely had some likenesses, with the guests trapped in the Inn, limiting our pool of suspects (and victims). Weirdly enough, my brain kept occasionally going to the movie Clue too - silly, I know, but something about the setting!
This book draws you in from the beginning; the first death happens fairly quickly. There are a lot of characters to keep track of: most are in pairs, and I found myself flipping back a page or two trying to remember who was attached to whom for a while. The narration style is in very short paragraphs, each from the perspective of a different guest. This gives you a bit of whiplash feel at times, as you never really get to fully immerse yourself in anyone's point of view. Still, while I did feel things slowed slightly after the first death, for the most part it keeps things moving fairly quickly and lets you see things from a variety of sides.
Lapena is also very descriptive and sets the scene well. It's easy to picture this lovely Inn--which quickly turns dark and disastrous. The book is actually creepy and eerie at times; I won't go into detail as to why, to avoid spoilers, but I definitely found myself a little spooked. In fact, I was surprised the guests were so calm in the beginning, what with a dead woman and no power! (Don't worry, it won't last.) The novel allows you to think how you'd feel in that particular situation. It certainly doesn't encourage you to go vacation at a remote Inn anytime soon.
I was certainly completely perplexed at whodunnit, so kudos to Lapena for that. With such a limited cast of characters (and getting slimmer every moment), that's quite a feat. I thought the ending was a bit tidy and I was left feeling oddly letdown; I'm not sure I can even explain why.
Overall, I enjoyed this one even I didn't wildly love it. It does have a bit of a Christie feel to it, and it kept me guessing. The scene setting is excellent, and I liked the eerie, trapped sense I felt while reading. It wraps up a tad neatly, but I'd still recommend it.
Kirk Bage (1775 KP) rated Black Mirror: Bandersnatch (2018) in Movies
Mar 3, 2020
Over a year on from this novelty being the first fully interactive film released by Netflix there is still no evidence of a similarly user controlled show out there. The streaming service had promised, after scooping a primetime Emmy for outstanding TV movie, that it was commissioning many more like it. But as of January 2020 they are nowhere to be seen.
Could it be that without the context of being a Black Mirror mind game, wrapped in Charlie Brooker’s clever if flimsy script, that it would just feel too intrusive and unnecessary for a mainstream drama audience? Not to mention the extra cost and hassle of filming multiple scenarios on a production. It’s fine as a distracting experiment, but would we want to have choices as a normal part of watching something?
Especially when looking back on Bandersnatch and realising that without this gimmick it is probably one of the weaker entries under the banner of Black Mirror quality. I can see how it would work well in children’s programming, as a way of keeping young audiences engaged. But beyond that, why not just play an actual video game, if an immersive interactive story that you control is what you want?
Fionn Whitehead of Dunkirk fame, does a fine job as 80s teen computer geek Stefan, as does the versatile yet under-used Will Poulter, in roles that in a straight drama would feel massively under-written. The impressive thing is how smooth the whole experience is. And you do feel increasingly uncomfortable the more you begin to influence Stefan, choosing more and more sinister actions simply out of a dark curiosity of where that will take him, and you!
The idea of reaching a dead end and having to go back to relive a moment, whilst cleverly woven in here to reflect a “choose your own adventure” book, does become a fault and a bit annoying. Something of a cheat! What would be truly impressive would be to branch the story in ways that never allow you to go back, but still results in the story making sense. Although the logistics of that script boggles the mind.
I do like the idea of no two people ever watching the same film, sort of. I also hate it. Because a good film has enough ambiguity to encourage debate anyway, and knowing everyone has watched the same story as you feels like a shared experience. No matter how interesting it might be in theory, you can’t escape the fact that Xbox and Playstation have this covered, especially as VR gaming becomes more common.
And that is the ultimate failing of Bandersnatch, in that you can’t really talk about the story in any other way than to wonder which ending you got? Apparently, it has five possible outcomes. By the time I had gone over it and found three, I was pretty much done with it. My curiosity certainly didn’t extend to going back and discovering the consequences of every possible choice.
Would I still recommend it? Well, yes. Anyone that hasn’t tried it probably should, at least have a go, to be able to say been there, done that. Would I like to see interaction as a part of my favourite shows? Definitely not.
Could it be that without the context of being a Black Mirror mind game, wrapped in Charlie Brooker’s clever if flimsy script, that it would just feel too intrusive and unnecessary for a mainstream drama audience? Not to mention the extra cost and hassle of filming multiple scenarios on a production. It’s fine as a distracting experiment, but would we want to have choices as a normal part of watching something?
Especially when looking back on Bandersnatch and realising that without this gimmick it is probably one of the weaker entries under the banner of Black Mirror quality. I can see how it would work well in children’s programming, as a way of keeping young audiences engaged. But beyond that, why not just play an actual video game, if an immersive interactive story that you control is what you want?
Fionn Whitehead of Dunkirk fame, does a fine job as 80s teen computer geek Stefan, as does the versatile yet under-used Will Poulter, in roles that in a straight drama would feel massively under-written. The impressive thing is how smooth the whole experience is. And you do feel increasingly uncomfortable the more you begin to influence Stefan, choosing more and more sinister actions simply out of a dark curiosity of where that will take him, and you!
The idea of reaching a dead end and having to go back to relive a moment, whilst cleverly woven in here to reflect a “choose your own adventure” book, does become a fault and a bit annoying. Something of a cheat! What would be truly impressive would be to branch the story in ways that never allow you to go back, but still results in the story making sense. Although the logistics of that script boggles the mind.
I do like the idea of no two people ever watching the same film, sort of. I also hate it. Because a good film has enough ambiguity to encourage debate anyway, and knowing everyone has watched the same story as you feels like a shared experience. No matter how interesting it might be in theory, you can’t escape the fact that Xbox and Playstation have this covered, especially as VR gaming becomes more common.
And that is the ultimate failing of Bandersnatch, in that you can’t really talk about the story in any other way than to wonder which ending you got? Apparently, it has five possible outcomes. By the time I had gone over it and found three, I was pretty much done with it. My curiosity certainly didn’t extend to going back and discovering the consequences of every possible choice.
Would I still recommend it? Well, yes. Anyone that hasn’t tried it probably should, at least have a go, to be able to say been there, done that. Would I like to see interaction as a part of my favourite shows? Definitely not.
Emma @ The Movies (1786 KP) rated An American Pickle (2020) in Movies
Aug 22, 2020
I'm not the biggest fan of Seth Rogen, his type of humour doesn't always gel with mine, but I saw a trailer that looked amusing so I figured it was something a little different to try.
Herschel and his wife Sarah get to America with hope and the dream of making the Greenbaum family a successful one. Herschel's plan is scuppered when he falls into a pickle vat at his job and isn't discovered for 100 years. The future is a very different place. Reunited with his great grandson Ben he starts to adjust to the new crazy way of life... with just a few bumps along the way.
So... I didn't hate it. It's a comedy that didn't raise many laughs, in me or the others in the screening. There were things that made me smile but I never broke the silence. It felt like a script problem rather than the acting, Rogen can deliver comedy well even if I don't find it funny.
Rogen's performances throughout were good. I couldn't help but watch for the continuity with his two roles, and apart from the frustrating shots needed to hide doubles it was all well done. He even got me with a bit of emotion which caught me by surprise... but that was something else that worked against the comedy, it felt much more like drama.
I enjoyed the different styles of the old country and modern America, the sets and costumes were well thought out and I really enjoyed the hipster joke about Herschel's clothes. But, I had an issue with the filming choice to separate the two eras. You may know from previous rants that I dislike odd aspect ratios, and ugh, why?! The film starts with "old timey" hand drawn style titles and it's shot in 1:33 (according to IMDb), when we hit modern times it reverts to a full screen size. I don't feel like there would have been anything to recover this for me but it would have been... more satisfying?... if they'd stuck to a theme. Go all out, small ratio, muted colours, grainy footage. They use the old photos a few times later in the film and some proper tie in might have been good. There's also a lot of technology based content to emphasise the differences, and that's perfectly logical but there was a lot of it. News footage popped up everywhere, TVs, computers, devices or the characters actually in it. It felt a little odd and a tad excessive.
Early on I noticed a lot of music, when Herschel meets the real world after being pickled I got a heavy Avengers/Cap vibe which almost instantly changed to something very weird and out of place. Almost as suddenly I stopped noticing the music at all, if it was still there it blended a lot better with the scenes... I'll just have to shrug my shoulders on that one.
Everything about An American Pickle is up and down, an odd but interesting story idea, a lack of laughs for a comedy, some great use of atmosphere to illustrate Ben's mood... but that all comes together (or rather it doesn't) into something that left me feeling a little pickled myself.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/08/an-american-pickle-movie-review.html
Herschel and his wife Sarah get to America with hope and the dream of making the Greenbaum family a successful one. Herschel's plan is scuppered when he falls into a pickle vat at his job and isn't discovered for 100 years. The future is a very different place. Reunited with his great grandson Ben he starts to adjust to the new crazy way of life... with just a few bumps along the way.
So... I didn't hate it. It's a comedy that didn't raise many laughs, in me or the others in the screening. There were things that made me smile but I never broke the silence. It felt like a script problem rather than the acting, Rogen can deliver comedy well even if I don't find it funny.
Rogen's performances throughout were good. I couldn't help but watch for the continuity with his two roles, and apart from the frustrating shots needed to hide doubles it was all well done. He even got me with a bit of emotion which caught me by surprise... but that was something else that worked against the comedy, it felt much more like drama.
I enjoyed the different styles of the old country and modern America, the sets and costumes were well thought out and I really enjoyed the hipster joke about Herschel's clothes. But, I had an issue with the filming choice to separate the two eras. You may know from previous rants that I dislike odd aspect ratios, and ugh, why?! The film starts with "old timey" hand drawn style titles and it's shot in 1:33 (according to IMDb), when we hit modern times it reverts to a full screen size. I don't feel like there would have been anything to recover this for me but it would have been... more satisfying?... if they'd stuck to a theme. Go all out, small ratio, muted colours, grainy footage. They use the old photos a few times later in the film and some proper tie in might have been good. There's also a lot of technology based content to emphasise the differences, and that's perfectly logical but there was a lot of it. News footage popped up everywhere, TVs, computers, devices or the characters actually in it. It felt a little odd and a tad excessive.
Early on I noticed a lot of music, when Herschel meets the real world after being pickled I got a heavy Avengers/Cap vibe which almost instantly changed to something very weird and out of place. Almost as suddenly I stopped noticing the music at all, if it was still there it blended a lot better with the scenes... I'll just have to shrug my shoulders on that one.
Everything about An American Pickle is up and down, an odd but interesting story idea, a lack of laughs for a comedy, some great use of atmosphere to illustrate Ben's mood... but that all comes together (or rather it doesn't) into something that left me feeling a little pickled myself.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/08/an-american-pickle-movie-review.html
Bob Mann (459 KP) rated Life Itself (2018) in Movies
Sep 28, 2021
Love Actually with all the saccharine squeezed out.
Not the documentary of the same name from 2014 about the critic Rogert Ebert. This is an Amazon Studios/Sky Cinema Original Film (trying to follow where Netflix is boldly going), and as such it only had a very limited release in UK cinemas which I managed to miss.
The plot.
This is an anthology film in the style of “Crash” or – actually, “Love Actually” – featuring a series of inter-linked stories. We start with a depressed Will (Oscar Isaac) flashing back to his apparently idyllic life with pregnant wife Abby (Olivia Wilde). Apparantly? Well, perhaps the narrator is unreliable. So what actually happened? Where is Abby now? Where is his child?
Mid-film we switch into a Spanish-language section, set in Spain, featuring an ambitious olive-picker Javier González (Sergio Peris-Mencheta), his sweetheart Isabel (Laia Costa) and his employer Mr. Saccione (Antonio Banderas).
(“What the F!”, you are saying to yourself at this point, “How is this all related?”).
To say any more would provide spoilers: but, confused as you may be, it’s a journey worth sticking with.
Messing with time and your mind.
The film plays fast and loose with chronology and we zap backwards and forwards through the story which can be unsettling. It’s a film that keeps you on your toes, and you need to listen to director/writer Dan Fogelman‘s dialogue as there are clues as to where you are going next. It’s certainly not the ‘sit-back-and-relax’ “rom-com” that I mistakenly sold it to my wife as for our evening viewing!
A star of the film is the editor Julie Monroe (“Midnight Special“). There are some significant twists in the film, some of which are well signposted; others very much not so!
The turns
Has Oscar Isaac done a bad film? (I’m sure some haters of the latest Star Wars episodes might have an answer!). Here he has to execute an enormous range and he just about pulls it off. Olivia Wilde is also convincing as Abby.
In the Spanish section, Antonio Banderas is as impressive as you expect, and Laia Costa – an actress not previously known to me – is initially good as the young love interest, but I thought she was rather over-extended in the later scenes in her story.
Elsewhere, the rising star Olivia Cooke again impresses as a troubled teen; Annette Bening is a psychologist; “Homeland”‘s Mandy Patinkin plays Will’s father; and an f-ing and blinding Samuel L Jackson even appears at the start of the film (a blink and you’d miss it line of dialogue explains the context).
Good?
I wasn’t expecting to, but I really enjoyed this one. I’ve read some completely eviscerating reviews of the movie, but I’ve not sure where those were coming from. I found it a non-standard journey requiring a level of intelligence to appreciate the nuances of the script. My guess would be that many of the naysayers on IMDB never made it past the Spanish interlude. Others will not have liked the coincidence in the final reel (no spoilers). I do appreciate that it needs a suspension of belief. But this is a movie about the random coincidences of life. I remember running into a work colleague on the backstreets of Lone Pine in California, 5,271 miles away from where we both worked. Coincidences DO happen.
I’m not a fan of this whole new “almost straight to streaming” approach: I wish I could have seen this one on the big screen. But my view would be that it’s well worth catching if you have access to Amazon or Sky services (Sky or Now TV in the UK).
The plot.
This is an anthology film in the style of “Crash” or – actually, “Love Actually” – featuring a series of inter-linked stories. We start with a depressed Will (Oscar Isaac) flashing back to his apparently idyllic life with pregnant wife Abby (Olivia Wilde). Apparantly? Well, perhaps the narrator is unreliable. So what actually happened? Where is Abby now? Where is his child?
Mid-film we switch into a Spanish-language section, set in Spain, featuring an ambitious olive-picker Javier González (Sergio Peris-Mencheta), his sweetheart Isabel (Laia Costa) and his employer Mr. Saccione (Antonio Banderas).
(“What the F!”, you are saying to yourself at this point, “How is this all related?”).
To say any more would provide spoilers: but, confused as you may be, it’s a journey worth sticking with.
Messing with time and your mind.
The film plays fast and loose with chronology and we zap backwards and forwards through the story which can be unsettling. It’s a film that keeps you on your toes, and you need to listen to director/writer Dan Fogelman‘s dialogue as there are clues as to where you are going next. It’s certainly not the ‘sit-back-and-relax’ “rom-com” that I mistakenly sold it to my wife as for our evening viewing!
A star of the film is the editor Julie Monroe (“Midnight Special“). There are some significant twists in the film, some of which are well signposted; others very much not so!
The turns
Has Oscar Isaac done a bad film? (I’m sure some haters of the latest Star Wars episodes might have an answer!). Here he has to execute an enormous range and he just about pulls it off. Olivia Wilde is also convincing as Abby.
In the Spanish section, Antonio Banderas is as impressive as you expect, and Laia Costa – an actress not previously known to me – is initially good as the young love interest, but I thought she was rather over-extended in the later scenes in her story.
Elsewhere, the rising star Olivia Cooke again impresses as a troubled teen; Annette Bening is a psychologist; “Homeland”‘s Mandy Patinkin plays Will’s father; and an f-ing and blinding Samuel L Jackson even appears at the start of the film (a blink and you’d miss it line of dialogue explains the context).
Good?
I wasn’t expecting to, but I really enjoyed this one. I’ve read some completely eviscerating reviews of the movie, but I’ve not sure where those were coming from. I found it a non-standard journey requiring a level of intelligence to appreciate the nuances of the script. My guess would be that many of the naysayers on IMDB never made it past the Spanish interlude. Others will not have liked the coincidence in the final reel (no spoilers). I do appreciate that it needs a suspension of belief. But this is a movie about the random coincidences of life. I remember running into a work colleague on the backstreets of Lone Pine in California, 5,271 miles away from where we both worked. Coincidences DO happen.
I’m not a fan of this whole new “almost straight to streaming” approach: I wish I could have seen this one on the big screen. But my view would be that it’s well worth catching if you have access to Amazon or Sky services (Sky or Now TV in the UK).
BankofMarquis (1832 KP) rated Casablanca (1942) in Movies
May 6, 2019
A Classic in Every Sense of the Word
"Of all the gin joints, in all the towns, in all the world, she walks into mine."
"We'll always have Paris."
"Here's looking at you, kid."
"Louis, I think this is the beginning of a beautiful friendship."
And many, many, many other iconic lines were featured in the brilliant 1942 all-time Classic CASABLANCA. Listed as "Warner Brothers Project #410", this film was supposed to be "just another film", but it turned out to be something more.
Starring Humphrey Bogart, Ingrid Bergman and Claude Rains, CASABLANCA tells the story of refugees trying to flee Nazi controlled France (via Casablanca) in WWII. Amongst the denizens of Casablanca, there is Rick Blain, proprieter of Rick's Cafe American - a place where one can buy documents needed to escape, as well as escape - through a bottle.
Humphrey Bogart is perfectly cast as the jaded, "I stick my neck out for no one", Rick. He is cynical, corrupt, selfish...but he also has a heart of gold underneath it all. Bogie plays all of these layers - richly - at once, and was rewarded with an Academy Award nomination. He would lose to Paul Lukas for WATCH ON THE RHINE - a film I haven't seen, so can't judge as to the merits of his win. But...based on Bogart's performance...I'd say he was robbed.
Rick's "partner in crime' is Capt. Louis Renault of the Casablanca police. He is cheerfully and unapologetic-ally played by Claude Rains, who also was nominated (but didn't win) for his performance. These two play off each other brilliantly and the chemistry between these two is evident and I would have LOVED to see another film featuring these two fine performers. I'd say the chemistry between these two actors is a high point in this film, if it weren't for...
Ingrid Bergman as Ilse Lund - a past romance of Rick's. When Ilse and her husband, Viktor Laszlo enters Rick's seeking transit papers to flee the Nazi's, the instant spark and chemistry between Bogart and Bergman is palatable. You can feel the heat between the two of them through the screen and the longing and regret for "what could have been" is heartbreaking. If you were to show an example of "screen chemistry" the scenes between Bogart in Bergman in this film would be "Exhibit A".
Credit for all of this - and for keeping the plot machinations moving forward - is Warner Brothers "contract director" Michael Curtiz - one of the greatest Directors of "old Hollywood." His credits include the Errol Flynn ROBIN HOOD, James Cagney's Oscar turn as George M. Cohan in YANKEE DOODLE DANDY, CASABLANCA, the Bing Crosby/Danny Kaye WHITE CHRISTMAS and John Wayne in THE COMMANCHERO'S - all big budget, big expectations films that delivered the goods. Curtiz won the Oscar for his work in this film.
Assisting him are the two men who wrote so many memorable lines...twin brothers Julius and Phillip Epstein. They (deservedly) won an Oscar for their screenplay - the only set of Twins to win the Oscar.
The supporting cast - including Paul Henreid, Sydney Greenstreet and Peter Lorre - are exceptional as well, as are great scene after great scene - including the "Marseilles" scene and, of course, the fog covered airport scene at the end.
If you haven't seen this film in awhile, do yourself a favor and check it out. If you have NEVER seen it, I envy you the experience of seeing this wonderful black and white film for the first time. It is consistently listed as one of the top 5 films of all time - and earns that ranking. It truly is one of the greatest films - with some of the greatest performances - of all time.
Certainly, if you wanted just one example of Studio "Old Hollywood" movie making, this would be the one movie to watch.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
"We'll always have Paris."
"Here's looking at you, kid."
"Louis, I think this is the beginning of a beautiful friendship."
And many, many, many other iconic lines were featured in the brilliant 1942 all-time Classic CASABLANCA. Listed as "Warner Brothers Project #410", this film was supposed to be "just another film", but it turned out to be something more.
Starring Humphrey Bogart, Ingrid Bergman and Claude Rains, CASABLANCA tells the story of refugees trying to flee Nazi controlled France (via Casablanca) in WWII. Amongst the denizens of Casablanca, there is Rick Blain, proprieter of Rick's Cafe American - a place where one can buy documents needed to escape, as well as escape - through a bottle.
Humphrey Bogart is perfectly cast as the jaded, "I stick my neck out for no one", Rick. He is cynical, corrupt, selfish...but he also has a heart of gold underneath it all. Bogie plays all of these layers - richly - at once, and was rewarded with an Academy Award nomination. He would lose to Paul Lukas for WATCH ON THE RHINE - a film I haven't seen, so can't judge as to the merits of his win. But...based on Bogart's performance...I'd say he was robbed.
Rick's "partner in crime' is Capt. Louis Renault of the Casablanca police. He is cheerfully and unapologetic-ally played by Claude Rains, who also was nominated (but didn't win) for his performance. These two play off each other brilliantly and the chemistry between these two is evident and I would have LOVED to see another film featuring these two fine performers. I'd say the chemistry between these two actors is a high point in this film, if it weren't for...
Ingrid Bergman as Ilse Lund - a past romance of Rick's. When Ilse and her husband, Viktor Laszlo enters Rick's seeking transit papers to flee the Nazi's, the instant spark and chemistry between Bogart and Bergman is palatable. You can feel the heat between the two of them through the screen and the longing and regret for "what could have been" is heartbreaking. If you were to show an example of "screen chemistry" the scenes between Bogart in Bergman in this film would be "Exhibit A".
Credit for all of this - and for keeping the plot machinations moving forward - is Warner Brothers "contract director" Michael Curtiz - one of the greatest Directors of "old Hollywood." His credits include the Errol Flynn ROBIN HOOD, James Cagney's Oscar turn as George M. Cohan in YANKEE DOODLE DANDY, CASABLANCA, the Bing Crosby/Danny Kaye WHITE CHRISTMAS and John Wayne in THE COMMANCHERO'S - all big budget, big expectations films that delivered the goods. Curtiz won the Oscar for his work in this film.
Assisting him are the two men who wrote so many memorable lines...twin brothers Julius and Phillip Epstein. They (deservedly) won an Oscar for their screenplay - the only set of Twins to win the Oscar.
The supporting cast - including Paul Henreid, Sydney Greenstreet and Peter Lorre - are exceptional as well, as are great scene after great scene - including the "Marseilles" scene and, of course, the fog covered airport scene at the end.
If you haven't seen this film in awhile, do yourself a favor and check it out. If you have NEVER seen it, I envy you the experience of seeing this wonderful black and white film for the first time. It is consistently listed as one of the top 5 films of all time - and earns that ranking. It truly is one of the greatest films - with some of the greatest performances - of all time.
Certainly, if you wanted just one example of Studio "Old Hollywood" movie making, this would be the one movie to watch.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)