Top Five Favorite “HELL ON WHEELS” Season One (2011-2012) Episodes

kinopoisk_ru-Hell-on-Wheels-1708756

Below is a list of my top five favorite Season One episodes from the AMC series about the construction of the Transcontinental Railroad, “HELL ON WHEELS”. Created by Joe and Tony Gayton, the series stars Anson Mount, Colm Meany, Common and Dominique McElligott: 

 

TOP FIVE FAVORITE “HELL ON WHEELS” SEASON ONE (2011-2012) Episodes

1 - 1.07 Revelations

1. (1.07) “Revelations” – Financier Thomas C. Durant and widower Lily Bell leave the “Hell on Wheels” camp to travel to Chicago for different reasons. Thomas Moore and his Irish gang finds former slave Elam Ferguson in the tent of prostitute Eva.

2 - 1.02 Immoral Mathematics

2. (1.02) “Immoral Mathematics” – Vengeance seeking former Confederate Cullen Bohannon fights for his life, as he tries to evade camp security officer Thor “the Swede” Gundersen after killing one of the Union men who had murdered his wife during the Civil War. Joseph Black Moon track down the Cheyenne braves (including his brother) responsible for the attack on the surveyors’ camp.

3 - 1.10 God of Chaos - a

3. (1.10) “God of Chaos” – In the season finale, Cullen tracks down a former Union soldier named Harper, whom he believes was one of the men who killed his wife. Durant and Lily conspire to gain arriving investors’ interests. And Elam and Eva express different views on what their future should be.

4 - 1.09 Timshel

4. (1.09) “Timshel” – Cullen, Elam, Joseph Black Moon and a squad of soldiers find the Cheyenne responsible for the attack on the surveyor camp that led to the death of Lily’s husband and for the derailment of a train.

5 - 1.04 Jamais Je Ne T'oublierai

5. (1.04) “Jamais Je Ne T’oublierai” – Cullen initiates his search for Harper. Lily finally arrives at the “Hell on Wheels” camp, following the Cheyenne attack on the surveyor’s camp and the death of her husband. Elam becomes involved with a prostitute named Eva.

“THE MIRROR CRACK’D” (1980) Review

 

“THE MIRROR CRACK’D” (1980) Review

As far as I know, Guy Hamilton is the only director who has helmed two movie adaptations of Agatha Christie novels. The 1982 movie, “EVIL UNDER THE SUN” was the second adaptation. The first was his 1980 adaptation of Christie’s 1962 novel, “The Mirror Crack’d From Side to Side”.

A big Hollywood production has arrived at St. Mary’s Mead, the home of Miss Jane Marple, to film a costume movie aboutMary, Queen of Scots and Queen Elizabeth I of England, starring two Hollywood stars – Marina Gregg and Lola Brewster. The two actresses are rivals who despise each other. Marina and her husband, director Jason Rudd, have taken residence at Gossington Hall, where Colonel Arthur Bantry and his wife Dolly used to live. Due to Colonel Bantry’s death, Mrs. Bantry – who is one of Miss Marple’s closest friends – has moved to a smaller home.

Excitement runs high in the village as the locals have been invited to a reception held by the movie company in a manor house, Gossington Hall, to meet the celebrities. Lola and Marina come face to face at the reception and exchange some potent and comical insults, nasty one-liners, as they smile and pose for the cameras. The two square off in a series of clever cat-fights throughout the movie.

Marina, however, has been receiving anonymous death threats. After her initial exchange with Lola at the reception, she is cornered by a gushing, devoted fan, Heather Badcock (played by Maureen Bennett), who bores her with a long and detailed story about having actually met Marina in person during World War II. After recounting the meeting they had all those years ago, when she arose from her sickbed to go and meet the glamorous star, Babcock drinks a cocktail that was made for Marina and quickly dies from poisoning. It is up to Miss Marple and her nephew, Detective-Inspector Dermot Craddock of Scotland Yard to discover the killer.

I surprised to learn that Guy Hamilton was the director of “THE MIRROR CRACK’D”. This movie was the first of two times in which he directed an Agatha Christie adaptation that placed murder in the world of show business. Frankly? I am beginning to suspect that he was more suited for this particular genre that he was for the James Bond franchise. Like the 1982 film, “EVIL UNDER THE SUN”, I enjoyed it very much. I am not a big fan of Christie’s 1962 novel. I understand that the origin of its plot came from Hollywood history, which gives it a touch of pathos. Along with the quaint portrayal of English village life and the delicious bitch fest that surrounded the rivalry between Marina Gregg and Lola Brewster, I believe that Hamilton and screenwriters Jonathan Hales and Barry Sandler in exploring that pathos in the end. There is one aspect of Christie’s story that the screenwriters left out – namely the connection between Marina and the photographer Margot Bence. Honestly, I do not mind. I never cared for it in the first place. I found this connection between Marina and Ms. Bence a little too coincidental for my tastes.

I did not mind the little touches of English village life featured in “THE MIRROR CRACK’D”. Although I must admit that I found them occasionally boring. Only when the citizens of St. Mary’s Mead interacted with the Hollywood visitors did I find them interesting. On the other hand, the rivalry between Marina Gregg and Lola Brewster was a joy to watch. And I feel that Hamilton and the two screenwriters handled it a lot better than Christie’s novel or the 1992 television movie. And to be honest, I have to give Elizabeth Taylor and Kim Novak most of the credit for the venomous and hilarious manner in which their characters’ rivalry played out on screen.

The behind-the-scene productions for “THE MIRROR CRACK’D” certainly seemed top-notch. Christopher Challis’ photography struck me as colorful and beautiful. However, there were moments when he seemed to indulge in that old habit of hazy photography to indicate a period film. Only a few moments. Production designer Michael Stringer did a solid job of re-creating the English countryside circa early-to-mid 1950s. His work was ably supported by John Roberts’ art direction and Peter Howitt’s set decorations. Phyllis Dalton did a very good job of re-creating the fashions of the movie’s 1950s setting. I especially enjoyed the costumes she created for the fête sequence. The only aspect of the production that seemed less than impressive was John Cameron’s score. Personally, I found it wishy-washy. His score for the St. Mary’s Mead setting struck me as simple and uninspiring. Then he went to another extreme for the scenes featuring the Hollywood characters – especially Marina Gregg – with a score that seemed to be a bad imitation of some of Jerry Goldsmith’s work.

“THE MIRROR CRACK’D” certainly featured some first-rate performances. Angela Landsbury made a very effective Jane Marple. She not only seemed born to play such a role, there were times when her portrayal of the elderly sleuth seemed like a dress rehearsal for the Jessica Fletcher role she portrayed on television. Elizabeth Taylor gave an excellent performance as the temperamental Marina Gregg. She did a great job in portraying all aspects of what must have been a complex role. Rock Hudson was equally first-rate as Marina’s husband, the sardonic and world-weary director, Jason Rudd. He did a great job in conveying the character’s struggles to keep his temperamental wife happy and the impact these struggles had on him. Edward Fox was charming and very subtle as Miss Marple’s nephew, Scotland Yard Inspector Dermot Craddock. I especially enjoyed how his Craddock used a mild-mannered persona to get the suspects and others he interrogated to open up to him.

I was never impressed by Agatha Christie’s portrayal of the Lola Brewster character . . . or of two other actresses who portrayed the role. But Kim Novak was a knockout as the somewhat crude and highly sexual Hollywood starlet. Watching the comic timing and skill she injected into the role, made me suspect that Hollywood had underestimated not only her acting talent, but comedy skills. Tony Curtis certainly got a chance to display his comedic skills as the fast-talking and somewhat crude film producer, Martin Fenn. And I rather enjoyed Geraldine Chaplin’s sardonic portrayal on Ella Zielinsky, Jason Rudd’s caustic-tongued secretary, who seemed to be in love with him. The movie also featured solid performances from Charles Gray, Wendy Morgan, Margaret Courtenay and Maureen Bennett. And if you look carefully, you just might spot a young Pierce Brosnan portraying a cast member of Marina’s movie.

Overall, I enjoyed “THE MIRROR CRACK’D”. I thought Guy Hamilton did an excellent job in creating a enjoyable murder mystery that effectively combined the vibrancy of Hollywood life and the quaintness of an English village. He was assisted by a first-rate crew, a witty script by Jonathan Hales and Barry Sandler, and a very talented cast led by Angela Landsbury.

“HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994) – EPISODE TWO Commentary

369649_original

 

“HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994) – EPISODE TWO Commentary

Despite the tragic ending of the last episode, Episode Two of “HEAVEN AND HELL: NORTH AND SOUTH BOOK III” proved to be even darker. Bent continued his crime spree by assaulting an Illinois farm girl and kidnapping Charles’ son, Gus in St. Louis. Charles’ decision to become an Army scout in order to hunt down Scar led to his breakup with Willa Parker. Worse, he witnessed the massacre of a peaceful Cheyenne village by U.S. troopers led by Captain Venable. Madeline’s conflict with Cooper, Gettys LaMotte and the local Ku Klux Klan resulted in tragedy for one of the Mont Royal workers.

Overall, Episode Two was pretty first-rate. I only had a few quibbles. Stanley and Isobel Hazard (Jonathan Frakes and Deborah Rush) made a re-appearance in the saga without any explanation of how they avoided conviction for war profiteering. I guess anyone can assume that they were exonerated. Keith Szarabajka continued his over-the-top portrayal of Harry Venable. Even Gary Grubbs, usually a very dependable performer, indulged in some hammy acting during a scene that featured the KKK’s ambush of two Mont Royal workers. And aside from a few scenes of solid acting, Lesley Anne Down continued her exaggerated take on the Southern belle.

Fortunately, the good outweighed the bad. Ashton discovered that manipulating her second husband, Will Fenway, might proved to be difficult in a well-acted scene between Terri Garber and Tom Noonan. Genie Francis appeared like a breath of fresh air, when her character, Brett Main Hazard attended Constance’s funeral. This episode also featured an outstanding performance by Stan Shaw, in a scene about Isaac’s attendance of a political conference for freed slaves in Charleston. By the way, this particular conference actually happened and was hosted by activist Francis Cardoza, portrayed by Billy Dee Williams. Both Kyle Chandler and Rya Kihlstedt continued their strong screen chemistry, as they played out Charles and Willa’s stormy relationship. And James Read did an exceptional job in portraying George Hazard’s grief over the murdered Constance.

But the episode’s three showcases featured the KKK’s attack upon the two Mont Royal workers – Isaac and Titus, the U.S. Calvary’s massacre of a peaceful Cheyenne village and a kidnapping. Thanks to Peerce’s direction, I found all three scenes very chilling. Grubbs’ hammy acting was unable to spoil the scene featuring the KKK attack. And I could say the same about Szarabajka in the cavalry massacre scene. One last chilling moment featured Bent’s latest attack upon the Hazards and the Mains – namely his kidnapping of young Gus. The entire sequence was swiftly shot, but Peerce’s direction and Casnoff’s performance left chills down my spine.

By the end of Episode Two, I found myself wondering about the fandom’s hostile attitude toward this third miniseries. Granted, the production values of “HEAVEN AND HELL” did not exactly matched the same level as the first two miniseries. But the miniseries’ writing seemed to match and sometimes improve the quality of the writing found in the 1986 series. So far, so good.

“REAP THE WILD WIND” (1942) Review

vlcsnap2010121801h56m39

 

“REAP THE WILD WIND” (1942) Review

I really do not know what to say about Cecil B. DeMille. His movies have always produced mixed feelings within me. But there are a few that I would have no trouble watching over again. And one of them is his 1942 film, “REAP THE WILD WIND”.

Following the success of Margaret Mitchell’s 1936 novel, “Gone With the Wind” and its 1939 cinematic adaptation, Hollywood spent nearly two decades trying to repeat the success of the latter. This campaign began with Warner Brothers’ 1938 film,“JEZEBEL” and probably ended with MGM’s 1957 epic, “RAINTREE COUNTY”. Among the “moonlight-and-magnolias” films that hit the movie theaters during this period was “REAP THE WILD WIND”, which DeMille both produced and directed.

“REAP THE WILD WIND” was based upon Thelma Strabel’s 1940 novel, which was serialized in “The Saturday Evening Post”magazine. The movie tells the story of an antebellum Florida belle named Loxi Claiborne, who runs a Key West salvage business founded by her late father. Following his death, she assumed control of the business to keep her family financially secure. Loxie’s mother deplores her participation in such rough business and would prefer her to follow the example of her Cuban-American cousin, Drusilla Alston, by behaving like a well-bred Southern belle. Loxie eventually finds romance when a hurricane forces a ship called The Jubilee to founder off the Key West coast, leading her crew to rescue its master, Captain Jack Stuart. Because Loxi and her crew did not arrive first to the scene, another salvage crew led by Lexi’s Yankee-born business rival, King Cutler, acquires the wrecked Jubilee’s cargo. It is also revealed that Cutler had hired Jack’s first officer to deliberately wreck the ship. And unbeknownst to Loxie and Cutler, her cousin Drusilla and his younger Dan have fallen in love. Loxi and Jack fall deeper into love, as she nurses him back to health. When they both realize that Jack might be fired by Charleston lawyer Steve Tolliver, who serves as manager of the Devereaux Lines, the shipping company that owns the Jubilee; Loxi schemes to win a plum captain’s position for Jack by seducing Steve and convincing him not to fire Jack. Instead, a surprising romantic triangle ensures, when Loxi finds herself becoming attracted to Steve. And this romantic triangle, leads to surprising tragedy for several of the movie’s characters.

The 1942 movie not only benefited from Hollywood’s fascination with the Old South, but also from Cecil B. DeMille’s “Americana” phrase that may have began with 1936’s “THE PLAINSMAN” and ended with either the 1947 movie,“UNCONQUERED” or the 1952 Best Picture, “THE GREATEST SHOW ON EARTH”. Who knows? What I find interesting is that I ended up enjoying “REAP THE WILD WIND”, despite its shortcomings. And it certainly had plenty of those. One flaw that caught my interest was the ridiculous trial in which Jack Stuart faced prosecution for deliberately wrecking the pride of the Devereaux Shipping Lines – the Southern Cross. I found it ludicrous for a few reasons. One, Steve Tolliver was a Charleston maritime lawyer. How on earth was he able to serve as prosecutor for a criminal case that originated and was held in another city and state – namely Key West? And it seemed wrong for Steve to be prosecuting a man for a crime that personally involved him. The trial also featured the testimony of a free black sailor named Salt Meat. Were free blacks allowed to serve as a witness for the prosecution . . . against a white defendant? I rather doubt it.

But the real problem I had with “REAP THE WILD WIND” were the one-dimensional characterizations that permeated the story. At least four of the movie’s characters proved to be complex – Loxi Clairborne, Steve Tolliver and Dan Cutler and especially Captain Jack Stuart. Unfortunately, I cannot say the same for many of the other major characters. One of those one-dimensional characters proved to be the movie’s main villain, King Cutler. Many stories about the Antebellum South have featured villains that were usually the following – an expatriate Yankee, a slave ship captain or a plantation overseer. Sometimes, the villain would be a combination of two or all three. Cutler turned out to be a sea captain and Loxi’s rival . . . who shipped slaves on the side. He was also the personification of one-dimensional evil. The Drusilla Alston character proved to be your typical Southern belle of the Old South . . . a second-rate Melanie Wilkes, but with only the mild manners. And of course, “REAP THE WILD WIND” had to feature not only its share of African-American stereotypes, but also a virtual rip-off of the Mammy character from “GONE WITH THE WIND” in the form of the Clairbornes’ maid, Maum Maria. Loxi’s rival for Steve’s affections, Ivy Devereaux, proved to be another cliché – namely the bitchy and spoiled Southern belle. The movie also features another cliché, Captain Philpott, who was not only Loxi’s ship master, but also the personification of the “salty” sea captain. Even worse, he was forced to spout “I’m a good Yankee” in nearly every other scene he was in . . . as if being a New Englander was not only a crime to the other (and Southern-born) characters in the movie, but also to moviegoers from all over the country.

Thankfully, “REAP THE WILD WIND” still had plenty of virtues that managed to overcome its flaws. One, it is a beautiful looking film, thanks to cinematographers Victor Milner and William Skall’s outstanding work with Technicolor. Below are examples of their work:

1419595_original REAP_THE_WILD_WIND-08 rtww7

Milner and Skall were not the only ones that contributed to the movie’s visual style. Roland Anderson and Hans Dreier, along with George Sawley’s set decorations and Natalie Visart’s colorful costume designs certainly maintained the movie’s early 1840s setting. But I have to commend Edward Overstreet and Barney Wolff’s special effects; along with the visual effects team of Farciot Edouart, Gordon Jennings, William L. Pereira, and Louis Mesenkop did a stupendous job with the movie’s two special effects scenes – the hurricane at the beginning of the film, the giant squid that both Steve and Jack encountered underwater. The Hollywood community must have took notice of the film’s visual style. Milner and Skall earned Oscar nominations for their photography. Anderson, Dreier and Sawley all earned nominations for Best Art Direction. And the visual team of Edouart, Jennings, Pereira and Mesenkop won Oscars for the movie’s visual effects. The nominations and wins were all well deserved, as far as I am concerned.

I must admit that despite the barrage of one-dimensional characters, “REAP THE WILD WIND” proved to be a first-rate story. It was nicely balanced with romance, drama and adventure. It featured a fascinating heroine who proved to be a complex character and not some one-note cliché. Even the love triangle proved to be interesting, especially since two parties of the triangle – Loxi and Jack – ended up underestimating Steve a great deal. I found that fascinating. And although I originally found the love story between Drusilla and Dan a bit sacchrine, it proved to have great consequences in the end. I read somewhere that the screenwriters – too numerous for me to list – made many alterations to Strabel’s novel. Since I have never read the novel, I see no point in comparing the two. I only hope that Strabel’s novel proved to be as exciting and well-paced as the 1942 movie.

Despite my complaints about the one-dimensional characterizations in the film, I must admit that the cast managed to give some pretty good performances. Raymond Massey injected a great deal of energy and style into his portrayal of the villainous King Cutler. Despite being saddled with a remake of the Mammy character, Louise Beavers was equally entertaining as Maum Maria. There was one scene in which her character complained of Loxi taking her for granted that had me on the floor laughing, thanks to Beavers’ sharp performance. Both Susan Hayward and Martha O’Driscoll were solid as the two one-dimensional Southern belles, but it seemed obvious to me that they were better than the material given to them. And also Lynne Overman proved to be entertaining as Loxi’s loyal Yankee Captain Philpott. DeMille managed to capture another aspect of “GONE WITH THE WIND” by casting Oscar Polk (who portrayed Pork in the 1939 film) in the role of the free black sailor, Salt Meat. And Polk made the best of it in a well-acted scene in which he described the sinking of the Southern Cross during Jack’s trial.

But four cast members had the opportunity to shine in roles that proved to be complex. Ray Milland did a great job in portraying the intelligent and somewhat sly Charleston lawyer, Steve Tolliver. I was impressed at how he skillfully balanced Steve’s strong-willed nature and gentlemanly nature – a balance that kept the other two major characters offguard. One of those characters is Captain Jack Stuart, who thanks to the script and John Wayne’s skillful performance, proved to be the most complex in the movie. Jack Stuart also proved to be Wayne’s first character with an obvious dark side and he made the best of it. Paulette Goddard, who was one of the four final actresses considered for the Scarlett O’Hara role, was cast as the movie’s main heroine, Loxi Clairborne. And she was excellent as the headstrong Loxi, whose heart seemed to be bigger than her sense. I was also impressed at how Goddard did an excellent job in conveying Loxi’s reluctance to admit the latter’s true feelings for Steve. More importantly, not only did she create a strong screen chemistry with Wayne; she and Milland proved to be a sizzling screen team. In fact, this was the second of their four screen pairings. Robert Preston, who has proven to be a favorite of mine, was excellent as King Cutler’s younger brother, Dan. Preston did a great job in conveying Dan’s torn feelings over his admiration for his more ruthless brother and his love for the ladylike Drusilla.

I am not going to pretend that “REAP THE WILD WIND” was the epitome of Cecil B. DeMille’s career. It suffered from some unrealistic plot moments and plenty of one-dimensional characterizations. But the movie did benefit from a gorgeous visual style, an exciting and well-paced plot and some pretty damn good performances from a cast led by Ray Milland, Paulette Goddard and John Wayne. More importantly, all of this was crafted together with style, verve and excitement by Hollywood icon, Cecil B. DeMille.

“THE MURDER OF ROGER ACKROYD” (2000) Review

8794_7_large

 

“THE MURDER OF ROGER ACKROYD” (2000) Review

As many fans of Agatha Christie are aware, one of her most highly acclaimed and controversial novels is “The Murder of Roger Ackroyd”. I had checked the Internet to see how many adaptations had been made from well-regarded tale. I was surprised to learn there were at least seven adaptations, considering its difficult plot twist. The third to the last adaptation proved to be the last adaptation was the 103-minute television movie that aired on ITV’s “AGATHA CHRISTIE’S POIROT” in 2000.

“THE MURDER OF ROGER ACKROYD” seemed like your typical Christie novel. After retiring to the small village of King’s Abbott, Belgian-born detective Hercule Poirot stumbles across a mystery in which an old friend of his, an industrialist named Roger Ackroyd has been murdered. Sometime earlier, another friend of Ackroyd, a widow named Mrs. Ferrars, had committed suicide when she is suspected of killing her husband. Another murder occurs before Poirot, with the help of Chief Inspector Japp and local physician Dr. James Sheppard, solves the murder.

Screenwriter Clive Exton made some changes to Christie’s novel. He deleted a few characters, changed Poirot’s relationship with Ackroyd from simply neighbor to old friend, and added Chief Inspector Japp to the cast of characters. This last change greatly affected the story’s narrative. Christie’s novel was narrated by the Dr. Sheppard character. By having Japp replace him as Poirot’s closest ally, Exton nearly made Dr. Sheppard irrelevant. Exton ended up doing the same to a character in 2001’s“MURDER IN MESOPOTAMIA”, when he added Arthur Hastings to the story, allowing the story’s true narrator, Nurse Amy Leatheran to become irrelevant. However, the addition of Japp to “THE MURDER OF ROGER ACKROYD” transformed Christie’s story from a unique tale, to something . . . well, rather typical. With the addition of Japp, the story became another typical Christie murder mystery set in a small village. Pity.

I also believe that Exton damaged Christie’s original narrative even further with other major changes. One, he revealed major hints of the killer’s identity before Poirot could expose the former. And once the killer was exposed, audiences were subjected to a theatrical and rather silly chase scene throughout Ackroyd’s factoy, involving the police. And if I must be honest, I found myself wondering why on earth Poirot had decided to retire as a detective and move to the country in the first place. How long had he been gone before his reunion with Chief Inspector Japp?

Was there anything I like about “THE MURDER OF ROGER ACKROYD”? I thought it was a tasteful movie, thanks to Rob Harris’ production designs that beautifully recaptured rural England in the mid-1930s. His work was ably complimented by Katie Driscoll’s art direction, and Charlotte Holdich’s costume designs. In fact, I can honestly say that the latter did a first-rate job in not only creating costumes for that particular era, but specifically for each character. Although some of Exton’s narrative changes robbed the story of its famous plot twist and featured a badly-handled revelation of the murderer, I will give kudos to the screenwriter for creating a plausible murder mystery that made it somewhat difficult for any viewer not familiar with Christie’s novel, to guess the killer’s identity . . . to a certain point.

The movie also featured some solid performances. David Suchet gave his usual competent performance as Hercule Poirot. He had one rather amusing scene in which the Belgian detective struggled with the vegetable marrows in his garden. I could say the same about Philip Jackson’s performance as Inspector Japp. Both Oliver Ford-Davies and Selina Cadell were amusing as the much put upon Dr. James Sheppard and his very nosy sister, Caroline. I read somewhere that the Caroline Sheppard character may have been a forerunner of the Jane Marple character. Malcolm Terris gave a very emotional performance as the story’s victim, Roger Ackroyd. Both Daisy Beaumont and Flora Montgomery were also effectively emotional as Ursula Bourne and Flora Ackroyd (the victim’s niece) – the two women in the life of Ralph Paton, Ackroyd’s stepson and major suspect. Speaking of the later, Jamie Bamber gave a solid performance as Ralph. But honestly, he did not exactly rock my boat. However, I was impressed by Roger Frost’s portrayal of Ackroyd’s butler, Parker. I thought he did a very good job in portraying the different aspects of the competent, yet rather emotional manservant.

Looking back, I really wish that Clive Exton had maintained Christie’s narrative style for this television adaptation of her 1926 novel. I believe it could have been possible. By changing the narrative style and adding the Chief Inspector Japp character to the story, Exton transformed “THE MURDER OF ROGER ACKROYD” from a unique story to a typical Christie murder mystery. Pity.

TIME MACHINE: Battle of the Wilderness

Battle_of_the_Wilderness

 

TIME MACHINE: BATTLE OF THE WILDERNESS

May 5 marked the 150th anniversary of the beginning of the U.S. Civil War conflict called the Battle of the Wilderness. Fought between May 5-7, 1864; the Battle of the Wilderness marked the first conflict of Lieutenant-General Ulysses S. Grant’s Virginia Overland Campaign during the spring of 1864.

Two months earlier, President Abraham Lincoln summoned Ulysses S. Grant from the Civil War’s Western Theater to Washington D.C. and promoted him to Lieutenant-General and given command of all the Union armies. While Major-General William Tecumseh Sherman was left in command of all Union forces in the Western Theater, Grant made his headquarters with the Army of the Potomoc. However, Major-General George G. Meade remained in command of that particular army. Grant, President Lincoln and Secretary of War Edwin Stanton devised a strategy for coordinated attacks against General Robert E. Lee and the Confederacy’s Army of Northern Virginia, and other Confederate forces in the Shenandoah Valley, Georgia and Mobile, Alabama. Grant’s objective was not simply the Confederate capital of Richmond, Virginia; but the destruction of Lee’s army.

Grant had hoped to quickly move the Union forces through the dense underbrush of the Wilderness Forest, located in both Spotsylvania and Orange Counties in Virginia, and toward Richmond. But Lee dispatched Lieutenant-General Richard S. Ewell‘s Second Corps and Lieutenant-General A.P. Hill‘s Third Corps to intercept Grant. On the morning of May 5, 1864; Major-General Gouverneur K. Warren and his V Corps attacked Ewell’s corps on the Orange Turnpike. And later that afternoon, Major-General Winfield S. Hancock‘s II Corps and Brigadier-General George W. Getty‘s division within the Union’s VI Corps encountered Hill’s corps on the Orange Plank Road. The fighting proved to be fierce, confusing and eventually inconclusive, due to the combatants’ difficulties in maneuvering through the dense forest.

When May 6 dawned the following morning, Hancock and his corps attacked all along the Plank Road, leaving Hill’s men reeling back in confusion. Fortunately for Hill, the timely arrival of Lieutenant-General James Longstreet and his First Corps prevented the collapse of the Confederates’ right flank. Longstreet ordered a surprise flanking attack from an unfinished railroad bed, which drove Hancock’s men back to the Brock Road. Unfortunately, Longstreet lost the momentum, when his own men accidentally shot him. Brigadier-General John B. Gordon and his Second Corps launched an attack against the Union’s right flank caused some chaos at the Union Army headquarters.

During Gordon’s attack, rumors began to spread among Grant’s generals that the Federal lines had actually attacked. One nervous officer exclaimed to Grant that Lee might throw the Confederate Army between the Union and the Rapidan River and cut Grant’s headquarters off from its communications. General Grant lost his temper and made his famous response: “Oh, I am heartily tired of hearing about what Lee is going to do. Some of you always seem to think he is suddenly going to turn a double somersault, and land in our rear and on both of our flanks at the same time. Go back to your command, and try to think what we are going to do ourselves, instead of what Lee is going to do.” The Union lines eventually stabilized and the fighting between the two armies ceased.

On the morning of May 7, 1864; General Grant and the Union Army found themselves faced with a strong Confederate presence behind some earthworks. Instead of ordering a frontal attack, Grant decided to maneuver his Army on a night march south on the Brock Road and around the Confederate Army. He had hoped to reach the crossroads at Spotsylvania Court House, place his army between the Confederates and Richmond, and force Lee to fight on ground more advantageous to him. Unfortunately for Grant, inadequate cavalry screening and bad luck allowed the Confederate Army to reach the crossroads before sufficient Union troops could arrive to contest it. Grant was forced to fight the bloody Spotsylvania Court House and ten more conflicts before he and the Union Army reached the outskirts of Richmond.

For more information on the Battle of the Wilderness, you can read the following books:

*“The Battle Of The Wilderness, May 5-6, 1864″ by Gordon C. Rhea

*“Dark Close Wood The Wilderness, Ellwood and the Battle That Defined Both” by Chris Mackowski

*“The Greatest Civil War Battles: The Battle of the Wilderness” by Charles Rivers Editors

“THE MONUMENTS MEN” (2014) Review

monuments-1

 

“THE MONUMENTS MEN” (2014) Review

A rarely known aspect of World War II was recently explored in this recently released war film. “THE MONUMENTS MEN” told the story about a group of men, established under the Monuments, Fine Arts, and Archives program in 1943, to recover pieces of art stolen by the Nazi, before they could be destroyed on the orders of Adolf Hitler.

Produced and written by George Clooney and Grant Heslov, and directed by Clooney; “THE MONUMENTS MEN” began in 1943 in which art conservation specialist and museum director Frank Stokes convinces U.S. President Franklin D. Roosevelt to allow him to assumble an Army unit compromising of museum directors, curators, and art historians to search for stolen art treasures of the Western world and return it to the rightful owners. Stokes, portrayed by Clooney, assemble six other men:

*Lieutenant James Granger, U.S.A.
*Lieutenant Donald Jeffries, British Army
*Sergeant Richard Campbell, U.S.A.
*Sergeant Walter Garfield, U.S.A.
*Lieutenant Jean Claude Clermont, French Army
*Private Preston Savitz, U.S.A.

Stokes also recruited a U.S. Army enlisted soldier named Sam Epstein to act as his interpreter and driver. And in occupied France, In occupied Paris, an art curator named Claire Simone is forced to allow Nazi officers like Viktor Stahl to oversee the theft of art for either Adolf Hitler’s proposed Führermuseum in Linz, German; or as the personal property of senior commanders like Herman Goering. She is nearly arrested for helping her Maquis brother unsuccessfully recapture such items. And later, all seems lost when Claire discovers that Stahl is taking all of her gallery’s contents to Germany, while the Allies approach Paris. Stokes’ unit is split up for various objectives throughout Western Europe. While most of them are frustrated by the Allies’ combat units, which refuse to restrict their tactical options for the sake of preserving architecture; Granger, who ends up in occupied Paris, meets Simone and discovers that she will not cooperate with the Allies, whom she suspects of also being art looters.

I suspect that true art lovers – especially those enamored of European art – might find “THE MONUMENTS MEN” to be an emotional and satisfying tale in which the Allies not only persevered over the Nazi Army, but also saved a great deal of important art work from being destroyed. And there are those who were probably disappointed that “THE MONUMENTS MEN” was not some kind of stylish caper film in the style of Steven Soderbergh’s “OCEAN’S ELEVEN” trilogy. How did I feel about “THE MONUMENTS MEN”? I found it entertaining, emotional, and surprisingly old-fashioned. Then again, this is a World War II drama about the preservation of famous Western art, in which the ages of the main stars range from early 40s to early 60s. More importantly, “THE MONUMENTS MEN” was released in February – a movie season that usually feature mediocre or bad films.

I could never regard “THE MONUMENTS MEN” a great film. I found the pacing uneven . . . especially in the movie’s first half. I felt that both Clooney’s direction and the script’s depiction of the men’s separation following their basic training rather confusing. I was especially confused by the whereabouts of the Donald Jeffries character. One minute he was in France with Stokes and Epstein. And in his next scene, he is in Belgium with no explanation in the movie’s narrative of how he got there. Come to think of it, both Campbell and Savitz end up in Belgium . . . without Jeffries. Or was it Italy? Very confusing. Perhaps it is my imagination, but I found Matt Damon’s performance rather flat. It almost seemed as if he was phoning it in – especially in the movie’s first half. In some way, I think Clooney tried too hard to make the movie so profound that it ended up feeling . . . hmmm . . . flacid.

Thankfully, the movie’s second half managed to be an improvement on the first. Especially since the Monument Men encountered more danger and their efforts to find the stolen art seemed to improve. Actually, the second half featured some action sequences that managed to inject some energy into the film’s story. Audiences finally get to see the dangers that the Monuments Men faced in order to achieve their goal – Nazi troops in a Belgian convent, straying into the middle of a battleground that became deadly, an encounter with a lone armed German soldier, and a close encounter with a land mine. The second half also featured a few excellent scenes – including Campbell’s reaction to a recorded letter from home during Christmas, Savitz’s exposure of Stahl, Granger and Claire’s near-romantic encounter inside her apartment, and Stokes’ interrogation of one of the S.S. officers responsible for the attempted destruction of some of the stolen art.

Technically, “THE MONUMENTS MEN” is a beautiful and elegant looking film of the old-fashioned kind. First of all, I have to compliment Phedon Papamichael’s sharp and colorful photography of England and Germany, which stood in for World War II-era Western Europe. Production designer James D. Bissell and his team did an admirable job in re-creating Western Europe during that period. I was especially impressed by his work, along with Bernhard Henrich’s set designs in the sequences that featured the Allied camps near the Normandy beaches and the German mine, site of the first batch of art recovered. Louise Frogley’s costume designs struck me as solid reflections of the years 1943-45. However, I must admit that I was not particularly impressed by Alexandre Desplat’s score. I simply did not find it that memorable.

The performances in “THE MONUMENTS MEN” also struck me as solid, despite the star power featured in this film. I really do not see anyone receiving an award, let alone a nomination, for their work in this film. Hell, I would be surprised if anyone’s performance was particularly singled out by critics or moviegoers alike. However, I did notice that Clooney, as a director, allowed each major character a chance to shine in a particular scene. Clooney got a chance to shine in the scene featuring Stokes’ interrogation of the German officer. Both Matt Damon and Cate Blanchett generated a good deal of heat in the scene featuring Granger’s near romantic dinner with Claire Simone. Bill Murray gave one of the most poignant performances in a scene featuring Campbell’s silent reaction to a recording he had received from his family for Christmas. Bob Balaban was marvelous in the scene in which Savitz exposed Claire’s former “supervisor” Stahl as a Nazi and thief with cold precision. Both John Goodman and Jean Dujardin, who had previously worked together in the Oscar winning film, “THE ARTIST”, managed to create a strong chemistry in two scenes that featured Garfield and Claremont’s encounter with a German sniper and their accidental wondering into a battlefield. But I feel that the best acting moment came from Hugh Bonneville, who did a marvelous job in conveying Jeffries’ passion and sense of danger in a scene featuring the character’s encounter with Germans at a Belgium convent.

Look, “THE MONUMENTS” is no classic. And I do not think it is the best movie I have seen this winter. It might be a bit too old-fashioned for the tastes of some (I can endure it). And if I must be brutally honest, the first half of Clooney and Grant Henslov’s script came off as limpid and confusing. But a strong second half and some golden moments by a talented cast led by Clooney more or less saved “THE MONUMENTS” for me.

Follow

Get every new post delivered to your Inbox.

Join 104 other followers