“HUGO” (2011) Review

“HUGO” (2011) Review

To the surprise of many, the top two contenders for Best Picture of 2011 featured on the history of film in the early 20th century. One of them was the Oscar winning “silent” film, “THE ARTIST”. The other turned out to be Martin Scorsese’s latest endeavor called “HUGO”. 

Based upon Brian Selznick’s 2008 novel, “The Invention of Hugo Cabret”, “HUGO” told the story of a 12 year-old boy named Hugo Cabret, who lives with his widowed father, a clockmaker in 1931 Paris. Hugo’s father, who is a fan of Georges Méliès’s films, takes him to the theater on many occasions. When Hugo’s father dies in a museum fire, the boy is forced to live with his alcoholic Uncle Claude, who is also a watchmaker at the railway station, Gare Montparnasse. After teaching Hugo to maintain clocks, Claude disappears. His body is later found in the Seine River, drowned. Hugo lives between the walls of the railway station, maintaining clocks, stealing food and doing his best to avoid the attention of the tough stationmaster to avoid being shipped to a local orphanage.

He also becomes obsessed with repairing his father’s broken automaton – a mechanical man that writes with a pen. Convinced the automaton contains a message from his father, Hugo steals mechanical parts in order to repair the automaton. However, he is caught by a toy store owner, Papa Georges, who takes Hugo’s notebook from him, with notes and drawings for fixing the automaton. Hugo follows Georges home and befriends a girl close to his age named Isabelle and the latter’s goddaughter. When Hugo is finally able to repair the automaton, it produces a drawing straight from a Georges Méliès film. Thanks to the drawing and a film historian, Hugo and Isabelle discover that the latter’s godfather is the famous filmmaker, now financially strapped and forgotten.

When I first learned about “HUGO”, I heard that it was based upon a children’s book. And I found it unusual that Martin Scorsese would make a film for children. As it turned out, “HUGO” is more than just a story for children. It eventually turned out to be a peek into another chapter in film history, slowly focusing on the work of Georges Méliès, who was responsible for early silent films such as “A TRIP TO THE MOON” (1902) and “THE IMPOSSIBLE VOYAGE” (2004). I noticed that Scorsese utilized his usual formula in unfolding the movie’s plot. As in most of his other movies, he slowly introduced the characters – both major and minor – before setting up his plot. And while this formula worked in such films as “GOODFELLAS”, “THE AGE OF INNOCENCE” and“CASINO”, it did not quite work for “HUGO”.

For me, “HUGO” suffered from two problems. One, the movie lingered just a bit too long on the introduction of all the characters – especially those who did not have any effect on Hugo’s situation or with the discovery . And because of this, the pacing in its first half dragged incredibly long. In fact, it dragged so long that I almost lost interest in finishing the film. It was not until Hugo managed to repair the automaton and continue his and his father’s love of films when life finally breathed into the film. From the moment the automaton produced the drawing of the moon from “A TRIP TO THE MOON”, I became increasingly interested in the film. “HUGO” soon became a interesting trip into the world of early French filmmaking. And it ended as a poignant story about how a boy’s love for his father and movies allowed a forgotten artist to be remembered by a new generation of filmgoers. I found myself practically on the verge of tears by the last frame.

If there was one aspect of “HUGO” that truly impressed me was the movie’s production design. Thanks to the legendary Dante Ferretti, it is truly one of the most beautiful looking films I have seen in the past few years. The movie’s visual style was enhanced by David Warren’s supervision of the movie’s art direction, and cinematographer Robert Richardson’s recreation of the Multicolor process – which he also used in the first half of “THE AVIATOR”. Although I was mildly impressed by Sandy Powell’s costume designs, it was Francesca Lo Schiavo’s set decorations, especially for the re-creation of the Gare Montparnasse station circa 1931, which really impressed me. In the end, the movie almost conveyed a Jules Verne visual style that I suspect seemed appropriate for a film about Georges Méliès. I could comment on Howard Shore’s score. But if I must be honest, I have no memories of it.

The film’s other real strength came from the cast led by young Asa Butterfield’s poignant portrayal of Hugo Calvert. He was ably supported by Chloë Grace Moretz, who gave a charming performance as Hugo’s friend Isabelle, and Helen McCrory’s skillful portrayal of Méliès’s supportive wife. Performers such as Ray Winstone, Jude Law, Michael Stuhlbarg, Emily Mortimer, Christopher Lee, Frances de la Tour and Richard Griffiths gave solid, yet brief performances. But aside from Butterfield, the most impressive performance came from Ben Kingsley, who was superb as Méliès. Kingsley conveyed every aspect of Méliès’s personality and life experiences. I am still astounded that he was never given any kind of acting nomination for his performance.

I cannot deny that “HUGO” is a very beautiful looking film. And I also cannot deny that I was mesmerized by the film’s second half – especially when it focused on Hugo and Isabelle’s discovery of Méliès’ past as a filmmaker. The movie also benefited from a first-rate cast and especially from superb performances from Asa Butterfield and Ben Kingsley. But Martin Scorsese tried to create a small epic out of a story that was part children’s tale/part film history. Which is why I believe “HUGO” fell short of becoming – at least in my eyes – one of the better movies of 2011.

“NEMESIS” (2007) Review

 

“NEMESIS” (2007) Review

Without a doubt, Agatha Christie’s 1971 novel, “Nemesis”, is one of her most unusual works. It is not as celebrated as 1934’s “Murder on the Orient Express” or her 1926 novel, “The Murder of Roger Ackroyd”. But it was the last novel she had written. And it possesses a slow, yet melancholic air that I find very rare in her body of work.

Two adaptations of the novel have aired on British television. BBC aired the first adaptation, which starred Joan Hickson as Jane Marple, in 1987. Twenty years later, the ITV network aired its own version with Geraldine McEwan in the lead. While the 1987 version adhered as close as possible to the novel, this latest version turned out to be a very loose adaptation, thanks to screenwriters Stephen Churchett and Nicolas Winding Refn, who also served as the film’s director.

“NEMESIS” begins in 1940, when a German Luftwaffe pilot is forced to bail from his damaged plane during the Battle of Britain. Not long after he reaches the ground, he is spotted by a young, beautiful woman, who comes to his aid. The movie jumps some eleven years to 1951. Jane Marple has received news about the death of a friend – a financier/philanthropist named John Rafiel aka Faber, who was a refugee from Nazi Germany twenty years earlier. Rafiel recruits her from the grave to solve a murder that the murder may or may not have taken place. And the victim is unknown. All that he has given her are two tickets on the Daffodil Tour Company’s Mystery Tour. Miss Marple recruits her nephew, novelist Raymond West, to accompany her on the tour. During the early stages of the tour, Miss Marple and Raymond realizes that the other members of the tour had also been “selected” by Rafiel. Miss Marple also discovers that she had been recruited the solve the murder or disappearance of a young woman named Verity Hunt – the same woman who had met the German pilot during the war. And the German pilot turned out to be one Michael Faber, Rafiel’s estranged son.

I might as well state it loud and clear. “NEMESIS” is not one of the best Christie adaptations featuring Geraldine McEwan. Refn and Churchett had inflicted so many changes in the plot, it almost left me confused. Not only were some of the characters from Christie’s novel eliminated, new ones were created for the film. Refn and Churchett also changed the identity of the murderer and the crime’s setting. The pair even changed the identity of the Rafiel character from an English millionaire, whom Miss Marple had met in an earlier novel, to a German refugee from Nazi Germany who had befriended the elderly sleuth (he remained wealthy). And his son transformed from a ne’er-do-well to a former Luftwaffe pilot, embittered by his father’s refusal to help him and Verity during the war.

The addition of World War II as a setting for Verity’s death brought about other changes that left me scratching my head in confusion. In the novel, another young woman was murdered, so that her body would be confused with Verity’s. In the movie, there was some kind of confusion over the identity of a RAF pilot who had died at the very convent where Verity was serving, when she first met Michael. I wish I could explain the whole matter, but I found it rather confusing. Come to think of it, I found the Verity/Nora body switching rather confusing in Christie’s novel. The war did serve the movie’s plot in one positive manner – namely the character of Michael Faber and his brief, wartime romance with Verity. Their romance proved to be more poignant and tragic than Verity’s literary romance with Michael Rafiel.

The cast for “NEMESIS” proved to be a mixed bag. There were some . . . theatrical performances that I found wince inducing. The worst came from Ronni Ancona, who gave a ridiculously hysterical performance as Verity’s half-cousin and Raymond West’s former paramour, the aristocratic Amanda Dalrymple. Another over-the-top performance came from Emily Woof, who portrayed Rowena Waddy, the possessive wife of war veteran and former RAF pilot, Martin Waddy. At the other extreme, Amanda Burton gave a disturbingly minimalist performance as Sister Clotilde, one of the two nuns who knew Verity. Perhaps I had been kind by describing Burton’s performance as “minimalist”. Frankly, she struck me as silent and wooden.

Thankfully, there were plenty of first-rate portrayals that made “NEMESIS” enjoyable. I was impressed by solid performances from Laura Michelle Kelly, who had to portray two characters – Verity Hunt and a young wife named Margaret Lumley; George Cole, who portrayed the former butler of Verity’s illegitimate father; Ruth Wilson, who gave a charming performance as the tour’s guide and potential paramour for Raymond; Lee Ingleby, who portrayed the main investigator and budding novelist, DC Colin Hards; and Anne Reid, who portrayed Sister Clotilde’s older and pragmatic colleague, Sister Agnes.

But there were at least four outstanding performances from the cast. One came from Will Mellor, whose portrayal of Martin Waddy, the war veteran with the damaged face, struck me as very intense and sympathetic. An equally intense performance came from the future “DOWNTON ABBEY” star, Dan Stevens. He did an outstanding job in portraying the many aspects of Michael Faber’s complex personality. Richard E. Grant was a marvelous addition as Miss Marple’s nephew and traveling companion, the witty Raymond West. I was amazed at how he managed to create some kind of screen chemistry with more than one cast member – especially Ruth Wilson, Lee Ingleby and Geraldine McEwan. Speaking of Ms. McEwan, she was superb as the quiet and always observant, Jane Marple. She also infused a great deal of wit and warmth into her portrayal of the elderly sleuth.

“NEMESIS” has some aspects of its production to admire. Production designer Michael Pickwoad, costumer designer Sheena Napier and cinematographer Larry Smith all did a great job in contributing to the movie’s early 1950s setting and even the 1940 preclude. The movie could also boast some fine performances, especially from Geraldine McEwan as Miss Marple. But many of the changes to Agatha Christie’s original plot left me shaking my head in confusion. Honestly, it is not one of the better adaptations I have seen. The 1987 adaptation is better . . . but only slightly better.

“THE ARTIST” (2011) Review

“THE ARTIST” (2011) Review

I must have been one of the few people who had been unaware of “THE ARTIST”, when it first hit the American movie theaters in late 2011. To be honest, I was not paying much attention to the previous awards season. I could not find a movie that aroused my interest. When I discovered that the French-American film had overcome George Clooney’s “THE DESCENDANTS”, to become the Academy Awards front-runner . . . well, color me surprised.

Michel Hazanavicius’ ode to Old Hollywood told the story of a successful silent film star named George Valentin, who seemed to be at the peak of his fame in 1927. At the premiere of his latest hit, he meets a young fan named Peppy Miller outside of the movie theater. She eventually catches the eyes of the press, when a photograph of the two appear in the newspapers, the following morning. It does not take long for Peppy’s career as a movie actress to rise. But when George’s studio boss, Al Zimmer, announces the end of Kinograph Studios’ silent movies production, the actor dismisses the news, claiming that sound is nothing but a fad. George decides to finance, produce and direct his own silent film. Both his new silent movie and Peppy’s new sound film open on the same day as the 1929 Stock Market Crash. While audiences flock to see Peppy’s new movie – making her a major Hollywood star – George’s film becomes a flop . . . and he finds himself financially ruined. Because his rejection of talkies remain steadfast, it is not long before George becomes a broke, Hollywood has been.

Within a few months, “THE ARTIST” managed to acquire near universal acclaim on both sides of the Atlantic. Not only did the movie win five Academy Awards – including Best Picture, Best Director (Hazanavicius) and Best Actor for leading man Jean Dujardin; the movie also won seven BAFTA awards, six César awards, three Golden Globe awards and two awards at the Cannes Film Festival. I have not encountered a movie this universally acclaimed in years. And if I must say so, it did not deserve a single award.

That is correct. I consider “THE ARTIST” to be one of the most overrated movies I have seen in years. In fact, I find it even more overrated than the 2010 Oscar winner, “THE KING’S SPEECH”.  Perhaps I had exaggerated a bit. There were a few awards that I believe it deserved. I found Ludovic Bource’s score surprisingly impressive. I was also impressed by Mark Bridges’ award winning costume designs and Guillaume Schiffman’s nominated cinematography. And I cannot deny that I was more than impressed by Jean Dujardin’s performance as the ego-centric George Valentin. Did he deserve the Best Actor award? Personally, I would have given Gary Oldman’s performance in “TINKER, TAILOR, SOLDIER, SPY” the award. But I still believe that Dujardin gave an above-average performance. The movie also featured supporting performances and cameos from Hollywood veterans such as John Goodman, James Cromwell, and Penelope Ann Miller. I thought they all gave solid performances, especially Miller and Cromwell.

Despite my feelings about the costumes, photography, the score and Dujardin’s performance, I still believe that “THE ARTIST” is an overrated movie that did not deserve most of the accolades it received. For me, it was a charming little movie with gimmicks about Old Hollywood. I would equate it at the same level as Blake Edwards’ 1988 Hollywood mystery, “SUNSET”. Okay, perhaps I am being a little cruel. Even “THE ARTIST” is better than Edwards’ film. But I find myself unable to view it as a cinematic masterpiece. For me, it was simply an entertaining, yet mediocre film.

One of the problems I had with “THE ARTIST” was that Hazanavicius’ script never explained why Valentin refused to do a talking picture. Why? Unlike Charlie Chaplin, he was not originally described as a multi-tasked Hollywood talent. Valentin was never regarded as another Emil Jennings, whose Hollywood career ended due to a thick European accent. Granted, Dujardin’s French accent struck me as somewhat thick, but it was never pointed out. And if the Valentin character really had a thick accent, his Hollywood career would have never been revived as a song-and-dance man at the movie’s conclusion. Even Fred Astaire needed a decent voice. Nor was Valentin portrayed as a another John Gilbert, whose career was destroyed by a studio boss that hated his guts. Granted, Valentin managed to annoy Zimmer in his refusal to accept talkies. But Zimmer merely regarded Valentin with mild contempt, not hatred. In the end, Valentin’s refusal to do talkies was never really explored. And this strikes me as bad writing on Hazanavicius’ part.

The movie earned a good deal of controversy when Hollywood icon Kim Novak accused composer Ludovic Bource of incorporating a portion of Bernard Herrmann’s score from Alfred Hitchcock’s 1958 film “VERTIGO”. Since I have never seen “VERTIGO”, I cannot comment on Novak’s accusation. However, I have seen “A STAR IS BORN”, “SUNSET BOULEVARD”, and “SINGIN’ IN THE RAIN”. I noticed that “THE ARTIST” incorporated a great deal of story ideas and scenes from these movies. Unfortunately, I believe that Hazanavicius did so in an unoriginal way. Even the happy-go-lucky “SINGIN’ IN THE RAIN” had ten times the biting wit and a more in-depth, if slightly fictional looking into the transition to sound. Perhaps the reason I found the story hard to accept was because Hazanavicius decided to film the movie without sound. All I can say is . . . why? What was the point? I wanted a look at Old Hollywood during the late 1920s and early 1930s, not a gimmicky ode to the era.

“THE ARTIST” possessed other aspects that did not sit well with me. Hazanavicius cast his wife, French-Argentine actress Bérénice Bejo, to portray rising star Peppy Miller. Bejo received numerous nominations and a César Award for Best Actress for her performance. I cannot deny that she gave a first-rate performance. Unfortunately, she seemed like a 21st century anchorism, stuck in the early 20th century. Bejo simply looked out of place in period movie like “THE ARTIST”. Valentin’s Jack Russell terrier, Uggie, was so cute that I found myself in danger of a sugar overdose, just by simply watching. After viewing the scene in which Uggie saved Valentin from a burning house by summoning a police, I either wanted to throw up or put a bullet in that mutt. As much as I enjoyed Mark Bridges’ late 1920s costumes, I was not impressed by the costumes for the movie’s 1930s setting. Looking at Bridges’ costumes for the early sound era, I found it hard to believe that the film’s second half was set between 1930 and 1932/33. Many people enjoyed Dujardin and Bejo’s dance routine that marked the film’s conclusion. I cannot deny that I found their performance impressive. But it was also a jaw-dropping moment for me . . . and not in a good way. My mind kept reminding me that I should be applauding. Instead, I found myself silently chanting – “What the hell?”

Look, I am not claiming to dislike “THE ARTIST”. How could I? I thought it was an entertaining film about Old Hollywood. It seemed a lot of fun. But a fun movie does not automatically it make a great one. And despite the awards and accolades that it received, I cannot agree with the prevailing view that “THE ARTIST” was a great film. Not by a long shot.

“A Broken Heart in the ‘STAR WARS’ Saga”

“A BROKEN HEART IN THE ‘STAR WARS’ SAGA

There have been many complaints of Padme Amidala’s role in the last installment of the STAR WARS saga – “REVENGE OF THE SITH”. The main contention for many fans seemed to be her death.Many felt that Lucas had weakened her character by allowing her to die of a broken heart. Others accused her of abandoning her newly born children through death. And others have excused the circumstances of her death, claiming that she was “sacrificing herself” so that her twins could be separated and hidden from Emperor Palpatine.

I am not going to try to explain the “sacrifice”, simply because I do not buy it. I do not believe that Padme had sacrificed herself in death, for her children’s safety. I believe that she had genuinely died of a broken heart.

My next question is . . . why is it that Padme’s descent into despair was not tolerated by many STAR WARS fans? Why? Because she was supposed to be a strong woman? Since when are strong personalities incapable of giving in to despair or depression? Does anyone understand that nearly everyone possesses both strengths and weaknesses? What is this lack of tolerance over the possibility that Padme may also have her weaknesses? I get the feeling that many feel she should have been this one-dimensional portrayal of a strong character with no weaknesses. What did these fans expect her to do? After giving birth to Luke and Leia, sit up and start singing, “I Am Woman”?

Padme had just witnessed the ascension of the Empire . . . and the death of the Republic she had served with great devotion. Even worse, her dreams of a private life with her husband were dashed by news that he had participated in the deaths of hundreds of Jedi – adults and children, alike. She tried to confront Anakin about the situation and was brutally attacked by him (strangulation). His attack eventually perpetrated the difficult birth of the twins – Luke and Leia. By the time she had even considered that Anakin might still have some good in him, it was TOO LATE for her. At least physically. Both Anakin (who finally gave in to desapir after learning of Padme’s death) and Obi-Wan (who spent the next 19 years wallowing in despair, regret and guilt) were lucky that they were not in their third trimester of a pregnancy and on the verge of giving birth.

Years ago, female characters had been in danger of being stuck in nurturing roles or simply the hero’s love interest. Now, it seems that female characters have to be some kind of Xena the Warrior Princess or a female “ACTION JACKSON” in order to prevent being labeled as WEAK. Apparently, female characters are still not allowed to be all of the above. Even worse, they have to behave like men to be considered strong.

Someone on a STAR WARS forum had claimed that females roles are either of the “XENA: WARRIOR PRINCESS” archetype or the “Dora Spenlow” (or weak female) archetype. This person criticized Lucas for transforming Padme from a female warrior into a weakling. My question is . . . why not allow a woman – or anyone, for that matter – to be both strong and weak? It would seem like a very human thing to be.

“THE HISTORY OF TOM JONES, A FOUNDLING” (1997) Review

 

“THE HISTORY OF TOM JONES, A FOUNDLING” (1997) Review

The year 1963 saw the release of Tony Richardson’s Academy Award winning adaptation of Henry Fielding’s 1749 novel,“The History of Tom Jones, a Foundling”. Another thirty-four years passed before another adaptation of the novel appeared on the scene. It turned out to be the BBC’s five-episode miniseries that aired in 1997. 

“THE HISTORY OF TOM JONES, A FOUNDLING” is a comic tale about the life and adventures of an English foundling, who is discovered in the household of a warm-hearted landowner in Somerset named Squire Allworthy. The latter adopts the child and Tom Jones grows up to be a lusty, yet kindly youth; who falls in love with one Sophia Western, the only child of Allworthy’s neighbor, Squire Western. Tom is raised with the squire’s nephew, a falsely pious and manipulative young man named Mr. Blifil. Because the latter is Allworthy’s heir, Sophia’s father wishes her to marry Mr. Blifil, so that the Allworthy and Western estates can be joined as one. Unfortunately for Squire Western and Mr. Blifil, Sophia is in love with Tom. And unfortunately for the two young lovers, Tom is discredited by Mr. Blifil and his allies before being cast away by Squire Allworthy. In defiance of Squire Western’s wishes for her to marry Mr. Blifil, Sophia (accompanied by her maid, Honour) runs away from Somerset. Both Tom and Sophia encounter many adventures on the road to and in London, before they are finally reconciled.

Actually, there is a lot more to “THE HISTORY OF TOM JONES, A FOUNDLING”. But a detailed account of the plot would require a long essay and I am not in the mood. I have noticed that the 1997 miniseries has acquired a reputation for not only being a first-rate television production, but also being superior to the 1963 Oscar winning film. As a five-part miniseries, “THE HISTORY OF TOM JONES, A FOUNDLING” was able to adhere more closely to Fielding’s novel than the movie. But does this mean I believe that the miniseries is better than the movie? Hmmmm . . . I do not know if I can agree with that opinion.

I cannot deny that “THE HISTORY OF TOM JONES, A FOUNDLING” is a well made television production. Director Metin Hüseyin did an excellent job of utilizing a first-rate production crew for the miniseries. Cinders Forshaw’s photography was well done – especially in Somerset sequences featured in the miniseries’ first half. Roger Cann’s production designs captured mid-18th century England in great detail. And Rosalind Ebbutt’s costumes designs were not only exquisite, but nearly looked like exact replicas of the fashions of the 1740s. The look and style of “THE HISTORY OF TOM JONES, A FOUNDLING” seemed to recapture the chaos and color of mid-18th century England.

“THE HISTORY OF TOM JONES, A FOUNDLING” could also boast some first-rate performances. The miniseries featured solid performances from the likes of Christopher Fulford and Richard Ridings as Mr. Blifil’s allies, Mr. Square and Reverend Thwackum; Kathy Burke, who was very funny as Sophia’s maid, Honour; Celia Imrie as Tom’s London landlady, Mrs. Miller; Peter Capaldi as the lecherous Lord Fellamar; Tessa Peake-Jones as Squire Allworthy’s sister Bridget and Benjamin Whitrow as the squire. The episode also featured solid turns from the likes of Kelly Reilly, Camille Coduri, Matt Bardock, Roger Lloyd-Pack, and Sylvester McCoy. Max Beesley was solid as Tom Jones. He also had good chemistry with his leading lady, Samantha Morton, and did a good job in carrying the miniseries on his shoulders. However, I do feel that he lacked the charisma and magic of Albert Finney. And there were times in the miniseries’ last two episodes, when he seemed in danger of losing steam.

But there were some performances that I found outstanding. Brian Blessed was deliciously lusty and coarse as Squire Western, Allworthy’s neighbor and Sophia’s father. I really enjoyed his scenes with Frances de la Tour, who was marvelous as Sophia’s snobbish and controlling Aunt Western. Lindsay Duncan gave a subtle performance as the seductive Lady Bellaston. James D’Arcy was outstanding as Squire Allworthy’s nephew, the sniveling and manipulative Mr. Blifil. Ron Cook gave the funniest performance in the miniseries, as Tom’s loyal sidekick, Benjamin Partridge, who had earlier suffered a series of misfortunes over the young man’s birth. Samantha Morton gave a superb performance as Tom’s true love, Sophia Western. Morton seemed every inch the graceful and passionate Sophia, and at the same time, conveyed the strong similarities between the young woman and her volatile father. But the one performance I truly enjoyed was John Sessions’ portrayal of author Henry Fielding. I thought it was very clever to use Sessions in that manner as the miniseries’ narrator. And he was very entertaining.

The producers of the miniseries hired Simon Burke to adapt the novel for television. And I believe he did an excellent job. I cannot deny that the miniseries’ running time allowed him to include scenes from the novel. Thanks to Burke’s script and Hüseyin’s direction, audiences were given more details on the accusations against Jenny Jones and Benjamin Partridge for conceiving Tom. Audiences also experienced Bridget Jones’ relationship with her cold husband and the circumstances that led to the conception of Mr. Blifil. Judging from the style and pacing of the miniseries, it seems that Hüseyin was inspired by Tony Richardson’s direction of the 1963 film. There were plenty of raunchy humor and nudity to keep a viewer occupied. More importantly, “THE HISTORY OF TOM JONES, A FOUNDLING” proved to be a fascinating comic epicand commentary on class distinctions, gender inequality and social issues.

However, I still cannot agree with the prevailing view that the miniseries is better than the 1963 movie. Mind you, the latter is not perfect. But the miniseries lacked a cinematic style that gave the movie a certain kind of magic for me. And due to Hüseyin and Burke’s insistence on being as faithful to the novel as possible, the miniseries’ pacing threatened to drag in certain scenes. The scenes featuring Tom and Partridge’s encounter with an ineffectual highwayman, their viewing of a puppet show, and a good deal from the London sequences were examples of the miniseries’ slow pacing. I could not help feeling that “THE HISTORY OF TOM JONES, A FOUNDLING” could have easily been reduced to four episodes and still remain effective.

I also had a few problems with other matters. One, I never understood why Lady Bellaston continued her campaign to get Sophia married to Lord Fellamar, after Squire Western prevented the peer from raping his daughter. Why did she continued to make life miserable for Tom after receiving his marriage proposal . . . the same proposal that she rejected with contempt? And what led Sophia to finally forgive Tom for the incident with Mrs. Waters at Upton and his marriage proposal to Lady Bellaston? After he was declared as Squire Allworthy’s new heir, Sophia refused to forgive Tom for his affair with Lady Bellaston. But the next shot featured Tom and Squire Allworthy returning to Somerset . . . and being greeted by Sophia, along with hers and Tom’s children. WHAT HAPPENED? What led Sophia to finally forgive Tom and marry him? Instead of explaining or hinting what happened, Burke’s script ended on that vague and rather disappointing note.

But despite my problems with “THE HISTORY OF TOM JONES, A FOUNDLING”, I cannot deny that I found it very enjoyable. Director Metin Hüseyin and screenwriter Simon Burke did a first-rate job in bringing Henry Fielding’s comic opus to life. They were ably assisted by an excellent production staff and fine performances from a cast led by Max Beesley and Samantha Morton.

“FLASHMAN AND THE TIGER” (1999) Book Review

“FLASHMAN AND THE TIGER” (1999) Book Review

Out of all the books featured in George MacDonald Fraser’s The Flashman Papers, only one featured more than one tale. This turned out to be “FLASHMAN AND THE TIGER”, first published in 1999. Instead of one novel, the book contained three novellas featuring an aging Harry Flashman between the ages of 56 and 72. 

As I had stated earlier, “FLASHMAN AND THE TIGER” featured three novellas – “The Road to Charing Cross”, “The Subtleties of Baccarat”, and “Flashman and the Tiger”. The first story deals with Flashman involved in a plot to thwart the assassination of Austria’s Emperor Franz Josef. The second involves the infamous Tranby Croft Scandal, which involved the Prince of Wales (the future Edward VII) and someone close to Flashman. And the third story featured Flashman’s encounters with the villainous Tiger Jack Moran during the Anglo-Zulu War, and later in London of the 1890s. Let us begin . . . shall we?

“The Road to Charing Cross”

The longest novella in the book, “The Road to Charing Cross” begins in 1878, when Flashman is invited by the famous journalist, Henri Blowitz, to help get a copy of the Treaty of Berlin. During his trip to Germany, Flashman will a beautiful member of the French Secret Service named Caprice. Five years later in 1883, Flashy is invited by Blowitz to journey on the inaugural trip of the Orient Express. Flashman accepts the invitation as an excuse to avoid being sent to the Sudan. During the train journey, he is introduced to Princess Kralta of Germany, who has expressed interest in him of the romantic nature. As it turns out, Kralta’s interest in Flashman is nothing more than a ruse devised by his old nemesis from , Chancellor Otto von Bismarck, in order to get the British Army officer to help prevent Emperor Franz Josef from being assassinated and prevent a major European war. One of Flashman’s colleagues in this plot turns out to be Willem von Starnberg, the son of Rudi von Starnberg, another former nemesis from the 1970 novel. In the end, it turns out that von Starnberg has other plans of his own.

For me, “The Road to Charing Cross” turned out to be the best of three novellas. Regardless of its length, I thought it was a well-written adventure set during the political upheavals of Central Europe. Fraser did an excellent job in re-creating the first rail journey of the Orient Express. He must have did his homework in researching this piece of history. And the sequence featuring Flashman’s efforts to save the Austrian emperor and his own hide were truly outstanding. His characterizations of Princess Kralta, Henri Blowitz, and Emperor Franz Josef were first-rate. Fraser’s pièce de résistanceturned out to be Willem von Starnberg, the son of Flashman’s old nemesis, Rudi von Starnberg. Dear old Willy turned out to be a chip off the old block . . . and a lot more. He possessed Rudi’s wit, joie de vivre and ruthlessness.

Did “The Road to Charing Cross” have any flaws? Well . . . it had one. And that flaw had a lot to do with the character of Willem von Starnberg. Although Willem was well written by Fraser, the latter described him as being half-German (Prussian) and half-Hungarian. Which meant that according to this story, Rudi von Starnberg was Austrian. Apparently, George MacDonald Fraser seemed incapable of determining Rudi’s nationality. Fraser described him as an Austrian in“Royal Flash”, as a Hungarian in the 1975 movie adaptation of the novel, and as a German in this story. Whatever. Despite this major flaw, “The Road to Charing Cross” is still an excellent story.

“The Subtleties of Baccarat”

This novella finds Sir Harry Flashman and his wife, Elspeth, Lady Flashman; visiting Tranby Croft, the estate of one Sir Arthur Wilson in early September 1890. Sir Arthur is hosting a house party in honor of his royal visitor, Albert Edward, Prince of Wales. During the house party, both Flashman and Elspeth witness a baccarat game, which was considered illegal in Britain. The legalities were brushed aside, due to the Prince of Wales’ love of the game. During the days between September 8 and 9, several guests claimed that one of the players, Sir William Gordon-Cumming, cheating. Guests informed the Prince of Wales, who confronted Gordon-Cumming. To the very end, the latter claimed that he was innocent and even sued the Prince of Wales and a few others for defamation of character. Alas, the label of cheat stuck and Gordon-Cummings became a social pariah. But “The Subtleties of Baccarat” did not end with Gordon-Cumming’s downfall. Instead, it ended with a surprising revelation that left Flashman in total shock.

“The Subtleties of Baccarat” was an interesting little tale. But I cannot say that I would ever love it. At least most of the story. The problem is that I am not a card player. And I found it difficult to follow the card games, while the scandal unfolded. It was not until Flashman learned the truth about the scandal from the surprising figure of Elspeth that the story truly became interesting to me. If I must be honest, Elspeth’s revelations on what really happened during the baccarat games not only shocked me, but made me become an even bigger fan of Lady Flashman. The novella had a surprising, yet satisfying finale to an otherwise bearable story.

“Flashman and the Tiger”

The book derived its title from its third novella set in both 1879 and 1894. “Flashman and the Tiger” is mainly about Flashman’s encounters with a character named Tiger Jack Moran, who had been originally created by Sir Arthur Conan Doyle for his SHERLOCK HOLMES stories. Flashman first meets Moran during the Zulu War, when both experience the retreat from the Battle of Isandlwana and the defense of Rorke’s Drift. The pair does not meet again until fifteen years later, when Flashman discovers that Moran is blackmailing his granddaughter, Selina, in order to sleep with her. Moran turns out to be a cabin boy (who had propositioned Flashy) on Captain John Charity Spring’s ship, the Balliol College, who had been traded to King Gezo as a white slave in the 1971 novel, “FLASH FOR FREEDOM!”. Moran spent years seeking revenge against the surviving crewmen. He found his opportunity to seek revenge against Flashman, when he learned that the latter’s engaged granddaughter was a mistress of the Prince of Wales. The story ended with Moran’s arrest and Flashman’s brief, yet humorous encounter with Sherlock Holmes and Dr. Watson.

This novella was a problem for me. One, I found the addition of Flashman’s experiences during the Zulu War unnecessary. Fraser could have used the Zulu War as a major novel, instead of adding this useless scene that really had little to do with the main narrative. What made the use of this topic even more unnecessary was that Flashman’s first encounter with Moran occurred in 1848, aboard Captain Charity Spring’s ship. It was this encounter that a much bigger impact on the story. I have the deep suspicion that Fraser used this story as an excuse to indulge in a little Imperial flag waving. After all, “Flashman and the Tiger” did not focus on the Battle of Isandlwana, in which the British suffered one of their worst defeats at the hands of the Zulu. Instead, it focused on the following battle at Rorke’s Drift, in which the British managed to repel several attacks by the enemy.

My second problem with this novella was the fact that Fraser used Tiger Jack Moran, Sherlock Holmes and Dr. John Watson as supporting characters. I found that rather cheap. I found it bad enough that Fraser used Sir Anthony Hope’s novel, “THE PRISONER OF ZENDA” as a premise for his 1970 novel, “ROYAL FLASH” and a historical character as Flashman’s love child in “FLASHMAN AND THE REDSKINS”. But using literary characters created by another author as supporting characters in one’s own story? Hmmm . . . cheap.

Finally, Fraser must have done a piss poor job in researching the love life of Albert Edward, Prince of Wales. The latter’s mistresses were usually sexually experienced women who were either married society women, actresses or prostitutes. I do not recall the Prince of Wales ever taking the virginity of a 19 year-old debutante . . . especially one who was engaged. Yet, we are supposed to believe that Flashman’s unmarried granddaughter was one of Bertie the Bounder’s mistresses. The only redeeming trait of this story was Fraser’s description of the Isandlwana retreat and the Defense of Rorke’s Drift. Apparently, he saved all of his top-notch research for this particular sequence.

“FLASHMAN AND THE TIGER” was not a bad piece of literature from George MacDonald Fraser’s pen. It possessed a first-rate novella, “The Road to Charing Cross”, and a mildly entertaining story with a juicy, surprise ending in “The Subtleties of Baccarat”. The book’s only misstep . . . at least for me . . . proved to be the last story, “Flashman and Tiger”.

Notes and Observations of “STAR WARS: Episode V – The Empire Strikes Back”

 

Notes and Observations of “STAR WARS: EPISODE V – THE EMPIRE STRIKES BACK”

The following is a list of minor notes and observations that came to me, during my recent viewing of “Episode V: The Empire Strikes Back”. I hope that you enjoy them:

*Exactly who was in command of the Rebel Alliance base on Hoth – Leia or General Rieekan?

*What was Leia doing on Hoth with the Rebel Alliance military personnel? Why wasn’t she with the other political Rebel leaders?

*Ah yes! The ”I’ just as soon kiss a Wookie!” dialogue between Leia and Han. Charming, although slightly . . . childish.

*How . . . or should I say when did Han and Leia reach the point in which they became attracted to one another?

*It was interesting to see how Obi-Wan’s ghost faded with the emergence of Han on a tauntaun.

*”Why, you stuck up,… half-witted… scruffy-looking …nerf-herder!” – Another charming, yet childish exchange between Leia and Han.

*Jealousy and ambition seem quite obvious within the Imperial command structure, if General Ozzel’s glare at Piett is anything to go by.

*I find it interesting that the exchange between Luke and Han before the commencement of the Battle of Hoth would be the last between them for at least a year.

*Vader’s ability to strangle Ozzel with the Force from such a large distance seemed very impressive for someone whose strength with the Force has been weakened.

*The pilots’ point of view of the Battle of Hoth seemed like another cliché of a World War II dogfight . . . like the Battle of Yavin.

*Luke was made commander of the Rebel pilots because he had destroyed the Death Star . . . with Han’s help? What about Wedge, who was also a competent pilot and more experienced?

*The Imperial AT-AT Walkers remind me of the Oliphaunts from the ”LORD OF THE RINGS” saga.

*Wasn’t Leia taking her duty just a bit too seriously by delaying her departure from Hoth?

*I noticed that Han never seemed to follow the ladies first rule. When he, Leia and Chewie and Threepio had escaped both from Hoth and the exogorth in the asteroid field, he made sure that he boarded the Millennium Falcon first. Not exactly a man of the Old Republic.

*Han really revealed how much of a hot shot pilot he was in this movie.

*”Into the belly of the beast” – This metaphor seemed to fit the Falcon’s entry into exogorth even more than Luke, Han and Leia’s brief adventures inside the Death Star’s trash compactor.

*The audience got a brief glimpse of the price Anakin paid for his past mistakes – namely his scalded head.

*”Feel like what?” – Yoda’s first words in any ”STAR WARS” movie.

*”Great warrior? Hmmm . . . wars do not make one great.” – Ironic words from the very being who led the first attack, during the first battle of the Clone Wars. His words also revealed the true Yoda behind the comic façade. I think Luke may have been too impatient or full of himself to notice.

*”You like me because I’m a scoundrel. There aren’t enough scoundrels in your life.” – One can only assume that Leia’s age – 22 years – and limited experience with men would explain why she bought that bilge pouring from Han’s mouth.

*”He’s just a boy. Obi-Wan can no longer help him.” – Surely these words must have hinted to Palpatine that Vader had been aware of Luke for some time?

*I see that Clive Revill has been replaced by Ian McDiarmid as the Emperor Palpatine in this version of the movie. Which makes sense, considering that McDiarmid is more identified with the role.

*”This one a long time have I watched. All his life has he looked away . . . to the future, to the horizon. Never his mind on where he was.” – I believe that Yoda had just described himself and many other Jedi Masters and Knights of the Old Republic, nearly a quarter of a century ago. If he and Obi-Wan could learn to overcome this distraction from the future, why not Luke? Why was Yoda so reluctant to teach Luke? Is it Luke he doubts? Or himself as a teacher?

*”If once you start down the dark path, forever will it dominate your destiny, consume you it will, as it did Obi-Wan’s apprentice.” – I hope that Yoda was trying to say that a person will always be affected by his or her earlier decision to take a dark path or commit dark acts. Because if he was trying to say that a person will always remain evil, after taking the dark path, I must say that I disagree.

*Han used a neat trick to evade the sensors of Captain Needa’s starship, after the Falcon left the asteroid field.

*”Luminous beings are we. Not this crude matter.” – A favorite line of mine.

*It was very clever of Han to attach the Falcon to an Imperial starship before disguising it as garbage to be disposed with the other. Unfortunately for him, Boba Fett had witnessed a similar trick pulled by Obi-Wan near Geonosis, some 25 years ago. Even worse, it is a shame that Han was so busy congratulating himself over his trick that he failed to realize that Fett was tracking him.

*”Through the Force, things you will see. Other places. The future… the past. Old friends long gone.” – I wonder if Yoda was thinking of Mace Windu.

*According to LucasFilm, it took the Falcon three months to reach Bespin without a hyperdrive. If only Lucas and the others had made this clear in the movie.

*The Falcon was practically escorted to one of the landing platforms on Cloud City. I wonder why.

*Great entrance for Billy Dee Williams as Lando Calrissian.

*Was CP-30 really that dense in that he would be so easily distracted from the group by the sound of an R2 unit?

*”Stopped they must be. On this all depends. Only a fully trained Jedi Knight with the Force as his ally will conquer Vader and his Emperor”. – Did that mean Yoda had never intended for Luke to help Anakin find redemption?

*Apparently, the original deal between Vader and Lando did not include Han being turned over to Boba Fett. And later, Vader broke his word and insisted that Leia and Chewie accompany him. Interesting. It is a miracle that the Sith Lord did not renege on the deal even further by destroying Bespin and its population.

*And why did Han and Leia fail to understand the situation that Vader had placed Lando? Were they too blinded by anger?

*I find it interesting that not once did Vader set eyes upon C3-P0, his own creation. Why? Because Chewbacca had the droid strapped to his back.

*How stupid were Leia and Chewbacca? It was obvious that Lando had released them from Vader’s stormtroopers. Yet, all they could do was lose their tempers. Chewbacca immediately began to strangle Lando and Leia encouraged the Wookie. Because their temper tantrums, they prevented Lando from rescuing Han from Boba Fett.

*I must admit that I found the dialogue during the Bespin duel rather irritating. The most important thing about the duel seemed to be Vader’s revelation as Anakin Skywalker . . . after the fighting stopped.

*Vader’s reaction to Luke and Leia’s escape from Bespin was an excellent moment of silent acting on David Prowse’s part. With his use of body language, he managed to express Vader’s regret over losing Luke . . . and the beginning of Anakin Skywalker’s resurgence.

“STAR WARS: EPISODE I – THE PHANTOM MENACE” (1999) Review

 

“STAR WARS: EPISODE I – THE PHANTOM MENACE” (1999) Review

Sixteen years after the 1983 movie, “STAR WARS: EPISODE VI – RETURN OF THE JEDI” hit the movie screens, producer-director George Lucas returned to the world of STAR WARS for a new trilogy that depicted the years before the 1977-1983 movies, starting with the 1999 film, “STAR WARS: EPISODE I – THE PHANTOM MENACE”.

“THE PHANTOM MENACE” was received very poorly by critics and veteran STAR WARS fans when it was first released in 1999. Many believed that it failed to capture the spirit of Lucas’ saga first established in the first three films. Despite the negative opinions, the movie proved to be a blockbuster champion at the box office. But public opinion of the movie in the following thirteen years remained negative. In fact, public opinion has not been that kind to the two movies that followed. When Lucas announced his intentions to re-release “THE PHANTOM MENACE” in 3D, many either wondered why he would bother or accused the producer of trying to milk the STAR WARS cash cow even further. As for me, I received the news with mixed feelings. When the movie was first released in 1999, I must admit that I enjoyed it very much, even though I would never view it as one of my top favorite STAR WARS movies. On the other hand, I despise the 3D process. I despised the use of it in movies like 2009’s “AVATAR” and my feelings for it had not changed when I last saw it used for “THE CHRONICLES OF NARNIA: VOYAGE OF THE DAWN TREADER”. But my love for STAR WARS overcame my distaste for 3D and I went to see the movie.

Like other STAR WARS, this one began in a galaxy, far, far away . . . thirty-two years before the events of the 1977 movie. Instead of an empire, this story is set during the Old Republic in which knights and masters of the religious Jedi Order serve as “the guardians of peace and justice in the galaxy” on behalf of the Republic Senate. A Jedi Master named Qui-Gon Jinn and his apprentice (or padawan) have been dispatched by the Senate’s Chancellor Finis Valorum to negotiate a peace between the planet Naboo and the Trade Federation, an organization who has decided to establish a blockade of battleships in response to a taxation on trade routes. The Federation has made this move on the “advice” of their partner, a Sith Lord (and enemy of the Jedi) named Darth Sidious. Unfortunately for Qui-Gon and Obi-Wan, the Trade Federation attempt to kill them on the order of Darth Sidious. Both Qui-Gon and Obi-Wan escape from the Trade Federation battleship and make their way to Naboo’s surface, during the former’s invasion of the planet. The pair enlists the help of Jar-Jar Binks and his fellow Gungans (Naboo’s underwater inhabitants) to reach Queen Padme Amidala, the planet’s 14 year-old ruler. They save her and her entourage, before making their escape from Naboo. Due to a failing power converter, the entire party make an emergency landing on the remote Tatooine in order to find the parts to fix the ship. In one of Tatooine’s major cities, Mos Espa; Qui-Gon, Padme (who is disguised as a royal handmaiden), and Jar-Jar meet a young slave boy named Anakin Skywalker. It is not long before Qui-Gon Their meeting will prove to not only have major consequences on the outcome between Naboo and the Trade Federation, but also upon the galaxy.

My recent viewing of “THE PHANTOM MENACE” made me realize that after 13 years, I still love the movie. Nothing has changed my view of the movie, including the addition of the 3D effects. However, I cannot deny that “THE PHANTOM MENACE” is perfect. I have my complaints. My major complaint was Lucas’ addition of the 3D effects. They were not impressive. I had expected them to be, considering the outstanding 3D effects of the updated STAR WARS attractions at the Disney amusement parks. But the movie’s effects proved to be a poor comparison and a not-so-surprising disappointment. My second complaint centered around the use of Tatooine as a setting. In fact, the saga’s use of Tatooine has proven to be a major disappointment since the first movie, 1977’s “A NEW HOPE”. Aside from a few sequences, Tatooine proved to be a major bore. After Qui-Gon and Padme‘s first meeting with Anakin, I had to struggle to stay awake before the podrace sequence. Lucas’ slow pacing and John Williams’ less-than-stellar score nearly put me to sleep. The only movie in which Tatooine proved to be interesting from start to finish was 2002’s “ATTACK OF THE CLONES”. I realize that many STAR WARS fans dislike the Gungans and specifically, one Jar-Jar Binks. There are times that I feel I could write a detailed essay on the fans’ dislike of Jar-Jar, but this is not the time or place for such an article. Although I harbor no dislike of Jar-Jar, there were a few times when I had some difficulty understanding his and the other Gungans’ dialogue.

It may not be perfect, but I cannot deny that I found “THE PHANTOM MENACE” enjoyable as ever. George Lucas wrote a complex, yet comprehensive tale that set in motion the downfall of the Galactic Republic, the Jedi Order and most of the major characters. “THE PHANTOM MENACE” offered a great deal for all ages and tastes. It provided a complex political tale that culminated in an exciting military battle that freed Naboo from the clutches of the Trade Federation. It provided an exciting duel between the two Jedi – Qui-Gon and Obi-Wan – and Sith Lord Darth Sidious’ apprentice, Darth Maul. The movie provided characters such as a nine year-old Anakin Skywalker, his Tatooine friends and Jar-Jar Binks for children. But the one thing that really impressed me was the exciting Boonta Eve Podrace that Anakin participated in order to win parts for Qui-Gon, Padme and their ship. In fact, if I had to choose my favorite sequence in the entire STAR WARS movie saga, it had to be the one featuring the podrace. This sequence began with the Skywalkers, Qui-Gon, Padme and Jar-Jar arriving at the Mos Espa arena and ended aboard the Nabooan starship when Qui-Gon introduced Anakin to Obi-Wan, following his brief duel with Darth Maul.

“THE PHANTOM MENACE” provided some solid acting, despite George Lucas’ cheesy dialogue. This is no surprise, considering that a combination of solid acting and cheesy dialogue has been the hallmark of STAR WARS movies since the first one in 1977. Ewan McGregor, Natalie Portman, Samuel L. Jackson, Ahmed Best, Hugh Quarshie, Terence Stamp, Andrew Secombe and Ray Parks all did solid work. It was nice to hear vocals from STAR WARS veterans Frank Oz, Anthony Daniels and Kenny Baker. The movie also featured brief moments for British stars such as Keira Knightley, Oliver Ford-Davies, Celia Imrie, Brian Blessed, and Richard Armitage. But there were a few performances that stood out. One came from Ian McDiarmid, who returned to portray Senator Palpatine of Naboo aka Darth Sidious for the second time in his career. Unlike his portrayal of Palpatine in 1983’s “RETURN OF THE JEDI”, his performance was a great deal more subtle and layered with much charm. Jake Lloyd may not have been the best child actor in existence, but I cannot deny that his Anakin Skywalker was like a ball of solar energy that charmed the pants off of me. The good-bye scene between Anakin and his mother, Shmi was one of the most poignant in the saga. Both Lloyd and Pernilla August did such a superb job that their performances brought tears to my eyes. And aside from a few wooden moments, I thought he handled the role rather well. But if I had to choose the best performance in the movie, I would select Liam Neeson as Jedi Master Qui-Gon Jinn. First of all, he did a great job in conveying Qui-Gon’s warmth and appeal. He made it easy for many to see why both Anakin and Obi-Wan viewed him as a father figure.

Since this is a STAR WARS movie, one might as well discuss the technical aspects of “THE PHANTOM MENACE”. Without a doubt, it is a beautiful looking movie. It was so beautiful that I did not know who to single out. But I can think of a few. First of all cinematographer David Tattersall did a beautiful job in photographing the movie’s locations of England, Tunisia and especially Italy. Thanks to Ben Burtt and Paul Martin Smith’s editing, the podrace and the Battle of Naboo proved to be two of the best sequences in the movie. And what can I say about Trisha Biggar’s dazzling costume designs? Just how beautiful are they? Take a look:

 

It seems a crime that Biggar’s work was never acknowledged by the Academy Arts of Motion Pictures and Sciences or the Golden Globes. At least she won a Saturn Award for the costumes in this movie.

However, it was George Lucas who put it altogether in the end. Twenty-two years had passed between the time he directed “A NEW HOPE” and “THE PHANTOM MENACE”. Personally, I thought he did a pretty damn good job. The 1999 movie was not perfect. And if I must be perfectly frank, I was not impressed by the movie’s 3D effects. But I am glad that I went to see “THE PHANTOM MENACE” in the movie theaters again. It reminded me that the STAR WARS had not lost its magic on the big screen.

“CENTENNIAL” (1978-79) – Episode Two “The Yellow Apron” Commentary

“CENTENNIAL” (1978-79) – Episode Two “The Yellow Apron” Commentary

Set during the 1810s and 1820s, the second episode of the NBC miniseries, “CENTENNIAL”, continued the story of French-Canadian trapper, Pasquinel; his Scottish-born partner, Alexander McKeag; and their relationship with Clay Basket, the daughter of an Arapaho warrior. “The Yellow Apron” explored how jealousies, resentments and desire nearly broke apart their tenuous relationship.

“The Yellow Apron” began in 1809, with Clay Basket giving birth to the first of hers and Pasquinel’s three children, Jacques. The story quickly jumped to 1811, with the birth of their second child, Marcel. By the time the story begins in earnest in 1816, Pasquinel is still obsessed in finding the gold that Lame Beaver had stumbled upon in the last episode. Because of his obsession, he asks McKeag to make the visit to the Bockweiss household in St. Louis for more goods to trade with the Plains tribes. Upon his arrival in St. Louis, McKeag learns that Bockweiss is anxious over his son-in-law’s failure to make the trip. He also learns that Lise Bockweiss Pasquinel has given birth to Pasquinel’s daughter, Lisette. And all of this happened within the episode’s first nine to ten minutes.

So much occurred in ”The Yellow Apron”. The episode saw the birth of Pasquinel’s four children – his children by Clay Basket (Jacques, Marcel and Lucinda) and his daughter by Lise (Lisette). McKeag has to deal with Jacques’ dislike of the Scots trapper and suspicion of Clay Basket’s love for him. Clashes with both the Native American world and the white world leave scars on Jacques, deepening his dislike of McKeag and leaving a mark on his psyche. Both McKeag and Clay Basket continue their struggle to keep their feelings for one another in check. And both have to contend with Pasquinel’s desire for gold and his penchant for leaving them all behind in order to be with his St. Louis wife, Lise. And Lise has to struggle between her own love for the French-Canadian trapper and her growing jealousy for his love of the West and a suspicion that he may have Native American wife. And although he seems very fond of Clay Basket, it is obvious that he is more divided by his feelings for Lise, the West and his desire for gold.

The episode’s last half hour spirals into a series of heartbreaking and bittersweet events. Jacques tries to kill McKeag in a fit of anger over a dispute regarding beaver traps. After the attack, McKeag leaves Pasquinel and the latter’s Arapaho family. After spending a winter inside a hut encased by a snowdrift, McKeag hooks up with a group of trappers that include Jim Bridger and James Beckwourth. They travel to a rendezvous for other mountain men. There, McKeag has an emotional reunion with Pasquinel. But McKeag’s lingering resentment toward his former partner makes the reunion short-lived. After one last trip to St. Louis, Lise convinces McKeag to reconcile with Pasquinel. Unfortunately, McKeag’s efforts to reconcile with his former partner come too late. Minutes earlier, Pasquinel is attacked and killed by a band of Ute warriors after finding the gold he had sought for so long. Despite the tragedy, McKeag and Clay Basket are now free to be together. And the Scots trapper agrees to claim Lucinda as his own. The episode ended with a shot of the gold nuggets that Pasquinel finally discovered, but failed to claim as his own due to his death. However, that final shot struck an ominous note . . . as conveying to the audience that not only will the nuggets be discovered again, but also bring havoc to the region. Especially for Pasquinel’s Arapaho family and other Native Americans.

I must admit that I found ”The Yellow Apron” is probably one of the most bittersweet episodes in this miniseries. And possibly one of the most epic. The latter is not surprising, considering that most of the episode spans nearly fifteen years. But what I really enjoyed about it was that it touched upon an era of the Old West that is rarely covered in Hollywood films or television. I say . . . rarely. There have been movies about trappers and mountain men of the early 19th century, but most Hollywood productions tend to focus upon the West between the 1840s and the 1880s. The episode featured the growing conflict between the Native Americans and whites (both mountain men and the military) that set foot on their lands. This conflict was apparent in an effective scene in which McKeag, Pasquinel and the latter’s Arapaho family visited a fort along the Missouri River, where they clash with a group of hostile American soldiers. Viewers also had an opportunity to enjoy a scene that featured a rendezvous between trappers and traders from many nations and Native Americans. Thanks to some detailed and colorful direction by Virgil W. Vogel, the scene not only went into detail over what transpired at a rendezvous – trading, horse and foot racing, target shooting, singing, dancing, gambling and other activities.

A yellow apron figured into a session of dancing, initiated by a mountain man playing a bag pipe. This incident led to an emotional reunion between Pasquinel and McKeag. Considering the acrimony (at least on McKeag’s part) that led to their separation, watching the two former friends dance away the bitterness proved to be one of the most poignant moments in the entire miniseries. The scene also proved to be one of the finest moments on screen for both Richard Chamberlain and Robert Conrad. In fact, this particular episode provided some of the best acting in the entire miniseries. Not only did Chamberlain and Conrad did some of their best work, so did the likes of Barbara Carrera and Sally Kellerman, who both did excellent jobs in conveying the emotional difficulties in being Pasquinel’s wife. I also have to commend the late Vincent Roberts’ portrayal of Jacques Pasquinel in his early teens. I thought he did a top notch job of conveying the young Jacques’ dislike and resentment toward McKeag without resorting to any over-the-top acting.

Directed by Virgil Vogel, ”The Yellow Apron” is without a doubt, one of my favorite episodes in the miniseries. Personally, I thought it conveyed the complex friendship between Pasquinel and Alexander McKeag with more depth than even ”Only the Rocks Live Forever”. Not only did it boast some first-rate performances, especially from Richard Chamberlain and Robert Conrad, but also provided one of the most memorable scenes in the entire miniseries.