“MURDER ON THE ORIENT EXPRESS” (2017) Review

 

“MURDER ON THE ORIENT EXPRESS” (2017) Review

When news of Twentieth Century Fox releasing its own version of Agatha Christie’s 1934 novel, “Murder on the Orient Express”, many people groaned. In a way, I could understand their reaction. This new movie would mark the fifth adaptation of the novel – the second theatrical version. However, being a major fan of Christie’s story about a murder aboard the famed trans-European train, I was among those who did not groan. 

Directed by Kenneth Branaugh, who also starred as Belgian detective Hercule Poirot, “MURDER ON THE ORIENT EXPRESS” begins in Jerusalem 1934, where Poirot has been asked to solve the theft of a valuable artifact from the Church of the Holy Sepulchre. After achieving his goal, Poirot boards a boat that conveys him to Istanbul in Turkey. Among his fellow passengers is a British governess named Mary Debenham and a Afro-British former-Army soldier-turned-physician named Dr. John Abuthnot. Poirot plans to remain in Istanbul for a few days of rest. But he receives a telegram, summoning him to London to solve another case. Monsieur Bouc, a young friend of his who happens to serve as a director of the Compagnie Internationale des Wagons-Lits, manages to acquire a berth in one of the second-class compartments in the Calais coach of the Orient Express.

Both Poirot and Bouc are surprised to discover that the Calais coach is unusually full for the winter season. A day following the train’s departure from Istanbul, one of the passengers – an American “businessman” named Samuel Rachett – informs Poirot that he had received death threats and wants to hire the Belgian detective to serve as his bodyguard. Due to his instinctive dislike of Rachett, Poirot refuses the offer. During the second night of the train’s journey, the Orient Express becomes stranded somewhere between Vinkovci and Brod, thanks to an avalanche. The following morning, Rachett’s dead body is discovered with a dozen stab wounds. Bouc asks Poirot to discover the killer’s identity. Since each train car was locked at night, Poirot has focused his suspicions on those who were inside the Calais coach:

*Mary Debenham
*Dr. John Abuthnot
*Hector McQueen, Rachett’s secretary
*Edward Masterman, Rachett’s English valet
*Mrs. Caroline Hubbard, a middle-aged American tourist
*Pilar Estravados, a Spanish-born missionary
*Princess Dragomiroff, an exiled Russian princess
*Hildegarde Schmidt, Princess Dragomiroff’s German maid
*Biniamino Marquez, a Spanish-born automobile salesman
*Count Rudolph Andrenyi, a Hungarian aristocrat/acclaimed dancer
*Countess Helena Andrenyi, Count Andrenyi’s German-born wife
*Gerhard Hardman, a German scholar
*Pierre Michel, the Calais coach’s car attendant

Not long after he begins his investigation, Poirot discovers Rachett’s true identity – a gangster named Lanfranco Cassetti, who had kidnapped a three year-old heiress named Daisy Armstrong two years earlier. After Daisy’s parents had paid the ransom, Cassetti killed young Daisy and fled the United States. It becomes up to Poirot to discover which Calais coach passengers have connections to the Armstrong kidnapping case and find the killer.

What can I say about this adaptation of Christie’s 1934 novel? Of the five versions of “Murder on the Orient Express”, I have only seen four. But I am not here to discuss the other three versions I have seen . . . only this new adaptation.

“MURDER ON THE ORIENT EXPRESS” was not a perfect movie. Well to be honest, I have yet to see a perfect adaptation of Christie’s novel. But there were a few aspects of this film that I did not like. Most of those aspects had a lot to do with camera shots. I did not like how Branaugh had allowed his passengers to board through the dining car at the end of the train. Honestly? I did not care for that tracking shot of Poirot making his way through the train . . . with the camera focused on him through the windows. I found it rather distracting and slightly confusing. Nor did I care for how Branaugh and cinematographer Haris Zambarloukos shot the scene featuring the discovery of Rachett’s body. From the moment when the victim’s valet discovered the body to Dr. Abuthnot examined it and conveyed his prognosis, Branaugh and Zambarloukos did the entire scene from a high angle shot from above in which I could barely, if at all, see the victim’s body. I found it very frustrating to watch. And rather unnecessary. I have one last complaint and it concerned a character. Namely . . . Count Rudolph Andrenyi. In Christie’s novel, Count Andrenyi was described as a hot-blooded Hungarian and a diplomat. In “MURDER ON THE ORIENT EXPRESS”, the Count remained a hot-blooded Hungarian. But for some reason, Branaugh and screenwriter Michael Green had decided to change his profession from a diplomat to a professional dancer. Why? Other than showing Count Andrenyi in a fight with two men at the Sirkeci train station, I saw no earthly reason to change the character’s profession. Worse, while being questioned by Poirot, the latter brought up the matter of a diplomatic passport. Why would Poirot bring up this matter to a man who was a professional dancer?

Thankfully, I managed to enjoy “MURDER ON THE ORIENT EXPRESS” a great deal, despite its flaws. Thanks to Branaugh and a first-rate crew, the movie radiated a sharp rich elegance that struck me as different as the previous adaptations. And I have to give credit to cinematographer Zambarloukos for this look. There were others who had contributed to the film’s look and style. I especially have to commend production designer Jim Clay for his re-creation of the Orient Express – along with the help of the art direction team led by Dominic Masters and set decorator Rebecca Alleway:

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I doubt that the film’s re-creation of the famous luxury train at Longcross Studios was completely accurate. But I must admit that I was more than impressed by how people like Clay, Masters and Alleway still managed to re-create the style and ambiance of the famous train. My admiration for their work at Longcross also extends to their re-creation of the famous Sirkeci railway station. I found it rich in detail and atmosphere . . . and if I must be honest, slightly mind blowing:

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I suspect that none of crewmen who worked on “MURDER ON THE ORIENT EXPRESS” will receive any recognition from the Academy of Motion Picture Arts and Sciences for their work. Pity. As for Patrick Doyle’s score, I must be honest and admit that I did not find it particularly memorable. In fact, I found Doyle’s occasional use of 1930s tunes more memorable than his original work.

How did I feel about Branaugh and screenwriter Michael Green’s treatment of Christie’s novel? Aside from my nitpick about the Count Rudolph Andrenyi character, I had no problems with it. Yes, I realize that both Branaugh and Green had made some changes to Christie’s story. But you know what? So did the other versions I have seen. And there were no real changes to the plot, aside from allowing the Daisy Armstrong kidnapping to occur two years previously, instead of more. Most of the changes were made to some of the characters, instead of the plot. For instance:

*Although Hector McQueen had remained Rachett’s secretary, he was discovered to be embezzling from the latter.
*John Abuthnot is portrayed as an Afro-British doctor, who is also a former Army sniper, instead of a British Army colonel stationed in India
*Swedish-born missionary Greta Ohlsson becomes the Spanish-born missionary Pilar Estravados, whose name was borrowed from Christie’s 1938 novel, “Hercule Poirot’s Christmas”
*Italian-born car salesman Antonio Foscarelli becomes the Spanish-born salesman Biniamino Marquez
*Monsieur Bouc is portrayed as a much younger man, who profession is dependent upon family connections

As one can see, the changes in characterizations is based upon changes in ethnicity and nationality. Hell, I had more of a problem with the changes made by the Count Andrenyi character than I did with the above changes. And if I must be honest, I found the changes made to the John Abuthnot character rather impressive and interesting. Despite these changes, he remained intensely in love with Mary Debenham and protective of her. Another change I noticed is that Branaugh and Green had allowed Poirot to question the suspects in different parts of either the Calais coach, the dining car, the Pullman lounge car and various spots outside of the stranded train. I must admit that I found this variation in minor locations around the train rather refreshing. Watching Poirot question most of the suspects (with the exception of Princess Dragonmiroff and Hildegarde Schmidt) inside the Pullman coach had struck me as a bit repetitive in the 1974 and 2010 versions.

I would not be surprised if certain Christie fans and film critics had accused Branaugh of political correctness. Not only did the screenplay pointed out Dr. Abuthnot’s race via characters like Gerhard Hardman, but also Biniamino Marquez’s ethnicity via Hector McQueen. Considering that the movie is set in 1934, I did not mind. More importantly, it would have been odd if someone had not commented on Dr. Abuthnot’s race or Senor Marquez’s nationality. In fact, in Christie’s original novel, some characters made a big deal over the nationalities of the other suspects.

The important thing is that despite these changes, Michael Green’s screenplay more or less adhered to Christie’s novel. And he did so with style and a good deal of pathos in the film’s last half hour that I found more than satisfying. I was especially surprised by how the film treated Poirot’s character in the end. In the novel and previous adaptations, Poirot had remained on the train after solving the murder. Not in this adaptation. After exposing the crime and reporting his findings to the police in Brod, Poirot left the train. And I was thrilled. As I have stated numerous times, if I had been Poirot, I would have left that train myself.

I must admit that I had experienced a few qualms when I learned that Kenneth Branaugh had cast himself as the Belgian detective, Hercule Poirot. The large moustache he had utilized for his performance did not comfort me, until I realized that it matched the description of the literary Poirot’s moustache. I have stated in the past that I believe that British actors with a Continental background – like Peter Ustinov, Alfred Molina and David Suchet – tend to give more believable portrayals of Poirot than English speaking actors. Branaugh ended up proving me wrong. He gave a very charming and energetic performance as Poirot, without wallowing in the occasional moments of hammy acting. I also enjoyed how he portrayed Poirot’s development in the story from a charming and intelligent man seeking a little peace before his next case to the slightly outraged man who found himself conflicted over how to handle the consequences of Rachett’s murder.

There were other performances that I found very interesting. One came from Johnny Depp, who gave an effectively slimy portrayal of the former kidnapper-turned-murder victim. His performance really impressed me, especially in one particular scene in which Rachett requested Poirot’s services as a bodyguard. Depp displayed his versatility as an actor by conveying his character’s attempt at friendliness and a sinister form of intimidation. I also appreciated Michelle Pfieffer’s portrayal of the extroverted Caroline Hubbard, which I found both humorous and sexy. And yet, Pfieffer’s finest moment came near the film’s end, when Poirot exposed her character’s deep secret. She gave a very emotional and effective performance. Leslie Odom Jr. and Daisy Ridley portrayed the two suspects that Poirot had first encountered – namely Dr. John Abuthnot and Mary Debenham. It is interesting that the literary versions of this pair proved to be more hostile (and bigoted) toward Poirot than the other passengers. In this version, both are more friendlier toward Poirot, yet both maintained a subtle wariness toward his presence. I also enjoyed how Odom and Ridley managed to convey more complexity into their performances, when confronted with their lies by Poirot and their willingness to fiercely protect each other.

I never thought I would say this, but I thought Josh Gad gave the most complex performance as Rachett’s secretary, Hector McQueen I have ever seen on screen. Thanks to Gad’s first-rate performance, his McQueen literally oozed with moral ambiguity – especially in the film’s second half. Another interesting performance came from Derek Jacobi, who portrayed Rachett’s English valet, Edward Masterman. I was particularly impressed at how Jacobi conveyed his character’s nervousness in being caught in a slip of character by Poirot. And there was Penelope Cruz’s performance as the Spanish missionary, Pilar Estravados. Cruz’s portrayal of the missionary was a far cry from the literary character by portraying her not only as intensely religious, but also intense and slightly intimidating. I found her performance very interesting. Judi Dench gave a very imperious and entertaining performance as the elderly Princess Dragonmiroff. The movie also featured first-rate performances from the rest of the cast that included Olivia Colman, Tom Bateman, Manuel Garcia-Rulfo, Willem Dafoe, Marwan Kenzari, Lucy Boynton and yes, Sergei Polunin. I may not have liked the change made to the Count Andrenyi character, but I cannot deny that Poluin gave an effective performance.

I recently learned that 20th Century Fox given approval for a sequel to “MURDER ON THE ORIENT EXPRESS”. It may not have been a major box office hit, but it was financially successful. Personally, I am glad. I really enjoyed this new take on Christie’s 1934 novel. And I was not only impressed by the cast’s excellent performances in this film, but also by Kenneth Branaugh’s direction and his superb portrayal of the Belgian detective, Hercule Poirot. If a sequel is being planned, I cannot wait to see him reprise his portrayal of the famous literary sleuth.

 

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“PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” (2017) Review

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“PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” (2017) Review

I have a confession to make. When the Disney Studios had released the fourth movie in the “PIRATES OF THE CARIBBEAN” franchise, I wished they had never done it. I wished that a fourth film had never been made. I also believed that the franchise was fine after three movies. Then I learned that a fifth film was scheduled to be released this summer and . . . yeah, I was not pleased by the news. But considering that I can be such a whore for summer blockbusters, I knew that I would be watching it. 

Directed by Joachim Rønning and Espen Sandberg, “PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” seemed to be a story about the search for the trident of the sea god Poseidon. Two years after the post-credit scene from 2007’s “PIRATES OF THE CARIBBEAN: AT WORLD’S END”, Henry Turner, the son of Will Turner and Elizabeth Swann Turner boards the Flying Dutchman to inform his father of his discovery that the mythical Trident of Poseidon is able to break the Flying Dutchman’s curse and free him from his ship. Henry plans to seek Jack Sparrow’s help to find it. Will does not believe the Trident exists and orders Henry to leave his ship and stay away from Jack. Nine years later, Henry finds himself serving aboard a British Royal Navy warship as a seaman. He realizes the ship is sailing into the Devil’s Triangle. The captain dismisses his concerns and has Henry locked up for attempting a mutiny. Upon entering the Triangle, the ship’s crew discovers a shipwreck that belongs to a Spanish Navy officer named Captain Armando Salazar and his crew, who had become part of the undead after being lured into the Triangle. Salazar and his crew slaughter everyone on board the warship, except for Henry. Discovering that Henry is searching for Jack, Salazar instructs Henry to tell Jack that death is coming his way. Some twenty to thirty years earlier, Salazar was a notorious pirate hunter who had been lured into the Triangle and killed by Jack, who was the young captain of the Wicked Wench at the time. Due to the Triangle’s magic, Salazar and his crew became part of the undead.

Years later, a young woman named Carina Smyth is about to be executed for witchcraft on the British-held island of Saint Martin, due to her knowledge of astronomy and horology. She is also interested in finding the Trident, for she sees it as a clue to her parentage. During a prison break, she gets caught up in an attempt by Jack and his small crew, which includes Joshamee Gibbs and Scrum (from the fourth film), to steal a bank vault on the island of Saint Martin. Jack is abandoned by his crew when the vault turns up empty. Desolate, he gives up his magical compass for a drink at a tavern and unexpectedly frees Salazar and his crew from the Triangle. He is also captured by the British Army. Carina meets Henry, who is awaiting execution for what happened aboard his ship. Both realize that for different reasons, they are searching for Poseidon’s Trident. Henry escapes, but Carina finds herself a prisoner again. Henry arranges both hers and Jack’s escape from execution. Jack also becomes interested in finding the Trident, for he hopes to use it free himself from Salazar’s wrath.

I once came upon an article that complained about the lack of consistency in the “PIRATES OF THE CARIBBEAN”franchise. When I first heard about this movie, I must admit that I was annoyed to learn that Will Turner would still be entrapped by the Flying Dutchman curse after the post-credit scene from “AT WORLD’S END”. I realize that the Disney suits had believed that Will was permanently trapped by the Flying Dutchman curse, but I thought that Terry Rossio and Ted Elliott’s claim – that Elizabeth’s ten year wait – had broken the curse. Apparently I was wrong . . . and annoyed at the same time. But Will’s situation was a mere annoyance for me. The situation regarding Jack’s compass – you know, the one that directs a person to one’s heart desire – really annoyed me. According to the 2006 movie, “PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST”, Jack had first acquired the compass from Vodou priestess Tia Dalma aka the goddess Calypso. Yet, according to a flashback in this movie, Jack was given the compass from his dying captain, during the Wicked Wench’s encounter with Captain Salazar. What else is there to say, but . . . blooper.

Another matter that annoyed me was the setting for the protagonists’ final battle against Captain Salazar and his crew. I wish I could explain it. I believe that the setting was located . . . underwater, thanks to the mysterious stone that Carina Smyth had inherited from her parents. I simply found it murky and unsatisfying. And I wish that final conflict had been set elsewhere. I have one last complaint. The movie’s post-credit scene featured a character’s dream of former antagonist Captain Davy Jones in shadow form. The character had awaken, but the scene’s last shot focused on puddles of water and a few bits of tentacles. Was this the franchise’s way of hinting the return of Davy Jones? I hope not. Captain Jones was a great villain, but two movies featuring his character were enough. The last thing I want to see in another film is the return of the Flying Dutchman curse or Jones.

Yes, “PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” has its flaws. But it also had plenty of virtues that made me enjoy the film. One of the aspects of the film that I enjoyed was the story written by Jeff Nathanson and Terry Rossio. Old “ghosts” from the past have always played a role in the plots from the franchise’s past four films. But the past played a major, major role in this film for not only Jack Sparrow, but also four other characters – Henry Turner, Carina Smyth, Hector Barbossa and even Captain Armando Salazar. I found the story between Jack and Captain Salazar rather ironic, considering that the latter proved to be the franchise’s first villain to seek personal revenge against the former. For the other three, I found their stories rather poignant in the end. And because of this, I found “DEAD MEN TELL NO TALES” to be the most emotionally satisfying entry in the franchise. This proved to be the only PIRATES OF THE CARIBBEAN film in which I broke into tears at least three times.

Poignant or not, the franchise’s trademark humor and action were on full display in this movie. In fact, I can think of at least three major scenes that I believe effectively displayed both traits. One of them involved Jack and the Dying Gull (appropriate name for Jack’s latest ship) crew’s attempt to rob the new bank on Saint Martin. Not only did it lead to Carina’s first escape from a hangman’s noose, but also a merry chase that involved the Dying Gull’s crew, the British Army, along with Jack and the banker’s wife inside of a stolen vault. The second scene that had me both laughing and on edge involved Henry and the Dying Gull’s successful rescue of Jack and Carina from being hanged. The third scene had me more on edge than laughing for it involved Jack, Henry and Carina’s attempt to survive Salazar’s attack upon their rowboat (ghost shark anyone?) as they headed for shore.

“DEAD MEN TELL NO TALES” featured the fourth major location for the movie franchise – Australia. Although I found it a pity that the movie did not use any of the Caribbean islands for filming locations, I must admit that production designer Nigel Phelps made great use of the Australian locale, especially in his creation of the Saint Martin town and the Turners’ home. On the other hand, I found Paul Cameron’s photography rather beautiful, colorful and sharp. I thought Roger Barton and Leigh Folsom Boyd’s film editing was first-rate, especially in the action sequences that featured the bank vault chase, the rescue of Jack and Carina, and the shark attack. I wish I could say the same about the final action sequence, but I must admit that I was not that impressed.

I was impressed by the performances featured in “DEAD MEN TELL NO TALES”. The movie possessed a first-rate supporting cast that featured the return of Kevin R. McNally as Joshamee Gibbs, Stephen Graham as Scrum, Martin Klebba as Marty, Angus Barnett as Mullroy and Giles New as Murtogg. Scrum, who was last seen as part of Hector Barbossa’s Queen Anne’s Revenge crew, had decided to join Jack Sparrow’s crew aboard the Dying Gull. And the presence of Marty, Mullroy and Murtogg revealed that Barbossa was not the only who had escaped Blackbeard’s capture of the Black Pearl. The movie also revealed the return of Orlando Bloom and Keira Knightley as Will Turner and Elizabeth. Their final reunion near the end of the film proved to be one of the most emotionally satisfying and poignant moments in the entire franchise.

There were other great supporting performances that caught my eye. One came from David Wenham, who was in fine, villainous form as Lieutenant John Scarfield, a very bigoted Royal Navy officer who was after Jack, Henry Turner and Carina Smyth. Golshifteh Farahani gave a rather interesting and strange performance as a witch named Shansa, whom many seafarers sought for advice. Adam Brown (from “THE HOBBIT” Trilogy) and Delroy Atkinson proved to be entertaining additions to Jack’s crew and the franchise. Juan Carlos Vellido gave a rather intense performance as Captain Salazar’s first officer, Lieutenant Lesaro. Since Keith Richards was unable to return as Jack’s father, Captain Edward Teague, producer Jerry Brockheimer managed to cast former Beatles Paul McCartney as the former’s brother and Jack’s uncle, Jack Teague. And I did not know that McCartney was not only a first-rate actor, but one with great comic timing.

I had been familiar with Brenton Thwaites’ previous work in movies like “MALEFICENT” and “GODS OF EGYPT”. But I was surprised by how much I enjoyed his portrayal of Will and Elizabeth’s son, Henry Turner. Thwaites did an excellent job in combining the traits of Henry’s parents, while making the character a complete individual on his own. Kaya Scodelario was equally effective as science enthusiast, Carina Smyth. Thanks to Scodelario’s skillful performance, Carina was an intelligent and charismatic woman. The actress also had a strong screen chemistry with her co-star, Thwaites.

But the three performances that stood above the others came from Geoffrey Rush, Javier Bardem and of course, Johnny Depp. It is hard to believe that Rush first portrayed Hector Barbossa as a slightly crude, yet cunning, cold-blooded and ambitious pirate. Thanks to Rush’s superb portrayal, Barbossa still possessed those traits, but the latter had developed into a successful man, who also possessed a heartbreaking secret that he managed to keep close to his chest. I must admit that I did not particular care for Javier Bardem’s portrayal as a Bond villain in 2012’s “SKYFALL”. I found it too hammy. Thankfully, Bardem’s portrayal of the villainous Captain Armando Salazar seemed a great deal more skillful to me. Bardem’s Armando Salazar was no mere over-the-top villain, but a vengeful wraith willing to use any method and form of manipulation to capture his prey. Someone once complained that Depp’s Jack Sparrow seemed different or a ghost of his former self. I could not agree. Depp’s Sparrow was just as selfish, manipulative, horny and humorous as ever. Yet, this Jack Sparrow was at least nineteen years older than he was in “PIRATES OF THE CARIBBEAN: AT WORLD’S END”. Despite having a miniaturized Black Pearl in his possession for several years, Jack has been forced to settle for a creaking tub called the Dying Gull and a small crew. Worse, he and his men have experienced a series of failures in their attempt to make that great score. If Jack seemed a bit different in this film, it is because he is older and not as successful as he would like to be. And Depp, being the superb actor that he is, did an excellent job in conveying Jack’s current failures in his performance.

Would I regard “PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” as my favorite film in the Disney franchise? Hmmm . . . no. The movie possessed one or two bloopers in regard to the franchise’s main narrative. I was not that impressed by the watery setting for Jack and Salazar’s final confrontation. And I did not care for the hint of a past villain’s return in the film’s post-credit scene. But I really enjoyed the excellent performances by a cast led by the always talented Johnny Depp and the first-rate direction of Joachim Rønning and Espen Sandberg. And I especially story created by Jeff Nathanson and Terry Rossio. Not only did it feature the usual hallmarks of a first-rate PIRATES OF THE CARIBBEAN film, for me it made “DEAD MEN TELL NO TALES” the most poignant and emotionally satisfying movie in the entire franchise.

Top Ten Favorite Movies Set Between 1700 and 1749

Below is my current list of favorite movies set between 1700 and 1749: 

TOP TEN FAVORITE MOVIES SET BETWEEN 1700 AND 1749

1. “Tom Jones” (1963) – Tony Richardson directed this Best Picture Oscar winner, an adaptation of Henry Fielding’s 1749 novel, “The History of Tom Jones, a Foundling”. The movie starred Albert Finney and Susannah York.

2. “Pirates of the Caribbean: Dead Man’s Chest” (2006) – Gore Verbinski directed this second entry in Disney’s “PIRATES OF THE CARIBBEAN” franchise about the search for the chest that contains Davy Jones’ heart. The movie starred Johnny Depp, Orlando Bloom and Keira Knightley.

3. “Pirates of the Caribbean: Curse of the Black Pearl” (2003) – Gore Verbinski directed this first entry in Disney’s “PIRATES OF THE CARIBBEAN” franchise about a dashing pirate who forms an alliance with an apprentice blacksmith in order to save the latter’s beloved from a crew of pirates – the very crew who had mutinied against the former. The movie starred Johnny Depp, Geoffrey Rush, Orlando Bloom and Keira Knightley.

4. “Kidnapped” (1960) – Peter Finch and James MacArthur starred in Disney’s 1960 adaptation of Robert Louis Stevenson’s 1886 novel about family betrayal in 1740s Scotland. Robert Stevenson directed.

5. “Pirates of the Caribbean: At World’s End” (2007) – Gore Verbinski directed this third entry in Disney’s “PIRATES OF THE CARIBBEAN” franchise about the Pirate Lords’ alliance and their stand against the East Indian Trading Company and Davy Jones. The movie starred Johnny Depp, Orlando Bloom, Keira Knightley and Geoffrey Rush.

6. “Against All Flags” (1952) – Errol Flynn and Maureen O’Hara starred in this swashbuckler about a British sea officer who infiltrates a group of pirates on behalf of the government bring them to justice. George Sherman directed.

7. “Rob Roy” (1995) – Liam Neeson and Jessica Lange starred in this adventure film about Scottish chieftain Rob Roy McGregor and his conflict with an unscrupulous nobleman in the early 18th century Scottish Highlands. Michael Caton-Jones directed.

8. “The Master of Ballantrae” (1984) – Michael York, Richard Thomas, Fiona Hughes and Timothy Dalton starred in this second adaptation of Robert Louis Stevenson’s 1889 novel about two estranged Scottish noblemen, who are also brothers. Douglas Hickox directed.

9. “Swashbuckler” (1976) – Robert Shaw starred in this adaptation of Paul Wheeler’s story, “The Scarlet Buccaneer”, about a early 18th century pirate who forms an alliance with the daughter of a disgraced judge against an evil imperial politician. James Goldstone directed.

10. “The Master of Ballantrae” (1953) – Errol Flynn, Anthony Steel and Roger Livsey starred in an earlier adaptation of Robert Louis Stevenson’s 1889 novel about two estranged Scottish noblemen, who are also brothers. William Keighley directed.

“FANTASTIC BEASTS AND WHERE TO FIND THEM” (2016) Review

 

“FANTASTIC BEASTS AND WHERE TO FIND THEM” (2016) Review

After the 2011 movie “HARRY POTTER AND THE DEATHLY HALLOWS, PART II” hit the movie theaters, I had assumed that would be the last film set in J.K. Rowling’s “wizarding world of Harry Potter”. Her 2007 novel, “Harry Potter and the Deathly Hallows” was her last one in a series of seven books. But . . . lo and behold, Warner Brothers Studios, who had released the films based upon her novel, found a way to continue the series. The end result was the release of the recent film, “FANTASTIC BEASTS AND WHERE TO FIND THEM”.

“FANTASTIC BEASTS AND WHERE TO FIND THEM” is based upon a 2001 book written by Rowling. Somewhat. First of all, the book is not a novel, but a “scholarly” book about the magical creatures found in the Harry Potter universe. Second of all, the book was published under the fictional pen name of one Newt Scamander. What Rowlings, who served as the film’s screenwriter, did was used the Newt Scamander pen name and transformed him into the movie’s main character. In the film, British wizard and “magizoologist” Newt Scamander arrives by boat to New York City in the fall of 1926. Newt has arrived in the United States to release a magical creature called the Thunderbird in the Arizona desert. While listening to a sidewalk speech given by a non-magical (No-Maj) fanatic named Mary Lou Barebone, one of his charges – a creature called Nifler escapes from his magically expanded suitcase, which contains other magical creatures. Even worse, he meets No-Maj cannery worker and aspiring baker Jacob Kowalski, and they accidentally swap suitcases. As Newt struggles to regain possession of his suitcase, Nifler and other magical creatures that have managed to escape; he runs afoul of the Magical Congress of the United States of America (MACUSA), thanks to a demoted auror named Porpentina “Tina” Goldstein, eager to regain her position. Between his search for his missing magical creatures, regaining his suitcase from Jacob Kowalski and the MACUSA; Newt has to deal with a creature called the Obscurus, which uses children as host bodies and is causing destruction around Manhattan and not attract the attention of Ms. Barebone and her abused adopted children – including the adolescent Credence Barebone.

When I first saw “FANTASTIC BEASTS AND WHERE TO FIND THEM”, I was surprised to discover that J.K. Rowling was the movie’s sole screenwriter. I found this especially surprising, considering that one of the movie’s producers happened to be Steve Kloves, who had served as screenwriter for seven of the eight “HARRY POTTER” movies. And I must say that I thought she did a pretty damn good job. At first, I thought Rowling had created a disjointed tale. The movie seemed to possess at least three separate plot lines:

*Newt’s search for the missing creatures in his possession

*The Obscurus’ destruction

*Mary Lou Barebone’s anti-magic campaign

But Tina Goldstein finally exposed Newt’s magical suitcase to MACUSA, Newt’s plot line became connected to the story arc regarding the Obscurus. And both story arcs became connected to Mrs. Barebone’s anti-magic campaign when audiences learned that MACUSA Director of Magical Security Percival Graves had recruited Credence to help him locate the child who might be the Obscurus. Seeing how these individual story arcs formed to become part of one main narrative reminded me of the 2008 World War II Spike Lee drama, “MIRACLE AT ST. ANNA”. Speaking of World War II, I was happily surprised to learn that a major plot twist near the end of “FANTASTIC BEASTS” promises to lead to the featured a major plot twist that will serve as part of this new series’ main narrative about the upcoming Global wizarding war that will play out during the rise of fascism and the war. How clever of Rowling.

What else did I like about the movie? Frankly, the production designs. I was very impressed by Stuart Craig and James Hambidge’s re-creation of 1926 Manhattan. For me, among their best work proved to be their creation of a 1920s magical speakeasy operated by a goblin gangster named Gnarlack. Nor am I surprised that the pair managed to earn an Oscar nomination for their work. I was also impressed by Colleen Atwood’s costume designs for the film. One, she did an excellent job in re-creating the fashion of the mid-1920s. More importantly, Atwood put an interesting fantasy twist for the costumes worn by the magical characters. For some reason, the clothes worn by the American wizarding community of the 1920s seemed to be more tasteful and elegant than those worn by the British wizarding community of the late 20th/early 21st century. And guess what? Ms. Atwood also earned an Oscar nomination for her work. The only problem I had with the movie’s technical effects was Philippe Rousselot’s photography. Mind you, I had no problems with the film’s epic sweep. But I did not particularly care for the photography’s brown tint – a color that I personally found unnecessary and rather disappointing. I realize that the story is set during the middle of autumn. But was it really necessary to photograph the movie with an unflattering brown tint to indicate the time of the year?

I certainly had no problems with the movie’s performances. Eddie Redmayne did a marvelous job in portraying the introverted wizard Newt Scamander, who seemed to have an easier job of interacting with the creatures in his care instead of his fellow humans. I also noticed that in one hilarious scene, which involved Newt’s attempt to recapture an African Erumpent at the city zoo, Redmayne displayed a talent for physical comedy by engaging with a “mating dance” with the animal. Katherine Waterston, whom I last saw in the 2015 drama “STEVE JOBS”, gave a very intense, yet engaging performance as the demoted auror, Porpentina “Tina” Goldstein. I was impressed by how Waterston combined two aspects of Tina’s personality – her driving ambition, which has come close to undermining her strong penchant for decency on a few occasions. Dan Fogler gave a very entertaining and funny performance as the No-Maj cannery worker and wannabe baker, Jacob Kowalski. Not only did I find his performance very funny, he also managed to create a strong screen chemistry with both Eddie Redmayne and Alison Sudol, who portrayed Tina’s sister Quennie Goldstein. Sudol was an absolute delight as the carefree witch, who is not only proficient in Legilimens, but who also falls in love with Jacob.

I never thought I would see Colin Farrell in a “HARRY POTTER” film. To be honest, he never struck me as the type. But he seemed to fit quite well in his excellent portrayal of the ruthless and intense Auror and Director of Magical Security for MACUSA, Percival Graves. I was especially impressed with his performance in scenes that featured Graves’ interactions with Credence Barebone – scenes that seemed to hint some mild form of erotic manipulation. Speaking of Mr. Barebone, Ezra Miller was in fine form as the emotionally repressed Credence. The ironic thing about Miller’s performance is that at first, his character seemed slightly creepy. In fact, one could label his Credence a “young American Severus Snape with a bad haircut and no wit”. Thanks to Rowling’s screenplay and Miller’s performance, I came away with a portrait of a sad and abused young man, who hand channeled his anger at those who exploit him via magic.

“FANTASTIC BEASTS AND WHERE TO FIND THEM” marked the first time in which I can recall a magical person of color as a major supporting role – namely the MACUSA’s elegant president Seraphina Picquery, portrayed by Carmen Ejogo. Unlike characters such as Dean Thomas or Kingsley Shacklebolt, President Picquery was not simply allowed to speak a few lines before being swept to the sidelines or off screen. Audiences received more than a glimpse of the glamorous Seraphina. I was also happy to discover that President Picquery was not portrayed as some one-dimensional character without any depth. Thanks to Ejogo’s skillful performance, she portrayed the MACUSA as a pragmatic and ruthless woman who could be quite ambiguous in her efforts to maintain order within the American wizarding community. I found myself equally impressed by Samantha Morton’s portrayal of the religious fanatic, Mary Lou Barebone. What really impressed me about Morton’s performance is that she did not resort to excessive dramatics to convey Mrs. Barebone’s fanatical . . . and abusive personality. Morton gave a subtle and intense performance that conveyed a portrait of a rather frightening woman – especially one who was not magical. The movie also featured solid performances from Jon Voight, Ronan Raftery, Josh Cowdery, Faith Wood-Blagrove and Ron Perlman’s voice. The movie also featured a surprise cameo appearance from Johnny Depp, whose character will play an important role in the sequel films that will follow this one.

I find it ironic that when I had first learned about the plans for “FANTASTIC BEASTS AND WHERE TO FIND THEM”, I was against it. I thought J.K. Rowling and Warner Brothers Studio had taken the Harry Potter franchise as far as it could go after seven novels and eight films. And yet . . . after seeing this film, I immediately fell in love with it. The movie had a few flaws. But I ended up enjoying it, thanks to the complex plot written by Rowling, David Yates’ solid direction, the visual effects and the first-rate cast led by Eddie Redmayne. And now . . . I look forward to seeing more films about the different wizarding communities during the early 20th century.

 

“THE LONE RANGER” (2013) Review

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“THE LONE RANGER” (2013) Review

My memories of the 1950s television series, “THE LONE RANGER”, is a bit sketchy. Actually, it is downright vague. I can recall Clayton Moore and Jay Silverheels in their costumes – the latter wearing a mask. I can recall Moore bellowing “Hi ho Silver!” every once in a while. And I do recall that the series was shot in black-and-white. I have no memories of a particular episode or storyline. I never invested any genuine interest in the series during my childhood. 

When I learned that the Disney Studios and Jerry Bruckheimer planned to produce a movie about the Lone Ranger, I regarded the announcement with very little interest. Not even the news that Johnny Depp would portray Tonto could generate any excitement within me. Usually, I would have been excited by the news of another collaboration between Bruckheimer and Depp – especially since this collaboration marked the return of Gore Verbinski as director. But my lukewarm regard toward the old “THE LONE RANGER” made it impossible for me get excited. Instead, I merely adopted an attitude of “wait and see” and dismissed the news from my mind . . . until the release date for the movie finally approached.

Directed by Gore Verbinski, “THE LONE RANGER” was not only based upon the 1950s television show, but also the 1933 radio program. The movie is basically an origin tale of how a Commanche named Tonto met the man who became the Lone Ranger. It begins in San Francisco 1933, in which Will, a young boy and fan of the Lone Ranger myth, meets the elderly Tonto at a Wild West exhibition at a local fair. The story jumps back 64 years to 1869 in Colby, Texas; where a young attorney named John Reid is returning home by train to become an assistant district attorney. Also traveling on the train as prisoners is the notorious outlaw Butch Cavendish and Tonto. Cavendish is heading back to Colby to be hanged, following his capture by John’s older brother Dan and the other Texas Rangers in the area. However, Cavendish’s gang manages to rescue their leader and escape, leaving John, Tonto and other passengers aboard a runaway train. The latter eventually derails at a rail construction site for the unfinished Transcontinental Railroad and Tonto is arrested by the Reid brothers. Dan, who is married to John’s childhood love Rebecca Reid, deputizes his younger brother as a Texas Ranger before the whole group sets out to recapture Cavendish and his gang. Unfortunately for the Reid brothers and their fellow Rangers, there is a traitor amongst them who sets them up to be ambushed and killed by the Cavendish gang. Only John survives, due to the assistance of Tonto, who managed to escape jail. Seeking revenge, John sets out to find and capture Cavendish with Tonto’s help; unaware that the Commanche has his own vengeful agenda regarding Cavendish.

The question remains . . . did I enjoy “THE LONE RANGER”? I can honestly say that I did not like it as much as I had liked the three “PIRATES OF THE CARIBBEAN” movies that Gore Verbinski had directed – “THE CURSE OF THE BLACK PEARL”“DEAD MAN’S CHEST” and “AT WORLD’S END”. I take some of that back. Perhaps I liked it as much as I did “AT WORLD’S END”. I certainly liked it more than the fourth “PIRATES” movie, “ON STRANGER TIDES”. However, “THE LONE RANGER” had its flaws. One, I found the 149 minutes running time a bit too long about the movie adaptation of an old radio/television character. This movie could have undergone a bit more trimming, leaving the movie slightly longer than 120 minutes. What could Verbinski, Bruckheimer and the three screenwriters have cut? I have no idea. Well . . . I would have cut the 1933 sequences. I really did not see the need of an aging Tonto recalling his first meeting with the Lone Ranger with some kid. Two, there were some minor aspects of the plot that could have been a bit more clear. For instance, who saved Rebecca and her son Danny Reid from Collins, the Texas Ranger who had betrayed her husband? The movie never explained. The movie also failed to explain how Tonto had escaped from the Colby jail in time to find a wounded John Reid and nurse him back to health. Three, I was not impressed by Hans Zimmer’s score. To be honest, I have no memories of it. And if there is one thing that can contribute to the quality of a movie, is a first-rate score. “THE LONE RANGER” simply did not have one. And finally, I could have done without the train wreck that Tonto and John survived near the movie’s beginning. I wish screenwriters Ted Elliot, Terry Rossio and Justin Haythe could have found a less over-the-top way for Cavendish to escape the hangman’s noose.

Despite these flaws, I still managed to enjoy “THE LONG RANGER” very much. The screenwriters still managed to construct an interesting and entertaining tale about frontier politics, justice and revenge. In fact, the movie not only featured its usual staple of humor and action found in an Depp/Verbinski/Bruckheimer film, it also featured some pretty dark moments in its plot. Aware of moviegoers’ current dislike of summer films with a dark undertone – unless its a movie about some comic book hero or simply a drama – I was rather glad that the screenwriters and Verbinski managed to inject some darkness into the plot. The tragic circumstances surrounding the deaths of Dan Reid and his fellow Texas Rangers, along with the reasons behind Tonto’s desire for revenge against Cavendish, the deadly attack upon the Reids’ ranch, and the threat of railroad construction and the U.S. Army against Commanche lands made this story very interesting. Another fascinating aspect of the movie’s plot proved to be the relationship between Tonto and John aka the Lone Ranger. First of all, I liked how the screenwriters made Tonto responsible for the creation of the Lone Ranger myth. Two, the development of Tonto and John’s relationship proved to be an uphill and hard-won battle. The screenwriters did not make it easy for the pair. A fellow co-worker had complained of John’s reluctance to trust Tonto by following the latter’s advice. A part of me agreed with him. Another part of me understood John’s reluctance, considering that Tonto had failed to be completely honest with him. Although I was not impressed by Zimmer’s score, I must admit that I truly enjoyed how the composer used the old Lone Ranger theme – Gioachino Rossini’s“William Tell Overture” – to accompany the movie’s final action sequence. I found it so inspiring.

“THE LONE RANGER” also featured little moments that I found very interesting . . . and entertaining. One of those moments was a hilarious flash-forward that depicted the Lone Ranger and Tonto’s robbery of a local bank that contained an item used by the pair to defeat the villains. Another scene that I enjoyed centered on the pair’s efforts to escape from being trampled upon after being buried in the ground by Commanches. I also enjoyed Tonto’s rescue of John, who was nearly hanged by Cavendish and the U.S. Army. And I especially enjoyed the last action sequence in which the pair tried to prevent the transportation of silver stolen from the Commanche lands by Cavendish and his partner. But my favorite moment – and it is a small one – centered around the love triangle between the Reid brothers, the woman they both loved, Rebecca; and a blue silk handkerchief used in the most subtle and erotic manner.

As for the movie’s technical aspects, I must admit that I left the movie theater feeling very impressed by it. I found Bojan Bazelli’s photography of the locations in California, Arizona, New Mexico, Texas, Utah and Colorado very beautiful. There was another aspect of Bazelli’s photography that I found interesting. The movie’s color scheme started out as chrome gray as soon as the plot shifted to 1869 Texas. Yet, even the 19th century “flashbacks” eventually grew in color as the story unfolded and the relationship between Tonto and John strengthen. I also have to commend the film’s editing done by James Haygood and Craig Wood, especially in many of the film’s action sequences. And Jess Gonchor did a beautiful job in re-creating mid-19th century Texas through his production designs – especially in the Colby and railroad construction sequences. Three time BAFTA nominee Penny Rose, who had designed the costumes for the “PIRATES OF THE CARIBBEAN”movies, collaborated with Bruckheimer and Verbinski again as costume designer for “THE LONE RANGER”. I could rave about Rose’s work and how she perfectly captured the style of frontier fashions at the end of the 1860s. By why bother, when all I have to do is point out her work in the image below:

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I found the performances featured in “THE LONE RANGER” outstanding . . . aside from two. One of those exceptions proved to be Helena Bonham-Carter’s portrayal of Red Harrington, an ivory-legged brothel madam who assists Tonto and John. Actually, Bonham-Carter gave a colorful and earthy performance as the one-legged madam who also sought revenge against Cavendish. Unfortunately, the movie’s screenplay failed to do anything with her character, other than allow her to provide some information to the pair in the movie’s first half and assist them for a brief moment in the final action sequence. Elliot, Rossio and Haythe pretty much wasted her character and Bonham-Carter’s time. Barry Pepper gave a colorful performance as the xenophobic U.S. Army Captain Jay Fuller, who allowed himself to be corrupted by Cavendish and his partner. But as much as I enjoyed Pepper’s performance, I found myself a bit unsatisfied with how the screenwriters handled his character. Captain Fuller’s transformation from a determined Army officer to a corrupt one struck me as a bit rushed and clumsy. James Badge Dale fared a lot better as John Reid’s older brother, Texas Ranger Dan Reid. He gave an excellent performance as the professional lawman torn between his love for his younger brother and jealousy toward his wife’s continuing feelings for the latter. Remember my recall of the scene featuring the blue silk handkerchief? Badge Dale’s performance in that scene really made it particularly memorable for me. It has been a while since I last saw William Fitchner in a movie – over three years, as a matter of fact. The man has portrayed a vast array of interesting characters over the years. And I would definitely count the outlaw Butch Cavendish as one of those characters. Fitchner skillfully portrayed the outlaw as a walking horror story with an impish sense of humor.

Tom Wilkinson, whom one could always count on portraying interesting and complex characters, skillfully portrayed another one in the form of railroad tycoon, Latham Cole. Wilkinson did an excellent job in portraying Cole as a subtle and wily man whose desire for Rebecca Reid, power and wealth; along with the construction of the railroad makes him a potential enemy of both Tonto and the Lone Ranger. I was surprised to discover that British actress Ruth Wilson had been cast as Rebecca Reid, John’s sister-in-law and the love of his life. I have always felt that she was a top-notch actress and her portrayal of the spirited Rebecca did not prove me wrong. But I was very surprised by how she easily handled a Texas accent during her performance. If someone ever decides to do a remake of the 1965 movie, “THE GREAT RACE”, I would cast Armie Hammer in the role of Leslie Gallant aka the Great Leslie. Hammer did a beautiful job in conveying a similar uptight and annoyingly noble personality in his portrayal of John Reid aka the Lone Ranger. In a way, I could see why a good number of fans found John’s stubborn refusal to improvise in dealing with Cavendish rather annoying. And if they did, Hammer succeeded in his performance on many levels . . . and still managed to be likeable. At least to me. Some critics had complained that Depp’s portrayal of Tonto failed to become another Jack Sparrow. Others complained that his Tonto seemed too much like Tonto. I will admit that Depp, the screenwriters and Verbinski utilized a similar sense of humor in the portrayal of Tonto. But thanks to Depp’s performance, the latter proved to be a different kettle of fish. Not only did I find Depp’s portrayal of the wily and vengeful Commanche rather funny, but also sad, considering the character’s back story. This allowed the actor to inject a tragicomedic layer in his portrayal of Tonto that reminded me why he is considered one of the best actors in the film industry.

As I had stated earlier, “THE LONE RANGER” did not strike me as perfect. I certainly do not regard it as one of the best movies from the summer of 2013; due to a running time I found too long, a few problems with the script and the presence of two characters I believe were mishandled. On the other hand, it turned out to be a first-rate action Western with a plot that featured some surprising plot twists and a dark streak that I believe made the story even more interesting. It did help that I not only enjoyed the post-Civil War setting, but also the performances of an excellent cast led by Johnny Depp and Armie Hammer and a very entertaining direction by Gore Verbinski.

“DARK SHADOWS” (2012) Review

 

“DARK SHADOWS” (2012) Review

I have never been a diehard fan of director Tim Burton. Honestly. In fact, I can only think of one or two of his movies that really impressed me. Okay, I can think of two . . . before I saw his latest opus, “DARK SHADOWS”

The last Burton film that really impressed me was his 2007 Oscar-nominated film, “SWEENEY TODD”. I did not love it. And I have no desire to see it again. But it did impress me. So, when I discovered that he did a big screen adaptation of the 1966-71 ABC television series, I reacted with mild interest. I have never seen the old television series. And to be honest, I have no real desire to watch it. It was the humor featured in the trailer for Burton’s new film that led me to see it.

“DARK SHADOWS” told the story of Barnabas Collins, the 18th century scion of a wealthy Colonial family, who is transformed into a vampire by a scorned lover named Angelique Bouchard, who also happened to be a Collins family servant and a witch. After transforming him into a vampire, Angelique led a lynch mob that captures Barnabas and buries him alive in a chained coffin in the woods. Two hundred years later in 1972, a group of construction workers accidentally free Barnabas, before he feeds on them. He later makes his way back to the Collins manor and finds it inhabited by his mid 20th century descendants; family matriarch Elizabeth Collins Stoddard, her 15 year-old daughter Carolyn Stoddard, Elizabeth’s brother Roger Collins, his 10 year-old son David; and their servants who are caretaker Willie Loomis and David’s governess, Victoria Winters, who is a reincarnation of Barnabas’ lost love, Josette du Pres. One last occupant is David’s live-in psychiatrist, Dr. Julia Hoffman.

Barnabas convinces Elizabeth of his identity when he reveals a secret room behind the fireplace. The room contains a vast treasure that can help the Collins family restore the family business. However, Elizabeth makes him promise to never reveal his identity as a vampire to the rest of the family. All seemed to be well for the Collins family, until Angelique, who has used magic to extend her life, discovers that Barnabas has been released from his coffin. Angelique has also used her own fishery business to bankrupt the family. Upset that Barnabas has returned, Angelique tries to win back his affections through sex. However, Barnabas makes it clear that he does not love her. And Angelique goes out of her way to ensure the destruction of Barnabas and his immediate family.

“DARK SHADOWS” is not perfect. I am quite aware that it is not ensemble piece, despite the likes of Michelle Pfieffer and Helena Bonham-Carter in the cast. I also realize that is basically about Barnabas Collins. But I do believe that two or three supporting characters were barely used in the story. And those characters proved to be young David Collins, Dr. Julia Hoffman (portrayed by the marvelous Helena Bonham-Carter) and Roger Collins, portrayed by the woefully underused Jonny Lee Miller. And I wish the movie had explained how Angelique managed to survive and not age for two centuries. From what I had read, this was never explained in the television version either. I also found the revelation of Carolyn Stoddard as a werewolf near the end of the movie, very contrived. Either screenwriter Seth Grahame-Smith had failed to hint this revelation or I simply failed to notice any his hint(s). And I also found the movie’s pacing slightly uneven three-quarters into the story. I suspect that Burton and his screenwriter, Seth Grahame-Smith, were in such a hurry to get rid of Roger Collins and Dr. Hoffman that the pacing somewhat became off-kilter.

But despite its flaws, I still managed to enjoy “DARK SHADOWS” very much. First of all, I was dazzled by Bruno Delbonnel’s cinematography. He gave it a rich, blue-tinted look that really contributed to the film’s setting and tale. This was especially apparent in the prologue that introduced the Collins family’s American origins and Barnabas Collins. Delbonnel’s photography also enhanced Rick Heinrichs’ production designs. Heinrichs did a beautiful job in re-creating both the mid and late-18th century Maine, along with the same location in 1972. And I feel he was ably supported by Chris Lowe’s art direction team, John Bush’s set decorations and Colleen Atwood’s beautiful costume designs.

Although I was somewhat critical of Grahame-Seth’s screenplay, I do not believe it was not a complete waste. In fact, I thought it was wise of him to center the main narrative around Barnabas Collins. The latter’s attempts to assimilate into the early 1970s had me shaking with laughter. And Grahame-Seth was wise to not only enrich Barnabas’ love for Josette du Pres and later, Victoria Winters; but also his concerns for his family. Family seemed to be very important to Barnabas, which allowed Grahame-Seth to focus more on Victoria and the Collins family . . . even Roger. Barnabas’ concerns for his family also made his conflict with Angelique Bouchard even more pressing. I am also glad that both Burton and Grahame-Seth’s portrayal of Barnabas was complex. They allowed him to feed on other human beings without labeling him as evil. Barnabas feeds on the blood of others to survive, just as we humans feed on other living beings – both animals and plants. He does not like feeding on others anymore than he likes being a vampire. There is no taint of one-dimensional morality that has marred television series like “BUFFY, THE VAMPIRE SLAYER”“ANGEL” and “CHARMED”. Several critics and many of the old television series also criticized Burton’s film for not being a close adaptation of the show. I find their criticisms a little irrelevant, due to the fact that I have yet to see a film adaptation of a television series to be that particularly close to its original source.

The cast for “DARK SHADOWS” is first-rate. Even those performers forced into roles that were not fully explored did a great job. It was nice to see Burton’s willingness to use again, actor Christopher Lee, who had a brief appearance as the top fisherman of Collinsport, Maine. I have never seen Jonny Lee Miller portrayed such a negative role like Roger Collins. And despite the minimal exposure, he did a great job of expressing Roger’s shallowness and lack of concern for his son and other members of the family. Helena Bonham-Carter was hilariously entertaining as young David Collins’ live-in psychiatrist, who developed a crush on Barnabas. It wsa nice to see Jackie Earle Haley again, who was also rather funny as the Collins family’s caretaker, Willie Loomis. I wish I could say something nice about Bella Heathcote. But her performance as Victoria Winters struck me as a little too ethereal and . . . wooden. Gulliver McGrath gave a sweet performance as young David Collins, but he did not strike me as particularly memorable.

For me, the best performances came from lead actor Johnny Depp, Michelle Pfieffer, Eva Green and Chloë Grace Moretz. The latter has certainly grown a lot since I first saw her in “KICK ASS”, two years ago. I find her take on the fifteen year-old Carolyn Stoddard to be very eccentric (in a positive way). She also seemed to be a younger version of Michelle Pfieffer, who portrayed her imperious mother, Elizabeth Collins Stoddard. I thought that Pfieffer was spot on as the indomitable matriarch of the Collins family, who hid her ruthlessly passionate and maternal nature behind a reserved facade. Eva Green nearly scared me out of my wits with her frightening portrayal of Angelique Bouchard, the witch who developed an obsessive love for Barnabas. Apparently, Angelique’s love and hatred proved to be so strong that she continued to slowly destroy the Collins family, long after Barnabas was locked in a coffin. Johnny Depp has portrayed some memorable characters over the years. But I must admit that his take on the Barnabas Collins character has proven to be one of my favorites. The man was superb. I could describe his performance with as many adjectives as possible. But it would take a great deal of my time. All I can say is that I believe he was perfect.

I realize that “DARK SHADOWS” has disappointed many fans of the old 1966-71 television series. And I must admit that I found a few aspects of Seth Grahame-Smith’s screenplay rather questionable. But “DARK SHADOWS” proved to be an entertaining movie thanks to Tim Burton’s direction, the story’s concentration on the Barnabas Collins, Bruno Delbonnel’s cinematography and the excellent cast led by the always talented Johnny Depp.

Favorite Movies and Television Set During the EARLY AMERICA Period

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Below is a list of my favorite movie and television productions set during the Early America Period (1783-1828):

 

FAVORITE MOVIES AND TELEVISION SET DURING THE EARLY AMERICA PERIOD

1

“John Adams” (2008) – Paul Giamatti and Laura Linney deservedly won both Emmys and Golden Globes for their excellent portrayals of John and Abagail Adams in this excellent seven-part miniseries about the 2nd U.S. president.

2

“The Journey of August King” (1995) – Jason Patric and Thandie Newton starred in this adaptation of John Ehle’s 1971 novel about a North Carolina farmer on his way home from market, who helps a runaway slave evade her master.

3

“Davy Crockett and the River Pirates” (1956) – This adventure conveyed the experiences of Davy Crockett and George Russel with keelboat riverman Mike Fink and river pirates along the Ohio and Mississippi Rivers. Picturesque and a lot of fun. Fess Parker, Buddy Ebsen and Jeff York starred.

4

“Buccaneer’s Girl” (1950) – Yvonne DeCarlo starred in this entertaining costume romp about a Boston-born entertainer who falls for a pirate with a secret identity as a respectable New Orleans aristocrat. Directed by Fredrick De Cordova, the movie co-starred Philip Friend, Robert Douglas, Andrea King and Elsa Lancaster.

5

“Interview With a Vampire” (1994) – Neil Jordan directed this fascinating adaptation of Anne Rice’s 1976 novel about a pair of vampires during a period of 200 years. Tom Cruise, Brad Pitt, Kirsten Dunst, Antonio Banderas and Christian Slater co-starred.

6

“Brother Future” (1991) – Phil Lewis starred in the PBS movie about a Detroit teen who is transported back in time to 1822 South Carolina, where he finds himself about to participate in a slave revolt instigated by one Denmark Vessey.

7

“Sleepy Hollow” (1999) – Tim Burton directed Johnny Depp and Christina Ricci in this adaptation of Washington Irving’s 1820 short story, “The Legend of Sleepy Hollow”

8

“The Seekers” (1979) – This adaptation of John Jakes’ 1975 novel about the Kent family’s experiences from 1794 to 1814. Randolph Mantooth, Timothy Patrick Murphy and George Hamilton starred.

9

“Many Rivers to Cross” (1955) – Robert Taylor and Eleanor Parker starred in this western-comedy about a footloose frontiersman in early Kentucky, who is targeted by a spirited spinster for marriage. Directed by Roy Rowland.