Least Favorite Movie Period Dramas

Below is a list of ten of my least favorite movie period dramas:

 

LEAST FAVORITE MOVIE PERIOD DRAMAS

1. “Legends of the Fall” (1992) – Edward Zwick directed this dull and overrated adaptaion of Jim Harrison’s 1979 novella about the lives of a Montana ranching family during the early 20th century. Brad Pitt and Anthony Hopkins starred.

2. “Barbary Coast” (1935) – Howard Hawks directed this turgid tale about an Eastern woman who arrives in San Francisco during the Gold Rush and comes between a corrupt gambler/saloon keeper and a miner. Miriam Hopkins, Edward G. Robinson and Joel McCrea starred.

3. “Mayerling” (1968) – Omar Sharif and Catherine Deneuve starred in this lavish, yet dull account of the tragic romance between Crown Prince Rudolf of Austria and his mistress, Baroness Maria Vetsera. Terence Young directed.

4. “Idlewild” (2006) – André 3000 and Big Boi starred in this confusing and badly written musical set during Depression Era Georgia. Bryan Barber directed.

5. “Becky Sharp” (1935) – Miriam Hopkins earned a surprising Best Actress nomination (surprising to me) in this unsatisfying adaptation of William Makepeace Thackery’s 1847-48 novel, “Vanity Fair”. Directed by Rouben Mamoulian, the movie is known as being the first full-length production in Technicolor.

6. “Gods and Generals” (2003) – Stephen Lang, Jeff Daniels and Robert Duvall starred in this adaptation of Jeff Shaara’s 1996 Civil War novel and prequel to the much superior 1993 movie, “Gettysburg”. Ronald Maxwell directed.

7. “The Hindenburg” (1975) – Robert Wise directed this rather dull account of the Hindenburg air disaster. The movie starred George C. Scott and Anne Bancroft.

8. “Anna Karenna” (2012) – Joe Wright directed this stagey adaptation of Leo Tolstoy’s 1877 novel. Keira Knightley, Jude Law and Aaron Taylor-Johnson starred.

9. “Glorious 39” (2009) – Stephen Poliakoff directed this slow and pretentious thriller about a young woman who discovers that her family are pro-appreasers who wish for Britain to seek peace with Nazi Germany on the eve of World War II. Romola Garai starred.

10. “Alice in Wonderland” (2010) – Tim Burton directed this dull and overrated adaptation of Lewis Carroll’s 1865 novel “Alice’s Adventures in Wonderland” and 1871 novel, “Through the Looking-Glass, and What Alice Found There”. Mia Wasikowska and Johnny Depp starred.

List of Favorite Movies and Television Miniseries About SLAVERY

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With the recent release of Steven Spielberg’s new movie, “LINCOLN” and Quentin Tarrantino’s latest film, “DJANGO UNCHAINED”, I found myself thinking about movies I have seen about slavery – especially slavery practiced in the United States. Below is a list of my favorite movies on the subject in chronological order:

 

LIST OF FAVORITE MOVIES AND TELEVISION MINISERIES ABOUT SLAVERY

13-Skin Game

“Skin Game” (1971) – James Garner and Lou Gossett Jr. co-starred in this unusual comedy about two antebellum drifter who pull the “skin game” – a con that involves one of them selling the other as a slave for money before the pair can escape and pull the same con in another town. Paul Bogart directed.

9-Mandingo

“Mandingo” (1975) – Reviled by many critics as melodramatic sleaze, this 1975 adaptation of Kyle Onstott’s 1957 novel revealed one of the most uncompromising peeks into slave breeding in the American South, two decades before the Civil War. Directed by Richard Fleischer, the movie starred James Mason, Perry King, Brenda Sykes, Susan George and Ken Norton.

2-Roots

“Roots” (1977) – David Wolper produced this television miniseries adaptation of Alex Haley’s 1976 about his mother’s family history as American slaves during a century long period between the mid-18th century and the end of the Civil War. LeVar Burton, Leslie Uggams, Ben Vereen, Georg Sanford Brown and Lou Gossett Jr. starred.

3-Half Slave Half Free Solomon Northup Odyssey

“Half-Slave, Half-Free: Solomon Northup’s Odyssey” (1984) – Avery Brooks starred in this television adaptation of free born Solomon Northup’s 1853 autobiography about his twelve years as a slave in antebellum Louisiana. Gordon Parks directed.

4-North and South

“North and South” (1985) – David Wolper produced this television adaptation of John Jakes’ 1982 novel about the experiences of two American families and the growing discord over slavery during the twenty years before the American Civil War. Patrick Swayze and James Read starred.

6-Race to Freedom - The Underground Railroad

“Race to Freedom: The Story of the Underground Railroad” (1994) – Actor Tim Reid produced this television movie about four North Carolina slaves’ escape to Canada, following the passage of the Compromise of 1850. Janet Bailey and Courtney B. Vance starred.

10-The Journey of August King

“The Journey of August King” (1996) – Jason Patric and Thandie Newton starred in this adaptation of John Ehle’s 1971 novel about an early 19th century North Carolina farmer who finds himself helping a female slave escape from her master and slave catchers. John Duigan directed.

8-A Respectable Trade

“A Respectable Trade” (1998) – Emma Fielding, Ariyon Bakare and Warren Clarke starred in this television adaptation of Philippa Gregory’s 1992 novel about the forbidden love affair between an African born slave and the wife of his English master in 18th century Bristol. Suri Krishnamma directed.

11-Mansfield Park 1999

“Mansfield Park” (1999) – Slavery is heavily emphasized in Patricia Rozema’s adaptation of Jane Austen’s 1814 novel about a young English woman’s stay with her rich relatives during the first decade of the 19th century. Frances O’Connor and Jonny Lee Miller starred.

7-Human Trafficking

“Human Trafficking” (2005) – Mira Sorvino starred in this miniseries about the experiences of an Immigration and Customs Enforcement agent investigating the modern day sex slave trafficking business. Donald Sutherland and Robert Caryle co-starred.

5-Amazing Grace

“Amazing Grace” (2007) – Michael Apted directed this account of William Wilberforce’s campaign against the slave trade throughout the British Empire in Parliament. Ioan Gruffudd, Benedict Cumberbatch, Romola Garai Rufus Sewell and Albert Finney starred.

12-Abraham Lincoln Vampire Hunter

“Abraham Lincoln: Vampire Hunter” (2012) – History and the supernatural merged in this interesting adaptation of Seth Grahame-Smith’s 2010 novel about the 16th president’s activities as a vampire hunter. Benjamin Walker, Dominic Cooper, Anthony Mackie and Mary Elizabeth Winstead starred.

1-Lincoln

“Lincoln” (2012) – Daniel Day-Lewis portrayed the 16th president in Steven Spielberg’s fascinating account of Lincoln’s efforts to end U.S. slavery, by having Congress pass the 13th Amendment of the Constitution. Sally Field, David Strathairn and Tommy Lee Jones co-starred.

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“Django Unchained” (2012) – Quentin Tarantino directed this take on Spaghetti Westerns about a slave-turned-bounty hunter and his mentor, who sets out to rescue his wife from a brutal Mississippi plantation owner. Jamie Foxx, Christoph Waltz, Leonardo Di Caprio, Kerry Washington and Samuel L. Jackson starred.

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

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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.

“MANSFIELD PARK” (1999) Review

“MANSFIELD PARK” (1999) Review

From the numerous articles and essays I have read on-line, Jane Austen’s 1814 novel, “Mansfield Park” did not seemed to be a big favorite amongst the author’s modern fans. In fact, opinions of the novel and its heroine, Fanny Price, seemed just as divided today, as they had been by Austen’s own family back in the early 19th century. 

When director-writer Patricia Rozema was offered the assignment to direct a film adaptation of “Mansfield Park”, she had originally rejected it. She claimed that she found both the novel and the Fanny Price character unappealing. In the end, she changed her mind on the grounds that she wrote her own screen adaptation. The result turned out to be an adaptation filled with a good deal of changes from Austen’s original text. Changes that have proven to be controversial to this day.

One obvious change that Rozema had made centered on the heroine’s personality. Rozema’s script allowed actress Frances O’Connor to portray Fanny as a talented writer with a lively wit and quick temper. Mind you, Rozema’s Fanny continued to be the story’s bastion of morality – only with what many would view as sass. Rozema also allowed the Edmund Bertram character to become romantically aware of Fanny a lot sooner than the character did in the novel. Because of this revision, actor Jonny Lee Miller portrayed an Edmund who seemed a bit livelier and less priggish than his literary counterpart. Characters like the Crawfords’ half-sister and brother-in-law, the Grants, failed to make an appearance. Fanny’s older brother, William Price, ceased to exist. And in this adaptation, Fanny eventually accepted Henry Crawford’s marriage proposal during her stay in Portsmouth, before rejecting it the following day.

But the biggest change made by Rozema had involved the topic of slavery. The writer-director allowed the topic to permeate the movie. Austen’s novel described Fanny’s uncle by marriage, Sir Thomas Bertram, as the owner of a plantation on the island of Antigua. Due to a financial crisis, Sir Thomas was forced to depart for Antigua for a certain period of time with his oldest son as a companion. Upon his return to England and Mansfield Park, Fanny asked him a question regarding his slaves. Sir Thomas and the rest of the family responded with uncomfortable silence. Rozema utilized the Bertrams’ connection to African slavery to emphasize their questionable morality and possible corruption. She also used this connection to emphasize Fanny’s position as a woman, a poor relation, and her semi-servile position within the Mansfield Park household. Rozema used the slavery connection with a heavier hand in scenes that included Fanny hearing the cries of slaves approaching the English coast during her journey to Mansfield Park; a discussion initiated by Sir Thomas on breeding mulattoes; Edmund’s comments about the family and Fanny’s dependence upon the Antigua plantation; oldest son Tom Bertram’s revulsion toward this dependence and graphic drawings of brutalized slaves. These overt allusions to British slavery ended up leaving many critics and Austen fans up in arms.

One aspect of “MANSFIELD PARK” that impressed me turned out to be the movie’s production values. I found the production crew’s use of an abandoned manor house called Kirby Hall to be very interesting. Rozema, along with cinematographer Michael Coulter and production designer Christopher Hobbs, used the house’s abandoned state and cream-colored walls to convey a corrupt atmosphere as an allusion to the Bertrams’ financial connection to slavery. Hobbes further established that slightly corrupted air by sparsely furnishing the house. I also found Coulter’s use the Cornish town of Charlestown as a stand-in for the early 19th century Portmouth as very picturesque. And I especially enjoyed his photography, along with Martin Walsh’s editing in the lively sequence featuring the Bertrams’ ball held in Fanny’s honor. On the whole, Coulter’s photography struck me as colorful and imaginative. The only bleak spot in the movie’s production values seemed to be Andrea Galer’s costume designs. There was nothing wrong with them, but I must admit that they failed to capture my imagination.

I cannot deny that I found “MANSFIELD PARK” to be enjoyable and interesting. Nor can I deny that Rozema had injected a great deal of energy into Austen’s plot, something that the 1983 miniseries failed to do. Rozema removed several scenes from Austen’s novel. This allowed the movie to convey Austen’s story with a running time of 112 minutes. These deleted scenes included the Bertrams and Crawfords’ visit to Mr. Rushworth’s estate, Sotherton; and Fanny’s criticism of Mary Crawford’s caustic remarks about her uncle. This did not bother me, for I feel that such editing may have tightened the movie’s pacing. Other improvements that Rozema made – at least in my eyes – were changes in some of the characters. Fanny became a livelier personality and at the same time, managed to remain slightly oppressed by her position at Mansfield Park. Both Edmund and Henry were portrayed in a more complex and attractive light. And Tom Bertram’s portrayal as the family’s voice of moral outrage against their connection to black slavery struck me as very effective. In fact, I had no problem with Rozema’s use of slavery in the story. I am not one of those who believed that she should have toned it down to the same level as Austen had – merely using the topic as an allusion to Fanny’s situation with the Bertrams. Austen opened Pandora’s Box by briefly touching upon the topic in her novel in the first place. As far as I am concerned, there was no law that Rozema or any other filmmaker had to allude to the topic in the same manner.

However, not all of Rozema’s changes impressed me. Why was it necessary to have Henry Crawford request that he rent the nearby parsonage, when his half-sister and brother-in-law, the Grants, resided there in the novel? If Rozema had kept the Grants in her adaptation, this would not have happened. Nor did I understand Sir Thomas’ invitation to allow the Crawfords to reside at Mansfield Park, when Henry had his own estate in Norfolk. I suspect that Sir Thomas’ invitation was nothing more than a set up for Fanny to witness Henry making love to Maria Bertram Rushworth in her bedroom. Now, I realize that Henry is supposed to be some hot-to-trot Regency rake with an eye for women. But I simply found it implausible that he would be stupid enough to have illicit sex with his host’s married daughter. And why did Maria spend the night at Mansfield Park, when her husband’s own home, Sotherton, was located in the same neighborhood? And why was Fanny in tears over her little “discovery”? She did not love Henry. Did the sight of two people having sex disturb her? If so, why did she fail to react in a similar manner upon discovering Tom’s drawings of female slaves being raped?

Many fans had complained about Fanny’s acceptance of Henry’s marriage proposal during the visit to Portmouth. I did not, for it allowed an opportunity for Fanny’s own hypocrisy to be revealed. After all, she claimed that Henry’s moral compass made her distrustful of him. Yet, upon her rejection of him; Henry exposed her as a liar and hypocrite, claiming the real reason behind her rejection had more to do with her love for Edumund. Unfortunately . . . Rozema seemed determined not to examine Fanny’s exposed hypocrisy and dismissed it with an intimate scene between her and Edmund; the revelation of Henry’s affair with Maria; and Edmund’s rejection of Henry’s sister, Mary Crawford.

This last scene regarding Edmund’s rejection of Mary revealed how truly heavy-handed Rozema could be as a filmmaker. In Austen’s novel, Edmund had rejected Mary, due to her refusal to condemn Henry for his affair with Maria and her plans to save the Bertrams and Crawfords’ social positions with a marriage between Henry and the still married Maria. Mary’s plans bore a strong resemblance to Fitzwilliam Darcy’s successful efforts to save the Bennet family’s reputation following Lydia Bennet’s elopement with George Wickham in “Pride and Prejudice”. In “MANSFIELD PARK”, Edmund rejected Mary after she revealed her plans to save the Bertrams from any scandal caused by the Henry/Maria affair – plans that included the eventual demise of a seriously ill Tom. The moment those words anticipating Tom’s death poured from Mary’s mouth, I stared at the screen in disbelief. No person with any intelligence would discuss the possible demise of a loved one in front of his family, as if it was a topic in a business meeting. I never got the impression that both the literary and cinematic Mary Crawford would be that stupid. In this scene, I believe that Rozema simply went too far. The director’s last scene featured a montage on the characters’ fates. And what fate awaited the Crawfords? Both ended up with spouses that seemed more interested in each other than with the Crawford siblings. I suppose this was an allusion to some fate that the Crawfords deserved for . . . what? Okay, Henry probably deserved such a fate, due to his affair with Maria. But Mary? I would disagree.

Ironically, both Rozema and Austen shared one major problem with their respective versions of the story. Neither the Canadian writer-director nor the British author bothered to develop Fanny and Edmund’s characters that much. In fact, I would say . . . hardly at all. “MANSFIELD PARK” revealed Edmund’s penchant for priggish and hypocritical behavior in scenes that featured his initial protest against his brother’s plans to perform the “Lover’s Vow” play and his final capitulation; his argument against Sir Thomas’ comments about breeding mulattoes (which Fanny expressed approval with a slightly smug smile) and his willingness to accept his family’s dependence on slave labor; and his support of Sir Thomas’ attempts to coerce Fanny into marrying Henry Crawford. The above incidents were also featured in the novel (except for the mulatto breeding discussion). Not once did Fanny criticize Edmund for his hypocritical behavior – not in the movie or in the novel. Instead, both Rozema and Austen allowed Fanny to indulge in her own hypocrisy by turning a blind eye to Edmund’s faults. Worse, she used Henry Crawford’s flaws as an excuse to avoid his courtship of her and later reject him. Henry’s angry reaction to her rejection was the only time (at least in Rozema’s movie) in which Fanny’s hypocrisy was revealed. Yet, not only did Fanny fail to acknowledge Edmund’s flaws, but also her own.

For me, the best aspect of “MANSFIELD PARK” proved to be its cast. How Rozema managed to gather such a formidable cast amazes me. Unfortunately, she did not use the entire cast. Two members – Justine Waddell (Julia Bertram) and Hugh Doneville (Mr. Rushworth) certainly seemed wasted. Rozema’s script failed to allow the two actors to express their talent. Waddell’s presence barely made any impact upon the movie. And Doneville seemed nothing more than poorly constructed comic relief. I almost found myself expressing the same belief for actress Lindsay Duncan, despite her portrayal of two of the Ward sisters – Lady Bertram and Mrs. Price. Her Lady Bertram seemed to spend most of the movie sitting around in a drug-induced state from the use of too much laudanum. However, Duncan had one memorable moment as Fanny’s mother, Mrs. Price. In that one scene, she gave emphatic advise to Fanny about Henry Crawford by pointing out the consequences of her decision to marry for love.

Victoria Hamilton fared better in her nuanced performance as the spoiled, yet frustrated Maria Bertram. She effectively conveyed how her character was torn between her pragmatic marriage to Mr. Rushworth and her desire for Henry Crawford. Frankly, I believe that Austen gave her an unnecessarily harsh ending. James Purefoy gave an interesting performance as the Bertrams’ elder son and heir, Tom. He expertly walked a fine line in his portrayal of Tom’s disgust toward the family’s involvement in slavery and penchant for a wastrel’s lifestyle. The late actress Sheila Gish gave a slightly humorous, yet sharp performance as Fanny’s other aunt – the tyrannical and venomous Mrs. Norris.

I believe that the movie’s best performances came not from the leads, but from three supporting actors – Alessandro Nivola, Embeth Davidtz, and the late playwright-actor Sir Harold Pinter. The literary Henry Crawford had been described as a seductive man that quite enjoyed flirting with or manipulating women. Nivola certainly portrayed that aspect of Henry’s character with great aplomb. But he prevented Henry from becoming a one-note rake by projecting his character’s growing attraction to Fanny and the hurt he felt from her unexpected rejection. Embeth Davidtz gave an equally compelling performance as Henry’s vivacious sister, Mary. She skillfully portrayed Mary’s more endearing traits – humor and sparkling personality – along with her cynical views on authority and talent for cold-blooded practicality. However, not even Davidtz could overcome that ludicrous rip-off from 1988’s “DANGEROUS LIAISONS”, in which her Mary briefly stumbled out of the Bertrams’ drawing-room, mimicking Glenn Close, following Edmund’s rejection. It seemed like a flawed ending to a brilliant performance. For me, the film’s best performance came from Sir Harold Pinter. His Sir Thomas Bertram struck me as one of the most complex and multi-layered film portrayals I have ever come across. I find it astounding that this intimidating patriarch, who considered himself to be the family’s bastion of morality, was also responsible for the corruption that reeked at Mansfield Park and within the Bertram family. And Pinter made these conflicting aspects of the character’s personality mesh well together. Rozema added an ironic twist to Sir Thomas’ story. After being shamed by Fanny’s discovery of Tom’s drawings of abused slaves, Sir Thomas sold his Antigua estate and invested his money in tobacco. However, since U.S. states like Virginia, North Carolina and Kentucky were the world’s top producers of tobacco at the time, chances are that the Bertrams’ benefit from slavery continued.

I suspect that if actress Frances O’Connor had portrayed the Fanny Price character as originally written by Jane Austen, she would have still given a superb performance. O’Connor certainly gave one in this movie. Despite Rozema’s refusal to openly acknowledge Fanny’s flaws in the script (except by Henry Crawford), the actress still managed to expose them through her performance. Not only did O’Connor did a great job in portraying Fanny’s wit and vivacity, she also revealed the social and emotional minefield that Fanny found at Mansfield Park with some really superb acting. I first became aware of Jonny Lee Miller in the 1996 miniseries, “DEAD MAN’S WALK”. I found myself so impressed by his performance that I wondered if he would ever become a star. Sadly, Miller never did in the fourteen years that followed the prequel to 1988’s “LONESOME DOVE”. But he has become well-known, due to his performances in movies like “MANSFIELD PARK”“TRAINSPOTTING” and the recent miniseries, “EMMA”. In “MANSFIELD PARK”, Miller portrayed the younger Bertram son, who also happened to be the object of Fanny Price’s desire. And he did a top-notch job in balancing Edmund’s virtues, his romantic sensibility and his personality flaws that include hypocrisy. I realize that Edmund was not an easy character to portray, but Miller made it all seem seamless.

Considering that Austen’s “Mansfield Park” is not a real favorite of mine, I am surprised that I managed to enjoy this adaptation of the novel. I will be frank. It is far from perfect. Patricia Rozema made some changes to Austen’s tale that failed to serve the story. Worse, she failed to change other aspects of the novel – changes that could have improved her movie. But there were changes to the story that served the movie well in my eyes. And the movie “MANSFIELD PARK”possessed a first-rate production and a superb cast. More importantly, I cannot deny that flawed or not, Rozema wrote and directed a very energetic movie. For me, it made Austen’s 1814 tale a lot more interesting.

“THE MYSTERY OF THE BLUE TRAIN” (2005) Review

“THE MYSTERY OF THE BLUE TRAIN” (2005) Review

Although considered one of her most famous novels, 1934’s ”Murder on the Orient Express” was not the first of Christie’s novels that featured a famous luxury train as a setting. The year 1928 saw the publication of another novel called ”The Mystery of the Blue Train”, which told the story of a brutal murder aboard the famous Blue Train. 

This story had its origins in Christie’s 1922 novella, ”The Plymouth Express”, which told the story of the murder of an Australian heiress. Christie took that story and expanded it into a full-length novel, ”The Mystery of the Blue Train”. The television series,”Agatha Christie’s POIROT” aired ”THE PLYMOUTH EXPRESS”, an adaptation of the novella, in 1991. And fourteen years later, aired its own version of ”THE MYSTERY OF THE BLUE”. Actor David Suchet portrayed Belgian sleuth Hercule Poirot in both productions.

The Blue Train referred to in this story was not the luxury train that traveled through Southern Africa. Known as Le Train Bleu or theCalais-Mediterranée Expres, this Blue Train was a luxury French night train that conveyed, ealthy and famous passengers between Calais and the French Riviera from 1922 until 1938, usually during the winter seasons. Unlike Christie’s novella, ”THE PLYMOUTH EXPRESS”, the case featured in ”THE MYSTERY OF THE BLUE TRAIN” centered on the murder of an American heiress named Ruth Van Aldin Kettering, aboard the Calais-to-French Riviera luxury train, the Blue Train – otherwise known as Le Train Bleu. One of Ruth’s possessions ended up missing, namely a famous ruby called the Heart of Fire, recently purchased by her father, American millionaire Rufus Van Aldin. The suspects accused of killing her and stealing the Heart of Fire were:

*Katherine Grey – a young Englishwoman who became wealthy through a recent inheritance; and whose father had been financially ruined by Van Aldin

*Derek Kettering – Ruth’s estranged and financially strapped husband, who came from an aristocratic family

*the Comte de la Roche – Ruth’s lover and a fake aristocrat who happened to be a con man and thief

*Ada Mason – Ruth’s maid, who disappeared during the Blue Train’s stop in Paris

* Mirelle Milesi – an exotic French courtesan, who was seen entering Ruth’s compartment aboard the train

*Major Richard Knighton –Van Aldin’s private secretary, who happens to be in love with Katherine

*Lady Tamplin – a financially strapped aristocrat living on the Riviera with her daughter and young husband; and who is Katherine Grey’s distant cousin

*Lennox Tamplin – Lady Tamplin’s daughter

*’Corky’ Evans – Lady Tamplin’s young husband

*the Maquis – a famous jewel thief

Belgian-born detective, Hercule Poirot found himself aboard the same train heading toward Nice for a winter vacation. The one passenger he managed to befriend was Katherine Grey, who had switched compartments with Ruth Kettering after meeting the latter. Overwrought by his daughter’s death, Van Aldin hired Poirot to find her killer.

I became a major fan of ”The Mystery of the Blue Train” not long after I first read the 1928 novel, years ago. The mystery struck me as slightly intriguing, the characters colorful and the atmosphere reeking with the glamour of the early 20th century rich in Europe. Imagine my delight when I first learned that a television adaptation of the novel had been made, starring David Suchet as Poirot. When I finally saw the movie, I found myself both disappointed . . . satisfied with it.

”THE MYSTERY OF THE BLUE TRAIN” could have truly been a first-class production. But some of the changes in the story stood in the way. One, Guy Andrews’ script got rid of the love triangle between Katherine Grey, Richard Knighton and Derek Kettering. Pity. I rather enjoyed it. Instead, Katherine only enjoyed a romance with Knighton. She barely shared any scenes with Derek, except for one in which she snapped at him for his childish behavior. And speaking of Derek Kettering, he became a petulant and hard drinking man who remained in love with the spoiled and estranged Ruth. He seemed quite a difference from the sardonic man featured in the novel, who had already fallen out of love with his wife long before the story began. Another change that proved to be a major one, involved the character of Mirelle. She remained a Frenchwoman, but one of African descent. And instead of being Derek’s soon-to-be former mistress and a dancer, this cinematic Mirelle turned out to be Rufus Van Aldin’s mistress. As for Lady Tamplin, she and her family also made the journey aboard the Blue Train – which did not happen in the novel. Any other changes? In this version, Katherine Grey revealed to Poirot that Van Aldin had financially ruined her father. Also, someone tried to kill her one hour into the movie.

What did I think of ”THE MYSTERY OF THE BLUE TRAIN”? I did not mind some of the changes from the novel. For example, Lady Tamplin became more likeable and sexy personality, thanks to Lindsay Duncan’s spirited performance. I found her young husband, Corky (Cubby Evans in the novel) less vacuous and self-absorbed. Mirelle’s personality acquired a welcome change from the character in the novel. Actress Josette Simon portrayed her as a world-weary, yet passionate woman with a great deal of complexities, instead of Christie’s one-dimensional portrait of sex and greed, wrapped in a French accent. I also enjoyed Nicholas Farrell’s quiet, yet charming portrayal of Rufus Van Aldin’s private secretary, Richard Knighton. Jaime Murray did a solid job in portraying Ruth Van Aldin Kettering, the murder victim, whose body was discovered aboard the Blue Train. I must admit that she managed to capture her character’s extroverted, ruthless and somewhat self-absorbed personality, even if her American accent seemed a bit questionable. And thank goodness for the presence of Elliot Gould, whose portrayal of Van Aldin transcended the cliché of the American businessman featured in the novel. Finally, David Suchet continued to give another fine performance as Hercule Poirot, everyone’s favorite Belgian detective – subtle, yet intense as always.

One of my favorite scenes in the movie featured the Blue Train’s departure from Calais during a heavy rainfall. Thanks to director Hettie Macdonald, production designers Jeff Tessler and an uncredited Paul Spriggs, along with cinematographer Alan Almond; this particular scene reeked with atmosphere and mystery. They also did an excellent job in capturing the sunny and exotic glamour of the French Riviera – especially in one scene that featured a house party given by Lady Tamplin at her home, Villa Marguerite. I also liked the fact that the story began in London, paused in Calais and France, and ended in Nice. It did not shift to different locations throughout England and France, as in the novel. More importantly, Poirot revealed the murderer’s identity in front of all the suspects and the police; instead of limiting his audience to two characters.

What did I NOT like about ”THE MYSTERY OF THE BLUE TRAIN”? Unfortunately, a good deal. One, I did not care for the change in Katherine Grey’s personality. I have no complaints about Georgina Rylance’s performance. She did a solid job in the role. But screenwriter Guy Andrews transformed the Katherine Grey character from a cool and smart woman that kept her emotions in check to a naïve woman that wore her emotions on her sleeve. It almost seemed to me that Katherine’s character had somewhat been diminished. One change I did not care for was Andrews’ decision to make Mirelle the mistress of Van Aldin, instead of Derek Kettering’s paramour. Nor did I care for his decision to reveal that Van Aldin’s wife was still alive, slightly mad and living in a convent in Nice. I found this plot twist to be very unnecessary. Speaking of Mr. Kettering, his personality went through a major change. In this adaptation, Derek became a drunken, gambling addict with a habit of sniveling over a wife who no longer loved him. Only James D’Arcy’s complex performance made it possible for me to tolerate the character. The movie’s portrayal of Lennox Tamplin seemed like a letdown from Christie’s novel. Instead of the sardonic young woman who had learned to tolerate her mother’s talent for exploitation and exhibition, this version of Lennox became a bubbly and extroverted personality with an atrocious hairstyle for a story set in the 1930s.

The biggest change occurred in the movie’s revelation scene. Although I had expressed approval of Andrews and director Hettie Macdonald’s decision to allow Poirot to reveal the murderer in Nice, I still had some problems with the scene. One, it began with the detective indulging in a ridiculous tirade about how each suspect could have been the murderer. But after Poirot identified the killer, viewers were treated to a ridiculous and theatrical scene in which the latter attempted to use a hostage to evade the police. I did not know whether to laugh or shake my head in disgust. I believe I ended up doing the latter.

”THE MYSTERY OF THE BLUE TRAIN” will never be a favorite Christie adaptation of mine. There were too many changes that I did not care for – especially with some of the characters and the revelation scene. On the other hand, I found other changes – including the revelation scene – to be an improvement from the novel and a welcome relief. I also enjoyed the movie’s atmosphere, setting, photography and David Suchet’s performance as Poirot. It was not the best Christie adaptation, but I found it tolerable.

“ALICE IN WONDERLAND” (2010) Review

“ALICE IN WONDERLAND” (2010) Review

I never understood director Tim Burton’s decision to name his latest film, ”ALICE IN WONDERLAND”. I mean . . . why did he do it? His new movie was not another adaptation of Lewis Carroll’s 1865 novel, ”Alice’s Adventures in Wonderland”. It was a sequel set thirteen years after the original story. So why use the shortened version of the title from Carroll’s original title? 

Many of you might be wondering why I had just made a big deal about this new movie’s title. For me, it represented an example of what I consider to be the numerous missteps that prevented me from embracing Burton’s new movie. Before I continue, I should confess that I have never been a Tim Burton fan. Never. I can only recall two of his movie that knocked my socks off – 1994’s ”ED WOOD” and the 2007 Golden Globe nominee, ”SWEENY TODD”. I wish I could include”ALICE IN WONDERLAND” in that category, but I cannot. The movie simply failed to impress me.

As I had stated earlier, ”ALICE IN WONDERLAND” was a sequel to Carroll’s original story. Thirteen years after her original adventures in Wonderland, Alice Kingsleigh has become a nineteen year-old young woman on the verge of accepting a wedding proposal from one Hamish Ascot, the son of her late father’s partner, Lord Ascot. Unfortunately, Hamish is a shallow and self-absorbed young man with very little character. Salvation arrived during Hamish’s very public marriage proposal, when Alice spotted a familiar figure – the same White Rabbit who had previously lured her to Wonderland – scampering across Lord Ascot’s estate.

History repeated itself when Alice fell down into the rabbit hole. However, she soon discovered that Wonderland (orUnderland) had changed during her thirteen years absence. The Red Queen had managed to wreck havoc and assume control over most of Underland, thanks to her new ”champion” – a dragon known as the Jabberwocky. Only the realm of the Red Queen’s sister, the White Queen, has remained beyond the red-haired monarch’s reach. However, that situation threatened to change if the White Queen fails to acquire her own champion. A scroll called “the Oraculum” predicted that Alice will not only be the White Queen’s champion, but she will also defeat the Jabberwocky and end the Red Queen’s reign of terror. But due to her stubborn belief that Underland was and still is nothing but a dream, Alice was reluctant to take up the mantle of the White Queen’s champion.

Judging by the plot I had just described, ”ALICE OF WONDERLAND” should have been an enjoyable movie for me. Granted, Linda Woolverton’s script seemed like a typical ”slay the dragon” storyline that has been used in numerous fantasies. But it still had enough adventure, intrigue and personal angst for me to find it appealing. So, why did it fail to light my fire? Production designer Robert Stromberg created an interesting mixture of Gothic and animated styles for the film’s visuals in both the England and Wonderland sequences. Anthony Almaraz and his team of costume designers created lush and colorful costumes for the cast. And Dariusz Wolski’s photography brought out the best in the movie’s visual styles.

”ALICE IN WONDERLAND” could also boast some first-rate performances from the cast. Johnny Depp gave a wonderfully complicated performance as the Mad Hatter. His Mad Hatter was an interesting mixture of an extroverted personality and pathos, punctuated by bouts of borderline insanity. The Red Queen might possibly be one of Helena Bonham-Carter’s best roles. She struck me as the epitome of childishness, selfishness and cruelty. Crispin was slick, menacing and subtly funny as the Red Queen’s personal henchman, the Knave of Hearts. Anne Hathaway’s delicious portrayal of the White Queen reminded me of a Disney princess on crack. I really enjoyed it. Both Tim Piggott-Smith and Geraldine James (who were both in the 1985 miniseries, ”JEWEL IN THE CROWN”) gave solid performances as Alice’s potential in-laws – the kindly Lord Ascot and his shrewish and bullying wife, Lady Ascot. And Alan Rickman gave voice to the Blue Caterpillar in a deliciously sardonic performance. Despite my positive opinion of most of the film’s technical aspects and performances, it still failed to impress me. Why?

First of all, the movie rested upon the shoulders of Australian actress, Mia Wasikowska as the lead character, Alice Kingsleigh. I understand that Ms. Wasikowska has recently received critical acclaim for her portrayal of a suicidal teen in HBO’s ”IN TREATMENT”. It seemed a pity that she failed to be just as impressive as Alice in ”ALICE IN WONDERLAND”. Some people have labeled her performance as ”subtle”. I would call it ”insipid”. Or perhaps just plain boring. I swear I have never come across such a bland and boring performance in my life. No only did Wasikowska managed to make Alice’s battle against the Jabberwocky seem dull, she still came close to putting me to sleep in her character’s moments of triumph in the movie’s finale.

Tim Burton’s direction of ”ALICE IN WONDERLAND” proved to be just as uninspiring to me, as Wasikowska’s performance. Actually, I found myself thinking of the 1992 movie, ”DEATH BECOMES HER”. I was not comparing the visual effects between the two movies. Meryl Streep had uttered a word in the 1992 movie that perfectly described my opinion of Burton’s direction. Flaccid. ”FLA-A-A-A-CI-I-ID!” How did a director with Burton’s reputation managed to take a solid fantasy adventure and make it one of the most boring films in recent Hollywood history is beyond me. His direction lacked any pep. Or spark. I had felt as if I was watching a piece of limp lettuce in action. I even began to wonder if Burton’s dull direction had affected Wasikowska’s performance. Then I remembered that actors like Depp and Bonham-Carter managed to rise above his direction. I might as well dump the blame of Wasikowska’s performance on her shoulders. As for Tim Burton . . . what is there to say? His direction simply disappointed me.

I might as well say something about the movie’s 3-D effects. They were not only disappointing to me, but also a waste of time and the extra cash I had to pay for the movie tickets. I did not care for the 3-D effects in ”AVATARS”, but it was an example of technical wizardry in compare to the 3-D photography shown in ”ALICE IN WONDERLAND”. Speaking of”AVATAR”, I have one last thing to say in regard to 3-D . . . ’Damn you, James Cameron!”. Seriously. I would like to take the man’s head and bash it through a wall for introducing 3-D to the movie going experience. In the two movies I have seen it in, I found it unimpressive. Worse, I had to pay extra movie because movie theaters are more willing to show the 3-D versions of movies like ”ALICE IN WONDERLAND”, instead of the 2-D versions.

In short, ”ALICE IN WONDERLAND” had all of the hallmarks of a solid and entertaining movie experience for me. It was the continuation of a classic fantasy adventure. Talented actors like Johnny Depp, Helena Bonham-Carter, Crispin Glover and Anne Hathaway gave first-rate performances. And I must admit that the movie’s production designs and photography gave it a unique visual style. But all of that could not save a movie hindered by pedestrian 3-D effects, a dull and insipid performance by Mia Wasikowska and an even more insipid direction by Tim Burton. Frankly, I think it is a miracle that this movie managed to become a box-office hit.