“DARK PHOENIX” (2019) Review

 

“DARK PHOENIX” (2019) Review

I feel sorry for the old X-MEN Movie Universe. Well . . . almost. For a franchise that began on a high note, it certainly ended with a whimper. At least from a financial point-of-view. And that whimper proved to be the 2019 movie, “DARK PHOENIX”.

Actually, “DARK PHOENIX” is not the final film of this franchise. The last film is scheduled to be released in the spring of 2020. As for “DARK PHOENIX”, it is the twelfth film associated with the franchise that was associated with the old 20th Century Fox Studios. It is also the second movie in the franchise, after 2005’s “X-MEN: THE LAST STAND”, to adapt Marvel Comics’ 1976-1980 comic book series of the same title.

The movie begins in 1975 when nine year-old Jean Grey and her parents get involved in a car accident that leaves her as the sole survivor. Jean’s situation eventually attracts the attention of Professor Charles Xavier, who enrolls her as one of his students at the Xavier’s School for Gifted Youngsters. The story jumps to 1992, nine years after the events of “X-MEN: APOCALYPSE”. Some of Xavier’s former students have become the next generation of the X-Men, with Mystique aka Raven as the team’s leader in the field and the Professor receiving their glory from the public and media. The U.S. President summons the team to assist NASA into rescuing the space shuttle Endeavour, which is critically damaged by a solar flare-like energy during its mission. While the X-Men save all of the astronauts, Jean is stranded and is struck by the energy, which she absorbs into her body to save the X-Men’s aircraft from destruction. Jean survives the event and her psychic powers are greatly amplified by the energy. Her powers become uncontrollable and she later accidentally unleashes her power on the mutants celebrating the success of their mission at Xavier’s school. Even worse, Jean’s enhanced powers attract the attention of a group of alien shape shifters called the D’Bari, whose home planet had been destroyed by the energy force. They want to use the energy (or Jean) to wipe out Earth’s inhabitants and re-shape the planet to resemble their own.

Eventually, Jean and the other X-Men learn that Xavier had placed mental walls in Jean’s mind as a little girl to protect her psychic mind from experiencing trauma from her childhood accident. Jean’s enhanced power destroys the mental walls and the trauma slowly returns, filling her with desire, rage, and pain. Jean then travels to her childhood hometown after finding out that her father is still alive and learned that he abandoned her. Jean recovers her complete memory of the car accident and remembers that her post-traumatic stress disorder had originated with the childhood car accident in which she had inadvertently caused by rendering her mother unconscious at the wheel with her telepathy. When the X-Men arrive to take Jean home but she injures Peter Maximoff aka Quicksilver and accidentally kills Raven aka Mystique before disappearing. And her actions led to the U.S. Army searching for her and willing to imprison other mutants at the government’s order.

Many X-Men fans and critics had really dumped on this movie when it first hit the theaters. I am not going to examine why this film was so unpopular. I can only discuss how I felt about it. One, it was not an original film. In many ways, “DARK PHOENIX” almost struck me as a remake of the 2006 movie, “THE X-MEN: THE LAST STAND”. Or perhaps I should say . . . a remake of the Dark Phoenix story arc, but with slightly different details. I suspect that Kinsberg and the X-Men producers wanted to use the changed timeline from “X-MEN: DAYS OF FUTURE PAST” as an excuse to re-write the Dark Phoenix story arc from 2006. Personally, I feel it would have been more original of them to completely leave that story arc alone and utilize another narrative for the film.

I also found the enhancement of Jean’s powers via some alien energy wave not only unoriginal, but unnecessary. Why did Simon Kinberg even thought it was necessary to enhance Jean’s powers? She had displayed an uber level of power when she killed En Sabah Nur aka Apocalypse in “X-MEN: APOCALYPSE”. I can only assume the solar flare energy situation was created by Kinsberg to introduce the D’Bari.  Speaking of the latter, I noticed that their goal to destroy humanity and settle on Earth as its new home bore a strong resemblance to General Zod’s plan in 2013’s “MAN OF STEEL”. Look, I do not mind that Kinsberg had used aliens as the movie’s Big Bad for this film. But did he have to recycle a plot from a D.C. Comics movie? Or worse, create this energetic force to enhance Jean Grey’s powers, when they really did not require to be enhanced in the first place?

Despite the film’s lack of originality, I must admit that I actually managed to enjoy “DARK PHOENIX”. I noticed that Kinsberg’s screenplay featured a more in-depth exploration of how Jean’s enhanced powers had made an impact on her life and on those in her life. I also enjoyed how the actions of certain characters in regard to Jean had resulted in major consequences for many characters. I found it interesting how Jean found herself isolated by her fellow mutants and a lot of the blame could be tossed at Charles Xavier’s feet. He did not use his telepathy to contain her power – especially since he had encouraged her to use it to defeat En Sabah Nur in the 2016 film. Instead, he had used his telepathy to suppress her memories of her parents’ death and her emotional reaction to it . . . instead of simply helping her deal with a tragic loss. Xavier had used a short cut. And when the alien energy removed his mental blocks on Jean’s mind, tragic consequences followed. Xavier did not pay the consequences of his actions with death, but he did pay a heavy price.

Ironically, Erik Lensherr aka Magneto had no interest in exploiting Jean’s new powers, as he had done in the 2006 movie. He was more concerned in protecting Genosha, the refugee island for mutants he had founded and demanded that she leave after the U.S. Army appeared. Unfortunately, Magneto’s desire to protect those mutants under his leadership transformed into vengeance when he learned about Mystique’s death from a grieving Hank McCoy aka Beast. I found it interesting that Hank had never bothered to inform Erik that Mystique’s death had been an accident on Jean’s part. He was angry at Charles for the latter’s handling of Jean and decided to use the latter as a moral scapegoat. And unfortunately, the vengeful actions of both men ended up exacerbating an already dangerous situation. By the time the movie shifted to Manhattan, three forces (including the U.S. Army) were trying to contain, exploit or destroy Jean. Only a fourth group seemed concerned with Jean – namely the X-Men. And for once, Xavier WAS NOT the catalyst for the team’s attempt to rescue Jean. Her fellow team members – led by Scott Summers aka Cyclops and Ororo Munroe aka Storm – led this endeavor.

If I must be honest, most of the film’s visual effects did not blow my mind. At best, I found them serviceable. I could also say the same about Mauro Fiore’s cinematography. However, there was one particular scene in which the film’s visuals and Fiore’s photography really blew my mind. It involved the major clash that eventually evolved between the X-Men, the mutants under Erik Lensherr and Hank McCoy, the U.S. Army and the D’Bari. I have become increasingly weary of final action sequences shot at night over the past decade, thanks to the second “LORD OF THE RINGS” movie. I must say that I was more impressed by Fiore and the visual team’s work in this particular sequence, which began on the streets of Manhattan and ended on a train headed out of the city. And their work was more than ably supported by excellent editing from Lee Smith.

I certainly had no problems with the performances featured in “DARK PHOENIX”. The movie featured solid performances from the likes of Evan Peters, Kodi Smit Mc-Phee, Ato Essandoh and Brian D’Arcy James. Another solid performance came from Michael Fassbender, whose portrayal of Erik Lensherr struck me as skillful, but not particularly memorable. I do not think Kinsberg’s screenplay gave the actor something new or unusual to work with. At first, it seemed as if Alexandra Shipp was doomed to endure another movie in which her character, Ororo Munroe aka Storm, nearly became a background character. Thankfully, the movie’s second half gave Shipp an opportunity to convey Storm’s resilient nature with more dialogue and action scenes. I especially enjoyed that moment when Storm and Cyclops made it clear to Xavier their determination to help Jean.

Vuk proved to be the second time I have ever seen Jessica Chastain portray a villain. And I thought she gave an interesting and slightly . . . bizarre performance as the D’Bari’s manipulative leader, who seemed focused on seducing Jean for the latter’s powers. Nicholas Hoult surprised me by his skillful portrayal of the uglier side of Hank McCoy’s nature. This was especially apparent in scenes that reflected McCoy’s desire to avenge Mystique’s death. Speaking of the latter, Jennifer Lawrence’s appearance barely spanned half of the movie. I thought she gave a solid performance. But there was one scene in which she truly impressed me. It featured Mystique’s sardonic rant against Xavier for using the X-Men as his personal publicity campaign. I was more impressed by Tye Sheridan’s portrayal of Scott Summers aka Cyclops in this film than I was in the 2016 movie. Sheridan’s Cyclops became a more mature and determined personality. That maturity was expressed in Scott’s continuing love for Jean and his determination to help her as much as possible.

I think “DARK PHOENIX” marked the first time I can truly recall Charles Xavier being portrayed in a negative light . . . and I enjoyed it. This has nothing to do with any dislike of Xavier. But I cannot deny that I found James McAvoy’s portrayal of his character very interesting . . . and new. What I really found interesting is that Xavier’s uglier side was not briefly manifested in the revelation of the telepathic blocks he had placed in Jean’s head. That revelation only deepened Xavier’s arrogance and blindness. But audiences first saw signs of these traits, thanks to his argument with Mystique over his exploitation of the X-Men team for personal glory. Some of the franchise’s fans felt that Sophie Turner was not up to portraying the “Dark Phoenix” aspect of Jean Grey’s character. I suppose they were expecting a re-play of Famke Janssen’s portrayal. Even if they were not, I still managed to enjoy Turner’s performance. The main reason why I did was because Turner did not try to repeat the older actress’ performance. Thanks to Kinsberg’s script, Turner was able to put a different spin of Jean’s evolution into the Dark Phoenix . . . one that did not paint her as villainous. I also felt that Turner did an excellent job of conveying how Xavier’s mental blocks had led Jean to experience post traumatic stress (PST) and loss of control of her powers.

I cannot explain why “DARK PHOENIX” proved to be a box office failure. And if I must be honest, I am not interested in expressing my opinion on this topic. The movie was not perfect. And frankly, I wonder if it was a good idea to use the shifted timeline from “X-MEN: DAYS OF FUTURE PAST” as an excuse to create a new version of the Dark Phoenix story arc. But I cannot deny that I enjoyed the movie. I thought Kinsberg had created a solid piece of cinematic entertainment with a screenplay that did not become a convoluted mess and first-rate performances from a cast led by James McAvoy, Michael Fassbender and Sophie Turner.

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“THE LAST TYCOON” (1976) Review

“THE LAST TYCOON” (1976) Review

What is there to say about the 1976 movie, “THE LAST TYCOON”? Well . . . it was adapted from F. Scott Fitzgerald’s last novel, which had remained at the time of his death in 1941. It proved to be the last movie directed by Elia Kazan. And it starred Robert De Niro.

Actually, there is more to say about “THE LAST TYCOON”. It told the story of Monroe Stahr, Fitzgerald’s literary version of the legendary Metro-Goldwyn-Mayer production chief, Irving Thalberg. Stahr served as production chief of a major Hollywood studio in the mid-1930s. The movie unfolds with Stahr juggling his time with emotional actors and directors, and several frustrated screenwriters. Stahr also deals with more pressing conflicts like the newly created Writers Guild of America, a union organizer from the East Coast and the growing resentment his boss and head of the studio, Pat Brady. During all this activity and growing turmoil, Stahr finds himself torn between two young women. One of those women is Brady’s only child, a recent college graduate named Cecilia who is infatuated with Stahr. The other is an Irish beauty with a troubled past named Kathleen Moore, with whom Stahr falls in love and eventually obsessed. Unfortunately for Stahr, Kathleen is engaged to another man.

The production values for “THE LAST TYCOON” struck me as first rate. Well . . . almost. I enjoyed Victor J. Kemper’s sharp and colorful photography. I also enjoyed Jack T. Collis’ art direction, which I thought effectively conveyed the locations of the Hollywood community during the 1930s. But I feel that Collis’ art direction would not have been as effective without Gene Callahan’s production designs. The Academy of Motion Picture Arts and Sciences must have also been impressed by both Collis and Callahan. The two men ended up receiving Oscar nominations for Best Art Direction-Set Decoration. On the other hand, I am not surprised that Anna Hill Johnstone and Anthea Sylbert’s costume designs had failed to win any nominations. Do not get me wrong. They were not terrible. But . . . I did notice that like some of the hairstyles worn by the actresses in the film, the fashion styles of the 1970s tend to creep in.

I certainly had no problems with the movie’s performances. Well . . . with most of them. May I be frank? Robert De Niro seemed to be an embodiment of Monroe Stahr . . . or should I say Irving Thalberg? De Niro did an excellent job in conveying Stahr’s obsessive nature – whether it was creating movies or falling in love with Kathleen Moore. A second standout performance came from Theresa Russell, who portrayed Cecilia Brady, the daughter of the studio chief. Russell did an excellent job in portraying both Cecilia’s passion for Stahr and her no-nonsense intelligence. Robert Mitchum was superb as Pat Brady, the studio chief who took his daughter’s intelligence for granted and who resented Stahr’s genius as a movie producer.

Both Tony Curtis and Jeanne Moreau gave excellent performances as Rodriguez and Didi, two Hollywood stars, whose egos and insecurities threaten a film they are currently shooting. Jack Nicholson provided a strong, yet quiet presence as an East Coast union official visiting Hollywood to organize the industry’s employees. The movie also featured solid performances from Ray Milland, Dana Andrews, Donald Pleasance, Peter Strauss, Tige Andrews and Anjelica Huston. “THE LAST TYCOON” also featured Ingrid Boulting as Kathleen Moore, the woman who captured Monroe Stahr’s heart. How did I feel about her? Hmmmm . . . she was not a terrible actress. But I was not particularly impressed by her performance. She seemed to spend most of the movie trying to iconic or remote . . . a 1970s version of Greta Garbo. And it did not work for me.

For me, the real problem with “THE LAST TYCOON” was its narrative. Quite frankly, I thought it sucked. Mind you, I thought the film’s explorations of life at movie studio in the 1930s seemed interesting. What made this work is that most of this exploration was told from Monroe Stahr’s point-of-view. I cannot deny that the film’s peek into the old Hollywood studio system was interesting. But instead of fashioning a narrative from this topic or at least from studio politics, screenwriter Harold Pinter had decided revolve the film’s plot around the Monroe Stahr-Kathleen Moore love story. I can understand why he did this. F. Scott Fitzgerald did the same in the unfinished novel. The problem was that Stahr’s romance with Kathleen bored the hell out of me. One, the entire romance almost seemed on-sided on Stahr’s part. And two, both Robert De Niro and Ingrid Boulting lacked any chemistry whatsoever. Every time the pair shared the screen, I found myself struggling to stay awake. Perhaps Pinter could have done a better job in connecting the Stahr-Moore romance with studio politics . . . who knows? Unfortunately, I felt as if I was watching a movie with two different narratives that barely connected – and with the major (and boring) subplot overshadowing the minor one. Pity.

Would I ever watch “THE LAST TYCOON” again? I honestly cannot answer that question. It is a beautiful looking film, thanks to men like Jack T. Collis and Gene Callahan. I also cannot deny the film’s peek into the old Hollywood studio system and politics managed to somewhat fascinate me. Unfortunately, the movie was dominated by a dull love story that bored me senseless. So, would I ever watch this movie again? Right now, I would say no. I do not think so.

 

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“All Aboard the Orient Express”

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Below is a look at two major movies and a television movie that featured journeys aboard the famed Orient Express:

 

“ALL ABOARD THE ORIENT EXPRESS”

I will be the first to admit that I am not one of those who demand that a novel, a movie or a television production to be historically accurate. Not if history gets in the way of the story. But there is an anal streak within me that rears its ugly head, sometimes. And that streak would usually lead me to judge just how accurate a particular production or novel is.

Recently, I watched three movies that featured a journey aboard the legendary train, the Orient Express. Perhaps I should be a little more accurate. All three movies, “MURDER ON THE ORIENT EXPRESS” (1974)“MURDER ON THE ORIENT EXPRESS” (2010) and “FROM RUSSIA WITH LOVE” (1963) featured a famous route that came into existence nearly a year following World War I called the Simplon Orient Express. The original route for the Orient Express stretched from Paris to Istanbul via Strasbourg, Munich, Vienna, Budapest and Bucharest. Then in 1919, Compagnie Internationale des Wagons-Lits introduced a more southerly route, due to the opening of the Simplon Tunnel. This route stretched between Paris and Istanbul, via Lausanne, Milan, Venice, Belgrade and Sofia. Writers Agatha Christie and Ian Fleming made the Simplon Orient Express route famous thanks to their novels, “Murder on the Orient Express” (1934) and “From Russia With Love” (1957). And the movie adaptations of these novels increased the route’s fame.

Both Christie and Fleming’s novels featured the Simplon Orient Express’ route from Istanbul to Yugoslavia. There are reasons why their stories do not stretch further west to as far as at least France. In “Murder on the Orient Express”, the train became stuck in a snowdrift in Yugoslavia and detective Hercule Poirot spent the rest of the novel trying to solve the murder of an American passenger. And in “From Russia With Love”, British agent James Bond and his companion, Tatiana Romanova, made it as far as either Italy or France. The 1974 and 2010 adaptations of Christie’s novel, more or less remained faithful to the latter as far as setting is concerned. However, EON Production’s 1963 adaptation of Fleming’s novel allowed Bond and Tatiana to escape from the train before it could cross the Yugoslavia-Italy border.

While watching the three movies, I discovered that their portrayals of the Simplon Orient Express route were not completely accurate. I can imagine the thoughts running through the minds of many, declaring “Who cares?”. And I believe they would be right to feel this way. But I thought it would be fun to look into the matter. Before I do, I think I should cover a few basics about this famous train route from Istanbul to Paris-Calais.

During its heyday, the Orient Express usually departed from Istanbul around 11:00 p.m. Following the rise of the Iron Curtain after World War II, the Orient Express extended it route to stops in Greece in order to avoid the Soviet-controlled countries. The only Communist country it passed through was Yugoslavia. When the train became the slower Direct Orient Express in 1962, it usually departed Istanbul around 4:15 p.m. I do not know whether a restaurant car and/or a salon “Pullman” car was attached to the Direct Orient Express when it departed Istanbul between 1962 and 1977. One last matter. In the three adaptations of the two novels, the Orient Express usually made a significant stop at Belgrade. It took the Orient Express, during its heyday, at least 23 to 24 hours to travel from Istanbul to Belgrade.

Let us now see how accurately the two “MURDER ON THE ORIENT EXPRESS” movies and the 1963 “FROM RUSSIA WITH LOVE” flick accurately portray traveling aboard the Simplon Orient Express (or Direct Orient Express) on film. I will begin with the “MURDER ON THE ORIENT EXPRESS”, the 1974 adaptation of Agatha Christie’s novel.

 

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“MURDER ON THE ORIENT EXPRESS” (1974)

Following the conclusion of a successful case for the British Army somewhere in the Middle East, Belgian-born detective is on his way home to London, via a train journey aboard the famed Orient Express. When an American businessman named Samuel Rachett is murdered during the second night aboard the train, Poirot is asked by his friend and director of the Compagnie Internationale des Wagons-Lits, Senor Bianchi, to investigate the crime.

In this adaptation directed by Sidney Lumet, the Simplon Orient Express that left Istanbul did so at 9:00 at night. The movie also included a dining car attached to the train. One scene featured a chef examining food being loaded onto the train. This scene is erroneous. According to the The Man in Seat 61 website, there was no dining car attached to the train when it left Istanbul. A dining car was usually attached at Kapikule on the Turkish/Bulgarian border, before it was time to serve breakfast. The movie also featured a salon car or a “Pullman”, where Hercule Poirot interrogated most of the passengers of the Istanbul-Calais car.

 

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According to the “Seat 61” site, there was no salon “Pullman” car attached to the train east of Trieste, Italy. Christie needed the presence of the car for dramatic purposes and added one into her novel. The producers of the 1974 movie did the same. At least the producers of the 1974 used the right dark blue and cream-colored car for the Pullman. More importantly, they used the right dark blue cars for the train’s sleeping coaches, as shown in the image below:

 

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In the movie, the Simplon Orient Express reached Belgrade 24 hours after its departure from Istanbul. For once, the movie was accurate. Somewhere between Vinkovci and Brod, the Orient Express ended up snowbound and remained there until the end of the story.

 

 

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“MURDER ON THE ORIENT EXPRESS” (2010)

This adaptation of Agatha Christie’s novel first aired on Britain’s ITV network in 2010. The television movie started with Hercule Poirot berating a British Army officer caught in a devastating lie. After the officer commits suicide, Poirot ends up in Istanbul, where he and a British couple witness the stoning of an adulterous Turkish woman. Eventually, the couple and Poirot board the Orient Express, where the latter finds himself investigating the murder of an American passenger.

I do not know what time the Simplon Orient Express departed Istanbul in this adaptation. The movie never indicated a particular time. This version also featured a brief scene with a chef examining food being loaded aboard a dining car. As I previously mentioned, a dining car was not attached until Kapikule. The movie did feature Poirot and some of the Istanbul-Calais car passengers eating breakfast the following morning. In this scene, I noticed a major blooper. Car attendant Pierre Michel was shown serving a dish to Poirot in the dining car. Note the images below:

 

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Pierre Michel greets Poirot and M. Bouc before they board the train

 

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Pierre serves breakfast to Poirot

 

Why on earth would a car attendant (or train conductor, as he was called in the 1934 novel) act as a waiter in the dining car? Like the 1974 movie, the ITV adaptation also featured a salon “Pullman” attached to the train, east of Italy. In fact, they did more than use one salon “Pullman”. As I had stated earlier, the westbound Simplon Orient Express usually acquired a salon “Pullman” after its arrival in Trieste. But in this adaptation, the producers decided to use the dark blue and cream-colored “Pullman” cars for the entire train as shown in these images:

 

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This is completely in error. As I had stated earlier, the Orient Express usually featured a dark-blue and cream-colored salon “Pullman” between Italy and Paris. But it also featured the dark-blue and cream-colored seating “Pullmans” between Calais and Paris. There is no way that the Orient Express leaving Istanbul would entirely consist of the blue and cream “Pullman” cars.

However, the train did arrive at Belgarde at least 24 hours after its departure from Istanbul. Like the other movie, the train ended up snowbound between Vinkovci and Brod and remained there until the last scene. However, I am confused by the presence of the police standing outside of the train in the last scene. Poirot and the other passengers should have encountered the police, following the train’s arrival in Brod, not somewhere in the middle of the Yugoslavian countryside.

 

 

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“MURDER ON THE ORIENT EXPRESS” (2017)

In this adaptation of Christie’s 1934 novel, in which Kenneth Branagh directed and starred, Poirot solves a theft at the Church of the Holy Sepulchre in Jerusalem. The detective hopes to rest in Istanbul after traveling there via the Mediterranean and Agean Seas, but a telegram summons him to London for a case and he boards the Orient Simplon Orient Express with the help of young Monsieur Bouc, a director of the Compagnie Internationale des Wagons-Lits. When an American passenger named Samuel Rachett is found stabbed to death following his second night aboard the Orient Express, Poirot is asked to solve his murder.

 

 

This movie featured the departure of the Simplon Orient Express around 7:00 p.m., instead of eleven o’clock. However, this is probably the only adaptation of Christie’s novel that featured the strongest similarity to the real Sirkeci Terminal in Istanbul, the train’s eastern terminus.

However, I also noticed that passengers boarded via the dining car, at the tail end of the train. That is correct. This adaptation also has a dining car attached to the Orient Express in Istanbul, instead of having it attached at Kapikule, the Turkish-Bulgarian border crossing. And unlike the previous adaptations, the dining car and the lounge car are dark blue like the sleeping compartments, instead of a color mixture of dark-blue and cream-colored. Which was an error.

 

 

The movie did not feature a stop in Belgrade, Yugoslavia. It did, however, featured a brief stop at Vinkovci, before it encountered a snow drift, later in the night. Since it was definitely at night when the train stopped at Vinkovci, no error had been committed. Especially since it was not quite dark when the train departed from Istanbul. And the journey between Istanbul and Belgrade lasted roughly 24 hours. At the end of the film, Poirot departed from the Orient Express at Brod. This is also appropriate, since the train had been snowbound somewhere between Vinkovci and Brod in the novel. More importantly, unlike the 2010 adaptation, Poirot gave his false resolution to Rachett’s murder to the police … in Brod and not in the spot where the train had been trapped.

 

 

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“FROM RUSSIA WITH LOVE” (1963)

Ian Fleming’s tale begins with the terrorist organization, SPECTRE, plotting the theft of the KGB’s a cryptographic device from the Soviets called the Lektor, in order to sell it back to them, while exacting revenge on British agent James Bond for killing their agent, Dr. No. After Bond successfully steals the Lektor from the Soviet consulate in Istanbul, he, defector Tatiana Romanova and MI-6 agent Kerim Bey board the Orient Express for a journey to France and later, Great Britain.

While I found this adaptation of Ian Fleming’s 1957 novel extremely enjoyable, I found myself puzzled by the movie’s portrayal of Bond’s journey aboard the Orient Express. It seemed so . . . off. In the movie; the Orient Express conveying Bond, his traveling companions and SPECTRE assassin “Red” Grant; departed Istanbul somewhere between 3:00 and 4:00 o’clock in the afternoon. The train departed Istanbul around nine o’clock at night, in Fleming’s novel. Mind you, the novel was set in the 1950s and the movie, set in the early 1960s, which meant that its departure in the movie was pretty close to the 4:15 pm departure of the Direct Orient Express train that operated between 1962 and 1977. I do not recall seeing a dining car attached to the train, during its departure in the movie, so I cannot comment on that. But after the train’s departure, the movie’s portrayal of Bond’s Orient Express journey proved to be mind boggling.

The main problem with “FROM RUSSIA WITH LOVE” is that Bond’s journey proved to be the fastest I have ever witnessed, either on film or in a novel. It took the train at least three-to-four hours to reach Belgrade, following its departure from Istanbul. One, it usually took the Orient Express nearly 24 hours to reach Belgrade during its heyday. During the first ten-to-fifteen years of the Cold War, it took the Orient Express a little longer to reach Belgrade, due to it being re-routed through Northern Greece in an effort to avoid countries under Soviet rule. This was made clear in Fleming’s novel. But the 1963 movie followed the famous train’s original eastbound route . . . but at a faster speed. After killing Grant, Bond and Tatiana left the train before it reached the Yugoslavian-Italian border. Bond’s journey from Istanbul to that point took at least 15 hours. During the Orient Express’ heyday, it took at less than 48 hours. And during the 15 years of the Direct Orient Express, it took longer.

Unlike many recent film goers and television viewers, historical accuracy or lack of it in a movie/television production has never bothered me. I still remain a major fan of both “MURDER ON THE ORIENT EXPRESS” (1974 version) and “FROM RUSSIA WITH LOVE”. And although I have other major problems with the 2010 “MURDER ON THE ORIENT EXPRESS”, there are still aspects of it that I continue to enjoy. Historical inaccuracy has never impeded my enjoyment of a film, unless I found it particularly offensive. But since I can be occasionally anal and was bored, I could not resist a brief exploration of the Hollywood and British film industries’ portrayals of the Orient Express.

“AQUAMAN” (2018) Review

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“AQUAMAN” (2018) Review

Following the failure of “JUSTICE LEAGUE” to storm the box office during the fall of 2017, Warner Brothers Pictures and the DC Extended Universe (DCEU) turned to the franchise’s sixth installment to carry it and the studio to both financial and especially critical glory. That movie proved to be 2018’s “AQUAMAN”

The character of the DC Comics superhero, Aquaman aka Arthur Curry has made extensive appearances in both television and movie animations. His biggest role proved to be one of the main characters of the 1973-1986 Saturday morning animated series, “SUPER FRIENDS”. The character also made occasional appearances in the live-action WB (later, the CW) series, “SMALLVILLE”. The WB had plans for a series about Aquaman, starring Justin Hartley (who later became known as Oliver Queen aka the Green Arrow on “SMALLVILLE”), but nothing came from it. In the end, it took Zack Snyder to bring Aquaman to the fore as a live-action figure, when he cast actor Jason Momoa in the role for the DCEU franchise. “AQUAMAN” would prove to be Momoa’s third appearance in the franchise, after a brief cameo in 2016’s “BATMAN V. SUPERMAN: DAWN OF JUSTICE” and a more prominent role in “JUSTICE LEAGUE”, the following year. However, “AQUAMAN” is the first film to feature Momoa as the lead in a DCEU film, but also the first movie that is actually about the “King of the Seven Seas”.

Directed by James Wan, “AQUAMAN” is a two-fold story that explores the drama behind Arthur Curry’s family conflicts. The movie also told how Arthur aka Aquaman went on a quest to prevent his half-brother King Orm Marius from uniting the seven undersea kingdoms in order to inflict war upon the surface world. The story begins in 1985, when a Maine lighthouse keeper named Tom Curry rescues a woman who has washed ashore during a storm. The mysterious woman turns out to be Atlanna, Queen of Atlantis, who had left her ocean world to escape an arranged marriage to another member of Atlantean royalty, Orvax. Both Tom and Atlanna fall in love, marry and conceive a child, whom they name Arthur. Unfortunately, Atlantean soldiers manage to find Atlanna. She decides to leave Tom and Arthur behind and return to Atlantis in order to protect them from Orvax’s wrath.

Over thirty years later, Arthur has become known as the metahuman vigilante, Aquaman. Months after the Justice League’s defeat of Steppenwolf, Aquaman prevents a group of pirates led by the father-son team, Jesse and David Kane, from hijacking a Russian Naval Akula-class submarine. Jesse dies during the confrontation with Aquaman, while David, vows revenge against the hero. Meanwhile, Arthur’s half-brother, King Orm of Atlantis attempts to convince King Nereus of Xebel to help him unite Atlantis and the other ocean kingdoms for an attack against the surface world for for harming the Earth’s oceans. Orm also hopes to solidify his position as Atlantis’ king. Nereus’s daughter and Orm’s fiancee, Princess Mera, heads to the surface to recruit Arthur in stopping Orm’s plans against the surface world and to present himself as the true king of Atlantis.

Over a year had passed between the release of “JUSTICE LEAGUE” and “AQUAMAN”. I noticed that many film critics and moviegoers seemed willing to heap lavish praise on the 2018 film, following the other movie’s poor performance and lack of critical acclaim. I will be honest . . . I did not dislike “JUSTICE LEAGUE”. I had mixed feelings about it. I still do. But I must admit that “AQUAMAN” is a better film. To a certain extent. “AQUAMAN” is a curious mixture of a family drama, a political film, an Indiana Jones-style adventure and the usual “save-the-planet” scenario.

For me, the best aspect of “AQUAMAN” is the family drama that centered around Queen Atlanna. David Leslie Johnson-McGoldrick and Will Beall did an excellent job in conveying the consequences of Atlanna’s initial refusal to be dragged into an arranged marriage. Her actions resulted in eventual exile and possible death for her, two sons in conflict with each other, a political vacuum and one of her sons becoming a future costumed hero. The political vacuum left by Atlanna also led to an exciting and action-filled search for a missing magical artifact – the Trident of Atlan, which used to belong to Atlantis’ first ruler and had been missing his disappearance. This search would lead Arthur and Mera on a picturesque journey from the Mediterranean region to the depths of the ocean’s most elusive worlds, the Kingdom of the Trench.

I also liked the fact that Johnson-McGoldrick and Beall’s screenplay did not rush in conveying Orm’s story arc. They did not rush his efforts to solidify his position on the Atlantean throne or his efforts to convince or coerce the rulers of the other ocean kingdoms to acknowledge and join him in the attack against the surface. And what seemed to be the cherry on the top of this particular story arc is that the two screenwriters managed to utilize Aquaman’s other major nemesis – David Kane aka Black Mantis – into Orm’s story arc. In doing so, the two screenwriters and director James Wan managed to establish David Kane’s own origin story and major conflict against Aquaman for future movies. But what I really liked about “AQUAMAN” is that instead of the outsider or the interloper of a royal court being the main villain, he is the main protagonist. In other words, the main protagonist is the one who shakes up a society and not the villain. I found this refreshing after movies like “THOR” and “BLACK PANTHER”.

Another aspect of “AQUAMAN” that I enjoyed was the film’s visual styles. Bill Brzeski did an excellent job as the film’s production designer. I thought he did a competent job in not only re-creating Atlantis and other ocean worlds . . . to an extent. I also enjoyed his designs for those scenes that especially featured Arthur and Mera’s adventures in both the Sahara Desert and especially Sicily. Don Burgess’ cinematography did a great job in enhancing Brzeski’s work. This especially seemed to be the case for his photography of the shooting locations in Australia, Morocco and Italy. I am going to be frank. I am not a big fan of the traditional Aquaman suit . . . at least for Jason Momoa. From a visual perspective, I believe the suit he wore in “JUSTICE LEAGUE” worked better for him. But I must admit that I did enjoy Kym Barrett’s designs for the costume worn by Momoa in the Sicily sequence. And I especially enjoyed Ms. Barrett’s costumes for the other Atlantean and Xebel characters. Especially those costumes worn by Amber Heard. However, the one aspect of “AQUAMAN” that truly impressed me were the visual effects for the Atlantis scene created by the Industrial Light & Magic (ILM) team led by Jeff White. I mean . . . oh my God! Those visual effects truly blew me away with the sharp colors, beauty and originality, as seen in the images below:

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How on earth did the Academy of Motion Picture Arts and Sciences fail to nominate White and the ILM team for their work in this film? It is simply criminal that the organization had failed to do this.

The performances featured in “AQUAMAN” struck me as either first-rate or solid. I would certainly describe Jason Momoa’s portrayal of Arthur Curry aka Aquaman as first-rate. One, the guy has charisma and presence oozing out of his pores. And two, Momoa did a great job in utilizing both his comedic and dramatic skills, when required by the screenplay. However, a part of me wishes there had been more of a balance between comedy and dramatic scenes for the actor. Another first-rate performance came from Amber Heard, who portrayed Princess Mera of Xebel. If I must be honest, I had been impressed by the way she had taken control of her performance in “JUSTICE LEAGUE”. Her portrayal of Mera as a strong-willed and commanding personality seemed even stronger in this film. “AQUAMAN” features the second time I have seen Patrick Wilson portray a villain. In this film, he gave a strong and intimidating portrayal of Aquaman’s half-brother, King Orm Marius aka Ocean Master. Wilson’s character was not as . . . amusing as his character in 2010’s “THE A-TEAM”, but I must admit that he did a great job in conveying Orm’s arrogance and bigotry. Yahya Abdul-Mateen II portrayed the film’s other villain, sea pirate-tech specialist David Kane, who will become one of Aquaman’s biggest nemesis, Black Mantis. Since he was not the main villain, his presence was not as extensive. But I cannot deny that Abdul-Mateen gave a very intense and memorable performance. I really look forward to seeing him in future DCEU films.

“AQUAMAN” also featured strong, yet solid performances from the supporting cast.  Those performances include Nicole Kidman, who portrayed Arthur’s mother Queen Atlanna; Temeura Morrison as Arthur’s father, Tom Curry; Willem Dafoe, who portrayed Arthur’s mentor Vulko; Dolph Lundgren as King Nereus of Xebel; Michael Beach as Jesse Kane, pirate leader and father of the future Black Mantis; and Graham MacTavish, who provided the voice for Atlan, the first king of Atlantis. I also wanted to point out Randall Park, who gave a rather funny and entertaining performance as Dr. Stephen Shin, a marine biologist obsessed with finding the lost city of Atlantis. I was surprised to discover that the movie also featured voice performances from the likes of Julie Andrews, Djimon Hounsou and John Rhys-Davies.

As much as I enjoyed “AQUAMAN”, I had some problems with the film. My biggest problem proved to be director James Wan. I realize that he has managed to establish a positive reputation from the horror flicks he had directed in the past. The problem is that there were times when I found his direction rather clunky. A good example would be the film’s opening scene that featured the introduction of Aquaman’s parents. It struck me as a bit rushed.

Utilizing slow motion scenes can annoy me in any movie. But what I found particularly annoying in “AQUAMAN” was that Wan did not use slow motion in action scenes. Instead, he used it for shots featuring Momoa in various poses . . . as if he was some kind of fashion magazine model. Also, it seemed as if Wan was incapable of going from action to drama to comedy in a seamless way. Perhaps he will be able to flow his scenes a little better as he become more experienced, but I did not sense such a skill in “AQUAMAN”.

Also, I am a little . . . confused about Queen Atlanna’s position in Atlantis society. Was she the ruling monarch when she first met Tom Curry? Was she ever the ruling monarch? Or did Atlantis society forbade women sovereigns and would only allow the royal spouses of a direct female heiress or sovereign to be considered for the throne? The movie never made it clear. According to the movie, one of Orm’s major reasons for planning an attack upon the surface world was humanity’s pollution of the ocean. Aside from one minor sequence featuring news reports of piles of garbage washing up on many beaches, I feel the movie did not explore the topic of pollution as much as it should have, considering IT WASone of Orm’s reasons to attack humanity.

I realize that “AQUAMAN” is at the moment, the DCEU franchise’s most successful film. It is the only one that has managed to earn over a billion dollars so far. But do I consider it the best in the franchise? Not really. Between James Wan’s uneven direction, some plot points regarding the Queen Atlanna character and the film’s use of the pollution topic; it did not quite impress me as I had hoped it would. On the other hand, I found some of Wan’s direction rather impressive, especially the action sequences. The visual effects struck me as stunning, the movie featured excellent performances from a cast led by Jason Momoa and I thought screenwriters David Leslie Johnson-McGoldrick and Will Beall wrote a first-rate adventure. I am more than satisfied.

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“CAMILLE” (1936) Review

“CAMILLE” (1936) Review

I am about to confess to something many might regard as sacrilegious. I have never regarded Greta Garbo as one of my favorite actresses from the Golden Age of Hollywood. I had nothing against her . . . personally. But I realized that I could barely recall any of her movies that were personal favorites of mine. Because of this, I was very reluctant to do a re-watch of one of Garbo’s most famous films, “CAMILLE”.

Produced by Irving Thalberg and directed by George Cukor, “CAMILLE” is based upon the 1848 novel and 1852 play “La Dame aux Camélias” (“The Lady with the Camellias”) by Alexandre Dumas, fils. The movie told the story of Marguerite Gautier, a woman of low-class birth who rose to become one of Paris’ top courtesans. Debt-ridden from helping friends and suffering from tuberculosis, Marguerite hopes to attract the attention of an aristocrat named Baron de Varville as her next “client” at the opera. However, just as she manages to attract the Baron’s attention, Marguerite meets a young member of the bourgeois gentry named Armand Duval and instant attraction flares up between them. The attraction eventually develops into love. But external influences – including Marguerite’s debts – threatens their potential for happiness.

I have not seen “CAMILLE” in a long time. A long time. There is a good chance I have not seen it since I was in my early twenties. But something . . . I have no idea what . . . led me to watch this film after so many years. In the end, the only regret that I managed to feel was that I had ignored this movie for so long.

Did I have any problems with “CAMILLE”? Perhaps a few. I noticed that the movie’s narrative began in 1847 and ended roughly a year later. I think. But considering the story’s setting, I found it surprising that the narrative never touched upon the political upheavals that swept throughout Europe between early 1848 and early 1849. In France, the upheaval was known as the French Revolution of 1848. During this event, the French king Louis Philippe I was overthrown in February 1848. Four months later, many Parisian workers had unsuccessfully risen in insurrection against the conservative Second Republic government. I realize that “CAMILLE” is not a political movie. But considering the film’s setting and the fact that one character had plans for a diplomatic career (Armand Duval) and another was a wealthy aristocrat (Baron de Varville), I found odd that the political upheaval was never touched upon.

I also had mixed feelings about the costumes created by legendary Hollywood designer, Adrian. I realize that the man had a reputation for creating some of Hollywood’s most memorable and famous costumes. But . . . I do not know. Oh, yes I do. I think Adrian should have stuck to modern day costumes. His period costumes were not bad. Some of them have actually impressed me. A good example would be this particular costume from “CAMILLE” – namely Marguerite’s dark velvet riding habit:

I also admired how Adrian managed to re-capture the fashion for men during the 1840s:

On the other hands, I had problems with gowns the ones worn by Greta Garbo in the images below:

 

I was inclined to complain about the sequins featured in the costumes, but I discovered that they had been worn as part of fashion for thousands of years – including the 19th century. But I have other problems with the above costumes. One, they looked as if they came from some cheap costume warehouse. And two, Garbo looked as if she was about to be consumed by the voluminous amount of material used to create those gowns. Or could it be that Garbo lacked the figure for the fashions of the mid 19th-century? No . . . I do not believe that is a good excuse. I am certain that Western women of the 1840s came in different shapes and sizes as they do today. It is possible that Adrian had simply failed to design Garbo’s costumes in a way that would fit her perfectly. As a high-priced courtesan, Marguerite Gautier had the funds to purchase a wardrobe filled with clothes tailored to fit her. I do not think that Adrian took the time to fit Garbo’s costumes. Or perhaps she did not give him the time.

Otherwise, I cannot think of any other complaints about “CAMILLE”. If I must be brutally honest, I think it is one of the best motion picture love stories I have ever seen, hands down. Ever. I was surprised that Alexandre Dumas fils, the son of the man who had written classics such as “The Three Musketeers” and “The Count of Monte Cristo”, had written “La Dame aux Camélias” when he was roughly 23 years old. And screenwriters James Hilton, Zoë Akins and Frances Marion did a superb job in adapting Dumas’ story.

“CAMILLE” could have easily developed into one of those sappy love stories that in which only external forces stood in the lovers’ way. And yes, Dumas’ tale featured those “forces” that stood in the way of Marguerite and Armand’s relationship – Baron Varville, Marguerite’s bank account, her friends and Armand’s father. But there were other forces in play. Namely, Marguerite and Armand. Between her passive aggressive personality, her penchant for evading the truth and her inability to handle her finances; Marguerite had put herself into a situation that made it nearly impossible to have a genuine romance with Armand, let alone anyone. And poor Armand. I could say that he was completely faultless in this romance. Yes, he was naive. Armand was also hot-tempered, rash and a bit too stubborn and proud for his own good. Considering the state of her health, I do not believe Marguerite’s romance with Armand was destined to last very long. However, I feel that it were not for their personal flaws, the pair could have enjoyed more time together than they actually had.

Many still regard Greta Garbo’s performance as Marguerite Gautier as her finest performance. As I had hinted earlier in this review, I have only seen less than a handful of Garbo’s movies. But I cannot deny that she gave a brilliant performance as the cynical, yet warm-hearted courtesan. Although Garbo was a healthy looking woman most of her life, I do admire how she utilized body language and facial expressions to convey Marguerite’s questionable health and languid lifestyle. I have always suspected that Robert Taylor was one of the underrated actors in Hollywood history. He had been in Hollywood for two years by the time he shot “CAMILLE”. Many critics tend to focus on Garbo’s performance when discussing the movie. As I had pointed out, she gave a superb performance. But so did Taylor, as Armand. He did an excellent job in conveying Armand’s character from a very naive young man to someone who is a bit more cynical and mature. And yet, Taylor made sure to retain Armand’s temper and stubbornness.

Another excellent performance came from Henry Daniell, who portrayed Marguerite’s “client”, Baron Varville. Daniell not only skillfully conveyed Varville’s cool and arrogant nature, but also the character’s slight infatuation with Marguerite, but also the latter’s pain in facing the reality of Marguerite’s true feelings for him. Laura Hope Crewes, famous for her role in the 1939 Best Picture winner, “GONE WITH THE WIND”, gave a very entertaining performance as one of Marguerite’s closest friends, a veteran courtesan named Prudence Duvernoy. It is a shame that Crewes never earned an Oscar nomination for her performance. Her Prudence is a skillful mixture of friendly warmth and a mercenary nature. “CAMILLE” also featured first-rate performances from the likes of Lionel Barrymore, Rex O’Malley, Leonore Ulric, Jessie Ralph and Elizabeth Allan.

I was astounded to learn that “CAMILLE” had earned only one Academy Award nomination – Greta Garbo for Best Actress. And she lost to Luise Rainer’s performance in “THE GREAT ZIEGFELD” . . . much to the surprise of the Hollywood community. Hell, I am not only shocked that “THE GREAT ZIEGFELD” had also won Best Picture, I am flabbergasted that “CAMILLE” did not even earn a Best Picture nomination, along with nominations for the leading actor, a screenplay nomination or a Best Direction nod for George Cukor. How did this travesty happen? A superb movie like “CAMILLE”?

The discovery of the limited amount of acclaim that “CAMILLE” had earned back in late 1936/1937, this only convinces me how irrelevant that the Academy Awards truly are. Thankfully, movie fans still have the movie to enjoy for years to come, thanks to George Cukor’s superb direction; a great screenplay by the likes of James Hilton, Zoë Akins and the legendary Frances Marion; and a superb cast led by the iconic Greta Garbo and the excellent Robert Taylor.

 

 

“The Demand For An Ideal Woman”

“THE DEMAND FOR AN IDEAL WOMAN”

Recently, the STAR WARS movie, “STAR WARS: EPISODE I – THE PHANTOM MENACE” achieved a milestone. Twenty years has passed since it initial release in theaters in May 1999. However, there have been other recent or upcoming events within the STAR WARS franchise. One of them is the upcoming release of the third Sequel Trilogy movie in December. Another was the recent release of a Young Adults (YA) novel called “Queen’s Shadow”, the first stand alone story about the Prequel Trilogy’s leading lady, Padmé Amidala.

Many fans, especially women, celebrated the release of “Queen’s Shadow”. Written by EK Johnston, the novel focused on a period in Padmé’s life, when her career underwent a transformation from the elected monarch of Naboo to a senator of Naboo. This meant that the novel was set sometime during those ten years between “THE PHANTOM MENACE” and “STAR WARS: EPISODE II – ATTACK OF THE CLONES”. More importantly, this novel featured the first time that Padmé was the main protagonist in any STAR WARS movie, television production or novel. “Queen’s Shadow” also led many fans to contemplate the idea of Padmé surviving the birth of her twin children, Luke and Leia, and becoming a leader for the early manifestation of the Rebel Alliance. More importantly, the novel and the 20th anniversary of “THE PHANTOM MENACE” has revived the fans’ never ending complaint that filmmaker George Lucas should have portrayed Padmé as an ideal character . . . a feminist icon.

As a woman, the idea of a leading woman character as a feminist icon sounds very appealing. But as a lover of films and novels, I tend to harbor a strong wariness toward such characters – regardless of their gender. Recently, some fans have suggested that Padmé should have been the main character of the Prequel Trilogy (1999-2005) and not her husband, Anakin Skywalker. Considering that Anakin eventually became Darth Vader from the Original Trilogy (1977-1983), I found this suggestion a little hard to swallow. Even worse, I find the constant complaints that Lucas had “ruined” Padmé’s character, due to the manner of her death in “STAR WARS: EPISODE III – REVENGE OF THE SITH”, rather tiresome and pedantic. As I have pointed out in a previous article about Padmé, I found nothing wrong with a person succumbing to death due to a “broken heart” or allowing one’s emotions to affect his/her health. Such deaths have actually occurred in real life. And considering that Padmé was in the third trimester of her pregnancy, had endured a series of traumatic events in her professional and personal life, including a recent attack by a jealous Anakin, the circumstances of her death did not surprise me, let alone anger me.

In regard to the idea that Padmé should have been the main protagonist of the Prequel Trilogy Amidala . . . this did not make any sense to me. Like Han Solo and Leia Organa in the Original Trilogy, Padmé was a major supporting character in the Prequel Trilogy. The real focus of the Prequel Trilogy was Anakin Skywalker, which made sense considering he proved to be the catalyst of the Jedi Order’s downfall and rise of the Galactic Empire. And in his own way, Padmé and Anakin’s son, Luke Skywalker, was the Original Trilogy’s main character. Although Ewan McGregor was the leading actor in the second and third films of the Prequel Trilogy, Obi-Wan Kenobi was not the central character. It was still Anakin. And I do not recall any film in STAR WARS franchise being made solely about Obi-Wan. Oh yes, there had been plans for one, but due to the failure of “SOLO: A STAR WARS STORY”, Disney Studios had decided to curtail any Obi-Wan solo film. Yet, many did not complain.

Many had bitched and moaned about how Lucas treated Padmé’s character, because he had conveyed her weaknesses, as well as her strengths. He did the same with many male characters. Apparently, certain people cannot deal with a major female character’s weaknesses being on display, unless she is either the main character or in a drama. What am I saying? Many people still cannot make up their mines on whether they want the Rey character from Disney’s Sequel Trilogy to be ideal or flawed. On the other hand, I once came across an article – it might have come from “The Mary Sue Blog” but I am not sure – claimed that the problem with Padmé was not that she was not allowed to have flaws. This person claimed that the that moviegoers saw her as a problem solver who never gave up in the first two movies. The article also added that Padmé was not someone who would give up the will to live. A few years ago, I had written an ARTICLE that discussed Padmé’s mistakes in all three Prequel Trilogy movies and argued that she was not the “flawless” or “ideal” character that many still regard her as.

I had also pointed out that in “STAR WARS: EPISODE III – REVENGE OF THE SITH”, Padmé had experienced the loss of the Galactic Republic, the rise of the Galactic Empire, the loss of her husband to Palpatine and the Sith, and his physical attack on her in a brief space of time – within two days or less. As someone who had recently experienced personal loss, I understood why she had given in to emotional despair. I had only experienced one loss. Padmé did not. Just because she was able to not give up and overcome a situation in the past, did not mean that she would always be able to do this.

I still recall the “BUFFY THE VAMPIRE SLAYER” Season Five episode called (5.21) “The Weight of the World” in which the main protagonist, Buffy Summers, had went into a catatonic state after she failing to prevent her younger sister Dawn from being abducted by the season’s Big Bad, a hell demon called Glory. Buffy had failed to overcome her state of catatonic depression on her own. She needed help and she eventually got it in the form of one of her closest friends, Willow Rosenberg. There was no Willow to help Padmé deal with her emotional state during the downfall of the Republic and the Jedi Order. Padmé had no Willow to deal with the emotional trauma of Anakin’s transformation into a Sith Lord or his attack upon her. Instead, she had to deal with going into premature labor and giving birth to twins. I hate to say this, but neither Obi-Wan Kenobi, Yoda or Bail Organa were as emotionally close to Padmé as Willow Rosenberg was close to Buffy Summers. And instead of providing emotional support to her, the two Jedi Masters and the senator were more focused on her going into labor and giving birth.

There is something about today’s feminism that truly irritates me. Women (both in real life and in fiction) are not allowed to be flawed. Actually, I think today’s feminists and sexist men have that trait in common. Both groups demand that women be ideal in a way THEY believe the latter should be ideal. For feminists, women should be some all knowing saint, who can kick ass and have a successful career outside of the home. For sexist men (or men in general), women should be attractive or beautiful bed warmers, home carers and emotional crutches. Women are expected to revolve their lives around the men in their lives. Women in real life are not allowed to be flawed – especially if they are famous. And fictional women – especially those who are major characters in an action story – are definitely NOT ALLOWED to be flawed. Especially someone like Padmé Amidala.

I do not believe that Lucas had subjected Padmé’s character with weak writing. I think too many fans were too prejudiced to allow her to be a complex woman with both strengths and weaknesses. They had wanted . . . no, they had demanded she be some feminist icon. While complaining about Padmé’s character, they would always compare her with her daughter, Princess Leia Organa aka Skywalker. The ironic thing is that Leia was no more of a feminist icon than her mother. Leia had her own set of flaws. Yes, she was an intelligent and capable political leader, who was also knowledgeable about military tactics and defending herself. Leia also possessed a tough demeanor and a sharp wit. On the other hand, Leia harbored a hot temper, impatience and a penchant for being both judgmental and an emotional coward. Nor was she the type to be forgiving (except with certain people). Two of Leia’s flaws – her temper and being judgmental – were on full display in the 1980 movie, “STAR WARS: EPISODE V – THE EMPIRE STRIKES BACK”. In that film, she had supported Chewbacca’s angry and murderous attack upon Lando Calrissian, after the latter was forced to betray them to Darth Vader and the Empire. During that scene, both Leia and Chewbacca’s anger got the best of them at a time when it should not have. Neither had pondered over how the Empire had arrived on Bespin before them. Nor did they ever considered that Vader had coerced Lando into choosing between betraying Han and them or watching the Empire destroy Bespin and its citizens.

Many fans have also complained that George Lucas had failed to explore Padmé’s backstory . . . especially in “THE PHANTOM MENACE” and “ATTACK OF THE CLONES”. I found this complaint rather hypocritical. Lucas had never bothered to explore Leia or her future husband Han Solo’s backstory in the Original Trilogy films. Yet, no one or very few people have complained about this. When Disney Studios finally green-lighted a movie about Han’s backstory, many film goers and media outlets like “The Mary Sue Blog” bitched and moaned about how it was not necessary. I suspect they had made this complaint, because it was easier than criticizing how Disney Studios/Lucasfilm had handled the movie’s production and theatrical release. Is it any wonder that I found this complaint that a movie about Han’s backstory was not necessary, but Padmé’s was? And to this day, no one has complained about a lack of Leia’s backstory in the 1977-1983 films.

Look, I am happy that a novel about Padmé Amidala has been written. And I find it interesting that STAR WARS fans will get a chance to peek into those years between “THE PHANTOM MENACE” and “ATTACK OF THE CLONES”. But I must admit that I found myself getting irritated that so many have used the novel’s upcoming release to criticize George Lucas’ portrayal of her character. It seems obvious to me that a great deal of their criticism is wrapped around a lot of hypocrisy, an inability to understand human nature and a definite lack of attention toward what actually happened to Padmé in the Prequel Trilogy. I cannot help but feel that some people need to realize that in contemplating feminism, they also need to factor in the concept of human nature . . . and good writing. Good writing or a strong character is not one who can do no wrong or be strong, 24/7. A strong character, for me, is someone who possesses both strengths and weaknesses . . . or virtues and flaws. As far as I am concerned, George Lucas had included all in his creation of Padmé Amidala.

 

“CAPTAIN MARVEL” (2019) Review

“CAPTAIN MARVEL” (2019) Review

For several years, many movie fans, critics and feminists have criticized Disney Studios and Marvel Films for failing to green light a Marvel Cinematic Universe (MCU) film that starred a person of color or simply a woman. And for years, producer Kevin Feige have assured these critics that the studio was planning such a film for the franchise. Ironically, it took the plans of a comic book film from another studio for Feige to fulfill his promise.

Sometime in 2014 or 2015, Warner Brothers Studios announced it plans for a solo film featuring one of D.C. Comics’ more famous characters, Wonder Woman. The character had first appeared in the 2016 movie, “BATMAN V. SUPERMAN: DAWN OF JUSTICE” before moving on to a solo film. This decision by Warner Brothers and the success of the Wonder Woman film eventually led Feige to push forward his plans for a film about the Marvel Comics character, Black Panther aka King T’Challa of Wakanda. The character first appeared in the 2016 movie, “CAPTAIN AMERICA: CIVIL WAR”, followed by a solo movie released in early 2018. Following the success of “BLACK PANTHER”, Feige immediately set in motions for the MCU’s first film with a female lead – “CAPTAIN MARVEL”.

The comic book origin of Captain Marvel is decidedly complex and a bit controversial. The first Captain Marvel was a Kree military officer named Mar-Vell, who becomes an ally of Earth. The second Captain Marvel was Monica Rambeau, an African-American police officer from New Orleans. She eventually became another costume heroine named Spectrum. Four more characters served the role as Captain Marvel – all of them aliens – before an Air Force officer named Carol Danvers became the sixth and most recent character to fill the role. Feige and Disney Studios had selected Danvers to be the first cinematic Captain Marvel.

Directed and co-written by Anna Boden and Ryan Fleck, “CAPTAIN MARVEL” begins in the Kree Empire’s capital planet of Hala in 1995, where a member of the Empire’s Starforce, Vers, suffer from amnesia and recurring nightmares involving an older woman. Both her mentor and commander, Yon-Rogg; and the empire’s ruler, an artificial intelligence named Supreme Intelligence her mentor and commander, trains her to control her abilities while the Supreme Intelligence, the artificial intelligence that rules the Kree, urges her to keep her emotions in check. During a Starforce mission to rescue an undercover operative from the Skrulls, a shape-shifting race that are engaged in a war against the Kree, Vers is captured. The Skrulls’ commander, Talos, probes Vers’s memories and discover that the individual they are looking for might be on Earth. Vers escapes and crash-lands in Los Angeles, where she meets S.H.I.E.L.D. agents Nick Fury and Phil Coulson. Vers recovers a crystal containing her extracted memories, which leads her and Fury to an Air Force base. There, they learn that the mysterious woman that Vers had been dreaming of and for whom the Skrulls are searching is a Doctor Wendy Lawson, a woman who was working on a S.H.I.E.L.D. project known as Project Pegasus (one of the Infinity Stones – the Tesseract). They also discover that Vers is actually a Human Air Force officer named Carol Danvers, who was also working on Project Pegasus . . . and who was reported dead six years earlier in 1989. Vers (or Danvers) and Fury set out to keep the Space Stone out of the Skrulls’ hands and to learn more about her past and how she had ended up with the Kree.

Many critics and fans of the Marvel Cinematic Universe (MCU) were doubtful that “CAPTAIN MARVEL” would prove to be a hit. After all, the movie’s lead was a woman and the actress portraying her, Brie Larson, had a reputation for left-wing politics. Nevertheless, these doubting Thomases were proven wrong. “CAPTAIN MARVEL” went on to earn over one billion dollars at the box office. Did the movie deserve this kind of success? Hmmm . . . that is a good question.

“CAPTAIN MARVEL” did not strike me as one of the best MCU movies I have seen. I could say that it is your typical comic book hero origin story. Somewhat. “CAPTAIN MARVEL” had the unusual distinction of starting midway into Carol Danvers’ tale. In fact, screenwriters, which include directors Anna Fleck and Ryan Fleck; along with “GUARDIANS OF THE GALAXY” co-writer Nicole Perlman; made the unusual choice of wrapping Carol’s past and the circumstances of her amnesia in a cloud of mystery. Movie audiences were first given the peep into Carol’s past during Talos’ probe of her memories. Between the Project Pegasus file and Carol’s reunion with her former best friend, former Air Force pilot Maria Rambeau, the mystery was finally cleared. A part of me admired the screenwriters’ attempt to utilize this different narrative device to convey Carol’s past. At least four other MCU films have utilized the flashback device (limited or otherwise) for their narratives. But “CAPTAIN MARVEL” is the only MCU movie in which the protagonist’s past is written as a mystery. Another twist that the screenwriters had revealed concerned the identities of the film’s antagonists – the Skrulls and their leader Talos. All I can say is that their goal turned out to be something of a surprise.

“CAPTAIN MARVEL” featured some well done action sequences. I thought Boden and Fleck provided solid direction for most of the film’s action scenes. I enjoyed such scenes like the Starforce’s rescue attempt of their spy from the Skrulls, Carol and Fury’s escape from the Air Force base and the Skrulls, and the film’s final action sequence involving Carol, Fury, Maria Rambeau, the Starforce team and the Skrulls. But if I had to choose my favorite action sequence, it would be the Los Angeles chase sequence in which Carol encounters Fury, Coulson and other S.H.I.E.L.D. agents, while chasing the Skrulls. My head tells me that I should be more impressed by the final action sequence. But I simply found myself more impressed by that chase sequence in the movie’s first half.

What can I say about the performances in the movie? They were pretty solid. I seem to use that word a lot in describing my feelings about “CAPTAIN MARVEL”. Well . . . I thought Brie Larson’s performance as Carol Danvers aka Captain Marvel was more than solid. She seemed to take control of the character rather easily. And I thought she did a great job in combining certain aspects of Carol’s personality – her ruthlessness, dry humor and flashes of insecurity. Although he had a brief appearance in the 2018 movie, “THE AVENGERS: INFINITY WAR”, Samuel L. Jackson returned in full force as former S.H.I.E.L.D. director Nick Fury for the first time in nearly four years. Only in this film, he is a mere agent. Jackson’s performance in this film proved to be a lot more humorous than in his previous MCU appearances. I also noticed that he and Larson, who had first appeared together in the 2017 movie, “KONG: SKULL ISLAND”, managed to create a very strong screen chemistry. Another memorable performance came from Ben Mendelsohn, who portrayed the Skulls’ leader, Talos. Thanks to Mendelsohn’s skillful performance, Talos proved to be one of the most subtle and manipulative antagonists in the MCU franchise.

Other performances that caught my eye came from Lashana Lynch, who portrayed Carol’s oldest friends and former Air Force pilot, Maria Rambeau. Does that name sound familiar? It should. In the movie, Maria is the mother of Monica Rambeau, the first woman Captain Marvel . . . at least in the comics. Lynch gave a subtle and skillful performance that portrayed Maria as a pragmatic and reserve woman with a dry sense of humor. Jude Law was convincingly intense as Carol’s Starforce commander and mentor, Yon-Rogg, who was unfailingly devoted to the Kree Empire and who also happened to be searching for the missing Carol. “CAPTAIN MARVEL” also featured competent performances from the likes of Clark Gregg as S.H.I.E.L.D. Agent Phil Coulson, Gemma Chan as Starforce sniper Minn-Erva, Vik Sahay as Hero Torfan and Annette Bening, who portrayed Kree scientist Mar-Vell aka Dr. Wendy Lawson and provided the voice for the Kree Supreme Intelligence A.I. Akira and Azari Akbar portrayed the young and feisty Monica Rambeau at ages eleven and five respectively. Also, Djimon Hounsou and Lee Pace (both who had been in 2014’s “GUARDIANS OF THE GALAXY”) reprised their roles as Korath the Pursuer and Ronan the Accuser. Only in this film, Korath was a member of Starforce and Ronan had yet to become a homicidal political extremist.

Do not get me wrong. I enjoyed “CAPTAIN MARVEL”. And I do plan to purchase a DVD copy as soon as possible. But . . . it is not perfect. And it is not one of my favorite MCU films. One, I wish this movie had not been set in the past. I do not think that Andy Nicholson’s production designs, along with Lauri Gaffin’s set decorations and the art direction team had convincingly recaptured the late 1980s and the mid 1990s. Honestly, I have seen other movies and television shows that did a better job. I understand that Carol Danvers was an Air Force officer before she became Vers and later Captain Marvel. But I found the movie’s pro-military atmosphere a bit jarring and uncomfortable. I do not understand why Disney Studios thought it was necessary to allow the U.S. Air Force to have so much influence on the film. I understand that the filmmakers had hired Kenneth Mitchell to portray Carol’s father, Joseph Danvers. Why did they even bother? Mitchell was wasted in this film. He was for at least a second or two in a montage featuring Carol’s memories. And he had one or two lines. What a waste of a good actor! And if I must be brutally honest, I found the movie’s pacing rather uneven . . . especially in the firs thirty minutes and in the last half hour. And as much as I enjoyed some of the action sequences, my enjoyment was limited by the film’s confusing editing, which has become typical of the MCU. Despite being a woman – and a progressive one at that – I found that entire moment with Captain Marvel kicking ass to the tune of Gwen Stefani’s 1995 song, “Just a Girl” rather cringe worthy. The MCU has proven lately that when it comes to promoting feminine empowerment, the franchise can be rather shallow and subtle as a sledge hammer.

My biggest problems with “CAPTAIN MARVEL” proved to be its inconsistent writing – a trait that has become a hallmark of the MCU in the past several years. On “AGENTS OF S.H.I.E.L.D.” Phil Coulson had informed his team that Nick Fury had recruited him into the agency, while he was in college. That should have occurred at least 10 years before this film’s setting. Yet, Clark Gregg had portrayed Coulson as if the latter was a newbie agent. And to be brutally honest, Gregg’s presence in the movie proved to be rather limited. Unfortunately. Speaking of S.H.I.E.L.D., why did Fury, Coulson and other S.H.I.E.L.D. agents appear at that Radio Shack store after a security guard had reported her presence? Why? Before Fury’s discovery of the Skrulls’ presence, S.H.I.E.L.D. was more focused on unusual scientific projects. There is also the matter of the Tesseract aka the Space Stone. Apparently, the Infinity stone, which was discovered and lost by HYDRA leader Johann Schmidt in 1942 and 1945 respectively, was discovered by S.S.R. scientist and future S.H.I.E.L.D. founder Howard Stark in 1945. S.H.I.E.L.D. kept that stone for over 40 years until it became part of a joint S.H.I.E.L.D./Air Force operation in the late 1980s called Project Pegasus. Seriously? Why would such a secretive agency like S.H.I.E.L.D. even share knowledge of the Tesseract with the U.S. Air Force, let alone allow a non-S.H.I.E.L.D. scientist (Dr. Lawson) and two junior test pilots (Carol and Maria) be the main participants in this project?

Movie audiences also discover how Nick Fury had lost his eye. I want to state how his eye was lost, but I am too disgusted to do so. Okay . . . Dr. Lawson aka Mar-Vell’s space cat (or whatever the hell it is) named Goose had scratched out his left eye. That is correct. Fury’s speech about trust issues in “CAPTAIN AMERICA: THE WINTER SOLDIER” originated with a space cat that scratched out his eye, because he got too friendly with it. Jesus Christ! Talk about taking an important character moment for Fury in one film and transforming it into a joke in another, five years later. In doing so, both Boden and Fleck came dangerously close to neutering his character. They, along with Kevin Feige, actually managed to accomplish this with the Monica Rambeau character. They took Marvel Comics’ first female Captain Marvel and transformed her into a child, who happened to be the daughter of Carol Danvers’ best friend. I found this both frustrating and disturbing.

Earlier, I had complained about the movie’s 1989-1995 setting. I have a few questions in regard to portraying Captain Marvel’s origin during this setting. If Captain Marvel had been around since 1995, why did Nick Fury wait so long to summon her? He did not summon her until the chaos surrounding Thanos’ Snap in “THE AVENGERS: INFINITY WAR” began to manifest . . . twenty-three years later, as shown in one of the film’s post-credit scenes. If Captain Marvel had been saving the universe during those past twenty-three years, where was she when Ronan the Accuser had threatened to destroy Xandar in “GUARDIANS OF THE GALAXY”? Where was she when Ego had threatened the universe in “GUARDIANS OF THE GALAXY, VOL. 2”? Where was she when the Dark Elves had attacked both Asgard and Earth in order to get their hands on the Aether (or Reality Stone) in “THOR: THE DARK WORLD”? Where was she when Loki and the Chitauri attempted to invade Earth in “THE AVENGERS”? Where was she when Ultron threatened the Earth in “THE AVENGERS: AGE OF ULTRON”? Where was she during all of these major galactic crisis? The more I think about this, the more I realize that Carol’s origin story should have been set after the recent MCU film, “THE AVENGERS: ENDGAME”.

Despite my complaints about “CAPTAIN MARVEL”, I did enjoy it. The movie had enough virtues for me to do so, especially an entertaining adventure set in both outer space and on Earth. I also thought the screenwriters, which included directors Anna Boden and Ryan Fleck had created an engaging and interesting mystery that surrounded the protagonist’s past and origin of her abilities. “CAPTAIN MARVEL” also featured some impressive action sequences and first-rate performances from a cast led by Brie Larson. I do look forward to seeing this movie again.

 

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