Ranking of “THE QUEEN’S GAMBIT” (2020) Episodes

Below is my ranking of the episodes “THE QUEEN’S GAMBIT”, Netflix’s Emmy winning 2020 adaptation of Walter Nevis’ 1983 novel. Written and directed by Scott Frank, the miniseries starred Emmy nominee Anya Taylor-Joy:

RANKING OF “THE QUEEN’S GAMBIT” (2020) EPISODES

1. (1.04) “Middle Game” – While competing at an international tournament in Mexico City, chess prodigy Beth Harmon meets the intimidating Soviet champion, Vasily Borgov. Meanwhile, her adopted mother Alma Wheatley cozies up with a pen pal.

2. (1.07) “End Game” – In the series finale, a visit from Jolene, her old childhood friend from the orphanage, forces Beth to reckon with her past and rethink her priorities. With Jolene’s help, she is able to compete in the Moscow Invitational.

3. (1.02) “Exchanges” – Alma and her husband Allston Wheatley adopts Beth and draws her into a new life in suburbia Lexington, Kentucky. The teenage Beth studies her high school classmates and hatches a plan to enter a local chess tournament.

4. (1.03) “Doubled Pawns” – Beth travels to Cincinnati with Alma and wins the big prize at the chess tournament. While competing at the U.S. Open in Las Vegas, Beth meets the current U.S. chess champion, Benny Watts.

5. (1.06) “Adjournment” – After training with Benny in New York, Beth heads to Paris for her rematch with Borgov. But a wild night sends her into a self-destructive spiral.

6. (1.01) “Openings” – In the series premiere, nine-year-old Beth is sent to an orphanage following her mother’s death. She develops an uncanny knack for chess and a growing dependence on the green tranquilizers given to the children.

7. (1.05) “Fork” – Shaken by a recent tragedy, Beth returns home to Kentucky. She reconnects with former opponent Harry Beltik, who offers to help sharpen her game ahead of the U.S. Championship.

Favorite Television Productions Set in the 1920s

Below is a list of my favorite television productions (so far) that are set in the 1920s:

 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1920s

 

1. “Boardwalk Empire” (2010-2014) – Terence Winter created this award winning crime drama about Atlantic City, New Jersey during the Prohibition era. Inspired by Nelson Johnson’s 2002 book, “Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City”, the series starred Steve Buscemi.

 

 

2. “Agatha Christie’s Poirot: Five Little Pigs” (2003) – In this beautifully poignant tale, Hercule Poirot investigates a fourteen year-old murder of a philandering artist, for which his client’s mother was erroneously convicted and hanged. David Suchet starred as Hercule Poirot.

 

 

3. “Miss Fisher’s Murder Mysteries” (2012-2015) – Essie Davis starred in this television adaptation of Kerry Greenwood’s historical mystery novels about a glamorous socialite who solves mysteries in 1920s Melbourne. The series was created by Deb Cox and Fiona Eagger.

 

 

4. “Rebecca” (1997) – Emilia Clarke, Charles Dance and Diana Rigg starred in this television adaptation of Daphne du Maurier’s 1938 novel about a young bride haunted by the presence of her new husband’s first wife. Jim O’Brien directed.

 

 

5. “Peaky Blinders” (2013-2019) – Steven Knight created this television drama about a Birmingham crime family in post World War I England. Cillian Murphy, Helen McCrory and Paul Anderson starred.

 

 

6. “The Day the Bubble Burst” (1982) – Joseph Hardy directed this fictionalized account of the events and forces that led to the Wall Street Crash of 1929. The television movie’s cast included Richard Crenna, Robert Vaughn, Robert Hays and Donna Pescow.

 

 

7. “The Great Gatsby” (2000) – Robert Markowitz directed this television adaptation of F. Scott Fitzgerald’s 1925 novel about the Jazz Age. Toby Stephens, Paul Rudd and Mira Sorvino starred.

 

 

8. “The Forsyte Saga: To Let” (2003) – Damian Lewis, Gina McKee and Rupert Graves starred in this adaptation of John Galsworthy’s 1921 novel, “To Let”, an entry in his The Forsyte Chronicles.

 

 

9. “The House of Eliott” (1991-1994) – Jean Marsh and Eileen Atkins created this television series about two sisters who create this dressmaking business in 1920s London. Stella Gonet and Louise Lombard starred.

Favorite Television Productions Set in the 1940s

Below is a list of my favorite television productions (so far) that are set in the 1940s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1940s

1. “Homefront” (1991-1993) – Lynn Marie Latham and Bernard Lechowick created this award-winning series about the residents of a small Ohio town in post-World War II.

2. “Mob City” (2013) – Jon Bernthal starred in this six-part limited series that was inspired by John Buntin’s book, “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City”. Co-starring Alexa Davalos and Milo Ventimiglia, the series was created by Frank Darabont.

3. “Agent Carter” (2015-2016) – Hayley Atwell starred as Margaret “Peggy” Carter, an agent with the Strategic Scientific Reserve (SSR) in the post-World War II Manhattan. Created by Christopher Markus and Stephen McFeely, the MCU series co-starred James D’Arcy and Enver Gjokaj.

4a. “Band of Brothers” (2001) – Steven Spielberg and Tom Hanks produced this outstanding television miniseries about the history of a U.S. Army paratrooper company – “Easy Company” – during the war. Damian Lewis and Ron Livingston starred. (tie)

4b. “The Pacific” (2010) – Spielberg and Hanks struck gold again in this equally superb television miniseries about the experiences of three U.S. Marines – John Basilone, Robert Leckie and Eugene Sledge – in the war’s Pacific Theater. James Badge Dale, Joseph Mazzello and Jon Seda starred. (tie)

5. “Manhattan” (2014-2015) – Sam Shaw created this series about the creation of the first two atomic bombs at Los Alamitos, New Mexico. The series starred John Benjamin Hickey.

6. “The Winds of War” (1983) – Dan Curtis produced and directed this television adaptation of Herman Wouk’s 1971 novel. The seven-part miniseries starred Robert Mitchum, Ali McGraw and Jan-Michael Vincent.

7. “Pearl” (1978) – Stirling Silliphant wrote this three-part miniseries about a group of men and women who experienced the attack on Pearl Harbor in December 1941. Angie Dickinson, Robert Wagner, Lesley-Ann Warren and Dennis Weaver starred.

8. “The Jewel in the Crown” (1984) – The ITV aired this award winning television adaptation of Paul Scott’s “Raj Quartet”novels (1965–75) about the end of the British Raj in India. The fourteen-part miniseries starred Art Malik, Geraldine James, Charles Dance and Tim Pigott-Smith.

9. “Foyle’s War” (2002-2015) – Anthony Horowitz created this television crime drama about a British police detective during World War II. The series starred Michael Kitchen, Honeysuckle Weeks and Anthony Howell.

10. “RKO 281” (1999) – Liev Schreiber starred as Orson Welles in this 1999 television adaptation of 1996 documentary called “The Battle Over Citizen Kane”. The television movie also starred John Malkovich, Roy Schneider, James Cromwell and Melanie Griffith.

Top Ten Favorite Movies Set in the 1840s

Below is my current list of favorite movies set in the 1840s: 

TOP TEN FAVORITE MOVIES SET IN THE 1840s

1. “The Heiress” (1949) – William Wyler directed this superb adaptation of Ruth and Augustus Goetz’s 1947 play, which was an adaptation of Henry James’ 1880 novel, “Washington Square”. The movie starred Oscar winner Olivia De Havilland, Montgomery Clift, Ralph Richardson and Miriam Hopkins.

2. “All This and Heaven Too” (1940) – Anatole Litvak co-produced and directed this excellent adaptation of Rachel Fields’ 1938 novel. The movie starred Bette Davis and Charles Boyer.

3. “Half-Slave, Half-Free: The Solomon Northup Odyssey” (1984) – Avery Brooks starred in this emotional television adaptation of Solomon Northups’ 1853 memoirs, “12 Years a Slave”. Directed by Gordon Parks, the movie co-starred Rhetta Greene, John Saxon, Lee Bryant, Art Evans and Mason Adams.

4. “The Mark of Zorro” (1940) – Rouben Mamoulian directed this superb adaptation of Johnston McCulley’s 1919 story called “The Curse of Capistrano”. The movie starred Tyrone Power, Linda Darnell and Basil Rathbone.

5. “The Liberators” (1987) – Robert Carradine and Larry B. Scott starred in this Disney adventure film about Underground Railroad conductor John Fairfield and his fugitive slave friend, Bill; who escort Kentucky slaves north of the Mason-Dixon Line to freedom. Kenneth Johnson starred.

6. “The Adventures of Bullwhip Griffin” (1967) – Roddy McDowall and Suzanne Pleshette starred in this Disney adaptation of Sid Fleischman’s 1963 children’s novel called “By the Great Horn Spoon!”. James Neilson directed.

7. “Camille” (1936) – George Cukor directed this lavish adaptation of Alexandre Dumas fils’ 1848 novel and 1852 play called “La Dame aux Camélias”. The movie starred Greta Garbo and Robert Taylor.

8. “Cousin Bette” (1998) – Jessica Lange starred in this loose adaptation of Honoré de Balzac’s 1846 novel. Although unpopular with critics and moviegoers, it is a favorite of mine. Directed by Des McAnuff, the movie co-starred Hugh Laurie, Elisabeth Shue and Kelly MacDonald.

9. “Jane Eyre” (2011) – Mia Wasikowska and Michael Fassbender starred in the 2011 movie adaptation of Charlotte Brontë’s 1847 novel. The movie was directed by Cary Fukunaga.

10. “12 Years a Slave” (2013) – British director Steve McQueen helmed this Oscar winning second adaptation of Solomon Northup’s 1853 memoirs about the latter’s experiences as a slave in the Deep South. The movie starred Chiwetel Ejiofor, Oscar winner Lupita Nyong’o and Michael Fassbender.

Top Five Favorite Episodes of “MANHATTAN” (2014-2015)

Below is a list of my five favorite episodes from the 2014-2015 WGN series, “MANHATTAN”. Created by Sam Shaw, the series starred John Benjamin Hickey and Olivia Williams: 

TOP FIVE FAVORITE EPISODES OF “MANHATTAN” (2014-2015)

1. (2.07) “Behold the Lord High Executioner” – In this episode, the second Los Alamos base’s commander, Colonel Emmett Darrow, engages in the hunt for a possible spy after the son of a Native American cleaning woman stumbles across a can filled with equations.

2. (1.12) “The Gun Model” – Dr. Reed Akley, lead scientist for the Thin Man bomb design of the Manhattan Project, becomes vulnerable when he tries to fix the design’s shortcomings.

3. (1.02) “The Prisoner’s Dilemma” – When Dr. Frank Winter, lead scientist for the Manhattan Project’s implosion design, attempts to save his team from being shut down, his action leads to serious consequences for team member Dr. Sid Liao.

4. (2.10) “Jupiter” – While the countdown to the first nuclear weapon test commences, Dr. Frank Winter races to apprehend a Soviet spy who intends to sabotage the gadget.

5. (1.05) “A New Approach to Nuclear Cosmology” – When Dr. Glenn Babbit’s past comes back to haunt him, Frank clashes with newcomer Dr. Charlie Isaacs to protect his mentor and team member.

 

Five Favorite Episodes of “MANHATTAN” Season Two (2015)

Below is a list of my five favorite episodes from Season Two of the WGN series, “MANHATTAN”. Created by Sam Shaw, the series starred John Benjamin Hickey: 

FIVE FAVORITE EPISODES OF “MANHATTAN” SEASON TWO (2015)

1. (2.07) “Behold the Lord High Executioner” – In this episode, the Los Alamos base’s commander, Colonel Emmett Darrow, engages in the hunt for a possible spy after the son of a Native American cleaning woman stumbles across a can filled with equations.

2. (2.10) “Jupiter” – While the countdown to the first nuclear weapon test commences, Dr. Frank Winter races to apprehend a Soviet spy who intends to sabotage the gadget.

3. (2.02) “Fatherland” – Frank endures a brutal interrogation at the hands of the U.S. government at an undisclosed location, before he discovers the real reason behind his imprisonment.

4. (2.06) “33” – When Frank and the other scientists begin to harbor ethical doubts over the construction of the Bomb, they engage in a moral battle with the U.S. Army over how the Bomb will be used.

5. (2.03) “The Threshold” – Worried over Frank’s disappearance, his wife Dr. Liza Winter wages a battle against Colonel Darrow to find his whereabouts and facilitate his return to the base. Meanwhile, Rachel Isaacs, the wife of scientist Dr. Charlie Isaacs, stumbles across a secret about Dr. Robert Oppenheimer’s private life.

Top Ten Favorite Movies Set in the 1860s

Below is my current list of favorite movies set in the 1860s: 

TOP TEN FAVORITE MOVIES SET IN THE 1860s

1. “Lincoln” (2012) – Steven Spielberg directed this highly acclaimed film about President Abraham Lincoln’s last four months in office and his efforts to pass the 13th Amendment to end slavery. Oscar winner Daniel Day-Lewis, Oscar nominee Sally Field and Oscar nominee Tommy Lee Jones starred.

2. “Shenandoah”(1965) – James Stewart starred in this bittersweet tale about how a Virginia farmer’s efforts to keep his family out of the Civil War failed when his youngest son is mistaken as a Confederate soldier by Union troops and taken prisoner. Andrew V. McLaglen directed.

3. “Angels & Insects” (1995) – Philip Haas directed this adaptation of A.S. Byatt’s 1992 novella, “Morpho Eugenia” about a Victorian naturalist who marries into the English landed gentry. Mark Rylance, Kristin Scott-Thomas and Patsy Kensit starred.

4. “Class of ’61” (1993) – Dan Futterman and Clive Owen co-starred in this television movie about recent West Point graduates and their experiences during the first months of the Civil War. Produced by Steven Spielberg, the movie was directed by Gregory Hoblit.

5. “The Tall Target” (1951) – Anthony Mann directed this suspenseful tale about a New York City Police sergeant who stumbles across a plot to kill President-elect Lincoln and travels aboard the train carrying the latter to stop the assassination attempt. Dick Powell starred.

6. “Far From the Madding Crowd” (1967) – John Schlesinger directed this adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman torn between three men. The movie starred Julie Christie, Alan Bates, Terence Stamp and Peter Finch.

7. “The Good, the Bad and the Ugly” (1966) – Sergio Leone directed this epic Spaghetti Western about three gunslingers in search of a cache of Confederate gold in New Mexico, during the Civil War. Clint Eastwood, Lee Van Cleef and Eli Wallach starred.

8. “Cold Mountain” (2003) – Anthony Minghella directed this poignant adaptation of Charles Fraizer’s 1997 novel about a Confederate Army deserter, who embarks upon a long journey to return home to his sweetheart, who is struggling to maintain her farm, following the death of her father. The movie starred Oscar nominees Jude Law and Nicole Kidman, along with Oscar winner Renee Zellweger.

9. “Little Women” (1994) – Gillian Armstrong directed this adaptation of Louisa May Alcott’s 1868 novel about four sisters from an impoverished, yet genteel New England family. The movie starred Winona Ryder, Trini Alvarado, Christian Bale and Susan Sarandon.

10. “The Beguiled” (1971) – Clint Eastwood starred in this atmospheric adaptation of Thomas Cullinan’s 1966 novel about a wounded Union soldier who finds refuge at an all-girl boarding school in 1863 Mississippi. Directed by Don Siegel, the movie co-starred Geraldine Page and Elizabeth Hartman.

“12 YEARS A SLAVE” (2013) Review

 

“12 YEARS A SLAVE” (2013) Review

I first learned about Solomon Northup many years ago, when I came across a television adaptation of his story in my local video story. One glance at the video case for the 1984 movie, “HALF SLAVE, HALF FREE:  SOLOMON NORTHUP’S ODYSSEY”, made me assume that this movie was basically a fictional tale. But when I read the movie’s description on the back of the case, I discovered that I had stumbled across an adaption about a historical figure. 

Intrigued by the idea of a free black man in antebellum America being kidnapped into slavery, I rented “HALF-SLAVE, HALF-FREE: SOLOMON NORTHUP’S ODYSSEY”, which starred Avery Brooks, and enjoyed it very much. In fact, I fell in love with Gordon Park’s adaption so much that I tried to buy a video copy of the movie. But I could not find it. Many years passed before I was able to purchase a DVD copy. And despite the passage of time, I still remained impressed by the movie. However, I had no idea that someone in the film industry would be interested in Northup’s tale again. So, I was very surprised to learn of a new adaptation with Brad Pitt as one of the film’s producer and Briton Steve McQueen as another producer and the film’s director.

Based upon Northup’s 1853 memoirs of the same title, “12 YEARS A SLAVE” told the story of a New York-born African-American named Solomon Northup, who found himself kidnapped and sold into slavery in 1841. Northup was a 33 year-old carpenter and violinist living in Saratoga Springs, New York with his wife and children. After Mrs. Northup leaves Saratoga Springs with their children for a job that would last for several weeks, Northup is approached by two men, who offered him a brief, high-paying job as a musician with their traveling circus. Without bothering to inform Northup traveled with the strangers as far as south as Washington, D.C. Not long after his arrival in the capital, Northup found himself drugged and later, bound in the cell of a slave pen. When Northup tried to claim he was a free man, he was beaten and warned never again to mention his free status again.

Eventually, Northup and a group of other slaves were conveyed to the slave marts of New Orleans, Louisiana and given the identity of a Georgia-born slave named “Platt”. There, a slave dealer named Theophilus Freeman sells him to a plantation owner/minister named William Ford. The latter’s kindness seemed to be offset by his unwillingness to acknowledge the sorrow another slave named Eliza over her separation from her children. When Northup has a violent clash with one of Ford’s white employees, a carpenter named John Tibeats, the planter is forced to sell the Northerner to another planter named Edwin Epps. Unfortunately for Northup, Epps proves to be a brutal and hard man. Even worse, Epps becomes sexually interested in a female slave named Patsey. She eventually becomes a victim of Epps’ sexual abuse and Mrs. Epps’ jealousy. And Epps becomes aware of Patsey’s friendship with Northup.

“12 YEARS A SLAVE” gained a great deal of critical acclaim since its release. It won three Academy Awards, including one for Best Picture; and two British Academy Awards (BAFTAs).  Many critics and film goers consider it the truest portrait of American slavery ever shown in a Hollywood film. I have to admit that both director Steve McQueen and screenwriter John Ridley have created a powerful film. Both did an excellent job of translating the basic gist of Solomon Northup’s experiences to the screen. And both did an excellent job re-creating a major aspect of American slavery. I was especially impressed by certain scenes that featured the emotional and physical trauma that Northup experienced during his twelve years as a Southern slave.

For me, one of the most powerful scenes featured Northup’s initial experiences at the Washington D.C. slave pen, where one of the owners resorted to physical abuse to coerce him into acknowledging his new identity as “Platt”. Other powerful scenes include the slave mart sequence in New Orleans, where fellow slave Eliza had to endure the loss of her children through sale. I found the revelation of Eliza’s mixed blood daughter being sold to a New Orleans bordello rather troubling and heartbreaking. Northup’s encounter with Tibeats struck me fascinating . . . in a dark way. But the film’s most powerful scene – at least for me – proved to be the harsh whipping that Patsey endured for leaving the plantation to borrow soap from a neighboring plantation. Some people complained that particular scene bordered on “torture porn”. I disagree. I found it brutal and frank.

I have to give kudos to the movie’s visual re-creation of the country’s Antebellum Period. As in any well made movie, this was achieved by a group of talented people. Adam Stockhausen’s production designs impressed me a great deal, especially in scenes featuring Saratoga Springs of the 1840s, the Washington D.C. sequences, the New Orleans slave marts and of course, the three plantations where Northup worked during his twelve years in Louisiana. In fact, the entire movie was filmed in Louisiana, including the Saratoga Springs and Washington D.C. sequences. And Sean Bobbitt’s photography perfectly captured the lush beauty and color of the state. Trust the movie’s producers and McQueen to hire long time costume designer, Patricia Norris, to design the film’s costumes. She did an excellent job in re-creating the fashions worn during the period between 1841 and 1852-53.

Most importantly, the movie benefited from a talented cast that included Garrett Dillahunt as a white field hand who betrays Northup’s attempt to contact friends in New York; Paul Giamatti as the New Orleans slave dealer Theophilus Freeman; Michael K. Williams as fellow slave Robert, who tried to protect Eliza from a lustful sailor during the voyage to Louisiana; Alfre Woodward as Mistress Shaw, the black common-law wife of a local planter; and Bryan Batt as Judge Turner, a sugar planter to whom Northup was loaned out. More impressive performances came from Paul Dano as the young carpenter John Tibeats, who resented Northup’s talent as a carpenter; Sarah Poulson, who portrayed Edwin Epp’s cold wife and jealous wife; and Adepero Oduye, who was effectively emotional as the slave mother Eliza, who lost her children at Freeman’s slave mart. Benedict Cumberbatch gave a complex portrayal of Northup’s first owner, the somewhat kindly William Ford. However, I must point out that the written portrayal of the character may have been erroneous, considering Northup’s opinion of the man. Northup never judged Ford as a hypocrite, but only a a good man who was negatively influenced by the slave society. But the two best performances, in my opinion, came from Best Supporting Actress Oscar winner Lupita Nyong’o and especially Best Actor Oscar nominee and BAFTA winner Chiwetel Ejiofor.  Nyong’o gave a beautiful performance as the abused slave woman Patsey, whose endurance of Epps’ lust and Mrs. Epps’ wrath takes her to a breaking point of suicidal desire.  Chiwetel Ejiofor, whom I have been aware for the past decade, gave the definitive performance of his career – so far – as the New Yorker Solomon Northup, who finds himself trapped in the nightmarish situation of American slavery. Ejiofor did an excellent job of conveying Northup’s emotional roller coaster experiences of disbelief, fear, desperation and gradual despair.

But is “12 YEARS A SLAVE” perfect? No. Trust me, it has its flaws. Many have commented on the film’s historical accuracy in regard to American slavery and Northup’s twelve years in Louisiana. First of all, both McQueen and Ridley took historical liberty with some of Northup’s slavery experience for the sake of drama. If I must be honest, that does not bother me. The 1984 movie with Avery Brooks did the same. I dare anyone to find a historical movie that is completely accurate about its topic. But what did bother me was some of the inaccuracies featured in the movie’s portrayal of antebellum America.

One scene featured Northup eating in a Washington D.C. hotel dining room with his two kidnapper. A black man eating in the dining room of a fashionable Washington D.C. hotel in 1841? Were McQueen and Ridley kidding? The first integrated Washington D.C. hotel opened in 1871, thirty years later. Even more ludicrous was a scene featuring a drugged and ill Northup inside one of the hotel’s room near white patrons. Because he was black, Northup was forced to sleep in a room in the back of the hotel. The death of the slave Robert at the hands of a sailor bent on raping Eliza struck me as ludicrous. One, it never happened. And two, there is no way some mere sailor – regardless of his color – could casually kill a slave owned by another. Especially a slave headed for the slave marts. He would find himself in serious financial trouble. Even Tibeats had been warned by Ford’s overseer about the financial danger he would face upon killing Northup. I can only assume that Epps was a very hands on planter, because I was surprised by the numerous scenes featuring him supervising the field slaves. And I have never heard of this before. And I am still shaking my head at the scene featuring Northup’s visit to the Shaw plantation, where he found a loaned out Patsey having refreshments with the plantation mistress, Harriet Shaw. Black or white, I simply find it difficult to surmise a plantation mistress having refreshments with a slave – owned or loaned out. Speaking of Patsey’s social visit to the Shaw plantation, could someone explain why she and Mistress Shaw are eating a dessert that had been created in France, during the late 19th century? Check out the image below:

The image features the two women eating macarons. Now I realize that macarons had existed even before the 1840s. But the macarons featured in the image above (with a sweet paste creating a sandwich with two cookies) first made their debut, thanks to a pair of Parisian bakers in the late 19th century, decades after the movie’s setting. This was a very sloppy move either on the part of Stockhausen or the movie’s set decorator, Alice Baker.

And if I must be frank, I had a problem with some of the movie’s dialogue. I realize that McQueen and Ridley were attempting to recapture the dialogue of 19th century America. But there were times I felt they had failed spectacularly. Some of it brought back painful memories of the stilted dialogue from the 2003 Civil War movie, “GODS AND GENERALS”. The words coming out of the actors’ mouths struck me as part dialogue, part speeches. The only thing missing was a speech from a Shakespearean play.

Not only did I have a problem with the dialogue, but also some of the performances. Even those performances I had earlier praised nearly got off tracked by the movie’s more questionable dialogue. But I was not impressed by two particular performances. One came from Brad Pitt, who portrayed a Canadian carpenter hired by Epps to build a gazebo. To be fair, my main problems with Pitt’s performance was the dialogue that sounded like a speech . . . and his accent. Do Canadians actually sound like that? In fact, I find it difficult to pinpoint what kind of accent he actually used. The performance that I really found troubling was Michael Fassbender’s portrayal of the brutal Edwin Epps. Mind you, he had his moments of subtle acting that really impressed me – especially in scenes featuring Epps’ clashes with his wife or the more subtle attempts of intimidation of Northup. Those moments reminded me why I had been a fan of the actor for years.  Perhaps those moments led him to earning an Oscar nomination for Best Supporting Actor.  But Fassbender’s Epps mainly came off as a one-dimensional villain with very little subtlety or complexity. Consider the image below in which Fassbender is trying to convey Epps’ casual brutality:

For me, it seemed as if the actor is trying just a little too hard. And I suspect that McQueen’s direction is to blame for this. I blame both McQueen and Ridley for their failure to reveal Epps’ insecurities, which were not only apparent in Northup’s memoirs, but also in the 1984 movie. Speaking of McQueen, there were times when I found his direction heavy-handed. This was especially apparent in most of Fassbender’s scenes and in sequences in which some of the other characters’ dialogue spiraled into speeches. And then there was Hans Zimmer’s score. I have been a fan of Zimmer for nearly two decades. But I have to say that I did not particularly care for his work in “12 YEARS A SLAVE”. His use of horns in the score struck me as somewhat over-the-top.

Do I feel that “12 YEARS A SLAVE” deserves its acclaim? Well . . . yes. Despite its flaws, it is a very good movie that did not whitewash Solomon Northup’s brutal experiences as a slave. And it also featured some exceptional performances, especially from Chiwetel Ejiofor and Lupita Nyong’o. But I also feel that some of the acclaim that the movie has garnered, may have been undeserved, along with its Oscar and BAFTA Best Picture awards.  As good as it was, I found it hard to accept that “12 YEARS A SLAVE” was the best movie about American slavery ever made.

“THE GREAT GATSBY” (2000) Review

 

“THE GREAT GATSBY” (2000) Review

I am amazed at how long I have ignored F. Scott Fitzgerald’s 1925 opus, “The Great Gatsby”. I saw the 1974 movie adaptation of the novel years ago, but I found it difficult to appreciate the story. It was not until I saw Baz Luhrmann’s recent adaptation that my full interest in the story was finally ignited. After watching that particular film, I came across this adaptation that aired on the A&E Channel in 2000. 

Directed by Robert Markowitz and adapted by John J. McLaughlin, “THE GREAT GATSBY” is a 90 minute teleplay set in the early years of the Jazz Age. The movie told the story of a mysterious young millionaire named Jay Gatsby, who settles in a large house on the West Egg side (for the newly rich) on prosperous Long Island. Narrated by Gatsby’s neighbor; the well-born, yet impoverished Nick Carraway; audiences become aware of the millionaire’s desire to woo and win back the heart of Daisy Fay Buchanan, an old love he had first met during World War I, who also happens to be Nick’s cousin. However, standing in Gatsby’s way is Daisy’s wealthy and boorish husband and Nick’s former Yale schoolmate, Tom Buchanan; Daisy’s own uncertainty about a serious relationship with the lovesick Gatsby and the latter’s questionable origin of his fortune. This clash between class and romantic aspirations leads to an emotional clash in a New York City hotel suite and later, tragedy and death.

There are some aspects of “THE GREAT GATSBY” that I found admirable. The best aspect of this television movie proved to be the showdown between Jay Gatsby and Tom Buchanan for the love of one Daisy Fay Buchanan. I thought it was well-acted – especially by Mira Sorvino and Martin Donovan as the Buchanans. And director Robert Markowitz injected with a good deal of intensity. I was also impressed by Markowitz’s handling of the tragic hit-and-run of Myrtle Wison, Tom’s working-class mistress, near her husband’s Valley of Ashes gas station. This is the only version in which a distraught Daisy is briefly distracted by the infamous “Eyes of Dr. T.J. Eckleburg” billboard before she avoids an oncoming car and kills Myrtle, while driving Gatsby’s white convertible. I suspect this was an addition created for this movie, not featured in the novel. By allowing the billboard to indirectly lead to Myrtle’s death struck me as inspired writing on McLaughlin’s part, or inspired direction from Markowitz. Who knows? And it seemed a pity that no one else – Fitzgerald included – never considered it. The Nick Carraway-Jordan Baker romance had never seemed as sexy as it did in this movie. In fact, this is the only adaptation in which their relationship seemed to radiate with any real sexuality.

But despite these virtues, “THE GREAT GATSBY” seemed marred by a great deal of flaws. Perhaps too many flaws. There is so much about this movie that seemed off. One could tell at first glance that this production was lacking in serious cash. I realize that “THE GREAT GATSBY” is supposed to be a television production. But I find it odd that a production financed by both the A&E Cable Network in the United States, and Granada Productions in Great Britain; could look like a poor man’s version of Fitzgerald’s novel. The costumes designed by Nicoletta Massone left me shaking my head in disbelief. The clothes worn by wealthy characters such as Gatsby, the Buchanans and Jordan Baker seemed more appropriate for middle-class characters of the same era – the early 1920s. In one scene, Tom Buchanan made a snarky comment about Gatsby’s wardrobe. Mind you, the latter was not wearing the infamous pink suit (much to my disappointment). But the cream-colored suit with the dark tie, white socks and dark shoes even made wince. Since the Nick Carraway character wore a similar outfit in the same scene, I found myself wondering why Tom did not extend his contempt to his cousin-in-law’s wardrobe. Although elegant, the Buchanans’ home struck me as more quaint than opulent. The exteriors of Gatsby’s home seemed more opulent, but it had an elegant quality that seemed beyond Gatsby’s tastes. And the interiors struck me as somewhat drab and middle-class. So much for the ostentation – and somewhat tasteless – mansion owned by the mysterious millionaire. I really enjoyed Carl Davis’ score for this movie. But it seemed more appropriate for a neo-noir movie like “L.A. CONFIDENTIAL” or “MULHOLLAND FALLS”, instead of a period drama like“THE GREAT GATSBY”.

Although I had complimented Markowitz’s direction in two sequences, I found most of his direction rather flaccid and uninspiring. There were moments I felt that he was simply going through the motions. And both he and McLaughlin did not do the audience any favors by including flashbacks of Gatsby and Daisy’s World War I courtship. Those scenes were not only shot in soft focus, but also nearly put me to sleep. My God, they were boring! The parties held by Gatsby disappointed me, as well. Most of it – with the exception of the party attended by the Buchanans – struck me as mediocre and a ghost of those parties featured in Fitzgerald’s novel and the other movie adaptations. And why on earth did McLaughlin’s screenplay begin with Gatsby’s murder? Was he and Markowitz trying to be different? Unique? It is bad enough that Fitzgerald’s prose, in the form of Nick’s narration, hinted that Gatsby was no longer around. Why wipe away the mystery altogether by starting the movie with Gatsby’s murder? But if there is one thing that nearly tripped up “THE GREAT GATSBY”, it had to be its casting.

Due to Granada Productions being a co-producer of the film, it was inevitable that a British actor or actress would be cast. That person turned out to be Toby Stephens, who was given the leading role of Jay Gatsby. Before I continue, I want to say that I have been a fan of Stephens for years, thanks to his outstanding work. Unfortunately, I cannot view Jay Gatsby as one of his best performances. He simply seemed so wrong for the role. Not only did he portray Gatsby with a stiff and unconvincing American accent, but also with a grin that threatened to form a smirk. Aside from a few emotional . . . or semi-emotional moments, I found his portrayal of Gatsby rather cocky. Paul Rudd could have made a decent Nick Carraway, if it were not for the bored expression on his face that occasionally marred his performance. I realize that Nick harbored some contempt toward Gatsby when they first met. But that contempt had disappeared by the time he arranged Gatsby and Daisy’s afternoon reunion. Unfortunately, Rudd’s Nick maintained that same contempt even throughout the reunion and did not really disappear until the blow up at the Plaza Hotel. What the hell? I wish I could simply blame Rudd, but I cannot. As the director, Markowitz should have realized what was going on and put a stop to it. He failed to do so. Martin Donovan gave an excellent performance as the brutish Tom Buchanan. However, he still proved to be the wrong actor for the role. Donovan’s Tom never struck me as an egotistical ex-jock . . . merely an ill-tempered Moaning Minnie with too much money on his hands. Not only did I also have great difficulty in viewing him as a ladies’ man, but also Nick’s classmate at Yale. Martin Donovan and Paul Rudd are a good deal twelve years apart. And it shows. Jerry Grayson’s brief portrayal of gambler/gangster Meyer Wolfsheim did not strike me as memorable. On the other hand, I will never forget William Camp’s portrayal of Myrtle’s loser husband, George Wilson. I found it incredible bad.

The three actresses in “THE GREAT GATSBY” fared better. Somewhat. I enjoyed Mira Sorvino’s performance as the very feminine and flaky Daisy Buchanan. She did an excellent job of recapturing Daisy’s warm, flirtatious personality and shallowness. My only problem with Sorvino is that she utilized a Northeastern accent to portray Daisy. And the latter came from the Upper South – Louisville, Kentucky. Thankfully, Francie Swift, who hails from Texas, used a soft Southern accent in her portrayal of Daisy’s Louisville friend, golfer Jordan Baker. Mind you, Swift’s Jordan did not strike me as a female athlete. But she gave a sly and sexy performance that I found satisfying. In fact, she might be the best Jordan Baker I have seen on screen – despite the Dutch Boy haircut and dull wardrobe. Heather Goldenhersh did a pretty good job of portraying the vulgar and ambitious Myrtle Wilson. I said good . . . not great. The actress portrayed a high, light voice that I would not associate with a character like Myrtle. And I did not find her desperation to escape from a life with the dull George Wilson particularly convincing. But I was impressed by Goldenhersh’s one scene in which she conveyed Mrytle’s account of her first meeting with Tom.

“THE GREAT GATSBY” had a few virtues – including some well done performances from the movie’s three leading ladies and two exceptional sequences. But the flaws overwhelmed the virtues – including lackluster direction from Robert Markowitz and the producers’ miscasting of Toby Stephens in the leading role. I have seen at least three versions of F. Scott Fitzgerald’s 1925 novel. I hate to say it, but this 2000 television movie has to be the least impressive I have seen.

“LINCOLN” (2012) Review

“LINCOLN” (2012) Review

When I first heard of Steven Spielberg’s decision to make a biographical film about the 16th president of the United States, I ended up harboring a good deal of assumptions about the movie. I heard Spielberg had planned to focus on Abraham Lincoln’s last year in office and assumed the movie would be set between the spring of 1864 and April 1865. I had assumed the movie would be about Lincoln’s various problems with his military generals and other politicians. I thought it would be a more focused similarity to the 1998 miniseries of the same name.

In the end, “LINCOLN” proved to be something quite different. Partly based on Doris Kearns Goodwin’s 2005 biography of Lincoln and his Cabinet members, “Team of Rivals: The Political Genius of Abraham Lincoln”, the movie mainly focused on Lincoln’s efforts in January 1865 to have slavery abolished in the country, by getting theThirteenth Amendment to the United States Constitution passed by the House of Representatives. According to Tony Kutchner’s screenplay, Lincoln expected the Civil War to end within a month. He felt concerned that his 1863 Emancipation Proclamation may be discarded by the courts at the war’s conclusion and the 13th Amendment defeated by the returning slave states. To ensure that the 13th Amendment is added to the Constitution, Lincoln wanted it passed by the end of January in order to remove any possibility of those slaves who had already been freed, being re-enslaved. To reach his goal, Lincoln needed Republican party founder Francis Blair to garner support from the more conservative Republicans and support from Democratic congressmen, who would ordinarily vote against such an amendment. In order to acquire Blair’s support, Lincoln was forced to consider a peace conference with three political representatives from the Confederacy. And his Secretary of State, William Seward, recruits three lobbyists – William N. Bilbo, Colonel Robert Latham and Richard Schell – to convince lame duck Democratic congressmen to support the amendment.

I am surprised that the movie went through a great deal in crediting Doris Kearns Goodwin’s book as a major source for the movie. Very surprised. I own a copy of the book and know for a fact that only four-and-a-half pages are devoted to the Thirteenth Amendment and five-and-half pages are devoted to the Peace Conference with Confederate political leaders. If so little came from Goodwin’s book, where did Tony Kutchner receive most of his historical information for the movie? And if he did use other historical sources, why did Spielberg failed to credit other historical sources for the movie?

I recall watching the trailer for “LINCOLN” and found myself slightly repelled by it. As someone who had to endure a great deal of pompous and self-righteous dialogue in a good number of historical dramas, I noticed that the trailer seemed to be full it. Fortunately, the movie was only tainted by a few scenes featuring pompous dialogue. One of those scenes turned out to be Lincoln’s meeting with four Union soldiers – two blacks and two whites. Of the four soldiers, only the first black soldier – portrayed by Colman Domingo – managed to engage in a relaxed conversation with the President. The two white soldiers behaved like ardent fanboys in Lincoln’s presence and one of them – portrayed by actor Luke Haas – ended up reciting the Gettysburg Address. The scene ended with the other black soldier – portrayed by British actor David Oyelowo – also reciting the speech. Not only did I find this slightly pompous, but also choked with Spielberg’s brand of sentimentality, something I have never really cared for. Following Lincoln’s death, Spielberg and Kutchner ended the movie with a flashback of the President reciting his second inaugural address. I cannot say how the pair should have ended the movie. But I wish they had not done with a speech. All it did was urge me to leave the movie theater as soon as possible. Janusz Kamiński is a first-rate cinematographer, but I can honestly say that I found his photography in “LINCOLN” not particularly impressive. In fact, I found it rather drab. Drab colors in a costume picture is not something I usually look forward to.

The movie also featured a few historical inaccuracies. Usually, I have nothing against this if it works for the story. The problem is that the inaccuracies in “LINCOLN” did not serve the story. I found them unnecessary. Lincoln’s meeting with the four Union soldiers allowed Oyelowo’s character to expressed his displeasure at the U.S. Army’s lack of black officers and the indignity of pay lower than white soldiers. The problem with this rant is that before January 1865, the U.S. Army had at least 100 to 200 black officers. And Congress had granted equal pay and benefits to black troops by June 1864. Thirty-three year-old actor Lee Pace portrayed Democratic New York Congressman Fernando Wood, an ardent opponent of abolition. In reality, Wood was at least 52 years old in January 1865. Another scene featured a White House reception that featured a meeting between First Lady Mary Todd Lincoln and some of the Radical Republicans like Pennsylvania Congressman Thaddeus Stevens and Massachusetts Senator Charles Sumner. Kutchner had Mary face Senator Sumner with a warm greeting, before she deliberately cut him off to face Congressman Stevens. The movie made it clear that the First Lady disliked the Radical Republicans, whom she viewed as personal enemies of her husband. Yet, the manner in which she disregarded Senator Sumner was completely misleading . . . especially since the senator and the First Lady had been close friends since the early months of Lincoln’s presidency. In reality, Mary Lincoln’s political views were more radical than her husband’s. But due to her background as the daughter of a Kentucky slaveowner, most of the Radical Republicans viewed her as soft on abolition and a possible Confederate sympathizer.

Thankfully, the good in “LINCOLN” outweighed the bad. More than outweighed the bad. Recalling my original assumption that “LINCOLN” would turn out to be some pretentious film weighed down by boring dialogue and speeches, I can happily say that the movie’s look at American politics during the Civil War proved to be a great deal more lively. Yes, the movie did feature a few pretentious scenes. However, “LINCOLN” turned out to be a tightly woven tale about the 16th President’s efforts to get the Thirteenth Amendment passed by the end of January 1865. In many ways, the movie’s plot reminded me of the 2007 film, “AMAZING GRACE”, which featured William Wilberforce’s effort to abolish Britain’s slave trade during the late 18th and early 19th centuries. Unlike the 2007, “LINCOLN” proved to be more tightly focused and featured a more earthy and sometimes humorous look at American politics at play. One of the movie’s successes proved to be its focus on the efforts of the three lobbyists, whom I ended up dubbing the “Three Musketeers”, to recruit lame duck Democrats to vote for passage of the amendment. In fact these scenes featuring James Spader, John Hawkes and Tim Blake Nelson proved to be among the funniest in the film. The movie also featured the tribulations Lincoln experienced with his immediate family – namely the volatile behavior of First Lady Mary Todd Lincoln and his oldest son Robert Lincoln’s determination to join the Army – during this difficult period in which his attention toward the amendment’s passage. More importantly, the movie on a political situation rarely mentioned in movies about Lincoln – namely the political conflicts that nearly divided the Republican Party during the Civil War. Not only did Lincoln find himself at odds with leading Democrats such as Fernando Wood of New York and George Pendleton of Ohio; but also with Radical Republicans such as Thaddeus Stevens who distrusted Lincoln’s moderate stance on abolition and even his fellow conservative Republicans like Frances and Montgomery Blair, whose push for reconciliation with the Confederates threatened the amendment.

Now one might say that is a lot for a 150 minutes film about the passage of the Thirteenth Amendment. And they would be right. But for some reason, it worked, thanks to Spielberg’s direction and Kutchner’s screenplay. One, for a movie with a running time between two to three hours, I found it well paced. Not once did the pacing dragged to a halt or put me to sleep. “LINCOLN” also attracted a good number of criticism from certain circles. Some have pointed out that the film seemed to claim that Lincoln kick started the campaign for the amendment. The movie never really made this claim. Historians know that the Republican controlled U.S. Senate had already passed the amendment back in April 1864. But the Republicans did not control the House of Representatives and it took another nine-and-a-half months to get the House to pass it. For reasons that still baffle many historians, Lincoln suddenly became interested in getting the amendment passed before his second inauguration – something that would have been unnecessary if he had waited for a Republican controlled Congress two months later.

Many had complained about the film’s oversimplification of African-Americans’ roles in the abolition of slavery. I would have agreed if the film’s focus on abolition had been a little more broad and had began during the war’s first year; or if it had been about the role of blacks in the abolition of slavery during the war. Actually, I am still looking forward to a Hollywood production on Frederick Douglass, but something tells me I will be holding my breath. But with the movie mainly focused on the final passage of the Thirteenth Amendment, I suspect this would not have been possible. Some claimed that the African-American merely hung around and waited for the amendment’s passage. I would have agreed if it were not for Lincoln’s encounter with the Union soldiers at the beginning of the film; Lincoln valet William Slade’s day-to-day dealings with the First Family, and the film’s focus on Elizabeth Keckley’s attention to the political wrangling surrounding the amendment. One scene focused on Mrs. Keckley’s conversation with Lincoln on the consequences of the amendment and another featured a tense moment in which she walked out on the proceedings after Thaddeus Stevens was forced to refute his earlier claims about equality between the races in order to win further Democratic support.

Aside from my complaints about the movie’s drab photography, I can honestly say that from a visual point of view, “LINCOLN” did an excellent job in re-creating Washington D.C. during the last year of the Civil War. Production designer Rick Carter really had his work cut out and as far as I am concerned, he did a superb job. He was ably assisted by the art direction team of Curt Beech, David Crank and Leslie McDonald, who still helped to make 1865 Washington D.C. rather colorful, despite the drab photography; along with Jim Erickson and Peter T. Frank’s set decorations. And I found Joanna Johnston’s costumes absolutely exquisite. The scene featuring the Lincolns’ reception at the White House was a perfect opportunity to admire Johnston’s re-creation of mid 19th century fashion. I can honestly say that I did not find John Williams’ score for the movie particularly memorable. But I cannot deny that it blended very well with the story and not a note seemed out of place.

“LINCOLN” not only featured a very large cast, but also a great number of first-rate performances. It would take me forever to point out the good performances one-by one, so I will focus on those that really caught my attention. The man of the hour is Daniel Day-Lewis, who has deservedly won accolades for his portrayal of the 16th President. I could go into rapture over his performance, but what is the point? It is easy to see that Abraham Lincoln could be viewed as one of his best roles and that he is a shoe-in for an Oscar nod. If Day-Lewis is the man of the hour, then I can honestly say that Sally Field came out of this film as “the woman of the hour. She did a beautiful job in recapturing not only Mary Todd Lincoln’s volatile nature, but political shrewdness. Like Day-Lewis, she seemed to be a shoe-in for an Oscar nod. Congressman Thaddeus Stevens has been featured as a character in at least three Hollywood productions. In pro-conservative movies like 1915’s “BIRTH OF A NATION” (upon which the Austin Stoneman character is based) and the 1942 movie on Andrew Johnson called“TENNESSEE JOHNSON”, he has been portrayed as a villain. But in “LINCOLN”, he is portrayed as a fierce and courageous abolitionist by the always wonderful Tommy Lee Jones. The actor did a superb job in capturing the Pennsylvania congressman’s well-known sarcastic wit and determination to end slavery in the U.S. for all time. I would be very surprised if he does not early an Oscar nod for Best Supporting Actor.

But there were other first-rate performances that also caught my attention. David Strathairn did an excellent and subtle job in capturing the politically savy Secretary of State William H. Seward. Joseph Gordon-Levitt managed to impress me for the third time this year, in his tense and emotional portrayal of the oldest Lincoln sibling, Robert Lincoln, who resented his father’s cool behavior toward him and his mother’s determination to keep him out of the Army. Hal Holbrook, who portrayed Lincoln in two television productions) gave a colorful performance as Lincoln crony, Francis Blair. Gloria Reuben gave a subtle performance as Mrs. Lincoln’s dressmaker and companion, Elizabeth Keckley, who displayed an intense interest in the amendment’s passage. James Spader, John Hawkes and Tim Blake Nelson gave hilarious performances as the three lobbyists hired by Lincoln and Seward to recruit support of the amendment from lame duck Democrats. Stephen Henderson was deliciously sarcastic as Lincoln’s long suffering valet, William Slade. Lee Pace gave a surprisingly effective performance as long-time abolition opponent, Fernando Wood. And I was also impressed by Jackie Earle Haley’s cool portrayal of Alexander Stephens, Vice-President of the Confederacy.

As I had stated earlier, I was not really prepared to enjoy “LINCOLN”, despite its Civil War setting. To be honest, the last Spielberg movie I had really enjoyed was 2005’s “MUNICH”. And after the 2011 movie, “WAR HORSE”, I wondered if he had lost his touch. I am happy to say that with “LINCOLN”, he has not. Spielberg could have easily laden this film with over-the-top sentimentality and pretentious rhetoric. Thankfully, his portrayal of pre-20th century American politics proved to be not only exciting, but also colorful. And he had great support from a first-rate production team, Tony Kutchner’s superb screenplay, and excellent performances from a cast led by Daniel Day-Lewis. The Civil War had not been this interesting in quite a while.