The Mission (1986) - They Who Live

In the first few scenes of The Mission, we are introduced to an Amazonian paradise, a lush expanse of leaf and stone and river. Waterfalls, massive sheets of white foam, cascade into gaping chasms. 

It holds all the power and mystery and beauty of Eden.

And there, amidst it all, is martyrdom and blood, as a man strapped to a cross floats down the river to this death.

Robert Bolt, the screenwriter, had a fascination with identity. His protagonists often exist in a crisis zone where the basic texture of their lives comes under extreme strain. This happens in both Lawrence of Arabia and A Man for All Seasons, as it does in The Mission. 

But instead of a single leading role, the story is balanced between Cardinal Altamirano (Ray MacAnally), Father Gabriel (Jeremy Irons), and Rodrigo Mendoza (Robert De Niro). While all three are interesting, this splintering of interest contributes to a lack of focus in the narrative, and produces three distinct acts.

Minireview: Seven Pounds

An overlong, meandering tale of guilt and sacrifice. I think the story itself could have been told with more power via a linear, compact story-line, but this unusual technique does manage to distract from some of the larger plot-holes. Will Smith's emotional distance also moves us away from sentimentality - one scene near the beginning works well to confuse us as to his true character. The air of mystery is intriguing, but I doubt it work on a second viewing. Rosario Dawson was great, providing all the heart, while Barry Pepper and Woody Harrelson are underused.

In the end, it all feels a bit empty - it's hard to understand our odd, emotionless protagonist, much less his motivations for what he does. The Christological theme was interesting, but given where the film ends up, unnecessary and incorrect. The whole film is rather pretentious, in retrospect.

2.5/5 stars

Hannah Long

Minireview - Casino Royale (2006)

A surprising and compelling addition to the Bond franchise, with one of the most epic opening fight scenes ever. Daniel Craig creates a role with confidence, toughness, and just enough vulnerability. The film examines the consequences of Bond's assassin lifestyle and the emptiness behind it all. For the man who has everything, by the end of the film he has surprisingly little.

Still, it manages to be a fun action movie, with a stellar villain in Mads Mikkelson, and a classy, clever female counterpart to Bond in Eva Green's Vesper Lynd.

4/5 stars

Hannah Long

Saving Private Ryan - Movie Review

Steven Spielberg has always had a penchant for the grandiose. It is very much on display in Saving Private Ryan, both in the enormous scope of the project and the scale of violence. At the time of its release, this film was hailed as markedly graphic. Watching it today, after the last decade of Tarantino and the desensitization that accompanies that, it's hard to comment, but it is still shocking and unlike films like Braveheart, it imbues every death with importance, even those of faceless soldiers on the beaches of Normandy. 

Certainly unlike Braveheart, it has enough respect for the enemy to not draw them as one-dimensional Disney villains. They are Nazis, but they are human beings. (It was clear, to me at least, that the one cruel decision made by a Nazi was impersonal and almost accidental, once again driving home the point that in wartime, there is no time to stop and think, to pause and pick out one man in the mayhem.)

A Tale of Two Cities (1935) - Movie Review

"Mild He lays His glory by
Born that man no more may die
Born to raise the sons of earth
Born to give them second birth"
-Hark the Herald Angels Sing


Let's face it, A Tale of Two Cities is my favorite book. Thus, any adaptation is inevitably going to suffer from my extremely high expectations. My favorite may very well be The Dark Knight Rises. Kidding. Sort of. As of yet, no film version has come even close to my idea of How It Should Be (my screen-play is in the works, so keep an eye out, Hollywood), but the 1935 film is a pretty good attempt.

It's helpful with this film to have some familiarity with 30's movies. Considering it as among its fellows, it was very much ahead of its time, with clever cinematography, a tight script, a huge budget, and a decent cast. Of course, its greatest weaknesses are when it adhered to the then-common conventions, such as the ubiquitous sappy music, the occasionally choppy editing, and a one-dimensional female heroine.