Showing posts with label awesome movie. Show all posts
Showing posts with label awesome movie. Show all posts

The Power of One (1992) Review

The Power of One (1992)
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is the topic of Bryce Courtenay's novel of the same name. The DVD does credence to his excellent (5 star!) book. Virtually unknown to the viewing audience thanks to release errors made when the movie came out in 1992, the story provides a showcase
for the acting talents of Stephen Dorff - then a virtual unknown, today one of our strongest young character actors; he stars as Peekay, a young English orphan torn by the promise of an easier future outside of his native South Africa and his love for all things and most people of his land. He is drawn by his past and the lessons learned from a series of wise mentors, who see in him the promise and hope of a better future for South Africa. Color blind, he grows up speaking many tribal languages, and is foreign only to the politically powerful movement that created the system of Apartheid in South Africa.
Power of One was recommended to me by a dear friend, who said the movie inspired him in many ways. He was so right. The music, a mixture of soaring melodies and tribal songs, inspires on its own. The scenic beauty of the land of South Africa, from the grasslands to the waterfalls is breathtakingly portrayed on film and captured with true artistry in the DVD.
There are many fine supporting players in this tale, some famous, some unknown. Like most tales of heroes and leaders, they shine for awhile in the tale of the child, the adolescent and then the young man Peekay (kudos to the casting director for the two youngsters who play Peekay in his early years; they light up the screen!) and each one's sun sets as Peekay lives through the losses and tragedies that form the backdrop for most heroes.
Really a fine tale - a little long in the last hour, some gratuitous violence - a story of the African struggle that few of us know was taking place while the world watched the Nazis.
If you see the Power of One, and are moved by the story, be sure to read Courtenay's novel. Both are outstanding!

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The Power of One is an intriguing story of a young English boy named P.K. and his passion for changing the world. Growing up he suffered as the only English boy in an Afrikaans school. Soon orphaned, he was placed in the care of a German national named Professor von Vollensteen (a.k.a. "Doc"), a friend of his grandfather. Doc develops P.K.'s piano talent and P.K. becomes "assistant gardener" in Doc's cactus garden. It is not long after WWII begins that Doc is placed in prison for failure to register with the English government as a foreigner. P.K. makes frequent visits and meets Geel Piet, an inmate, who teaches him to box. Geel Piet spreads the myth of the Rainmaker, the one who brings peace to all of the tribes. P.K. is cast in the light of this myth. After the war P.K. attends an English private school where he continues to box. He meets a young girl, Maria, with whom he falls in love. Her father, Professor Daniel Marais, is a leader of the Nationalist Party of South Africa. The two fight to teach the natives English as P.K.'s popularity grows via the myth. Maria is killed. P.K. looses focus until he sees the success of his language school among the tribes. He and Guideon Duma continue the work in hopes of building a better future for Africa.

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White Nights (1985) Review

White Nights (1985)
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Frankly, I don't see why everybody is so up in arms about the quality of this movie. I, for one, don't need to preface my review with a disclaimer that only its dance sequences can be enjoyed. I happen to think that it's a pretty excellent cinematographic work overall. Let me elaborate.
The camera work here is among the most original and clever out there. It's incredibly dynamic and energetic, offering unusual perspectives, delivering great close-ups, and skillfully capturing the sweeping wide spaces. An unusually large amount of footage is devoted to the city landscapes of St. Petersburg - a rarity in American flicks on Russian themes. It's all the more jarring, however, that despite attempts to ensure authenticity of the setting, at least the first couple of car rides seem to have been done in a stationary vehicle and plastered rather crudely against the city background. But this is a forgivable and almost charming flaw, considering the film's limited budget and the release year of 1985.
The film is a paradox of sorts, showcasing interesting performances from Rossellini and Hines, two actors who have since been totally under-appreciated. There's good chemistry between the impressionable and high-strung duet of Darya and Raymond. Jerzy Skolimovski (Colonel Chaiko) is the classical cunning villain with a Slavic flare. Baryshnikov himself seems a bit rigid and somewhat formulaic as Nikolay Rodchenko. That is when he's not dancing, of course. For when he dances, he unleashes all imaginable and unimaginable potential.
Obviously, the story line is sketched out in broad, exaggerated strokes. But I bet the filmmakers actually expected the overall theatricality to be taken with a grain of salt. Besides, the subject matter discussed wasn't keen on subtleties. The events depicted were behind-the-scenes operations all right, but they were as blunt and theatrically bizarre as can be. And as for those who think the circumstances and emotions of the dissidence and emigration (or defection in this case) experience are overblown - brush up on mid-20th century history and get a grip on things. Not only had the Big Brother's machinery of state control and suppression been well oiled for decades in the Soviet Union and its satellites, but the shadow of this absurd, merciless beast hangs over many of those nations still. Folks, the fictionalized account of Nikolay Rodchenko is merely a _slightly_ glamorized and dramatized version of real life experience of countless victims of the era.
The scenes of Nikolay and Darya fleeing through the deserted streets of Leningrad and the subsequent humiliation they experience in front of the American embassy send chills down my spine every time I watch the movie. That threat and that danger are very real to me even though my emigration experience in the 1990s was simply peachy in retrospect and comparison. Just as disturbing and sobering, by the way, is Rodchenko's reception by the Americans and the so-called international community inside the gates. He to them is but a nimble exotic specimen...
Anyhow, let me dismount my high horse and reiterate, seconding the earlier reviews, that "White Nights" features superb, matchless dancing; and, to miss it is a deathly sin. Well, almost...
There are essentially four dance highlights in the movie. Choreography is mainly by Baryshnikov, Hines, and, very importantly, Twyla Tharp. Baryshnikov's duet with Florence Faure in the opening credits is bound to leave your breathless. It is sheer perfection - immensely inventive and impeccably executed. The second instance when you'll forget that you could blink and breathe is during the 11 rubles for 11 pirouettes number. He does it with a godly effortlessness. Hines' and Baryshnikov's dance studio number is fascinating to watch. And, then... Then, there's Mikhail's solo to Vysotsky's tape on the stage of the Kirov theatre. Its beauty is literally painful and words can never describe it.
If you haven't seen "White Nights" or have seen it only once, you're denying yourself an unearthly pleasure. And you can snicker at my high-flown sighs and exclamations all you want :)

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WHITE NIGHTS:SPECIAL EDITION - DVD Movie

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