Showing posts with label based on the play. Show all posts
Showing posts with label based on the play. Show all posts

Plenty (1985) Review

Plenty (1985)
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Meryl Streep gives a heartbreaking performance in this deeply affecting and brilliant film about a woman trapped forever in the past. Susan Traherne might appear on paper to be a selfish and unlikable woman, but Streep somehow manages to let the audience see her inner anguish and restlessness, and her quiet desperation at not being able to recapture the feeling of living life to its fullest; something she experienced during WWII as a Resistance fighter in France. It is one of the most exquisite performances ever captured on film.
Fred Schepisi crafted this Edward R. Pressman produced RKO film from a play by David Hare. There is a fine cast which lend support to Meryl Streep, including a winning turn from Tracey Ullman as Susan's wild and irreverent friend, Alice Park. Beautifully shot in several countries, the viewer feels as if they too are trapped in a moment in time. It is a poignant and wistfull moment, however, and in the end, the ache that runs through this story is fully driven home by a flashback of a joyful Susan shortly after the war ended.
When the film opens, Susan is waiting in the dark with other Resistance fighters when a paratrooper they had not been expecting lands in their area. Sam Neill is Lazar, who has landed far from his intended location. Once the weapons are lowered and he is identified, Susan will escort him to the nearby village. Lazar saves her life from a group of Germans on night patrol, and Susan's vulnerability in that moment bonds the two together in a tender manner brought about by war.
Susan and Lazar will share a brief but intense intimacy only those who have shared some danger with another can understand. When he gets the message to leave due to impending danger, he will leave behind a momento of the time they shared that she will carry with her for life; a reminder of a life with meaning she longs to return to. The Germans murder a man in the streets they believe to be Lazar, while he escapes by bicycle. Susan watches as her life disappears with a touch of the cap; the only gesture he dare show.
Susan after the war is restless and strong willed. She wants to change everything but does not know how. She is unable to remain ensconced in a job or situation for any length of time and longs for that hour or two during the Resistance when she saw bravery, and the best in people. It is much more than nostalgia, but a paralyzing ache that will cause her to always move on. Streep lets us see into Susan's soul, and rather than being unsympathetic because of her character's outward actions, we fall in love with her from the inside out and want to save her.
She meets a diplomat named Raymond Brock (Charles Dance) who shows kindness to her in a sensitive situation. They have a romance that will eventually come to an end, or so it would seem, when she can not leave the past in France behind and move forward with her life. The one constant during all this turmoil is the spirited Alice (Tracey Ullman). She is a free soul and lives her life as she pleases, which is often to her detriment.
Susan's anguish begins to worsen, and once she makes a proposition to a bloke named Mick, her world begins to unravel. Sting is very good as Mick, who is in way over his head with Susan and her friend Alice. Just over his head is where the bullets will land when Susan finally has a mental breakdown. It is Raymond who will return to pick up the pieces. When the ambassador, portrayed with stoic flair by John Gielgud, decides to resign, Raymond will get a post in Egypt, where Susan is far from Europe and her memories.
She is also far from herself, as her friend Alice will discover when she comes to visit. The languid pace and sandy colors of Egypt would seem to agree with Susan. She is lovely and sedate, but it is because she is, in fact, sedated. Susan is a picture of serenity, but her spirit is not in evidence. It is only when Alice speaks to Raymond in her defence that she shows a glimmer of her former self.
The seed has been planted, and when the ambassador dies, Susan decides to return to England for the funeral, against her husband's wishes. It is in England she will remain, forcing Raymond to abandon his post, effectively ruining his career. Susan does not want him to suffer because of her, and has a talk with his superior with disastrous results. It will force a confrontation between she and Raymond in which she will leave her home. It is a poignant scene as she walks down the street, a bit unsteady. We know she will never return.
Lazar tracks her down from a BBC broadcast about the Resistance, and they have a reunion which proves to be too late. France is too far away to reach after so much damage has been done. We will see a joyful and hopeful Susan in a golden field in France after the war, and our hearts will break at a life which never happened.
Magnificent is not a strong enough word for Meryl Streep's performance in "Plenty." It is one of the most memorable you will ever see in film. A beautiful refrain played by the London Symphony Orchestra haunts this film, and each time I hear it still, I see Meryl Streep in that field in France, with a world of promise in front of her. This is a movie, and a performance, no film lover should miss.

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A Soldier's Story (1984) Review

A Soldier's Story (1984)
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A phenomenal cast brings Charles Fuller's adaptation of his Pulitzer Prize-winning play to the big screen. Howard E. Rollins, Jr., is magnetic as the Army Captain sent to investigate the murder of a black Sergeant in Louisiana during World War II; his careful detective work uncovers the complex layers of racism (both externalized and internalized) that led up to the crime. Adolph Caesar gives a superb, Oscar-nominated performance as the (unsympathetic) victim whose story is told through a series of flashbacks. And Larry Riley, David Alan Grier, Robert Townsend, and the always-magnificent Denzel Washington register strongly in important supporting roles. Effective as both a mystery and a social commentary, this worthy nominee for the 1984 Best Picture Oscar is tightly directed by Norman Jewison.
The DVD presentation of this recent screen classic offers an excellent film-to-video transfer, featuring a sharp picture and crisp sound. The disc contains both the widescreen and fullscreen editions, and includes the original theatrical trailer. Also offered is a short but very moving 1999 documentary entitled "March to Freedom", which recounts several astonishing real-life stories of racism in the American armed forces during World War II. All-in-all, this is a highly recommended DVD that deserves a place in your home video library.

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Rollins is a proud black army attorney sent to investigate the ruthless shooting death of Caesar. He learns that Caesar was a vicious man who served the white world and despised his own roots.Genre: Feature Film-DramaRating: PGRelease Date: 28-AUG-2001Media Type: DVD

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Driving Miss Daisy (Snap Case) (1990) Review

Driving Miss Daisy (Snap Case) (1990)
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Superb casting of Jessica Tandy as a stubborn elderly Southern woman of privilege and Morgan Freeman as her loyal and capable and patient chauffeur makes this one of the best dramas and character studies of all time. Tandy won an Oscar for this 1989 performance and Freeman was nominated for one. This is a movie of wonderful spirited characters, people who demonstrate sassiness, independence, tolerance, admiration, and respect for each other - but only after a few years of working together. It all started when Miss Daisy crashed her car and her son, Dan Aykroyd, a pompous banker type, declared she absolutely could drive no more. So he hired a chauffeur for her. At first, all the old Southern prejudices came into plan, prejudices of class, race, and education. But gradually the wisdom and quiet patience of Freeman's character won her over.
At its core, this is the story of an unlikely friendship that shows it's possible to transcend prejudice and appreciate the human being within.
Highest marks.

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Four Academy Awards(R) including Best Picture! The funny, tender story of a feisty Southern lady and her chauffeur, fueled by the starpower of Jessica Tandy, Morgan Freeman and Dan Aykroyd.

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Richard III (1995) Review

Richard III (1995)
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A gala ball: The York family celebrate their reascent to power; the War of Roses (named for the feuding houses' heraldic badges: Lancaster's red and York's white rose) is almost over. Actually, the year is 1471, but for present purposes, we're in the 1930s. A singer delivers a swinging "Come live with me and be my love." Richard of Gloucester (Sir Ian McKellen), the reinstated sickly King Edward IV's (John Wood's) youngest brother, moves through the crowd; observing, watching his second brother George, Duke of Clarence (Nigel Hawthorne) being quietly led off by Tower warden Brackenbury (Donald Sumpter) and his subalterns. With Clarence gone, Richard seizes the microphone, its discordant screech cutting through the singer's applause, and he, who himself made this night possible by killing King Henry VI of Lancaster and his son at Tewkesbury, begins a victory speech: "Now is the winter of our discontent made glorious summer by this sun of York" (cut to Edward, who regally acknowledges the tribute). But when Richard mentions "grim-visaged war," who "smooth'd his wrinkled front," the camera closes in on his mouth, turning it into a grimace reminiscent of the legend known to any spectator in Shakespeare's Globe Theatre: that he wasn't just born "with his feet first" but also "with teeth in his mouth;" hence, not only crippled (though whether also hunchbacked is uncertain) but cursed from birth, his physical deformity merely outwardly representing his inner evil.
Then, mid-sentence, the image cuts again. Richard enters a bathroom; and as he continues his monologue we see that only now, relieving himself and talking - with narcissistic pleasure - to his own image in the mirror, he truly speaks his mind; contemptuously dismissing a war that's lost its menace and "capers nimbly in a lady's bedchamber," and determining that, since he now has no delight but to mock his own deformed shadow, and "cannot prove a lover," he'll "prove a villain and hate the idle pleasures of these days."
Thus, Richard's first soliloquy, which actually opens the play on a London street, brilliantly demonstrates the signature elements of this movie's (and the preceding stage production's) success: not only its updated 20th century context but its creative use of settings and imagery; boldly cutting and rearranging Shakespeare's words without anytime, however, betraying his intent. Indeed, that pattern is already set with the prologue's murder of King Henry VI and his son, where following a telegraph report that "Richard of Gloucester is at hand - he holds his course toward Tewkesbury" (slightly altered lines from the preceding "King Henry VI"'s last scenes) Richard himself emerges from a tank breaking through the royal headquarters' wall, breathing heavily through a gas mask: As his shots ring out, riddling the prince with bullets, the blood-red letters R-I-C-H-A-R-D-III appear across the screen.
And as creatively it continues: Richard woos Lady Anne (Kristin Scott Thomas), Henry's daughter-in-law, in a morgue instead of a street (near her husband's casket), and later drives her into drug abuse. Henry's Cassandra-like widow Margaret is one of several characters omitted entirely; whereas foreign-born Queen Elizabeth is purposely cast with an American (Annette Benning), whose performance has equally purposeful overtones of Wallis Simpson; and whose playboy-brother Earl Rivers (Robert Downey Jr.) dies "in the act." Clarence is murdered while the rest of the family sits down to a lavish (although discordant) dinner. When upon Richard's ally Lord Buckingham's (Jim Broadbent's) machinations, he is "persuaded" to take the crown, he emerges from a veritable film star's dressing room complete with full-sized mirror and manicurists (sold to the attending crowd outside as "two deep divines" praying with him). Tyrrell (Adrian Dunbar), already one of Clarence's murderers, quickly rises through uniformed ranks as he further bloodies his hands. Richard's and Elizabeth's final spar over her daughter's hand takes place in the train-wagon serving as his field headquarters; and we actually see that same princess wed to his arch-enemy Richmond (Dominic West), King Henry VII-to-be and founder of the Tudor dynasty, with lines taken from Richmond's closing monologue. Perhaps most importantly, we also witness Richard's coronation, which Shakespeare himself - honoring that ceremony's perception as holy - decided not to show; although even here it is presented not as a glorious procedure of state but only in a brief snippet rerun immediately from the distance of a private, black-and-white film shown only for Richard's and his entourage's benefit.
And challenging as this project is, its stellar cast - also including Maggie Smith (a formidable Duchess of York), Jim Carter (Prime Minister Lord Hastings), Roger Hammond (the Archbishop), and Tim McInnerny and Bill Paterson (Richard's underlings Catesby and Ratcliffe) - uniformly prove themselves more than up to the task.
Even if the temporal setting didn't already spell out the allegory on the universality of evil that McKellen and director Richard Loncraine obviously intend, you'd have to be blind to miss the visual references to fascism: the uniforms, the gathering modeled on the infamous Nuremberg Reichsparteitag, the long red banners with a black boar in a white circle (playing up the image of the boar Shakespeare himself uses: similarly, Richard's and Tyrrell's first meeting is set in a pig-sty, and Lord Stanley's [Edward Hardwicke's] prophetic dream follows an incident where Richard, for a split-second, loses his self-control). But the imagery goes even further: Richard's narcissism is reminiscent of Chaplin's "Great Dictator;" and you don't have to watch this movie contemporaneously with the latest "Star Wars" installment to visualize Darth Vader during his gas mask-endowed entry in the first scene.
"[T]hus I clothe my naked villany with odd old ends stol'n out of holy writ; and seem a saint when most I play the devil," Richard comments in the play: if there's one line I regret to see cut it's the one so clearly encompassing the way many a modern despot assumes power, too; by cloaking his true intent in the veneer of formal legality. Even so: this is a highlight among the recent Shakespeare adaptations; under no circumstances to be missed.
Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
BBC Shakespeare Histories (Henry IV Parts 1 and 2, Henry V, Richard II, Richard III) DVD Giftbox
BBC Shakespeare Tragedies DVD Giftbox
Henry V
William Shakespeare's Hamlet (Two-Disc Special Edition)
Grigori Kozintsev's Hamlet
Hamlet
Peter Brook's King Lear
Julius Caesar

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Shakespeare's immortal tale of ambition, lust and murderous treachery is brilliantly updated and brought to life in this riveting, 20th-century masterpiece. Boasting breathtaking performances, unforgettable imagery and two OscarÂ(r) nominations*, this astounding wartime spectacle ismesmerizing...it will rivet you and shock you(Jeffrey Lyons, 'sneak Previews ).In 1930s Britain, a savage, civil war between two royal families has just concluded. But even as the newly installed King Edward (John Wood) takes the reins of power, his ruthless, younger brother Richard (Ian McKellen) sets in motion a monstrous scheme to claim the crown for himself. Enlisting the aid of equally duplicitous allies in the court, Richard embarks on a merciless, single-minded campaign of betrayal, seduction and cold-blooded murder to achieve the goal that has obsessed him all of his tortured life: to beking...at any price.*1995: Costume Design, Art Direction

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The Trojan Women Review

The Trojan Women
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Ancient Greek plays with all their dramatic devices and often an emphasis on static speeches by the actors and the chorus often do not translate well to the screen. Euripides' "The Trojan Women," however, is an exception to the rule. What makes this production work is the fine acting by most of the performers as well as the beautiful language, though in translation, of Euripides.
The plot is simple and straight forward. Queen Hecuba (Katharine Hepburn), her now crazed daughter Cassandra (Genevieve Bujold), her daughter-in-law Andromache (Vanessa Redgrave) and a host of other Trojan women are now at the mercy of the Greek victors. The play builds as one catastrophe after another befalls these women. Cassanda will be the wife of Agammemnon, Andromache will go with the son of Achilles, and Hecuba will become the slave of Odysseus-- or as Hecuba so aptly puts it, "Anguish heaped upon anguish."
The Greek chorus-- or in this instance I suppose we must call them the "Trojan Chorus" works well. Irene Papas plays a different sort of Helen than we see through other writers' eyes. Here she is unbowed, even as she awaits her fate from the hands of her wronged husband Menelaus. In a quite wonderful scene, after Helen has made her pitch to him to spare her life, Hecuba delivers the great lines: "Kill her, Menelaus." Ms. Hepburn has a lot of such passages. I remember from having seen the movie when it was released in 1971 her lines: "Kindness unwanted is unkindness."
The theme is obvious. Wars always hurt the women and children most-- Andromache's son almost steals the movie, by the way-- and while the weaponry and locales may change, war in 2005 is not that much different than it ever was, a sad, sobering thought.

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TROJAN WOMEN - DVD Movie

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