Showing posts with label robert duvall. Show all posts
Showing posts with label robert duvall. Show all posts

Convicts Review

Convicts
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I bought this movie because I'm a Duvall fan. He is, in my mind, the American Olivier. I watched the movie once and turned around and watched it again, immediately. The setting, the interactions between Duvall's character (Old Soll) and those around him is an amazing window into a past era. Convicts has elements of being almost a stage playj. Convicts is a gem and another feather in the cap of our likely greastest living American actor.

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OscarÂ(r) winner* Robert Duvall "is terrific" (The New York Times) in this "vividly realized" (Variety) drama co-starring Lucas Haas (Witness) and James Earl Jones (Field of Dreams). "Gracefully adapted to the screen" (Los Angeles Times) by Horton Foote (Of Mice and Men) and ably directed by Peter Masterson (Blood Red), this riveting tale of an unlikely bond is "a tasty feast" (LA Weekly)!In rural Texas 1902, 13-year-old Horace (Haas) toils on a run-down plantation to buy a tombstone for the father he lost a year earlier. Soll (Duvall), the crusty old Confederate who owns the plantation, has yet to pay the boy a pennyof the money he owes him. But on Christmas Eve, as Soll becomes obsessed with his own mortality, hemakes a grand promise forcing Horace to confront his fear of death and the harsh truths of a decadent society.*1983: Actor, Tender Mercies

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Falling Down (1993) Review

Falling Down (1993)
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This is a powerful film, but I personally don't look at it as some type of social commentary or condemnation of modern society, although it certainly touches on some of the problems that will always exist among human beings. Falling Down may well have a potent effect on anyone watching it, though. It always leaves me feeling really, really weird because it touches on so many things we all have to put up with each day, presents a monster whom I can't help but sympathize with in some degree, provides us with a hero whose own life is rife with undeserved problems, and runs its course atop a strong undercurrent of sadness. Michael Douglas gives one of his better performances as Bill Foster, an unremarkable man who finds his world torn apart and finally just snaps. He has lost his wife and little girl (which is his own fault); he's lost his job, the one thing that made him feel important; he just wants things to be like they used to be. He doesn't want to sit in traffic with no air conditioning or pay almost a dollar for a little can of soda or see plastic surgeons living the life of Riley while he can't even support his little girl. His journey "home" is an extraordinary one, and the kinds of awful people he encounters on the way do nothing to help his mentality. It's hard not to cheer him on when he manages to effect an escape from a couple of gangsters trying to rob him, but acts such as holding a burger joint up just because they refuse to serve him breakfast after lunch time is, obviously, way out there. No matter what terrible things he does, though, I can't get completely past the fact that he earnestly wants to see his little girl and give her a present for her birthday; in a clearly psychotic way, I find this movie somewhat touching, and that only makes the whole experience more depressing than it already is.
Robert Duvall is indeed quite good as the good cop, Prendergast, pursuing this vigilante on his last day before retirement. His life is no dream either, but of course he handles his own problems in a way quite unlike our man Foster does. His wife is clearly disturbed, made frighteningly burdensome and vulnerable by the death of their own little girl and an earlier wounding of her husband on the job. For her benefit, he took a desk job and is forced to put up with a lot of jokes and insults from his fellow cops, including his own boss. Except for his partner, all of the cops in this film are as unfeeling and cruel as some of the shady characters Foster meets up with during his journey home, and that is to me one of the more disturbing aspects of this film.
One of the things I liked most about Falling Down was its attempt to portray Foster as one very disturbed man and not a stand-in for any type of stereotypical vigilante; one character in particular makes this point quite clearly when, discovering that Foster doesn't actually agree with him in his own twisted, stereotypically extremist mindset, he asks the man just what kind of vigilante he is supposed to be. My own thinking is that Falling Down is not meant to be a warning about a group of potential Bill Fosters festering in the midst of society; instead, by showing us what happens to one man, it is warning us to walk carefully on our own journeys and to be careful to keep our tempers in check even when the world seems to be out to get us. At the same time, it doesn't imply that we should roll over and play dead whenever a problem comes our way, using the character of Prendergast to show us that we can and should stand up for ourselves but only in constructive ways. I really have a lot of conflicting emotions about this film, but the one thing I am sure of is that Falling Down is an unforgettable motion picture well worth seeing.

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A man who has lost his job and his marriage takes a walk through the troubled urban landscape of Los Angeles on a hot, destructive day, with a retiring police officer trying to anticipate the next stop.Genre: Feature Film-DramaRating: RRelease Date: 8-FEB-2005Media Type: DVD

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A Civil Action (1999) Review

A Civil Action (1999)
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Sometime in the late 1960's, a hideous act of pollution took place in Woburn, Massachusetts, a small town north of Boston. Over the next fifteen years, twelve people died of leukemia. Eight of those were children. The firm of Jan Schlichtmann, Kevin Conway, James Gordon, and Bill Crowley take on the case on behalf of Anne Anderson, a woman who lost her child to cancer. For her, money isn't the point. All she wants to know is what happened, and for the responsible parties to come over and apologize to her and the other families. Thing is, corporations apologize with money, and if the corporations have deep pockets, it's a case worth taking, so money does indeed become the point in A Civil Action.
Schlichtmann uncovers the culprits, a chemical company, WR Grace and Beatrice Foods, who provide services for a tanning company owned by Riley. With that, he files a lawsuit, the legal equivalent to a declaration of war, and hires a geological team to provide scientific evidence should it come to trial.
Jan then does a couple things that leads to his downfall. One, he gets personally involved. In a news broadcast, he holds up snaps of the Woburn kids who have died. He shows empathy, which is a grave disservice to the legal profession because it clouds his judgment. He says it's like a doctor recoiling at the sight of blood. That leads to his demanding of WR Grace and Beatrice Foods a multi-million dollar settlement, including money for a research foundation, to cover expenses, and to provide for the families for thirty years, which the corporations refuse, which in turn takes the case to trial. He does this without consulting his partners, which doesn't bode well. James Gordon, the accountant, points out that they need to work on other cases to provide a cash flow. Schlichtmann has sunken a million into the Woburn case, and pretty soon, they teeter on the waterfalls of insolvency to the point of mortaging their homes. It's become a source of pride, which has undone many an attorney as opposed to idiot witnesses, lousy evidence, and the hanging judge put together, as Jerome Fasher tells his law class.
Fasher, the attorney for Beatrice, is a statesman-like man of experience, but has a detached air coupled with some eccentricities. Yet he is a clever man, and his observation on the justice system is true, at times sickening. When Schlichtmann tells him he's searching for the truth, he tells him, "You've been around long enough to know that a courtroom's not the place to look for the truth." And he accurately says that the case stopped being about children the moment Schlichtmann filed for action.
The movie is sprinkled with legal commentary from Schlichtmann, which lays out how callous, ugly, and illogical the justice system is. He begins by talking about which types of clients are worth more, i.e. are winning cases. Whites are worth more than blacks, men more than women, a long agonizing death over a quick one. A white male professional in his 40's, in his prime, is worth the most. A dead child is worth least of all. Well, Schlichtmann finds out that children are worth something after all, especially when he imagines an agonizing scene where the LaFierros were taking their son to the hospital and died en route.
While John Travolta's best known for Grease and Saturday Night Fever, A Civil Action proves he can handle serious drama and he turns in one of his best ever performances. However, the real Jan Schlichtmann came to Farmington. He's close to seven feet tall, and in terms of resemblance, could've been played by Richard Gere. As Anne Anderson, Kathleen Quinlan is the other great performer, playing a woman changed through her ordeal into someone who has a tired and sad visage. The scene where Al Love (James Gandolfini), a conscience-stricken tannery employer personally apologizes to her shows that maybe the only real meaningful apologies come from humans, not corporations.
Trials and lawsuits are examples of how corrupt and rotten the legal system and some lawyers are. Is it worth having a system where the first party to come to their senses (i.e. to cut their losses and call for a settlement) is the loser? A Civil Action also shows that despite the need for compassion, it's better to have a lawyer who thinks more with the head than the heart.

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Jan Schlichtmann is a cynical, high-priced personal injury attorney who only takes big-money cases he can safely settle out of court. Though his latest case at first appears straightforward, Schlichtmann soon becomes entangled in an epic legal battle ... one where he's willing to put his career, reputation, and all that he owns on the line for the rights of his clients! Also featuring Robert Duvall, William H. Macy, and John Lithgow -- this gripping, widely acclaimed hit delivers edge-of-your-seat entertainment!

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Get Low (2010) Review

Get Low  (2010)
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Aaron Schneider's "Get Low" is a slight, unpretentious film that would blow away in the wind if it weren't anchored by some truly wonderful performances. Based on a true story, "Get Low" is set during the Great Depression, in the Appalachian hills of Georgia. Felix Bush (Robert Duvall) an old hermit feared and despised by his neighbors, hires the local funeral director (Bill Murray) to organize a "funeral party" so he can hear what the locals have to say about him before he's actually dead. That climactic event proves the occasion for Felix to make a full confession to his neighbors about the horrific event, forty years before, that cost him his reputation and has haunted him ever since.
Frankly, not much happens in "Get Low" before that climax, but it's mostly a pleasure to watch, thanks to Schneider's deft, low-key direction and the extremely fine acting, especially by Duvall and Murray. Duvall has made a career specialty of backwoods eccentrics, and his Felix Bush is one of the more memorable of them. The pain in Duvall's eyes blasts away any suggestion of mawkish sentimentality that might be inherent in the film. Murray is equally fine as a man who has more than a little con man in him, but who also has seen enough sorrow in life to spark his essential decency. The earnest Duvall and the roguish Murray play beautifully off each other, as fellow travelers on the Train of Sadness.
Sissy Spacek, as an old flame of Felix's, doesn't have much to do, but it's nice to see her anyway. Bill Cobbs is tartly amusing an a preacher who knows Felix's secret, and Lucas Black is extremely likable as Murray's assistant. "Get Low" is a gentle, poignant film, memorable for the acting.

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Academy Award winner Robert Duvall (1983, Best Actor, Tender Mercies) is Felix Bush, the \'Hermit of Caleb County," a man so haunted by his secrets that he has lived in quiet desolation in the Tennessee backwoods for over 40 years. Realizing that he is near his own mortality, Bush decides to have a \'living funeral party," inviting people to tell their stories about him. Enlisting the help of Frank Quinn (Golden Globe winner Bill Murray, 2004, Best Actor in a Motion Picture - Musical or Comedy, Lost in Translation) and Buddy Robinson (Lucas Black, Legion), Bush goes through a process of self-discovery, allowing him to deal with his past secrets, including ones involving old flame (and new widow) Mattie (Academy Award winner Sissy Spacek, 1980, Best Actress, Coal Miner's Daughter).

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The Eagle Has Landed (1976) Review

The Eagle Has Landed (1976)
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At long last, one of my favourite "fictional" World War II films is finally out on DVD and the transfer is excellent all round. And even better, there is now a "Special Edition" Region 2 release available on the Amazon UK website with an additional 17 minutes of footage, interviews with Michael Caine, Donald Sutherland & Donald Pleasance, theatrical trailers, biographies on cast & crew plus interviews from British news programs !
The 1970's was a decade when war movies were filled with mercenaries, commando's and full guns blazing action....and "The Eagle has Landed" is no exception, but a better told tale than many others !
Director John Sturges ( "The Great Escape", "The Magnificent Seven", "Ice Station Zebra" ) in his final directorial role shows once again why he was one sharpest action / suspense film directors of the 1960/70's with this exciting filming of the best selling Jack Higgins novel. What makes this film so enjoyable, and able to withstand repeated viewings is the talented cast at the centre of this twisting tale of spies and espionage. German officer Kurt Steiner (Michael Caine) is the disgraced leader of a group of crack German paratroopers that have been exiled to operate an MTB boat in the English Channel. Opportuntity comes their way in the form of Colonel Radl (Robert Duvall), with an incredible plot to secretly parachute into England and kidnap Winston Churchill from a country retreat. Donald Pleasance turns in a chilling performance as SS leader, Heinrich Himmler...Donald Sutherland in fine form as the IRA ally, Liam Devlin...Larry Hagman is the pompous and foolhardy Colonel Pitts and Treat Willians (in his first movie role) as the wiser and more wary American Ranger, Captain Clark. Attractive Jenny Agutter contributes the love interest as Molly Prior, and icy Jean Marsh puts in a cold blooded display as the Nazi sympathasier, Joanna Grey.
"The Eagle has Landed" has some great twists and turns and never lets the viewer relax as the story holds a keen balance between action, suspense, romance and tragedy. Highly recommended for those who like intrigue and adventure in their WWII movies !!
A highly entertaining and different WWII film that stands out from the rest.

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EAGLE HAS LANDED - DVD Movie

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