Amadeus

Amadeus follows loosely the life of Wolfgang Amadeus Mozart, but despite the title the movie is really about Antonio Salieri. Salieri's viewpoint, motivations, and story are really the focus, and are interestingly entwined with the life of the famous composer.

The movie starts at the end, where we see Salieri attempt suicide and watch as he is carried to the insane asylum. There he meets with a young priest who has come to take his confession. Salieri's complicated life is shown in flashbacks, with the older Salieri providing insight in his feelings and motivations. This is a great technique for this particular story because his motivations about serving God and giving of his life and talents are much more historical accurate to the time period of the film than they are to 1984.

Salieri has been anxious to meet Mozart, whose music and talent he has admired from afar. When he meets the young Wolfgang, he is amazed and unhappy at the foolish, small-minded young man. Thus begins a mostly one-sided rivalry. Tom Hulce does an amazing job with the character of Mozart, but the acting by F. Murray Abraham (Antonio Salieri) was the highlight for me. Scenes which showed the younger Salieri showed a composed, serious, and dignified man. When the older Salieri was shown, the changes to his character were obvious. Here he was beyond caring for appearances, and had lost his great composure and restraint. It was almost difficult at first to relate the younger man with the transformed end-of-life man, which is an amazing feat for an actor.

His dramatic change from religious man to enemy of God (and of Mozart) is moving. When he discovers that Mozart has had an affair with a woman he has admired from afar, he speaks the following to a crucifix: "From now on we are enemies, You and I. Because You choose for Your instrument a boastful, lustful, smutty, infantile boy and give me for reward only the ability to recognize the incarnation. Because You are unjust, unfair, unkind, I will block You, I swear it. I will hinder and harm Your creature on earth as far as I am able." This marks his transformation in motivation and character that propels the rest of the movie.

Set design and mise en scene are incredibly well done. The time period was portrayed well through costume, and in the interactions between the characters. The deference to royalty was evident, and other elements of life in the 1790s were interesting to see. The actual burial of Mozart is historically unclear, but the representation of it in the movie was certainly historically accurate for many burials of the time.

Amadeus is long, (nearly three hours) but worth the time.

The Maze Runner

The Maze Runner is an adaptation of a young adult bestseller. I haven't read the book yet, but I hope it's better than the movie.

The movie seemed to be a compilation of Lord of the Flies and Hunger Games, with the combination of young boys living on their own and the survival of the fittest world. However, both of these movies are much better than this one. The premise is a group of adolescent boys that are put into a clearing. Walls around the area make up a giant maze that doesn't seem to have a way out. The boys have no memories, and are given no direction about where they are or why they're there. The maze was the most interesting part of the plot, but there seemed to be too much build up to the maze, and too little action inside of it. Mise en scene was good, with the greivers special effects and the walls of the maze the most visually compelling parts. The boys seemed to do a lot of talking around the subject of what was going on in their world, and very little exploring it or trying to make sense of it.

The effects of the greiver sting were intriguing, but again not developed well. There was a hint that the stings were bringing memories back, but really not enough memories to be compelling, and in the end this seemed to be another dead end.

The characters weren't well developed, but seemed more like caricatures -- the bully and his lackeys, the lovable chubby kid, and the smart, strong leader. All were predictable, and with the death of Chuck (Blake Cooper) at the end, all charm was gone. There were good performances by Thomas (Dylan O'Brien) and Minho (Ki Hong Lee), but other than that the boys of the glade were forgettable.

The story had to include the aspects of brotherhood brought on by the group's confinement and isolation, which is where the Lord of the Flies comparisons are most valid. They didn't seem to have a solid group, but seemed to be somewhat loyal to their leader, Alby. The addition of Theresa brought an element of surprise into the relationships that could have been interesting, but didn't ever fully develop.

The beginning and the end were the most entertaining aspects of the film. In the beginning, there was a lot of curiosity about where they were, how they got there, and how this world operated. The answers to those questions seemed to come slower than they should, with most of them never answered at all. The lack of a real defined goal or path to that goal hampered the middle part of the movie. Sure, they wanted to get out, but they didn't really know why. Without any memory of what was outside of the glade, true motivation to leave it was hard to explain. 

The end finally felt like the characters were doing something, and working together against a clear antagonist. The surprise where the WICKED scientist Ava Paige faked her own suicide was interesting, and finally brought attention back to the questions from the beginning. The end was an obvious set up for the next movie, but this movie does not stand on its own well.

Life is Beautiful

Life is Beautiful can be divided easily into two very different halves. The first half is comedy and character development, the second more serious. They were almost like two different movies for me.

The characters were lovable, especially Guido. Roberto Benigni does an amazing job with this role, and rightly earned an Oscar. The romance with Dora was well-developed and entertaining, with the necessary touch of suspense and conflict (her engagement to another man principally). By the time she makes the choice to love Guido, the audience has long fallen for him.

The small hints of racial persecution were almost a side note, and didn't appear to affect Guido in the least. That gave his character a bit of a one-dimensional factor. His carefree humor was fun to watch, but in the end gave him a lack of depth.

Before I watched the movie I read a very short synopsis about it and was expecting something about a small boy and the holocaust. I actually had the thought that maybe I had read it wrong, or I had read something about a completely different movie. Then the second half began, and that's when the movie started to get to the point.

The character development of the first half really paid off in the second half, when we understood the relationship between Guido and his son almost immediately because of what we already knew about Guido.

The "game" in the camp was an interesting irony, but this is where the movie went off track for me. Life in the death camps under Nazi reign was too horrific to lighten up, and attempts to treat the soldiers as unaware and ineffective were all too unreal. The reality of the efficiency of the German army at killing human beings is too much a part of my consciousness. The suspense of disbelief was hard to achieve with all we know about the holocaust. 

There were a few times the humor was over the top for me, and situations too unbelievable. The scene in the school where Guido impersonated the school official became slapstick and went a little too long and too far. When Guido "translated" the camp rules it was clever and funny, but the sense that it was far out of the realm of what could really have happened overwhelmed the scene.

One of the downsides of the movie was Nicoletta Braschi. Her character was flat and her acting fell short of expressing emotional depth and suffering.

The movie seemed to be making a point that I really agree with -- to find the best in life, and make the most of whatever situation you may be in. It seemed to say that you can find beauty, love, and even humor in life's darkness. But for me it went a little too far, and it must be acknowledged that there are some situations that defy "lightening up".

The Cove

The Cove has all the elements that make a good documentary, combined with the great storytelling techniques of a regular movie. Even those who are not fans of the genre will enjoy watching this award-winning film.

The Cove is a cinema verite piece, and the point of view of the director is easily ascertained. There are pieces that are left directly for observation  purposes, but most of the action is set up in a way that it's obvious which characters are on the right side, and which are shown to be misled, manipulative, and evil.

Ric O'Barry is set up from the beginning to be our protagonist, and it is easy to sympathize with his dramatic story of Kathy. In one moving scene, he talks about her death:

Ric: they can end their life whenever life becomes too unbearable by not taking the next breath. And it's in that context I use the word suicide. She did that. She swam into my arms, looked me right in the eye, and took a breath ... and didn't take another one.

As we are lead through his personal change of heart in regards to dolphin captivity, we gain an understanding of his drive as well as an increase in empathy for the dolphins. Because dolphins are already a beloved animal, the filmmakers start out with an advantage. They don't have to do much convincing that dolphins are worthy of saving, and that their mistreatment is a terrible injustice. But one of the great techniques in this film is that they don't make any assumptions, but take the time to strengthen their position. Ric comes across in the film as sincere, emotionally invested, and very deeply troubled by the wrongs committed in Taiji.

In many documentaries, suspense is a very difficult thing to accomplish. I think that's one of the areas this movie excels at. The clandestine operation to film the barbaric hunting is suspenseful and entertaining. From the construction of the hidden cameras to the late-night plants, suspense about whether the team will be successful is built up and maintained.

The diplomatic struggle within the IWC was intriguing. The role of Joji Morishita as the story's villain didn't even require him to speak. The intrigue with the alleged vote-buying was an interesting side story to the main interest.

Another strongly related side-note was the mercury poisoning aspect of the dolphin meat. The movie took the time to explain the risks, showing the damage to children in Minamata. Those images were powerful, especially when placed side-by-side with healthy children eating dolphin meat in their school lunch. This was an instance of well-done editing telling the story better than words.

Sometimes in documentaries, after talking about a certain event for the length of the film, when you get around to actually seeing what they've been talking about you're bored with it, and it doesn't quite meet up to built up expectations. This didn't happen here. The actual images of the dolphin "hunt" were emotionally disturbing. After all the times the slaughter was talked about and around, the actual video was still as bad as expected -- maybe worse.

Chariots of Fire

Chariots of Fire at first glance looks like another sports film about running. There are elements of that genre, but also many variations and layers that make it worth watching.

The movie is about the Olympic games, and about the hard work, dedication, and intensity of competing at that level. But it's also about what drives different people to succeed. The characters of Harold Abraham and Eric Liddell had such different motivations for their athletic achievements, and the movie explored them well.

Ian Charleston played the role of Eric Liddell, a strongly principled christian missionary. The sincerity, conviction, and faith of the character came across in every scene. He was soft-spoken, kind, and confident in his beliefs. Many times in movies strongly principled characters come across as very one-dimensional, but this role was acted so well that Eric came across as real and someone the audience could root for. This range for the character wasn't done with his lines, because most of them were about faith and strength of character. The dimension of the character came more from expressions and non-verbal cues. Ian Charleston truly understood the man he was portraying, and acted it well.

The role of Harold Abraham was played by Ben Cross. Harold's motivation for his success in running was to escape the prejudice against him as a Jewish man in England. From the beginning, it was understood that Harold had a chip on his shoulder about his heritage, and an expectation of being the victim of prejudice. When those expectations were fulfilled, as in the meeting with the leaders of Cambridge, Harold's part was acted well.  On his face were mixed emotions of anger and hurt, but also somehow a thrill of being right all along, and met expectations. This scene in particular was acted so well, and the nuances of what the character may have been thinking and feeling came across in his mannerisms and facial expressions better than any delivered lines. This character required an intensity that could easily have been overacted, but wasn't.

The supporting cast was well played, it seemed that every actor portrayed their role well. Some worth mentioning are Dennis Christopher as Paddock, who did a great job with almost no actual lines, and Cheryl Campbell as Jennie Liddell who made her small role into an important part of the plot. Ian Holmes' role as trainer was interesting and his portrayal moving. The scene where he finds out that Harold has won the medal was especially well done.

I don't think I can talk about this movie without mentioning the score. It is truly iconic, and has been rattling around in my head since I saw the movie. The scenes at the beginning and end on the beach with what I would call the "theme" of the music just couldn't be better.

Set and costume design were a great part of the movie as well, I truly felt transported to the 1920s. The running gear, the Olympic ceremonies, even the small details of the hats they all wore, were parts of the transformation to an earlier era.

The Conversation

Not only had I never seen The Conversation before, but I'd never heard of it before last week. I was surprised that it is a Francis Ford Coppola film, that it is so unknown, and that it is so good.

I've been learning about sound design and sound editing, and so I paid particular attention to those aspects of the film as I was watching. I think even if I hadn't paid particular attention, the sound editing of the film would have gotten my attention. The mixing of the voices of the young couple being spied on was suspenseful.  As you heard the tape over and over, different things were amplified and clarified. When things were unclear or the voices were inaudible, they were often fixed in a later scene and more of the conversation was understood. This was a great way to build up suspense through the film using dialogue and sound.

Another interesting part of the sound was the use of music. Harry Caul, the main character, was an introverted and solitary man. This was expressed in many ways, but the music was one of the most compelling. Whenever it seemed that Harry had a lot to think about, the sounds of the world around would diminish and the music would increase in volume. It was an interesting tool to get the audience to think about what's in Harry's head.

One of the conversation pieces that was repeated many times was the young woman talking about the man sleeping on the park bench. 

Ann: I always think that he was once somebody's baby boy. Really, I do. I think he was once somebody's baby boy, and he had a mother and a father who loved him, and now there he is, half dead on a park bench, and where are his mother or his father, all his uncles now?

This part of the conversation seemed to compel Henry to think of the young couple, and want to protect the woman. That ended up to be irony in the end.

There was one particular line of the man to the woman that was harder for Henry to bring out, and ended up being, "He'd kill us if he got the chance." The first time you hear that line, you are worried for the couple and it increases empathy and suspense. It's not until after the couple was found out to be the murderers that you understand the subtle emphasis of "he'd kill us if he got the chance," which changes the entire meaning of the sentence.

The character of Henry Caul was complex, and the effects of his demons were obvious, even before we understood what they were. One of his most telling lines was "I'm not afraid of death, but I am afraid of murder." This fear compels many aspects of his solitary and complicated life.

The story line was interesting and the ending a complete surprise. The pace was slower than current movies, but if you are willing to sit through the ending is worth the wait.

Jaws

My best friend still won't go into the water without fear because of this movie she saw in 1975. Jaws is consistently in the top of scariest movie lists. What is it that makes it so terrifying?

The opening scene with the death of Chrissie is one of the most iconic in film history. The camera sees the girl from the shark's viewpoint. The music starts. A tug under the water. Her cries aren't heard by the boy on the beach. The brutality of the attack is obvious, but not spelled out.  This is a case of all the elements -- story, point of view, lighting, music, set -- coming together to accomplish perfectly the director's goal to terrify the viewer.

The next surprise in the story is the death of a child, generally a movie taboo. This scene, where Police chief Brody is on the beach worried about the swimmers, is particularly tense. With each pan of the camera to a new swimmer, we wonder if they're going to be the one who gets attacked. You sense that the shark is coming, but the tension continues to build until the music and the attack come together in perfect timing. When the boy is actually pulled under, the quiet is as frightening as the music was.

The characters in the story are well developed and interesting. In Brody we see humanity (especially in his relationships with his family), compassion as he tries to save lives and protect the townspeople, and courage as he goes to battle with the enormous beast. Hooper's neurotic intellectualism provides some of the comedic relief. Quint comes across first as opportunistic and gruff, but as he relates his war tale we are introduced to an underlying source for his rough exterior. We see him then as frightened, determined, and deeply touched by the deaths of those around him. The shark itself feels like a developed character -- intelligent, driven, brutal, and even vengeful.

An interesting sub plot is Mayor Vaughn's role. The mayor is more concerned about profits than lives, and continues to put people at risk. Brody is intimidated and coerced into keeping the beaches open against his better judgment, and lives are lost due to their combined negligence. Brody carries a weight with him for the rest of the film, adding to our empathy for his character.

The special effects with the shark are not quite up to today's standards, but for 1975 are well done. The mechanical shark is believable, and the views of the shark from the top down as he goes under the boat are impressive. It's well known that the mechanical shark wasn't working well for much of the time, and that does seem to be a gift to the film as often what we imagine is scarier than reality. 

The story's exploitation of a very natural fear of the water gives it an advantage from the start. Good directing, good acting, and attention to all the details of film making make Jaws stand out as one of the better films of its genre.

Waking Ned Divine

Waking Ned Divine is best described as a quirky character film, but there's much more to it than that. 

The mise en scene is very well done, with all the elements of costume, set design, lighting and music working together in creating a small Irish village for the audience. Within that village the characters -- the real stars of the show -- come to life and create the drama and tension.

The editing through most of the film is so seamless as to be nearly invisible. The natural flow of interesting shots express the mood and intent of the characters well. A good example of this is during the chicken dinner. We are moved easily from one conversation to the next as we pick up on the small gestures and conversations that guide the friends to learning the truth about the lottery winner. 

An interesting side story is the love story of Maggie and Finn. The filmmakers keep the tension between them with dialogue, and with the distance between them in the visuals. One excellent example of this is the scene in the woods where Finn tells Maggie he's been using fruity soaps. 

Pig Finn: Come on, Maggie!

Maggie O'Toole: I caught a whiff of something then.

Pig Finn: Oh no, it's peaches. Peach soaps, Maggie.

Maggie O'Toole: Oh no. It's something else.

Pig Finn: Could be strawberries. Oh, Maggie.

Maggie O'Toole: Finn.

Pig Finn: Maggie.

Maggie O'Toole: Finn. Oh no, sorry love, it's still there.

In this scene, there is a playful interaction between the two of them, with their physical distance widening, then they come together, then apart again. Their physical distance is mimicking their emotional conflict. At several points during this scene, Maggie runs across the screen away from Finn as he begs, beckons, and chases and we are given a good sense of where they both stand in their relationship.

The twist in the pub scene about the real father of Maggie's son is done with well placed shots of Maggie and Jackie, Finn and the boy. The friendships, good will, love, and more complicated relationships are all well represented visually and with sound and music.

One well done sequence is near the end of the movie, as the villain Lizzy is making her move to spoil the whole plot. As her motorized chair runs out of battery, she is shown getting out and making her way (very ably) to the phone booth. Cut to the lottery official driving out of town as Lizzy gets into the booth. We are reminded of the people in the village that we've grown to care about celebrating with a well placed shot in the pub, then back to Lizzy making the call that will ruin it all. When the returning priest swerves and hits the phone booth, it shoots into the air and off the cliff as we return again to the celebrating pub. When the booth shatters on the ground at the same time the pub erupts into cheers, it is a great moment.

Ben Hur

Epic is really the best word to describe Ben Hur. The attention to detail and the scale of the project are so impressive they would be worth watching even if they were all the movie had going for it. It's easy to see why the movie won 11 Oscars.

One of the things I enjoyed the most about the story is the changing, growing characters. The first example is Messala. A boyhood friend of Judah Ben Hur, at first we see the obvious affection and shared history of the two. It's not long into their first scene together that we are shown there's been a change in Messala, and he's come back to Jerusalem a man hungry for power and eager to prove his worth to Caesar. I was stunned to see the extent of his ego and corruption when he condemns not only Judah, but his mother and sister as he says, "By condemning without hesitation an old friend, I shall be feared." He goes to his death with the revelation to Judah that his family is alive and they are lepers, and the words, "The game goes on, Judah!" With those words we see that even facing death he is unrepentant and merciless.

Judah's journey is less linear than that of Messala. It's easy to see that he is a kind man in his interactions with Messala, with his overseer Simonides, and his mother and sister. He stands up for his people when he refuses to help Messala betray dissenters, and we are shown his personal integrity. After being condemned, we see strength in his work in the galleys, and compassion in saving the life of Quintas Arrias. We are also shown his dark side in his contempt for Rome, and his hatred and revenge-seeking for Messala. I was waiting anxiously for Judah to overcome the bitterness, and it came at the end.

Judah: I heard Him say, "Father, forgive them, for they know not what they do."
Esther: Even then.
Judah: Even then. And I felt His voice take the sword out of my hand.

With those words, Judah is transformed and chooses compassion, forgiveness, and love. The acting of this part by Charlton Heston is excellent.

The chariot scene has to be mentioned, the scale is amazing and almost unbelievable. I have always heard that someone died in the making of the scene, and it's not hard to see why that's a believable rumor. The crowds of real people all dressed and playing their part is a feat I don't think any director would dare attempt today. 

I thought the way Jesus Christ played a part in the movie was an interesting aspect. His face was never shown, his words never heard directly, and yet he was an integral part of the story line. Judah's first interaction with him was when Christ gave him water as he came through Nazareth. This lone act was obviously impactful to Judah, as he talks about it when on the ship "Once before a man helped me, I didn't know why then."  And when he sees Christ in the final scenes, he recognizes him as the man who showed him compassion when at one of his lowest points. I think this is a great choice on the part of the director, William Wyler, as any direct portrayal of Jesus Christ is bound to have many differing opinions and criticisms. By using this tactic, he maintains the important role of Christ in the story without the risk of offending his religious audience.

Rear Window

It's easy to see why "Rear Window" is considered one of Hitchcock's timeless masterpieces. I enjoyed seeing this movie for the first time.

First, "Rear Window" is an interesting study in voyeurism.  Jeffries is watching his neighbors through his window during his recovery from an injury. He gets involved in their lives, and interested in their stories and interactions. As he watches them, he starts to develop feelings for and about them. This is illustrated well when we watch Miss Lonelyhearts greet an imaginary suitor. As she raises her glass, Jeff raises his in return. He speaks of the neighbors to his girlfriend Lisa as if they are old friends, when the truth is he doesn't know their names and has never been in the same room with them. In this way, Jeff is the ultimate voyeur. 

There's another more subtle reference to the theme of voyeurism in Jeff's profession. Jeffries is a photographer, and at least a part of what photographers do is to offer a glimpse into the lives of others. It's interesting that for at least part of the time he's watching the neighbors, he's doing it through his camera lens. In this way he's making a judgment about our protagonist, but also about all viewers of art -- and movie watchers.

The suspense in the film was built and sustained through camera angles and point of view. As the viewer starts to realize there are interesting things going on around the courtyard, we are drawn to the windows of the other apartments. As Jeff turns his head to the things in his own apartment or switches views, we are struck with wanting to manipulate the point of view. The audience wants him to "look up" and see what's going on. The fact that nearly the entire movie was filmed from Jeff's apartment greatly adds to the suspense and the feeling that you are there with him. That manipulation intensifies the fear at the end when Mr. Thorwald comes to the apartment.

The relationship between Jeff and Lisa is an interesting and complicated one. Their interactions were fun to watch, and their affection for each other was evident. The nurse, Stella, was a great character, with some of the best one-liners of the movie. It was interesting to me how much I came to like the characters of Miss Lonelyhearts, the married couple with the dog, and Miss Torso, without ever hearing them speak or seeing them up close. 

An interesting way that Hitchcock gave the movie verisimilitude was through sound. The sounds of cars honking, yelling, screaming, and all the background noise you would expect in a city scene were the main soundtrack of the film. The music that was played was only the music of the songwriter neighbor. That gave the film another dimension of "reality" that made you feel you were there with Jeff.

I love how not all the ends are tied up at the end. There's still an element of mystery about Jeff and Lisa's relationship, and the details of the murder aren't laid out. I personally enjoy when there are a few things from the story where I can still use my sense of imagination and decide what I think may have happened.

Singin' in the Rain

Just try to say that title without singing it for days! I'm not a big fan of old musicals, but I was genuinely surprised at how much I enjoyed this movie. There are many reasons it's a Hollywood classic.

The basic plot is about the end of silent films, and the ways in which actors had to adapt to the new medium of sound. Don Lockwood (Gene Kelly) is learning to make those changes to move into the next realm of his career, and the audience is engaged and rooting for him. The real history of this transition is hinted at with the diction coaches, the scramble to update equipment, and the stars that got lost in the scuffle.

The song and dance helps drive the plot and is at the same time a fun break. The singing is great, but the dancing is the best part -- it is Gene Kelly after all. The dance numbers are athletic wonders and aesthetically appealing. When they break into song, you're ready and waiting for what will come next.

I liked the way the movie treated the subjects of movie making, and Hollywood's many ways of manipulating an audience. During "Make 'em Laugh", Cosmo (Donald O'Connor) dances his way through sets, and when Don tells Kathy Seldon (Debbie Reynolds) about his feelings for her, he manipulates the set around her to create the mood. The fake romance between Don and Lina is part of the Hollywood manipulation, and adds an interesting dimension to the plot. 

In a narrative at the beginning of the movie, Don tells his adoring fans about his rise to stardom. The movie audience is given the real story with scenes from his life. The contrast between the story Don is telling and what happens on screen has a way of both endearing Don to us and setting him up as insecure and caught up in the Hollywood scene. It establishes his clear and enduring friendship with Cosmo, which we enjoy for the rest of the movie.

Quite possibly the best part of the movie is the title song and dance routine. I was amazed to learn that it was done in one take and mostly ad-libbed. It's easy to see why Gene Kelly has the reputation he has as a talented all-round performer.

As Lina Lamont moves from a silly, brainless sideline to an evil plotter, we are happy to see her expose herself as a fake in the final scenes. It's also rewarding to hear Don finally stand up for Kathy in view of the fans. In this way he's bringing his relationship with her forward, and at the same time acknowledging that his image is less important than reality.

This movie hasn't lost much in the years since it was filmed, and is definitely worth seeing for the first time.

Butch Cassidy and the Sundance Kid

Butch Cassidy and the Sundance Kid is an interesting study in genre. In many ways, it has all the basic elements of a typical western. But despite the sweeping western vistas, the horses and gunfights, the poker and brothel scenes, there are some interesting departures from the formula.

The most obvious difference is the humor that is brought out in high stakes moments. One of these times was during their first robbery in Bolivia. Butch is trying to remember his spanish.

Butch Cassidy: Manos arriba!

Sundance Kid: They got 'em up! Skip on down.

Butch Cassidy: Arriba!

Sundance Kid: Skip on down!

Butch Cassidy: Todos ustedes "arrismense" a la pared.

Sundance Kid: They're against the wall already!

Butch Cassidy: Donde... Ah, you're so damn smart, You read it

Another example is the knife fight with Harvey, when Butch tells Sundance to kill Harvey if he dies, to which Sundance replies, "love to" with a nod and wave to Harvey. The gravity of the situation is lightened. Unlike most westerns where the outcome of each situation is part of the tension, in this movie we are just along for the ride without worry. 

The relationship between Etta and both leading men is a complicated one, where in the typical western the love story (if there is one) would be much more straightforward. There is obvious chemistry between Butch and Etta that is an interesting surprise, yet once again causes very little tension as it is dealt with in humor. After a memorable bicycle ride, Butch tells Sundance that he's stealing his girl, to which Sundance simply replies, "Take her."

The photo montage that shows the trio's journey to Bolivia was an interesting departure from the norm as well. The passage of time is shown in an interesting way, and the relationships between the trio are highlighted. 

When Butch and Sundance decide to go straight in Bolivia, they are met with an interesting twist where they are defending against a gang of robbers. The irony of the situation is part of its charm and interest, and we are left with an appreciation for their choice to stick with the bank robbery business. After all, Butch had never in his life of crime been forced to kill a man, but when trying the honest route was compelled to violence.

One of the highlights of the film for me is the rapport between Butch and Sundance. They are an interesting pair, with obvious deep affection for one another and a balance of strengths and weaknesses. Sundance seems to be the brawn of the relationship, and defers to Butch as the brains. Much of their relationship is brought out in shared humor that diffuses tense situations. In the end as they face their impending deaths, they face it with optimism and humor, and as a team.

The end of the movie was foretold from the beginning, and although it wasn't a surprise was still interesting. The final shot was well done, and skipped the gratuitous violence of some westerns.

Altogether I enjoyed "Butch Cassidy and the Sundance Kid" and would highly recommend it.

The African Queen

It’s easy to see why The African Queen is highly rated. A good story, good acting, and characters that you care about combine to make it worth watching.

The movie has the slower pace of an older movie, so be prepared to take a slow ride down a calm river. Still, there is enough to keep you interested and engaged. Bogart and Hepburn do a great job with their characters. Rose was believable as a strait-laced Christian missionary. Her high bred English manners are an engaging part of her role as she sips tea, reads the Bible, and concerns herself with modesty and propriety during the first half of the movie. You’re tempted to think she doesn’t have much depth to her, and are surprised as the movie goes on with her determination and strength. She has decided that they will do their part in the war and take down a German warship, the Luisa. When they hit severe rapids and damage the boat, Charlie checks on the damage.

Rose asks, Could you see anything, dear?

Charlie: Yeah. The shaft's twisted like a corkscrew and there's a blade gone off the prop.

Rose:  We'll have to mend it, then.

Nothing seems to discourage her from her goals, and her personal determination is displayed when she gets shot at by German forces, bitten by flies, and pulls the boat through the swamp, never wavering from her plan to sink the Luisa.

This movie was made in the early 50s, as women’s roles were expanding and their strength was really being noticed and appreciated. Rosie the Riveter had just encouraged women in the US to contribute to the war effort at home, and the similarities (even the name) are easy to see.

Having seen many old movies, I was actually very impressed with the effects and filming. It wasn’t easy with the equipment of the 1950s to shoot in Africa, and especially the river shots. As I read up more on the making of the film, I was amazed to learn how many of the cast and crew were sick, and how difficult the set conditions were.

For me the most distracting part of the movie was the music. It seemed to me to be used not to enhance a feeling that was being portrayed by the picture, but to force the audience to feel something that wasn’t in the visual or dialogue. The editing was sometimes a distraction as well, with some of the fade outs feeling extreme and distracting.

One interesting thing I noticed was when Rose dumped the gin and threw the bottles in the river. There was a shot of floating empty bottles, and I have to admit the environmental implications disturbed me. I’m not sure a shot like that would have made it into one of today’s movies. I'm quite certain that the portrayal of native Africans wouldn't be the same in today's world, as they were made to look like big children. They were seen fighting over a cigar, taking glee in shooting (and missing) the African Queen, and singing horribly. 

Despite the minor rough parts, The African Queen is worth watching for the first time, or seeing again. 

Batman Begins

 I recently watched Batman Begins and rediscovered a great movie. Much of this installment in the series is exactly what you would expect. The back story is still there, with a young and privileged Bruce Wayne watching his parents murdered in front of him. His quest for justice begins here, and his training continues in the mountains of Asia.

I am intrigued with the ideas brought forward in this movie about fear. Starting with his fall in the abandoned well, Bruce was terrified of bats. The last words of his father to Bruce were, "don't be afraid". As he evolved, he learned to take his fears and use them to his advantage, very literally. When asked why become batman, his answer was telling, "Bats frighten me. It's time my enemies shared my dread." Bruce was driven very much by his fear that his parent's death was his fault. Fear is something we all relate to, and the idea that we can take something that is a weakness and learn to use it as a strength is an idea I am personally drawn to.

My favorite line from the movie was delivered by Rachel Dawes.  She says to Bruce:  "Deep down you may still be that same great kid you use to be. But it's not who you are underneath, it's what you do that defines you." I think this was another prominent message of the movie. We were given glimpses into the good things Bruce's father had done that defined his character. Bruce learned to put his desires for justice into actions that made a difference.

As Bruce struggled with his feelings about the death of his parents, his desire for revenge became powerful. This lead him to attempt to murder their murderer, Chill. This was a tense part of the movie for me. As we come to understand him and his dark and tortured soul, we are rooting for him to rise above -- to take the negative forces and bring something good, become something better. Bruce doesn't choose this, but instead Chill is murdered in the courthouse in front of him. This was an interesting twist, as the expected would be for Bruce to overcome his desire for revenge and put down the gun. Instead, we are left with an understanding that there is still a very deep and dark place inside of him that is unresolved. That is an important part of the character of Batman, and something that is elemental to all well-done Batman movies. Batman is always a tortured soul seeking to be something better.

Bruce Wayne (to the League of Shadows): You're vigilantes.
Henri Ducard: No, no, no. A vigilante is just a man lost in the scramble for his own gratification. He can be destroyed, or locked up. But if you make yourself more than just a man, if you devote yourself to an ideal, and if they can't stop you, then you become something else entirely.
Bruce:  Which is?
Henri: Legend, Mr. Wayne ...

Batman will, of course, become legend and rise above the role of vigilante.