Hit Me With Your Best Shot -- Road to Perdition

Adding my two cents (if it's even that much) to The Film Experience's ongoing Hit Me With Your Best Shot series.  This week's film is Road to Perdition, one of my top favorite films.  Without further stalling...



Meet Maguire

 This is the last shot of Harlen Maguire's introductory scene.  I was going to choose the vertigo shot with him under the bridge, but this one has more resonance in the film as every violent action involving Maguire includes windows.  Still not sure on the significance of that, but it's there -- this scene in the apartment, at the diner, in the hotel/street, and at the lake house. 

Another reason I love this shot is that it mirrors Mike Sullivan's final scene:  the dusty light sweeping in the windows, the camera, the rush of the train and water, someone leaning over a dead/dying man... 

And finally, you could easily take any shot/frame from this film and it'd be worthy of discussion and admiration.  Conrad Hall was a master of photography and his collaborations with Sam Mendes will stand the test of time as examples of how to shoot a movie.  American Beauty was gorgeous, but the palette was expanded with Road to Perdition.

The whole film is poetry in motion.

Writing Elsewhere...

I haven't been updating much as I've been occupied with other writing -- the kinds that earn me the money.  But I'm trying (again) to get back on-board with new posts every few days.  I'm writing anyhow, so it should be easy enough to fit a little bit of movie writing in there too.

We'll see...

Early Bets: "Lincoln" in 2012

Since everyone's still on last night, I'm going to predict that Steven Spielberg and his "Lincoln" will be big Oscar winners next year. Of course, he and it are the perceived frontrunners, so I'm sure something will come along to knock it off. Maybe Paul Thomas Anderson's "The Master."

Anyhow, since "War Horse" had a good nomination showing (more indicative of support than wins), I expect "Lincoln" to possibly fall into a "making up for last time" Oscar run that happens.

Future three-time Oscar winners?

So I'll go out on a limb and say "Lincoln" will get 12 to 13 nominations and win Picture, Director, Adapted Screenplay, Cinematography, Editing, Art Direction, Score (the same 7 "Schindler's List" won), and maybe Actor for Daniel Day-Lewis.

There are three things hurting Day-Lewis from winning (albeit, this is a year out): 1) He won for "There Will Be Blood" in 2007, 2) He has two Oscars already, and 3) No actor has ever won for performing in a Spielberg film -- top-of-my-head guess is something like 0 for 9.

But it *is* Daniel Day-Lewis, and he *is* playing Lincoln, so it's hard to not get on the bandwagon.



Uncanny, really...

Let the 2012 Oscar season begin...

I Hate "Twilight"

I came across the news that The Twilight Sage: Breaking Dawn Part I will be released on DVD and Blu Ray this Friday.

For some reason, that bothers me.

I have no interest in Twilight.  I don't understand the hype surrounding nor the passion people seem to have for it -- I'm talking the books and movies.
My wife's told me the books aren't that great and that the movies are, at best, okay. Yet people devour it.  Even her, who has seen all of the movies in the theater.  Not opening weekend, mind you, but we're saddled with children, so going to the theater is big outing for us.

I think, one day in the future, after the fifth movie comes out on DVD and I've purchased my preferred alcoholic beverages, I will sit down and watch all five movies from beginning to end -- credits include, because I'm sure I'll need a break from the "acting" and "story" and "plot" -- and I'm sure that 10 after starting the first film I'll feel no different than I do now.

Perhaps I'm harping too much on something that I shouldn't be involved with since I haven't "experienced" the epic love of Bella and Edward.  I think my loathing began when people started taking teams -- Team Jacob vs. Team Edward -- when the second or third movie came out.  I thought, the books have been out for a while and I'm sure the vampire guy wins. 

Maybe my feelings about that situation has more to do with wondering if some people hadn't read the books -- or, and this happens, didn't know the movies were based on books -- than the films themselves, but it definitely confirmed this phenomenon was not for me.  Really, who takes sides for fictional characters whose fates had already been decided?  And, if you're going to do that, why do you pick the loser?  Maybe not loser, but the werewolf didn't get the girl, nonetheless.

But, be that as it may, Twilight is in our collective lives.  I hear it referenced or alluded to and, despite having limited knowledge, I know what's being talked about.  I thought the good news was that it'd all be over in a year or so, after Breaking Dawn Part II was released on DVD.  Then I read this.

My only hope is that it no one cares and it dies a quick death.  Despite the misery and frustration this series of books and films has shown me, I at least will hope for it some mercy.

The Role of the Outcast: A Comparative Analysis of Frankenstein and Full Metal Jacket

Although separated by 56 years and different genres and directors, both James Whales’ Frankenstein (1931) and Stanley Kubrick’s Full Metal Jacket (1987) address the issue of how creating an outcast – and taking away their identity––will cause the outcast to lash out at society. In Frankenstein this idea is showcased in the main plotline: Dr. Frankenstein gathers various body parts to create and bring to life a Creature only to have the Creature turn against him and society. Full Metal Jacket approaches the issue in the main plotline of the first portion of the film: Sgt. Hartman (or the Marine Corps) takes good-natured Pvt. Pyle and turns him into an anonymous being and then an uncaring killing machine, only to have Pyle turn on Hartman. While the films differ in how their outcasts are created––Frankenstein emphasizes a physical creation while Full Metal Jacket explores the psychological––both come to the same conclusion: taking away personality or sense of identity is wrong and the consequences of doing so are dire. Yet the films also suggest that outcasts can be subdued, either by society (as in Frankenstein) or by their own hand (as in Full Metal Jacket).

The opening sequence of Frankenstein begins with a single long pan across the faces of mourners at a funeral––a bell tolls and a prayer can be heard. The shot is dark and full of shadows, indicative of our knowledge of the man being buried. But who he is doesn’t matter; as Frankenstein says, “He’s just resting, waiting for a new life to come.” He was someone before, but now Frankenstein is going to turn him into something new. As Frankenstein and Fritz take the body to the castle, they come across a man at a gallows. Frankenstein has Fritz cut the man down, determined to use some part of him. Again, the idea that it doesn’t matter who the person is so long as they’re a person is brought forth––these men don’t matter to Frankenstein, but the sum of their parts do.

Full Metal Jacket begins with a montage of the recruits/draftees (I think we can safely assume that most, if not all, of these men are draftees as the song “Goodbye My Darling, Hello Vietnam” gives a clear indication of the time period) getting their hair buzzed. For each shot the camera is locked down and shows the same thing over and over again: a man getting his hair cut––a metaphor of becoming anonymous and being just like everybody else. We get a brief glimpse of the hairstyles before the clippers do their job so we know that these men were someones before. In essence, the recruits’ hair in Full Metal Jacket and the family of mourners in Frankenstein represent the identity and past of the men. Also worth noting is the final shot of the opening sequence in Full Metal Jacket is of the all the hair from the draftees piled on the floor––the blending of the different parts of these men is an interesting connection to Frankenstein.

Both films also suggest that the outcast must be made aware of their ostracism from society. Frankenstein shows this in the scene after the Creature has come to life when Fritz whips and torments the Creature with fire in the cellar. At one point, we take the Creature’s point of view as Fritz shoves the flames in our face and we are forced to connect with the Creature and understand what it’s like to be rejected by others. Having Fritz attack the Creature is an interesting concept since Fritz is deformed and, as such, is an outcast of sorts as well. Perhaps Fritz beats the Creature out of his own frustration of being excluded from society… Nevertheless, Fritz tortures the Creature because it is different and doesn’t conform to normality.

This scene is mirrored in the “blanket party” scene in Full Metal Jacket. Private Pyle has proven to be an incompetent Marine and his mistakes have not only led to him being punished but also his fellow recruits. So the recruits decide to teach Pyle a lesson––and much like Fritz tormenting the Creature, the Marines attack Pyle as a way of attacking their shortcomings as soldiers. The scene is lit in a highly stylized blue hue that creates an eerie aura throughout––almost as if “it’s all a dream,” as Cowboy tells the whimpering Pyle. The droning electric-sounding score enhances the ethereal sensation. To further Pyle’s isolation and exclusion, he’s seen as the only cadet whose bed is in utter disarray and with two pillows.

On a silent cue, the recruits come out of the woodwork (I always think of them as cockroaches when watching this scene) to destroy or at least demoralize Pyle; this is similar to the mob at the end of Frankenstein––society bands together to try and set things “right.” Once the beating begins, there is a single cut and the subsequent shot––a high angle on Pyle’s bunk highlighting his weakness––lasts an agonizing 40 seconds. The bars of soap hit their marks with dull thuds as they bounce off Pyle’s body. Unlike the Creature in Frankenstein, though, Pyle doesn’t retaliate against his tormentors, either because he’s obviously outnumbered or because the abuse throws him into a deeply disturbing introversion. In both films, the audience empathizes with the victims of the attacks. We understand that the outcast is still a human being––in fact, Pyle is punished because he retains his humanity and doesn’t become an automaton like the others––and can’t be held entirely responsible for their actions, either because of innocence (Pyle) or naiveté (the Creature).

The final sequence in Frankenstein which deals with the issue of the outcast begins with the villagers––torches in hand––searching for the Creature after it has drowned young Maria. The shots in the beginning of this sequence are all about showing the mob and how they’ve banded together to destroy the Creature. Later, in the windmill, after Dr. Frankenstein has been separated from the mob and kidnapped by the Creature, there are two shots that question the idea of who the monster in the film is. Dr. Frankenstein stares at the Creature through a spinning wheel that distorts the faces of both characters and although the Creature is the outcast, perhaps it is not the real nuisance to society. But because it has no place in civilization––that is, its role in society is unidentifiable––it can only be viewed as a “monster” or outcast. By being on the outskirts of society with no way of knowing what it is, the Creature rebels against that which excludes it. The Creature confronts Dr. Frankenstein, its creator, and punishes him for not giving it a role or identity to function properly in the world.

The final scene of the first portion of Full Metal Jacket takes the idea of confronting the creator and goes a step further. The scene begins with Pvt. Joker––torch in hand––discovering Pvt. Pyle in the head. As Pyle loads a rifle, Joker, addressing Pyle by his given name, Leonard––perhaps trying to uselessly make Pyle feel included––explains the consequences if they get caught by Sgt. Hartman. But the outcasted Pyle knows his place: “I am…in a world…of shit.” Pyle then goes through a rifle-handling drill, indicating that he is no longer Leonard, but just a mindless machine going through the motions he has been trained to do. His words and movements are sharp and fluid, without any trace of personality. It’s like watching a training video. Once Hartman comes in and tries to persuade Pyle to hand over his weapon, the scenario is very much like Frankenstein. The creator must confront and appeal to the “creature” he has created, only to realize that it is too late to try and accept him/it back into society. The scene also harkens to Frankenstein by making us question who the real monster of the film is: Hartman berates Pyle in a situation in which he should be less confrontational.

Unlike Frankenstein, though, Full Metal Jacket allows the outcast to successfully destroy its creator. But since Pyle is more aware of his place in the scheme of things––not only has he been forcibly ostracized by Hartman, his fellow cadets have shown him he’s unwanted––he knows he can never be accepted. He is too far gone from who he was––his menacing “Kubrick stare” expresses his lack of personality and connection to the world––and can no longer function as an integral part of society. Thus, much like Frankenstein’s creature, he must pay for his uselessness. At least Pyle goes on his own terms, although he does so in the latrine, symbolizing how he is the waste of society and must be flushed away.

Both Frankenstein and Full Metal Jacket want us to look at what being an outcast means. It’s not just exclusion from society, but also about taking away what function that individual has within society. The Creature was created because Dr. Frankenstein wanted to create life. What purpose was the Creature to have in the world after its creation? The same can be seen with Pyle, though there is a twist––he was turned into an uncaring, emotionless killing machine. And since machines only do what there programmed to do, Pyle could no longer serve any useful purpose in society. The films tell us that outcasts are not excluded because they choose to be, but because society doesn’t care about them enough or anymore to let them just be who they are. They must conform or they must be destroyed.

But the films also force us to look into ourselves and figure out where we stand––after all, both pictures make the outcast sympathetic. Are we the monster? Or are we an angry mob? Or are we Pvt. Joker, just watching from the wayside, not really sure if we should be the bridge that gives the outcast a possibility to be accepted?

"War Horse" Review

A very well done film. Quite a visual rush -- every frame is like a painting and the English countryside is captured so beautifully. As with many/most of Spielberg's work, the technical aspects of the film are top-notch, second to none. The visual effects were flawlees, but since they were of the sublter nature, I expect they'll go mostly unnoticed. I'm reminded of "A Beautiful Mind" -- which is a visual effects smorgasbord, but since the effects support rather than dictate the film, no one thinks there are any effects.

Unlike "Saving Private Ryan" -- of which "War Horse" is nice, if not true, companion piece to -- Spielberg and his crew manage to make war look cinematic while still taking time to reveal its horrors. It probably helps that World War I is so neglected on film that an incredibly fresh way to show the conflict wasn't as absolutely necessary as it was with "Saving Private Ryan."

A solid score (as per usual) from John Williams -- "Joey's Theme," while not as powerful/memorable as Williams's better themes, has that Williams hummability we've come to expect. I thought some of the beginning music was Mickey-Mousing too much, but as the film progressed it seems that Williams reined it in and let the score complement rather than emphasize the images.

Strong acting throughout, though nothing truly amazing, which is typical of Spielberg films. Emily Watson and Peter Mullan, however, as the parents, stand out for me, but unfortunately there's not much for them to do other than perform to their respective types. Although they do make the most of it. For the most part, character actors were used, so it was nice to see those "I can't think of the name, but I know the face" actors get a chance to shine brighter than usual.

The film is a bit heavy-handed with its main theme (storywise, not musical), but each section of the film is refreshing with how it approaches it, tapping into the various ways we bond and connect with each other. I've seen it written that the film is too sweet, but I didn't have any problems with it. It was honest -- maybe to a fault -- but stayed true to itself throughout. Nothing felt forced or manipulative.

One of the best things about the film is how it showcases an almost forgotten war and its participants, namely, the horses. For most of us, our memories/mind's eye images of war involve tanks, jeeps, and air crafts, though only 100 years ago we used living creatures to aid in our destruction of each other. The film doesn't directly comment on the humanity of using horses in war -- that's not what's it about -- but it does give an opportunity to honor those soldiers who were drafted and forced to leave home to fight in a war they had no idea was going on. They, too, should be remembered for their part and have their place in the Lost Generation.

While it might not be Spielberg's best, it's definitely ranks among his top handful of films. His firm, unflinching direction and command style to enhance the story elevates "War Horse" near the top of must see Spielberg.

WGA 101 Greatest Screenplays

This is an older list, but as a screenwriter I still think it's interesting to look at.

Here's the list from the WGA, in order with proper credits given for each film.

And here's what I've broken it down to:

1934 #59 It Happened One Night

1937 #85 La Grande Illusion

1939 #23 Gone with the Wind

         #25 The Wizard of Oz

1940 #31 His Girl Friday
         #37 The Philadelphia Story
         #98 The Grapes of Wrath
1941 #4 Citizen Kane
         #29 Sullivan's Travels
         #47 The Maltese Falcon
         #52 The Lady Eve
1942 #1 Casablanca
1944 #26 Double Indemnity
1946 #20 It's a Wonderful Life
         #44 The Best Years of Our Lives
         #101 Notorious
1948 #46 The Treasure of the Sierra Madre
1949 #33 The Third Man

1950 #5 All About Eve
         #7 Sunset Blvd.
1951 #70 The African Queen
1952 #65 Singin' in the Rain
         #75 High Noon
1954 #18 On the Waterfront
         #83 Rear Window
1956 #97 The Searchers
1957 #34 The Sweet Smell of Success
         #48 The Bridge on the River Kwai
1959 #9 Some Like it Hot
         #21 North by Northwest

1960 #15 The Apartment
         #92 Psycho
1961 #96 The Hustler
1962 #14 Lawrence of Arabia
         #19 To Kill a Mockingbird
1963 #87 8 1/2
1964 #12 Dr. Strangelove
1967 #13 The Graduate
         #82 Cool Hand Luke
1968 #71 The Lion in Winter
         #79 The Producers
1969 #11 Butch Cassidy and the Sundance Kid
         #36 Midnight Cowboy
         #99 The Wild Bunch

1970 #94 Patton
1971 #86 Harold & Maude
1972 #2 The Godfather
1973 #39 The Sting
1974 #3 Chinatown
         #10 The Godfather, Part II
1975 #45 One Flew Over the Cuckoo's Nest
         #63 Jaws
         #69 Dog Day Afternoon
1976 #8 Network
         #43 Taxi Driver
         #53 All the President's Men
         #78 Rocky
1977 #6 Annie Hall
         #68 Star Wars
1979 #54 Manhattan
         #81 Being There
         #55 Apocalypse Now

1980 #58 Ordinary People
         #76 Raging Bull
1981 #42 Raiders of the Lost Ark
1982 #17 Tootsie
         #67 E.T. the Extra-Terrestrial
         #91 The Verdict
1983 #64 Terms of Endearment
1984 #73 Amadeus
1985 #56 Back to the Future
         #80 Witness
1986 #95 Hannah and Her Sisters
1987 #51 Broadcast News
         #62 Moonstruck
         #84 The Princess Bride
1989 #40 When Harry Met Sally...
         #57 Crimes and Misdemeanors
         #88 Field of Dreams
         #93 Do the Right Thing

1990 #41 GoodFellas
1991 #61 The Silence of the Lambs
         #72 Thelma & Louise
1992 #30 Unforgiven
1993 #27 Groundhog Day
         #49 Schindler's List
1994 #16 Pulp Fiction
         #22 The Shawshank Redemption
         #89 Forrest Gump
1995 #35 The Usual Suspects
1996 #32 Fargo
         #66 Jerry Maquire
1997 #60 L.A. Confidential
1998 #28 Shakespeare in Love
1999 #38 American Beauty
         #50 The Sixth Sense
         #74 Being John Malkovich

2001 #100 Memento
2002 #77 Adaptation
2004 #24 Eternal Sunshine of the Spotless Mind
         #90 Sideways



4 films – 1941, 1976, 1989
3 films– 1940, 1946, 1969, 1975, 1979, 1982, 1987, 1994, 1999
2 films– 1939, 1950, 1952, 1954, 1957, 1959, 1960, 1962, 1967, 1968, 1974, 1977, 1980, 1985, 1991, 1993, 1996, 2004

4 films -- Woody Allen (6, 54, 57, 95)
                Francis Ford Coppola (2, 10, 55, 94)
                Billy Wilder (7, 9, 15, 26)
3 films -- William Goldman (11, 53, 84)
                Charlie Kaufman (24, 74, 77)
                John Huston (46, 47, 70)
2 films -- Mario Puzo (2, 10) -- co-written with Francis Ford Coppola
                I.A.L. Diamond (9, 15) -- co-written with Billy Wilder
                Ernest Lehman (21, 34)
                Michael Wilson (14, 48)
                Preston Sturges (29, 52)
                James L. Brooks (51, 64)
                Carl Foreman (48, 75)
                Paul Schrader (43, 76)
                Frank Pierson (69, 82)

Surprises -- The Wild Bunch, Patton, Rocky, Star Wars, Jaws, The Wizard of Oz, 8 1/2, La Grand Illusion, Dr. Strangelove so high

Snubs -- A Place in the Sun, The Remains of the Day, The Truman Show, Young Frankenstein, and too many others to name

I'll take another day or two with this list and offer a more in-depth look then.