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Reviews
Max Payne (2001)
Bloody Brilliant.
To this day no game has gripped me like "Max Payne". I remember I got this one Friday afternoon and had it beat by Sunday morning. Yes I did spend most waking hours playing it, but that is a testament to the game's story. I rarely find myself addicted to a game's story. I rarely find myself wanting to know where the story goes. In games, plot does take a backseat to game play for me. But "Max Payne" got it right. It's short enough not to lose focus from beginning to end, but long enough to become a deep and immersive experience. The game's pacing is flawless. The style by which the story is told graphic comic strip narrated by the hard-boiled Payne is also perfect and adds much to the game's style an atmosphere.
The much-hyped slow motion aspect of the game is simply the icing on the cake. There is nothing like jumping into a room gun in each hand in slow motion and re-enacting your favourite John Woo action scene. Nothing. It is true that the A.I. isn't the small tool in the box, but what lack in brains they make up for in numbers. The vast selection of weapons is also impressive, though I have myself found myself going through the entire game using only handguns except when other guns are essential to the objective. But that's just the Woo fan in me.
The graphics were jaw-dropping at the time and are still damn impressive today. There was times when I was simply amazed at the details: if you got the camera right behind Max's shoulder you could see the micro-fabrics of his jacket and the singular strands of his hair. Bullet hits were also impressive both visually and in their restraint. They remind me a lot of Exley's shotgun massacre in "L.A. Confidential". Debris flies over the place but not in an over-the-top Woo or "Matrix" way. This helps retain the gritty realism the makers were striving for.
"Max Payne" is derivate of a lot of works and is quite clichéd, but it is executed with style, atmosphere and an immense level of game-making professionalism that makes it an experience unlike any other. Put film noir, John Woo and "The Matrix" into mixer and "Max Payne" is probably what you get. And it's one hell of a cocktail. The game is thrilling, visceral and explosive. What more could you want in an action game?
The Lady Vanishes (1938)
Exciting Early Hitchcock
"The Lady Vanishes" is early Hitchcock. It was made when he was still finding his feet and style as a filmmaker. It is nevertheless a cracking thriller and a hugely entertaining film. Quite different from a lot of Hitchcock's thriller, the film doesn't throw you in at the deep end at the beginning. Hitchcock takes a good twenty or so minutes setting up the characters before even boarding the train. It seems to me that the plot of the lady vanishing is the McGuffin of the film and the main plot is the relationship between the main characters. It is also in the first twenty minutes when we see the typical Englishness of the piece complaining about weather/board and talking cricket. "The Lady Vanishes" was Hitchcock's penultimate British film before leaving for America and it is up there with "The 39 Steps" as one of that era's best.
When the film does board the train it turns into thriller/mystery mode and Hitchcock shows an expertise in mystery and tension building worthy of his later, more famous thrillers. The train (as Hitchcock knows all too well) makes a great setting for a thriller. The tight environment, multiple carriages and constant movement allow for mystery, suspense and excitement view Hitchcock mix then all up when Redgrave's characters nearly gets mashed by an oncoming train as he attempts to move to another room by the outside.
Hitchcock had a great talent when it came to casting his films. He filled his main and supporting characters with likable, charismatic people who were right for the roles. "The Lady Vanishes" is no exception in this regard. Lockwood and Redgrave have fine chemistry between them and create a duo which anchors the film. For a plot like this it would be essential for the main duo to be likable so the audience can follow them through their detective work and they do a great job in creating a likable duo. The snappy repartee between the two is perhaps the film's highlight.
The film's editing is excellent. I find that in a lot of film like this the last act tends to drag as I become increasingly restless in wanting to know what the big secret is. "The Lady Vanishes" doesn't fall into this trap and runs very smoothly and doesn't outstay its welcome. The cinematography is also excellent. Although the shots are apparently fairly simple, one should consider the complexity of trying to get these shots done in such a tight enclosure and keep up the appearance that it is happening on a moving train. I haven't read or heard anything from experts about this film so I don't know whether Hitchcock used a real train or a stage with rear projection or something similar. But in the film itself I couldn't see any goofs that would ruin the film's illusion.
You won't see this film top many best Hitchcock list because it isn't as "artistically sound" as a lot of his later works, but the film was made in 1938 just as international relations were reaching boiling point and there is certainly some subtext in the film about it. One can look at the scene were a man refuses to fight despite the enemy steadily approaching the train as an attack on the appeasement of the Nazi. Or the cricket chaps concern about their own trivialities and their refusal to get involve in the bigger, more important issue.
"The Lady Vanishes" is a gripping yarn that is sure to absorb one's attention and excite as much (or even more) as any film made today. It doesn't trade off characters for action. It has an intelligent script with witty dialogue and distinct, memorable characters. The film does have a fair few plot holes like a lot of Hitchcock's thriller, but they don't matter while watching the film as he never gives your breath to think about them. He forces you to move along with the engaging plot. Whether one looks at the film as mere entertainment or as a commentary on the times, it is sure not to disappoint.
Lawrence of Arabia (1962)
A Majestic Masterpiece Beyond All Other
Spoilers herein.
There are films that define a time. There are films that define a genre. There are films that define cinema. 'Lawrence of Arabia' defines all of the above. Within its frames 'Lawrence of Arabia' captures the essence of a man, a time and place with unparalleled cinematic magic. Though a winner of 7 Oscars and one of the Top 100 ticket sellers of all time, most people were not able to see 'Lawrence of Arabia' the way it was intended until 1989 (and I still imagine most people have only seen it during one of its annual Christmas TV viewings). Steven Spielberg, Martin Scorsese and Robert Harris deserve massive applause for their efforts to restore this film to its 2.20:1 widescreen, 220 minute glory.
I, myself (thankfully) have never seen any other version of this film. So when I first saw the film it was in its untainted glory and it's an experience I shall never forget. Never before had I seen a film that blurred the lines between storytelling and art so much. Never before had I seen a film so assured in visual storytelling. Never before had I been so transplanted into a film's world. The awesome acting, the stupendous story, the remarkable visuals, the sublime script, the fascinating dialogue and majestic music all combine to make a film like none other.
'Lawrence of Arabia' is played out in five acts, each one of them represents a different part of Lawrence's psyche. The first act is Lawrence's introduction into Arabia where he is very much an Englishman albeit an outcast. The second act concerns his assimilation into Arabia, the taking of Aqaba and his rise to deity. The third portrays Lawrence at the peak of his military career and his growing egotism. The fourth act is his capture, torture, mental breakdown and dissertation of his troops. The fifth concerns his comeback, revenge and both his greatest and most flawed accomplishment: the slaughter of Turks and the liberation of Damascus. Every scene in these acts is essential to the development of his persona. Lean and Bolt raise the question of who Lawrence was, but they never answer the question. This is one factor that brings me back to the film time and time again each time I watch the film I am left with a different perception of Lawrence's character.
The film contains an all star cast including Peter O'Toole, Omar Sharif, Alec Guinness, Jack Hawkins and Claude Rains. Only 'JFK' rivals it in my view. Of course, there was been many all star casts that haven't performed to their usual standards, but it is not the case here. Everyone is on top of there game especially Peter O'Toole who gives the greatest cinematic performance I have ever seen. From extremes of joyous extremes and heated contempt he dominates the screen with undeniable screen presence and charisma. Many an actor would be lost on screen amidst all the sand, but O'Toole never is. Watch Lawrence's scene in the mess hall near the beginning then watch his immense 'No prisoners' scene the change is remarkable. Omar Sharif is also superb and it is easy to see why he became a big international star following his charismatic performance.
I have never been a fan of desert films and find the majority of them boring, but Freddie Young's 70mm widescreen photography brings the desert alive in such an exciting and absorbing way. The film is simply full of memorable and beautiful scenes such as Sharif's introduction, the long pan over the assault on Aqaba or the glorious reveal from a purple flag of Lawrence and Sheriff Ali leading their final army. 'Lawrence of Arabia' is a unique visual experience and one you will not forget in a hurry.
Although it comes in at over three and a half hours, 'Lawrence of Arabia' never lulls and if not for the forced DVD intermission I doubt I would move at all while watching it. The innovative editing (including some of the most famous examples of direct-cutting) keeps the film moving at a brisk pace. There are no gratuitous scenes. Every scene is a required piece of the puzzle. Maurice Jarre's phenomenal music also helps keep the film going. I'm sure some of the scenes of people crossing the desert would have been tedious without his music, but with his majestic music transplanted over the images they are simply compulsive viewing.
The epic action scenes are breath-taking in their scope and execution. But what gives them their impact is that Lean (perhaps limited by censorship laws) is not concerned with the visceral thrill of battle, but rather the effect they have on the battlers. What drives men to war and what do they get from it. And thankfully the action scenes are succinct and progressive with no blasted shaky-cam or CGI troops. Everything you see on screen is real and was performed, which just adds to the gob-smacking sense of the shots. It is this sense of realism that deepens the experience.
If one's respect for 'Lawrence of Arabia' is not enamored after viewing the film, perhaps it will be when thinking that we will NEVER see a film like this again. No studio would take the risk of a project this big that excludes many of their 'key demographics' and 'film rules'. There are no talking parts for women. There is no love interest. There is no happy ending. 'Lawrence of Arabia' a product of Hollywood showing its balls, which for many a year it seems to have lost. 'Lawrence of Arabia' is an awe-inspiring Goliath of cinematic perfection. The best film I can lay claim to having seen.
Sen to Chihiro no kamikakushi (2001)
An Amazing Achievement in Animation.
'Spirited Away' is the first Miyazaki I have seen, but from this stupendous film I can tell he is a master storyteller. A hallmark of a good storyteller is making the audience empathise or pull them into the shoes of the central character. Miyazaki does this brilliantly in 'Spirited Away'. During the first fifteen minutes we have no idea what is going on. Neither does the main character Chihiro. We discover the world as Chihiro does and it's truly amazing to watch. But Miyazaki doesn't seem to treat this world as something amazing. The world is filmed just like our workaday world would. The inhabitants of the world go about their daily business as usual as full with apathy as us normal folks. Places and buildings are not greeted by towering establishing shots and majestic music. The fact that this place is amazing doesn't seem to concern Miyazaki.
What do however, are the characters. Miyazaki lingers upon the characters as if they were actors. He infixes his animated actors with such subtleties that I have never seen, even from animation giants Pixar. Twenty minutes into this film and I completely forgot these were animated characters; I started to care for them like they were living and breathing. Miyazaki treats the modest achievements of Chihiro with unashamed bombast. The uplifting scene where she cleanses the River God is accompanied by stirring music and is as exciting as watching gladiatorial combatants fight. Of course, by giving the audience developed characters to care about, the action and conflicts will always be more exciting, terrifying and uplifting than normal, generic action scenes.
Through Chihiro, Miyazaki is clearly (but non-patronisingly) talking to youth of Japan. There's a certain sense of revile about the youth of Japan at the moment. Many people consider them to be ill-mannered and baring no respect for their elders or their forefathers. They are simply bi-products of their material world and consumerism. 'Spirited Away' taps into this. At the start Chihiro is a selfish, spoiled, whiny brat. But as she plunges deeper into the spirit world, she becomes more independent, more assured, more respectful and learns some manners. No Face, a black figure with a white mask, is the catalyst behind Chihiro's transformation. Once he is let into the bathhouse, we are no longer tourists the story propels forth. Watching No Face prey on the greed of the workers is a terrifying delight. The three main characters in Miyazaki's youth allegory are Chihiro, No Face and Bô. All of these characters are disconnected with their world. They are lonely, misunderstood and largely ignored. But when they go on their journey together, they united and become stronger individuals.
Miyazaki also talks about the ecology of Japan. What was once a beautiful; grassland has now turned into the Asian New York. That The Last Samurai had to be filmed in New Zealand to get a turn of the century Japanese look speaks volumes. The River God sequence is an unsubtle but unpretentious commentary on pollution. While these two themes are very much current in Japan, they are also universal themes which makes 'Spirited Away' a universal story that most of us can connect with. I'm willing to bet everyone reading this has at some time seen bicycles lying on a lake bed or have had a child talk to them disrespectfully. Sure these themes aren't advanced philosophy. They are everyday issues told in an inventive, fun way.
The animation is wonderful, if not as smooth as Disney's works but there's something superior to that. 'Spirited Away's imperfect, but detailed world is far more fascinating than the perfected blandest of Disney's latest offerings. The animators successfully balanced the tight-rope between not-enough animation on characters and too much animation on characters. No Ralph Balski ADD antics here! The film is full of vivid images both beautiful and horrifying. The line between those two extremes is crossed over seamlessly. From Chihiro and Haku running through an opening flower field to Haku's dragon snarling with a bloody mouth, both extremes seem to belong in the film. It's also excellently done with the characters. Kamaji can be seen as a scary, daunting figure at the beginning, but soon he seamlessly changes into a humble, wise figure. Yubaba also seems to be able to turn from kind to witch with the snap of a finger.
The sound on the film was expertly done. The sounds perfectly match the on screen actions and objects. My sub woofer got a wonderful workout when Haku swoops Chihiro past the bridge at the beginning. And while I don't speak Japanese, I think the voice actors did a wonderful job of conveying their personality and emotions true their voice. Joe Hisaishi's music is sublime, definitely one of my favourite scores. His main piano theme is simple and evocative. His thunderous action music hits the viewers on the chest like a hammer. Like all great scores it heightens the greatness of a scene about three times. The score, unlike many American composers', is unobtrusive. It plays excellently with the scenes, but never overbears them. A lot of the time the it is barely noticeable, a sole piano plays softly in the background evoking a dreamlike/lullaby quality.
'Spirited Away' is a simply a modern masterpiece, easily one of the Top 10 films of the new millennium. It works on a multitude of levels; a social commentary on Japan, a homage to ancient Japanese/Russian mythology, a moral film for both children and adults. But most importantly, it is a simple story brilliantly told by a great filmmaker who appears to be at the top of his game. 'Spirited Away' works much like a relaxing journey. Pop in the DVD; leave this world for two hours and when you will be almost certainly enriched and ready to take the trip again.
Schindler's List (1993)
The Worthiness Of Praise Distains His Worth.
Spoilers herein.
For some strange reason I find it difficult to talk about `Schindler's List', which is strange as I could talk for hours about any other Spielberg film. Stranger still considering the immense acclaim and debate surrounding the film. Perhaps it's because `Schindler's List' is a film that reaches beyond the limitations of its celluloid to become a cultural and historical institution. Perhaps it's because the film is so perfectly mounted that it is hard to zoom in on a select number of topics. Or perhaps it is simply because I can not fathom the impact `Schindler's List' had on me.
I disdain the aura surrounding this film. I disdained watching my parents viewing this film simply because they heard it was `important' to do so. Yes, the film is important and yes, everyone should see it. But no one should view this film based in the mindset that they are doing so only because of its subject matter. It destroys the cinematic experience. It destroys objective thought. And it blinds people from what Spielberg is trying to say with this film. `Schindler's List' has been labelled a Holocaust film. However, I do not see it this way. I see the Holocaust as merely a backdrop for a morality play which `Schindler's List' is.
Spielberg films have often been criticised for their supposed black/white characters. The good guys and the bad guys. In `Schindler's List' Spielberg has blurred the lines more than he ever has done. Our title hero is a womanising adulterer whose prime goal is to make money exploiting his workers to do so. He doesn't hire Jews because of sympathy. He hires them because they are cheap and expendable. There is a scene between Schindler and Goeth it's one of their first meetings. They sit and drink, they casually talk about business and the war like one would talk about sport or the weather. In this scene we see how alike our hero and villain are. We see that Schindler is only a step left to Goeth's path and Goeth a step right to Schindler's. Later on in the film we see two pivotal scenes that keep each on their own path. After flaunting his new found sympathising routine, Goeth looks in the mirror and sees the man he really is. He then shoots the boy he pardoned mere moments before. Similarly, Schindler looks out a window before deciding how his fortune should be spent. Both have `power' as Schindler defines it, both use it in different ways.
The film itself is an awe-inspiring goliath of cinematic perfection. It seems Spielberg has studied the master of the epic David Lean well. The film is over three hours, yet it is never boring. The film is as absorbing as any you care to mention. Not one frame is wasted. The film is shot in black and white by Janusz Kaminski and is proof, if nothing else that black and white films should still be consistently made. The film is beautiful. No matter how harrowing the subject matter may be, it seems impossible for Spielberg to frame an ugly shot. Backlights, shadows and smoke are all used magnificently to create atmosphere. One of the most controversial aspects of the film has been the use of colour specifically the red coat used to highlight a girl Schindler watches during the Liquidation of Krakow. This is not Spielberg being pretentious. This is not Spielberg trying to pull the heartstrings. This is Spielberg's spin on the old saying, `One death is a tragedy. One thousand is a statistic'. During the most horrific of genocides, the individual must not be forgotten.
The acting is phenomenal. Neeson, Fiennes and Kingsley give career bests. Neeson is able to evoke the multiple facets of Schindler with merely a smile, a laugh or a wink. We are never certain what is on Schindler's mind nor his motives or reasons for his actions until their affects have taken place. His performance is similar to Kevin Spacey's in `The Usual Suspects' which both require repeated viewings to fully appreciate. Fiennes is his direct opposite. What you see is what you get. His performance is in-your-face and visceral. Yet, despite his evil, Fiennes is able to evoke a certain likeability about Goeth and when he is executed at the end I actually felt some sympathy for him. Kingsley again shows that he can perfect any ethnicity by playing Schindler's Jewish accountant Stern. He is the voice of reason and solemn dignity in the film. They are all so brilliant it is impossible to pick a best actor from this film. In fact the strongest compliment I can pay to any of them is that no one attempts to steal the show. It is clear that everyone involved in the film are working uniformly to make it as good as possible. John Williams is also on top of his game the violin and piano solos of the main theme are both hauntingly beautifully and heartbreaking.
Many have criticised the film for bowing to Spielberg sentimentality when Schindler breaks down at the end. People say it would have been uncharacteristic for Schindler to do so. I consider this to be tripe. Schindler has completed his arc. He has gone from a shameless money grabber to a man who would give anything to save another life. He has learned the price of human life and so have we. It is neither the price of a car nor the price of a gold badge. It is priceless. At the end of the film we learn there are 6,000 descendants of Schindler Jews. This means that for every life Schindler saved, five more lived. "Whoever saves one life, saves the world entire." `Schindler's List' is not a film about the horror of war. It is a film about the beauty of the human spirit. The film is timeless. It is a masterpiece of cinema.