Matt Murdock (Ben Affleck,) blind since childhood has fought for justice all his life, inspired by his accident and his father's death at the hands of a mafia enforcer. During the day, he's a talented lawyer, using his blindness to sense the truth of those he questions. During the night, he's something else: a dark avenger who cleans up the streets when the court fails. His blindness leaves him stronger in his other senses, and he's almost able to see again. And now, someone wants him dead, the new power in town, Wilson Fisk aka The Kingpin (Michael Clarke Duncan) who is in the middle of cleaning house. And Matt's finally met someone, Elektra Nachios (Jennifer Garner,) a wealthy socialite who's father has ties to The Kingpin. When Daredevil fails to protect her father from the assassin Bullseye (Colin Farrell,) Elektra goes hunting and ends up in deeper that she expected, fighting for revenge and for her life. But will Daredevil be able to save her from herself and from Bullseye?
The expectations of comic book movies today is that they be smooth, sensual and stylistic. Although recently, with the new Batman series, more visceral and harder styles are "the norm." However, for a superhero who's weapon is his senses; smooth, sensual and stylistic is precisely what is called for in this film. Emotional is also something that describes it, too. As with most superheroes, Daredevil has sorrow in his heart painted with rage, passion and righteousness. But it's the sorrow that is the soul of Daredevil and his alter ego, Matt Murdock, because his love is deeper than that of some of the others, both for his father and for Elektra; so when he loses them both his pain is what triggers true justice and he joins the few superheroes who leave their antagonists alive in the denouement.
And I've said, sorrow drives this one, just as it did The Punisher. This is highlighted by solid soulful performances by Ben Affleck (who usually fails to stir me, but succeeds this time) and Jennifer Garner with support from wonderfully chosen music, including breakout (at the time) Indie Band Evanescence, who's track "Bring Me to Life" personifies both Elektra's sorrow and the danger she's in, as well as a call to arms for Daredevil. The attention given their love story as well as Daredevil's back story and his devotion to his father and to the cause of justice tilts the balance away from the darkness and malice that is brought brilliantly by Farrell and Michael Clarke Duncan. Not an opera like The Punisher, but well done regardless.
However, it's not over for our love interest, Elektra...
Revived straight after her encounter with Bullseye by the head of an ancient warrior order (Terrence Stamp) and trained to sense the future, Elektra is now a contract killer escaping her past and filled with rage. She is contracted to find and kill the warrior capable of tipping the balance between the fight of good versus evil. When she finally sees her target, she notices something about her and decides to save her instead of killing her. Meanwhile, the army of darkness calling itself The Hand, is searching for this warrior and has connections to Elektra's past.
Whereas the emotional journey of the last film saturates and drives the plot forward, there's nothing here but an episode by episode spectacular piece of eye candy. The story is hectic and badly constructed, like the writers wanted to piece together a collection of fan favorite episodes and characters. I don't feel for any of the characters, including the little girl. In fact, the little girl drags the film and interferes with the emotional connection, as there really is nothing sympathetic about her. I cannot connect with Elektra's character as well as I did in Daredevil either, the beauty in her character and in her performance simply is missing.
Sequels and spin-offs are difficult to pull off. This one struggles greatly, as its parent film was a knockout. Spin-offs have a harder time succeeding because their parent's success was a fresh, breakthrough piece. Daredevil fits this bill because all the pieces fit so beautifully. Elektra lacks sufficient development, freshness and care, displaying ill-deserved bravado and failing to inspire.
***
IN: Michael Clarke Duncan
OUT: Terrence Stamp
Coming Soon: Superman/Superman II
Wednesday, November 17, 2010
Tuesday, November 16, 2010
Planet of the Apes
In a remote space station, researchers are developing genetically enhanced chimps, under the direction of Captain Leo Davidson (Mark Wahlberg.) When an electromagnetic storm approaches and his chimp goes missing, Captain Davidson launches an unauthorized flight to rescue him and get the readings they need for their studies of the storm. Caught in the storm, he spins out of control and crash-lands on the nearby planet which is inhabited by talking primates who've enslave the humans they hunt. Befriending his new master's daughter, a Human-Rights Activist Named Ari (Helena Bonham Carter), and making an enemy of General Thade (Tim Roth) who intends to marry her, he tries to find a way home and reluctantly becomes the hope for humanity's freedom from the apes.
Like the original, the social commentary on human and animal rights exists here. As does the macro-evolution angle. The original spoke more on the rights of different races co-existing as equals and the science fiction angle on an alternate universe where the evolutionary ladder was climbed by something else. Whereas this one speaks more on the animal rights angle, leaving the prejudicial angle to the side. Ari speaks about the mistreatment of humans lowering the dignity of themselves and demeaning the level of respect for themselves, an argument made toward the treatment of animals and people considered animals. This is a theme well-visited in science-fiction and fantasy. And it is spoken very clearly.
The themes are spoken clearly, but the story is a bit commonplace, enhanced by brilliant makeup, beautiful costumes and rich special effects. The acting is above average with some of the best names in cinema today: Helena Bonham Carter, Paul Giamatti, Mark Wahlberg, Michael Clarke Duncan and an extremely menacing Tim Roth. The stunts are well done, as well, with the ape motions producing a very authentic look. I am reminded very clearly of the movie Congo and its infamous monkey costumes. Here, the actor becomes part of their costume instead of the other way around. The prosthetic work is superb, allowing for individual characteristics to show through on the hero characters of the humans underneath.
Of all the love triangles (or shall I say squares, as there are three angles which are unrequited) in cinema, this film has the most absurd. Firstly, we've got Davidson, who's loved by the human he's caught with as well as Ari. Then we've got Thade, who loves Ari without any hope of being loved back. It really is ridiculous. And this major subplot cripples any hope of credibility. And it is truly sad, for Tim Burton is a quality director and all of the performers are all top notch, too. Remakes are tricky creatures; sometimes the material cannot be duplicated or transposed. In this case, the freshness wore off with Charlton Heston's prime days. And Planet of the Apes should remain a classic.
****
IN: Mark Wahlberg
OUT: Michael Clarke Duncan
Coming Soon: Daredevil/Elektra
Like the original, the social commentary on human and animal rights exists here. As does the macro-evolution angle. The original spoke more on the rights of different races co-existing as equals and the science fiction angle on an alternate universe where the evolutionary ladder was climbed by something else. Whereas this one speaks more on the animal rights angle, leaving the prejudicial angle to the side. Ari speaks about the mistreatment of humans lowering the dignity of themselves and demeaning the level of respect for themselves, an argument made toward the treatment of animals and people considered animals. This is a theme well-visited in science-fiction and fantasy. And it is spoken very clearly.
The themes are spoken clearly, but the story is a bit commonplace, enhanced by brilliant makeup, beautiful costumes and rich special effects. The acting is above average with some of the best names in cinema today: Helena Bonham Carter, Paul Giamatti, Mark Wahlberg, Michael Clarke Duncan and an extremely menacing Tim Roth. The stunts are well done, as well, with the ape motions producing a very authentic look. I am reminded very clearly of the movie Congo and its infamous monkey costumes. Here, the actor becomes part of their costume instead of the other way around. The prosthetic work is superb, allowing for individual characteristics to show through on the hero characters of the humans underneath.
Of all the love triangles (or shall I say squares, as there are three angles which are unrequited) in cinema, this film has the most absurd. Firstly, we've got Davidson, who's loved by the human he's caught with as well as Ari. Then we've got Thade, who loves Ari without any hope of being loved back. It really is ridiculous. And this major subplot cripples any hope of credibility. And it is truly sad, for Tim Burton is a quality director and all of the performers are all top notch, too. Remakes are tricky creatures; sometimes the material cannot be duplicated or transposed. In this case, the freshness wore off with Charlton Heston's prime days. And Planet of the Apes should remain a classic.
****
IN: Mark Wahlberg
OUT: Michael Clarke Duncan
Coming Soon: Daredevil/Elektra
Friday, November 12, 2010
The Italian Job
After a successful heist of millions in gold bars in Venice, Steve (Edward Norton) betrays his team, kills his mentor, John Bridger (Donald Sutherland,) leaves the rest for dead in the glacial waters on the Italian border, and disappears with the gold. One year later, having survived, Steve is found in Los Angeles; and the others are looking for some payback. Teaming up with Stella (Charlize Theron), Bridger's daughter, Charlie (Mark Whalberg,) Lyle (Seth Green,) Left Ear (Mos Def) and Handsome Rob (Jason Statham) plan on stealing the remaining gold left from the heist, thus avenging John's death and finally earning their share from the original job. The only problem: Steve knows all of them and what they'll do.
Format is a major choice to make in screenwriting. Where do the breaks come in? Should there be a time format? Is there a formula I should be following? Is there a simple way for me to tell my story? All of these are great questions to ask when formulating a plot in general.
In his essay "Poetics," Aristotle postulated that a plot needs only three simple things: a beginning, a middle and an end. And whereas every plot has these things, some need a road map. And one of these ways is the 30-60-30 configuration combined with the Three Act map. This structure follows that Act One concludes after thirty minutes of play, Act Two is sixty minutes in duration and the final, Act Three, lasts no longer than thirty minutes after the last plot point. The Italian Job is a near text-book model of this plot structure.
In this model, plot point one (the precursor to the change in action between Act One and Two and concurrently before the switch to Act Three) occurs a few minutes, give or take, around 25 minutes into the plot. Plot Point One is the pitch to Stella with her decision to join the crew is the switch to Act Two. That switch occurs within five minutes of the half-hour mark. Act Two, using this structure is typically twice as long as Act One, in this case, it should be sixty to seventy minutes in length. Act Two contains the body of the film, the small cause and effect episodes that build character and enhance the plot, and, in the case of a heist movie like this one, it details the preparations for the main job.
A halfway point changes the direction of the action and puts it into a downhill motion driving it toward the end. Three events create the bridge that propels this film over the hill and down toward the second plot point. First, Steve kills his fence. Then, when the team goes to pull the job, they discover a party at the neighbors, forcing Stella to keep her date with Steve. Steve's already in a heightened state of suspicion, and he figures out who she is, tipping the others to reveal themselves. This occurs ten minutes after the hour mark, like clockwork.
Plot point two includes the "call to action," a leap of faith the heroes take which will change their fortunes entirely. And for this film, it takes place when the team hears that Steve is moving his gold and begin the setup for the final takedown. This clocks in around twenty minutes after the hour mark. The Third Act is where the payoff occurs, all plot elements are tied up tight, no loose ends remain and the release is done. In this case, a comedic release: the good guys get paid and the bad guys are served their comeuppance. Everything is resolved in the end of the Third Act, which concludes anytime between one hour and forty-five minutes to two hours in the 30-60-30 format.
The third act also contains the second half of a set of pinches, insignificant motifs that are introduced in Act One and bear significance in Act Three. For this, it's the fact that Stella's father always cracked all of his safes by touch and she's forced to crack Steve's safe by touch in the end. She cracks it minutes before the famous Mini Cooper chase scene through the LA River toward the conclusion at the railway yard.
It's text-book accurate. Following a proven plot structure is not a lame action to take; usually, a plot structure fosters a comfortable atmosphere for the audience allowing us to easily engage with the story unfolding on screen. We're still pulling for Charlie and his team, in the end, and we surely hope that Steve has his gold stolen. We don't care that something has a formula, but as writers, it does help. As for The Italian Job, it helps writers to see that plot structures do work, because this is a tightly written film and it follows the format to the letter.
****
IN; Charlize Theron
OUT: Mark Whalberg
Coming Soon: Planet of the Apes
Format is a major choice to make in screenwriting. Where do the breaks come in? Should there be a time format? Is there a formula I should be following? Is there a simple way for me to tell my story? All of these are great questions to ask when formulating a plot in general.
In his essay "Poetics," Aristotle postulated that a plot needs only three simple things: a beginning, a middle and an end. And whereas every plot has these things, some need a road map. And one of these ways is the 30-60-30 configuration combined with the Three Act map. This structure follows that Act One concludes after thirty minutes of play, Act Two is sixty minutes in duration and the final, Act Three, lasts no longer than thirty minutes after the last plot point. The Italian Job is a near text-book model of this plot structure.
In this model, plot point one (the precursor to the change in action between Act One and Two and concurrently before the switch to Act Three) occurs a few minutes, give or take, around 25 minutes into the plot. Plot Point One is the pitch to Stella with her decision to join the crew is the switch to Act Two. That switch occurs within five minutes of the half-hour mark. Act Two, using this structure is typically twice as long as Act One, in this case, it should be sixty to seventy minutes in length. Act Two contains the body of the film, the small cause and effect episodes that build character and enhance the plot, and, in the case of a heist movie like this one, it details the preparations for the main job.
A halfway point changes the direction of the action and puts it into a downhill motion driving it toward the end. Three events create the bridge that propels this film over the hill and down toward the second plot point. First, Steve kills his fence. Then, when the team goes to pull the job, they discover a party at the neighbors, forcing Stella to keep her date with Steve. Steve's already in a heightened state of suspicion, and he figures out who she is, tipping the others to reveal themselves. This occurs ten minutes after the hour mark, like clockwork.
Plot point two includes the "call to action," a leap of faith the heroes take which will change their fortunes entirely. And for this film, it takes place when the team hears that Steve is moving his gold and begin the setup for the final takedown. This clocks in around twenty minutes after the hour mark. The Third Act is where the payoff occurs, all plot elements are tied up tight, no loose ends remain and the release is done. In this case, a comedic release: the good guys get paid and the bad guys are served their comeuppance. Everything is resolved in the end of the Third Act, which concludes anytime between one hour and forty-five minutes to two hours in the 30-60-30 format.
The third act also contains the second half of a set of pinches, insignificant motifs that are introduced in Act One and bear significance in Act Three. For this, it's the fact that Stella's father always cracked all of his safes by touch and she's forced to crack Steve's safe by touch in the end. She cracks it minutes before the famous Mini Cooper chase scene through the LA River toward the conclusion at the railway yard.
It's text-book accurate. Following a proven plot structure is not a lame action to take; usually, a plot structure fosters a comfortable atmosphere for the audience allowing us to easily engage with the story unfolding on screen. We're still pulling for Charlie and his team, in the end, and we surely hope that Steve has his gold stolen. We don't care that something has a formula, but as writers, it does help. As for The Italian Job, it helps writers to see that plot structures do work, because this is a tightly written film and it follows the format to the letter.
****
IN; Charlize Theron
OUT: Mark Whalberg
Coming Soon: Planet of the Apes
Wednesday, November 10, 2010
Aeon Flux
The world has been nearly annihilated by a virus in the year 2011. A cure is created by Trevor Goodchild (Marton Csokas) and the five million survivors are confined to one of the last virus-free zones, a city called Bregna. The Goodchild dynasty rules for 400 years, and, in the year 2415 a resistance fights against the government's control; they're called Monicans. Their top operative, Aeon Flux (Charlize Theron) fights in the name of the sorrows of centuries past and for the disappeared, those taken by the government who cannot be found again and also in revenge for the murder of her sister, Una. Meanwhile, a change is coming for the Goodchild regime. Trevor's brother, Oren (Johnny Lee Miller,) has been planing to overthrow his brother's leadership. But something strange lies in the history of Bregna; and it touches everyone, but especially Trevor and Aeon...and it complicates everyone's carefully laid plans.
As any dystopian story, a certain coldness permeates the tone of Aeon Flux. From the color scheme to the cast, a metallic child resonates through each layer of production. Marton Csokas, Johnny Lee Miller and Charlize Theron are perfectly cast as their performances are as restrained as their characters need to be. And they each register a different level of cold. Csokas' Trevor is calm, soothing, like swimming in a cool pool of water; massaging and therapeutic. It's quite relaxing to watch, quite different to his usual roles which are full of acid and malice, in this he's compassionate, loving and seductive. Miller's Oren, like Csokas, shows a different side for him, too. He's usually the charismatic, cute boy that makes all of us girls swoon. Here, he's brazen, malicious and hot in a dull, destructive way. He's willing to damage whomever and whatever he can to achieve his objectives. And Theron: she's sharp, sleek and shaped like a sword; a warrior to the core, trained only for her mission and unwilling to feel anything else.
As far as the story goes, it knit quite loosely. Between the action sequences (which are top notch, by the way,) the story looses a bit of its steam and becomes very cliche, supported only by the production design, and we're left only with a few interesting visuals. The film is extremely lacking in emotion, keeping us at arm's length with the characters we're to be connecting with; this is not a quality good stories are supposed to have. The affection I have for this film is primarily nostalgic, as it reminds me of my brothers (as we watched the animated series this movie's based upon,) and I thoroughly enjoy the cast.
****
In: Pete Postlethwaite
Out: Charlize Theron
Coming Soon: The Italian Job
As any dystopian story, a certain coldness permeates the tone of Aeon Flux. From the color scheme to the cast, a metallic child resonates through each layer of production. Marton Csokas, Johnny Lee Miller and Charlize Theron are perfectly cast as their performances are as restrained as their characters need to be. And they each register a different level of cold. Csokas' Trevor is calm, soothing, like swimming in a cool pool of water; massaging and therapeutic. It's quite relaxing to watch, quite different to his usual roles which are full of acid and malice, in this he's compassionate, loving and seductive. Miller's Oren, like Csokas, shows a different side for him, too. He's usually the charismatic, cute boy that makes all of us girls swoon. Here, he's brazen, malicious and hot in a dull, destructive way. He's willing to damage whomever and whatever he can to achieve his objectives. And Theron: she's sharp, sleek and shaped like a sword; a warrior to the core, trained only for her mission and unwilling to feel anything else.
As far as the story goes, it knit quite loosely. Between the action sequences (which are top notch, by the way,) the story looses a bit of its steam and becomes very cliche, supported only by the production design, and we're left only with a few interesting visuals. The film is extremely lacking in emotion, keeping us at arm's length with the characters we're to be connecting with; this is not a quality good stories are supposed to have. The affection I have for this film is primarily nostalgic, as it reminds me of my brothers (as we watched the animated series this movie's based upon,) and I thoroughly enjoy the cast.
****
In: Pete Postlethwaite
Out: Charlize Theron
Coming Soon: The Italian Job
Friday, November 05, 2010
The Serpent's Kiss
Bored aristocrats hire landscaper Mineer Chrome (Ewan McGregor) to remodel the back acres of Thomas Smithers (Pete Postlethwaite) and his wife Juliana's (Greta Scacchi) estate. But not everything is what it seems, for Mineer is not who he says he is and the business is not just business, the whole event plays from an angle. Along the way, Chrome forgets his place as he is enchanted by his patrons' enchanting daughter.
This film is an interesting study in character. Ewan McGregor's Mineer Chrome is constructed as a bit of a dreamer and a pure artist, but a compassionate soul who cares for everyone, especially Smithers' daughter, Thea (Carmen Chaplin.) It is for her that he upsets the scheme and throws down the whole house of cards, and he teases everyone just for her. Mineer's con-man handler Fitzmaurice (Richard E Grant) is a perfect weasel, performed brilliantly by Grant. He is human in every way, choosing the darker side of the human soul, full of malice and jealousy willing to harm anyone in the way of his mark. I am rather fond of Smithers' daughter, Thea. She's brimming with wit, feeling and wisdom and a certain wicked sense of humor. She's performed with poise and silence pristinely and gracefully.
As far as the writing goes, I'm not sure what the story is really saying. Usually I'm very keen on this, however, this one is elusive. The story has got everything it needs: credible characters, story arch, genre, and structure (a beginning, middle and an end.) But I'm not entirely sure exactly what's going on. In fact I watched it with a friend and she was clueless, too. But there is some attraction to me, perhaps because it is elusive and highly artistic. I also enjoy the overbearing sadness throughout the story, as destruction is rampant. As to the ending, we're left with vindication and hope, a comic ending in the classic sense of the phrase.
An acquired taste, true; but thought-provoking, if attention is maintained and the soul is engaged.
****
IN: Ewan McGregor
OUT: Pete Postlewaite
Coming Soon: Aeon Flux
This film is an interesting study in character. Ewan McGregor's Mineer Chrome is constructed as a bit of a dreamer and a pure artist, but a compassionate soul who cares for everyone, especially Smithers' daughter, Thea (Carmen Chaplin.) It is for her that he upsets the scheme and throws down the whole house of cards, and he teases everyone just for her. Mineer's con-man handler Fitzmaurice (Richard E Grant) is a perfect weasel, performed brilliantly by Grant. He is human in every way, choosing the darker side of the human soul, full of malice and jealousy willing to harm anyone in the way of his mark. I am rather fond of Smithers' daughter, Thea. She's brimming with wit, feeling and wisdom and a certain wicked sense of humor. She's performed with poise and silence pristinely and gracefully.
As far as the writing goes, I'm not sure what the story is really saying. Usually I'm very keen on this, however, this one is elusive. The story has got everything it needs: credible characters, story arch, genre, and structure (a beginning, middle and an end.) But I'm not entirely sure exactly what's going on. In fact I watched it with a friend and she was clueless, too. But there is some attraction to me, perhaps because it is elusive and highly artistic. I also enjoy the overbearing sadness throughout the story, as destruction is rampant. As to the ending, we're left with vindication and hope, a comic ending in the classic sense of the phrase.
An acquired taste, true; but thought-provoking, if attention is maintained and the soul is engaged.
****
IN: Ewan McGregor
OUT: Pete Postlewaite
Coming Soon: Aeon Flux
Thursday, November 04, 2010
Moulin Rouge
Heart-broken Bohemian bard Christian (Ewan McGregor) tells the tale of his first love, Satine (Nicole Kidman) a Courtesan at The Moulin Rouge, an exotic dancing paradise in the center of the slums of Paris. Passing himself off as a successful playwright, he is commissioned to write a play for the Moulin Rouge's investor, The Duke (Richard Roxburgh) who also falls for Satine and won't share her with anyone. As they fall for each other, tragic secrets are kept, betrayals rage and someone will never leave The Moulin Rouge alive.
Boldness readily describes this rock opera. The colors are rich and deeply emotional, reflecting the passion that drives the plot and the tragedy playing within. The musical arrangements, both borrowed and new, swell and drive breaking through the resistance of knowing the fact of fiction, seducing us to fall in love and breaking the dam built in the corner of the eyes, gutting us, leaving us heartbroken and destroyed. This film, every time it passes through a screen, renders me helpless as the story buries itself inside my heart. It's comprehensive in brilliance, reflecting a perfectly executed plot.
And it's not all tragic. There are brilliantly funny parts as well. Zidler and the Duke's rendition of Madonna's "Like a Virgin" is absolutely rib-splitting, as well as horrific in the right way. As is Christian's insinuation with the Bohemians, in rehearsal of a scene reminiscent of The Sound of Music's "The Sound of Music."
I remember my first time seeing this, a movie night with my college roommates. It was their choice, and I, the "chick-flick hater" was not willing to sit through another mushy romance film. And I was wrong, so wrong. I fell for Moulin Rouge, heart and soul. Ewan McGregor's Christian's "Your Song" showed up the original, raising goosebumps and this film became part of the shortlist that are my favorites. And this time through serves as a reminder of why it belongs there.
I adore the cast, particularly Ewan McGregor and suprisingly, Nicole Kidman. Their love story is brilliantly portrayed, she's perfectly smoking and tragic and he's so beautifully hopeful, faithful and love-able allowing for the perfect fall when she betrays him. Jim Broadbent's a virtuoso, perfectly duplicitous, comical and paternal, as Zidler truly loves Satine as a teacher and father figure. And Richard Roxburgh's Duke is wonderfully slimy.
The musical is a fickle genre, either it works well or doesn't at all. And this one, with its many song references, both in dialogue and within the musical numbers is stunning. Most memorable is a tango version of Sting's "Roxanne" with the only sound effect being the steps of the dance. It brilliantly montages with the Duke's seduction as Satine attempts to save everyone from destruction by going to him. Also notable is the "love medly" atop the elephant. I am nearly always touched by the tragic ending, moved to tears (something that is not easy to do) and leave with a profound sadness that causes me to sigh, expelling the deep emotion within that has surfaced as a result of this film's having its way with me.
Like I said, boldness; brazen boldness, pulling no punches, consuming all with love, tragedy and music. And, despite my proclivities, I always fall in love with this film; it will remain one of my favorites for life.
****
In: Jim Broadbent
Out: Ewan McGregor
Coming Soon: The Serpent's Kiss
Boldness readily describes this rock opera. The colors are rich and deeply emotional, reflecting the passion that drives the plot and the tragedy playing within. The musical arrangements, both borrowed and new, swell and drive breaking through the resistance of knowing the fact of fiction, seducing us to fall in love and breaking the dam built in the corner of the eyes, gutting us, leaving us heartbroken and destroyed. This film, every time it passes through a screen, renders me helpless as the story buries itself inside my heart. It's comprehensive in brilliance, reflecting a perfectly executed plot.
And it's not all tragic. There are brilliantly funny parts as well. Zidler and the Duke's rendition of Madonna's "Like a Virgin" is absolutely rib-splitting, as well as horrific in the right way. As is Christian's insinuation with the Bohemians, in rehearsal of a scene reminiscent of The Sound of Music's "The Sound of Music."
I remember my first time seeing this, a movie night with my college roommates. It was their choice, and I, the "chick-flick hater" was not willing to sit through another mushy romance film. And I was wrong, so wrong. I fell for Moulin Rouge, heart and soul. Ewan McGregor's Christian's "Your Song" showed up the original, raising goosebumps and this film became part of the shortlist that are my favorites. And this time through serves as a reminder of why it belongs there.
I adore the cast, particularly Ewan McGregor and suprisingly, Nicole Kidman. Their love story is brilliantly portrayed, she's perfectly smoking and tragic and he's so beautifully hopeful, faithful and love-able allowing for the perfect fall when she betrays him. Jim Broadbent's a virtuoso, perfectly duplicitous, comical and paternal, as Zidler truly loves Satine as a teacher and father figure. And Richard Roxburgh's Duke is wonderfully slimy.
The musical is a fickle genre, either it works well or doesn't at all. And this one, with its many song references, both in dialogue and within the musical numbers is stunning. Most memorable is a tango version of Sting's "Roxanne" with the only sound effect being the steps of the dance. It brilliantly montages with the Duke's seduction as Satine attempts to save everyone from destruction by going to him. Also notable is the "love medly" atop the elephant. I am nearly always touched by the tragic ending, moved to tears (something that is not easy to do) and leave with a profound sadness that causes me to sigh, expelling the deep emotion within that has surfaced as a result of this film's having its way with me.
Like I said, boldness; brazen boldness, pulling no punches, consuming all with love, tragedy and music. And, despite my proclivities, I always fall in love with this film; it will remain one of my favorites for life.
****
In: Jim Broadbent
Out: Ewan McGregor
Coming Soon: The Serpent's Kiss
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