Batman: Three Eras

How is an era defined in a movie series? Is it defined by actor, such as the case for James Bond? Or is it by director, as fits with Harry Potter? Or does it gain definition by character set, as is the case with the Star Trek and Star Wars serials? Possibly, can it be story-defined, as is the case with Die Hard or Indiana Jones? Or does the tenor, or the general meaning, sense, or content of the film or films define an era? The vague answer is it is defined by all of these and in order to study how to define an era, we’ll turn to the cape-crusader, Batman, and his alter-ego, Bruce Wayne, who will both teach us the way. For the Batman series there are three eras and we’ll call them Burton, Shumacher and Nolan, after their directors. There are six films in all: Batman, Batman Returns, Batman Forever, Batman and Robin, Batman Begins, and The Dark Knight. Each tell of the adventures of the Superhero Batman and the personal exploits of his alter-ego, Bruce Wayne. The two personas are portrayed by four separate actors: Michael Keaton, Val Kilmer, George Clooney and Christian Bale. There are two incarnations of villains The Joker (Jack Nicholson and Heath Ledger) and Two-Face Harvey Dent (Tommy Lee Jones and Aaron Eckhart). There are two incarnations of Alfred the Butler (Michael Gough and Michael Caine.) With twelve different opponents, five different romantic interests and two (possibly three) hero accomplices, the series is full of colorful characters to paint the canvas that makes up the tenor of the series and define the distinctions of each era. The Tim Burton Era includes Batman and Batman Returns. For Burton’s Batman, portrayed by Michael Keaton, the portrayal is somber, brooding and focused, as a film noir hero is supposed to embody. Defined, film noir is a style or genre of cinematographic film marked by the mood of pessimism, fatalism and menace. The term was originally applied to American thriller or detective films made in the period 1944-54. As a result for the tenor of pessimism, fatalism and menace the photography is starkly contrasted by hard edges, cold colors and neutral sets. A general feel of bleakness, emotionally and physically, saturates the package, dragging the audience down with it. Usually the conclusion, in a film noir, ends without hope. But here, that’s not the case; our man is a Superhero, after all. The costume for Burton’s Batman is hard edged and fierce and his Bat-Mobile compliments its driver completely. The Joker, Penguin and Cat-Woman all are portrayed in the vein of Gloria Swanson from Sunset Boulevard, over-dramatic to the max. Even the music has all the drama, darkness, and contrast of a noir film, the brilliance of the power and majestic sadness that fills in Danny Elfman’s score which is the soul for the film’s emotions. This mysterious and haunted sound that fills Wayne’s dark past and expresses the sorrow left by his parent’s death, underscores the battle for right in Gotham City. Batman Returns features, in spades, another staple of film noir: corrupt business and politics and the extremes used to win, including killing off the competition. It also contains a final staple, the femme fatale, an attractive and seductive woman who can bring disaster to a man who becomes involved with her. In Batman Returns’ case Selena Kyle aka Catwoman, portrayed by Michelle Pfiffer with absolute finesse. But there’s also time the face the strangeness that embodies a Tim Burton Film: his use of vibrant color against the dark backdrop reminds us we’re involved in a superhero film based on a comic book. Also, Burton’s grotesqueness and dark humor, is ever present. This is especially notable in the designs surrounding everything to do with the Joker (from his costume to the parade floats and balloons) and The Penguin (notably his penguin underground and the Duck Boat/Car.) It’s these things which distinguish the Burton Era against the other two others. And so, to the Schumacher era when the noir, old detective story feel and harsh lighting give way to a more stage theatrical feel with brilliant colors, rock-concert lighting, animated costumes, fog machines and incidental music reminding us in a not-so-sublte way that, yes we are watching a comic book movie. Also, with the grandeur of the presentation of Gotham with its statuesque architecture and vast scope of setting. And I’m reminded of the film version of Repo! The Genetic Opera now that I’ve been reminded of the cartoon nature of this era of the Batman Series and sometimes I expect a musical number to pop up and somebody start singing about something. This era includes Batman Forever and Batman and Robin, directed both by Joel Schumacher. The performances, too, are extremely theatrical, from Jim Carrey’s Balistic Riddler and Tommy Lee Jones’ moody Two Face to Val Kilmer’s brooding Bruce Wayne, Nicole Kidman’s Smoky Chase Meridan and Chris O’Donnell’s Arrogant, Hot Headed Richard Grayson aka Robin. The costumes are color specific, as if to remind us who we’re looking at, regardless of what stage of development their character’s are at. This continues more so in Batman and Robin with the color schemes for Uma Thurman’s Poison Ivy and Arnold Schwarzenegger’s Mr. Freeze. The two stories are even written theatrically, one with the birth of a partnership and the other love rivalry over a dangerous woman, feels like The Scarlet Pimpernel or Phantom of the Opera. And of course, with a new era, a new face…or two. Val Kilmer brings a new performace energy; but he doesn’t stay long. Taking up residence in the Bat Cave for the second installment is George Clooney who brings another. So, while the production design matches between the two, the head of the cast adds a schizoid performance as one is better at one aspect of the Batman/Bruce Wayne dynamic and the other takes the cake on the opposing dynamic. But, Kilmer and Clooney do have similar acting styles, they both display a confidence and a wisdom that Batman and his alter ego need, so they do fit in this era very well and add to the theatrical nature that characterizes it. From the opening strains of Hans Zimmer and James Newton Howard’s dualistic score to the locations, costumes, effects and performances, Christopher Nolan commands a beautiful, deep and thought-provoking version of the backstory and continuing saga of Batman and Bruce Wayne and their rise as the protectors of Gotham City. The single word, to which I’d describe the Nolan Era, is polished. These two films are brimming with acclaimed performers and film craftsman who each put the full measure of feeling, preparation, tension and character into their work. The late Heath Ledger engaged his portrayal of The Joker with such fullness into the depravity of the character, I can only describe the experience as chilling. It always brings a swarm of goosebumps to my arms and neck every time I see it. The realism the Nolan films offer, with the Bat Mobile being less fantastical and more practical; as well, the operation of Batman’s lair being underground in all ways possible, akin to the clandestine units in ABC’s Alias, especially the rail-yard location in The Dark Knight. Even the realistic hallucinations projected by Cillian Murphy’s Scarecrow are more visceral and realistic than fantastic, extending their projections off of what the person affected is looking at. The coloring has nothing at all to remind us we’re watching a film based on DC’s comic series; well, almost nothing. The Scarecrow’s Hood is a burlap sack, like the comic, and The Joker’s purple suit, hairstyle and makeup job is something akin to what is seen in the comics, but more visceral, subtle and very much not cartoony, a contrast to the stark color design of Burton’s Joker. And Nolan’s Two-Face Harvey Dent is a surgical creation, not a theatrical one. The only clearly comic book homage is Batman’s suit, but even Nolans is less flashy than Schumacher’s, but smoother than Burton’s cardboard design; utilitarian, but stylish. Nolan’s Batman Begins and The Dark Knight are well-researched and comprehensively studied. The cast is well balanced with a well-coordinated combination of performers who are each distinctive and acclaimed individually; their presence fills the screen and each scene with class, helping define these two pictures above most superhero films making The Nolan Era magnificent. So in all, how does a critical viewer define an era? Is it by the cast, the score, the photography or the mechanics? Or perhaps it’s by who’s at the helm? Well, I’d say no to all of that. Those things are tools which help define it. A critical viewer will define the era by the package: the complete picture, story and performance and the way it makes an audience feel. **** Coming Soon: Batman: The Opposition

Sleuth

In a classic cat and mouse, two men meet for the first time. Milo (Jude Law) is having an open affair with his host's wife, Maggie. Andrew (Michael Caine), her husband, has invited Milo to his home in order to engage him in a psychological game designed to make him give up his wife, or else. This was the first time I'd seen this film, and I must say the initial striking thing about the film is the mise en scene. And the mise en scene is the arrangement of scenery and stage properties. Also, the way that the angles are set. The whole presentation feels strikingly voyeuristic, as if we're a fly on the wall or if were simply one of the house's security cameras. And because it's a story based on a play, some angles feel like we're sitting in the second-level mezzanine. The editing affords every angle of the theater, equalizing the audience in a very cheeky manner. The performance strength between Michael Caine and Jude Law makes the necessity of any further performers really quite unnecessary. Their fluctuation between humor and menace and desperation. And the fact that the casting has been done with two very dry actors adds a balance between them. The two performances heighten the tension of the piece. The tension continues in the interview with the detective character Law's Milo portrays was perfectly wonderful, I thought, as Caine's character thinks at the time, that he's a new character. Fantastic performance!!! An interesting tennis match, musically robust. Like a dance, a tango, in fact. The tension builds as each side fights to take control of the game with everything, mentally and physically, that they've brought to the table. It's a brilliant thing to write for two characters alone. The only problem with that is, in a story about a contest, there's only one winner and there is no way for the story to go. It's like a T-Maze where a mouse is sent down the corridor toward one choice: to the right or the left, and only so. Or so, it seems. The mouse can go back, too, or stay put. In our case, this story chose the typical route: right or left. And the ending turned out a bit predictable, in the end, after reflection. And I'm reminded, as a result, of the opening teaser to the seventh installment of the Saw series where the opening trap involves two men fighting to the death over a woman, whose life is also on the line. They are offered a choice, kill the other man or agree to leave the woman to her fate. They choose, in the end, that this woman's played them, and they each walk away. How interesting it would have been if this one chose that, too, because it could have thrown us all of a loop and allowed both to win the game. But, the ending's execution did throw me for a bit, still well done. Overall, Sleuth is an interesting study in tension, both in chemistry and in writing. I'm inspired to see the play it comes from, if I get the chance. Also, it's a fantastic study in cinematography in the way that the camera shoots and captures the entire event. Job well done, all around!! *** IN: Jude Law OUT: Michael Caine Coming Soon: Batman: A Study in Four Parts

Sky Captain and the World of Tomorrow

Giant Robots take an alternate 1940's Manhattan, siphoning off both science and technology, and a string of missing scientists by a dark and mysterious force. New York's greatest hope lies in Sky Captain (Jude Law) and his mercenary flying squad. When his best friend and inventor-mechanic, Dex (Giovanni Ribisi) is kidnapped, he takes it upon himself to track down Dex and save him. Already on the trail of the missing scientists, Polly Perkins (Gwynth Paltrow), a reporter for the New York Chronicle, hitches a ride, hoping to get the story of her career. Teaming up with Francesca "Franky" Cooke (Angelina Jolie), an aircraft carrier commander, the unlikely duo gets to the bottom of the mystery and find answers of a bizarre nature.

There is a sub-genre of science fiction known as Steam Punk, where technology is based on metal, hydraulics and gears. Very few films and television shows use Steam Punk because it requires setting and precision for each unit of technology, plus it nearly always is a bit on the side of ludicrous side of appearance. So, the choice for the writers is whether or not to explain the workings of the tech or just to use it and spare the explanations. Sky Captain and the World of Tomorrow uses the second approach and does so with distinction, leaving the narrative to do what makes the film great: its cheeky humor and film noir cinematography with a production design that is jaw-dropping and simply beautiful.

As I understand it, this film began as a student project, but ended up beginning the popularity of a film style used by Zach Snyder in 300 and the upcoming action film Sucker Punch. Shot purely against a green-screen and sparsely utilized props and set pieces, it's a great exercise in acting for our cast, and they do it wonderfully. Especially done well is the Giant Robot attack, as Polly runs from the wake of the crushing metal feet: Paltrow's Polly feeling the quakes (that were never there physically) and reacting to tremors that don't physically exist. Green-screen is useful in the film for the many places Sky Captain and Polly travel to, from Manhattan to Shangri-La, Also in the creation of new settings such as Franky's aircraft carrier, which is quite literally an aircraft carrier flying around the world's airspace.

Now the story. Hmmm? Well it reads slightly like an Indiana Jones-caliber adventure film, complete with the red line on the map as our hero pair fly all over the world looking for Dr. Totenkopf (Laurence Olivier) and his assassin accomplice. Each turn has some fantastical setting and the action is campy, smooth and cheeky. The humorous exchanges between Polly and Sky Captain in their romantic tension as they work out their backstory brilliantly layers out the bizarreness that surrounds the rest of the plot making it a human drama with human emotion allowing us to relate to our main cast effortlessly. The overall plot is fun and humorous with great action, witty dialogue and an over-the-top concept that is "fun for the whole family."

****

In: Giovanni Ribisi

Out: Jude Law

Coming Soon: Sleuth

The Mod Squad

Julie Barnes (Claire Danes), Pete Cochran (Giovanni Ribisi), Lincoln Hayes (Omar Epps) are three infamous teenage criminals who were set to serve serious prison time until Detective Adam Greer (Denis Farina) recruited them to work as an undercover unit in order to infiltrate the club scene. When Greer is murdered during a drug sting, they take it upon themselves to solve the murder and clear his name, they end up uncovering something deeper.

Being that it's a remake of the vintage TV show, unfortunately never seen by me, so there's no comparison; this one feels just like a cop show from around that time evidenced by cinematography which clearly is an homage to Dirty Harry and The French Connection eras. With a rough combination of urban locations and depressed colors with urban fashion and grungy set designs, The Mod Squad offers a deep homage to classic police dramas. And the music selections fill out the rest, with a fabulous assortment of disco ballads and cool chill tracks.

As far as the story goes, it plays like a classic police drama: teaser (including setting and character intro), inciting crime, investigation, derailment, sting and arrest. It's a simple formula and this one follows faithfully. The writers went simple and kept everything clean, the film is honest and keeps the pacing tight. The mechanics are simple, non-stylized and hail from a time where the suspense ruled the screen. It feels like classic James Bond: muscle and plot.

The only thing with a film that follows formula so faithfully is that sometimes the performances fall emotionally flat. And such is the case with this film, unfortunately; however, it helps the film's honesty alive because this is not some deep existential film. What this film is, however, is comical; in the best way. The timing at each joke is perfect keeping the film light, as it's supposed to be, creating an effortless watching experience.

****

In: Steve Harris

Out: Giovanni Ribisi

Coming Soon: Sky Captain and the World of Tomorrow

Minority Report

In the near future, crime is not paid for after the fact; it is prevented. An elite division of police officers for The Pre-Crime Division, led by Chief John Anderton (Tom Cruise) and his team, solve crimes before they happen using three genetically altered people known as the Precogs: Art, Dash and Agatha (Smantha Morton). And they're never wrong, until one day during a federal inspection, the murder is premeditated and perp is one of their own, Chief Anderton himself. Only problem is, he's never met his victim.

With a style both borrowed from and enhanced from Ridley Scott's Blade Runner, Minority Report is a well designed film. The jargon spewed by the Pre-Crime Division personnel fits very comfortably in each performer's delivery, rolling off with clarity and educated expertise; a credit to quality preparation. The photography, including all the extra effects, is perfectly detailed, but not overdone, and beautiful. I'm comfortable in this world and it's completely believable.

The wit of the film is manifested in its action sequences, and they're clearly designed out of the 80's and are reminiscent of Indiana Jones and Star Wars. The first fight after Anderton is discovered both in the streets with his own men and in the car factory is a classic western train fight. It's brilliant and innovative.

The story premise is also innovative and paradoxical in a thought-provoking way. It questions the metaphysics of how someone prevents the inevitable destiny awaiting a person's future, especially if they are aware of the end event. And it's a great thinking film in that it never answers the question, allowing the audience to answer on their own and that's the sign of a good writer.

The personality of a film is partially defined by the performers of the piece. And the lead performer is enhanced by those who surround him or her. Tom Cruise is a powerhouse who requires a supporting cast with enough strength to balance the personality into a round presence that fills the screen and allows us to relate to the writer through each of the characters. This film has some powerful actors in the supporting roles. Samantha Morton, publicly unknown at this point, counters Cruise with subtlety and meekness and adds a beautiful presence to the screen both in conscience and horror. Her final monologue to Anderton and his ex-wife is heartbreaking and beautiful as she tells Anderton's son's probable future before the tactical team sweeps in. Steve Harris, Neal McDonough and Colin Farrell each add power to the scenes they share with Cruise. Harris, as the capable technician whose timely information is relayed to the tactical team, adds a calm smoothness to Cruise's ballistic performance. McDonough adds an almost loving touch, a brother's touch, as he has to put his friend and commander down. And Farrell adds an educated and cocky spin to the Red Herring "bad guy" in his fight and pursuit of Cruise's Anderton. These four provide a great springboard for the power that is in Tom Cruise's high-velocity emotional roller coaster. And Tim Blake Nelson, Max Von Syndow and Peter Stormare make the best of their time on screen with memorable performances each.

Overall the film is a great ride. It never slows down in speed, tension, musicality, pacing, action or performance: a brilliant package and a great story. Such a beautiful emotional piece.

****

IN: Colin Farrell

OUT: Steve Harris

Coming Soon: The Mod Squad

Miami Vice

Based on the vintage television show, Miami Vice, our story tells of undercover Miami-Dade Police Detectives Sonny Crockett (Colin Farrell) and Ricardo Tubbs (Jamie Fox) and their operations in the seedy underground in Miami. With their support unit, Crockett and Tubbs investigate a drug smuggling ring, whose ruthless connections include a sadistic cadre of skinheads whose MO is a brutal death to those who cross them. Things go sideways when Crockett falls for the cartel banker (Gong Li) and their mark finds out they're cops.

Sleek and sexy with hot and exotic locations: gotta be Michael Mann. The details are all in: Crockett's hair, mustache, racing boat and Tubbs' ultra-slick coolness. And the different story locations are fleshed out with local flair, especially notable is the trash-heap that is the middle of the night in the down-town Haitian village. Mr. Mann knows how to find a beautiful locale for shooting and enhancing realism. Also beautiful, brilliant and well-done is the photography for each location, distinguishing each locale from each other allowing the audience an easy recall as to where the story's sitting for each leg of the story.

The minimalist tenor, including the score and music selections, pulls at the nerves in a slow methodical manner. And the realistic action scenes are conducted in a raw, efficient fashion; true to Mann's preparation and study into his subject. Also the performances by Farrell and Fox are, on the whole, comprehensive and real and well-prepared, including Farrell's hairstyle. These assists bring an audience to fully engage and are, as always, well done in a Mann film.

While love connections between characters complicate and layer the plot. The one between the banker and Crockett seems a bit borderline. Part of me likes its presence because of the conflict between Crockett's sense of duty and his growing feelings for her, something Colin Farrell portrays very well here; but a larger bit of me feels this love connection isn't necessary as we already have one with Tubbs' Trudy, it’s a strong one which leaves our team desperate, shooting our plot into the climax of the film with clinical precision. It's the only thing that's unsettling during this time around. But, then again, it's a sleek and sexy premise and the setting is fast and hot; love connections nearly always follow these things, so Crockett's connection is practically inevitable.

As an overall picture, this film is elegantly penned, performed, shot and edited. It's a film I can watch over and over several times. I'm very comfortable engaging emotionally and physically, as this film’s very easy on the senses. Very masterfully done.

****

IN: Gong Li

OUT: Colin Farrell

Coming Soon: Minority Report

Hannibal Lecter: Series Analysis

The man, the character, is a cult icon; AFI's number one villain and star of a series saturated with wit, charm and violence with a supporting cast eclipsed by the master thriller. The four-part novel series by Thomas Harris displays a snapshot of four stages in the life of prolific serial killer Hannibal Lecter. Hannibal Rising shows his childhood, youth and young adulthood as he revenges his family in a brutal and merciless revenge drama. Red Dragon features the story of Special Agent Will Graham and his collaborations with Lecter, both which nearly cost him his life but the first which facilitates Lecter's capture and imprisonment. Silence of the Lambs brings forward FBI Cadet Clarice Starling as she interviews Dr. Lecter, who helps in her profiling serial killer Buffalo Bill. In the end, Lecter manipulates his way outside of his cell and disappears for over a decade. Disgraced Agent Starling returns to the hunt for a man who continues to haunt her, determined to bring him in and save him from Sadistic Lecter-Victim, Mason Verger, initiating an international manhunt in Hannibal.

In the only movie installment written by author Thomas Harris, Hannibal Rising is a bit out of place with the rest of the series, due mostly because of its origin-story status. As an origin story it thrives in a beautiful narrative way as it unfolds while de-humanizing a young and impressionable boy. As well, it is a coming of age story as it informs all of what the character will be: ruthless, manipulative, violent, vigilant, scientific, stylish and sophisticated. We see each person, from Grutas the Cannibal (Rhys Infans) to Lady Murisaki (Gong Li,) has a hand in his craft and his modus operandi. And this installment is elegant in performance and production. The writing, despite all his knowledge and the fact that he's the father of the series, is a bit disjointed and has a bit of a rocky start. However, to his credit, Harris does stabilize the plot from the discovery of the first of the soldiers, who kidnap Hannibal (Gaspard Ulial) and cannibalize his sister, toward the end. The performances are each elegant and full, despite the uneasy story-line. Ulial's Hannibal is seductive and vicious and graceful. Li's Murisaki is soulful and heartbreakingly sorrowful as well as capable, independent, and instructive. Infans' Grutas is acidic in every way, but he is in full control of his character's essence, inhabiting his character with a fullness of malice, greed and evil. And my favorite, Dominic West's Inspector Popil, feeling responsible for keeping Hannibal on his side of the law issuing heart-felt warnings, but unwittingly educating his charge on evading the law. West fills Popil with horror at what Hannibal is capable of and how much his young life has changed him, once saying that Hannibal is "monstrous." The finesse in the film belongs to its production design. The photography, set pieces, costumes and locations are married with such precision and detail that we are transported back fifty years allowing for a comfortable and effortless viewing experience.

The unease of it's series predecessor highlights the operatic beauty which the next installment holds. Red Dragon eclipses Hannibal Rising in every way. The color, performance, writing, music and overall development is excellent. Of course the presence of Hannibal's iconic performer, Sir Anthony Hopkins, helps; but as Hannibal's been relegated to the sidelines, Hopkins makes due with his little precious time, with great effect. Every performer gives a full performance and breathes a lifelike and equally brilliant performance into each character introduced. The presence I appreciate much is Ralph Fiennes' Francis Dollarhyde. He is imposing physically and emotionally, but shy, tender, confused and split. I enjoy the plot-line involving Reba McClane (Emily Watson) and Dollarhyde's romance. He is shy, while she is confidant, passionate and open. Watson and Fiennes' chemistry is so believable that it's heartbreaking when he chooses to spare her life, but embrace his killer nature. The later exchange between Special Agent Will Graham (Edward Norton) and Reba after Dollarhyde abandons her is warm and very pleasant. As far as filmmaking craft is concerned, I'm impressed and inspired with Danny Elfman's score as he brings soul, sorrow, passion and horror, to equally enhance and edging the suspense of the plot as it unfolds. This installment fits very well into the myth-arc for the series as it plugs into the next installment with poise and smoothness, presenting a comfortable ride through a very full and beautiful film.

Then, there's the magnum opus, the first and best: Silence of the Lambs!! Every actor and filmmaker should see this staggeringly spine-tingling and stingingly sensual experience. I remember being so captivated ten years ago when I first met Hannibal Lecter (Anthony Hopkins) and Clarice Starling (Jodie Foster) and felt my nerve endings quiver during their tense game of quid pro quo. Hopkins' iconic performance, seducing everyone as our soul sighs in agony as we give in and fall helpless to give him what he wants, just as Starling does, as Lecter--a caged bird--sings his song and that song was so beautiful. And, as a woman, I am inspired by Starling's empowerment courtesy of their conversations. Buffalo Bill, however, is a weak character, not scary to me at all: as a fan of CBS' Criminal Minds, entering the mind of this type of killer is nothing new to my sensibilities. Of course, Bill's not the one that is destined to make my heart race: he's the prize for winning the game. The framing, staging and blocking involved was brilliant. The casting of the extras in the funeral home scene alone was fantastic: Clarice is surrounded, nearly in a neat circle, by local law enforcement officers and they all tower over her by at least six inches, all wearing green uniforms against her baby blue jacket making her drown in sea of green masculinity...stunning!! Also the photography surrounding Lecter's cell during his escape, creating a beautiful picture. I've always loved this one over all the others, and of course it sits well in the series as the four jump off from its base.

The fourth, chronologically, is also the most bizarre. It seems to be rather unfocused, as it deals with several themes: love, corruption, revenge, survival, freedom and the classic criminal fugitive hunt. Whereas the technical aspects and design details are stunning, the story stumbles. However, it stumbles rather smoothly. The package is blunt, but passionate, as Hannibal lures Clarice (Julianne Moore) into confessing her affection for him, which she never does and can never do because she's a hero and cannot cross that line. The makeup is the most stunning aspect of the film, besides the entirety that is the package. Especially the job done on Mason Verger (Gary Oldman) who's facial makeup hides his face so well, I was unable to recognize one of my favorite actors beneath the first time I saw it. Ridley Scott, the director, is famous for going the full distance, whether creating a futuristic wasteland or recreating the 1960's or The Colosseum of Ancient Rome. And here, he takes no exception: when his pawn dies, Rinaldo Pazzi (Giancarlo Gianni) has blood all over his own hands and must wash it off, so he does in a fountain featuring a large boar foreshadowing the death intended by Verger for Hannibal Lecter. Until this time, I failed to notice this; one of the perks of the practice of multiple viewings. The package is brilliant, passionate and sensual; so beautiful, but so bizarre.

The films in this series are related, but they're related only by the character of Lecter, with the exception of Hannibal's Starling (and even that differs because of the performance change between Foster and Moore) and the mention of her in Red Dragon. The relationship is not drawn by style, as there are four distinct production designs and four very differing directors. The scores don't sound similar, the photography is not similar, so the series doesn't flow smoothly. Unlike the original three Star Wars films or the original six Star Trek films, the style does not match. It makes our journey a bit unsettled and unbalanced. And, just because the directors differ, doesn't mean the style cannot match; after all the Harry Potter film series has four separate directors and they flow pretty smoothly. However, this diversity doesn't mean that the series is less interesting, because each film represents a very different stage in the life of our chief character, Hannibal Lecter. The series is interesting to me; I can watch each over and over again because they each have excellence within.

****

IN: Anthony Hopkins

OUT: Gong Li

Coming Soon: Miami Vice

Hannibal Lecter and Character Archetypes

In his screenwriting manual, Story, Robert McKee says, "The function of Character is to bring to the story the qualities of characterization necessary to convincingly act out choices. Put simply, a character must be credible: young enough or old enough, strong or weak, worldly or naive, educated or ignorant, generous or selfish, witty or dull, in the right proportions, Each must bring to the story the combination of qualities that allows an audience to believe that the character could and would do what he does." The character is not only the conduit from which we learn the message and meaning of a well-written story, but he also forces a relationship with the audience and the writer. And there are many types, archetypes, which define the morality of their side of the plot and inform our love or hatred toward them. And, like all literary tools, there are some misconceptions of how to apply the different labels. So, I've chosen to have the horrible saga of Hannibal Lecter teach us the proper classifications of Character Archetypes.

His is a famous story, spanning four volumes: Hannibal Rising, Red Dragon, The SIlence of the Lambs and Hannibal. After a harsh winter during World War II, Lithuanian aristocrat, young Hannibal Lecter has repressed his time in his family cabin as a hostage of mercenary soldiers. As he discovers those who are responsible for his sister's death, he begins to remember and embarks on a road of revenge; the building blocks of his rise toward infamy. Many more years later, he is a forensic psychologist assisting in the investigation of a series of murders pursued by FBI Agent Will Graham. When Graham deduces that his quarry is eating his victims, he proposes his theory to Lecter and while observing, realizes too late that Lecter is the man he's looking for. Gravely wounding each other, Lecter is caught and incarcerated at a mental hospital for the criminally insane. Years later Graham returns to ask for Lecter's help in solving another serial murder. And, soon after, helps FBI Cadet Clarice Starling on another, and facilitates his escape from custody after pointing Starling in the right direction. After having an old friend for dinner, Lecter disappears for nearly a decade. He later surfaces, having packed away the curator of a museum, in Rome after drawing the attention of the FBI and a disgraced Agent Starling. Chased by law enforcement and an old enemy, Hannibal is cornered, and narrowly escapes with his own life.

And so, in this saga, who do we relate to? To whom is granted our pity; our sympathy? Who do we favor? Most would favor law enforcement: the heroic hunters who stalk our notorious serial killer, because they represent truth and justice and give so much for the sake of stopping him; but I don't. My favor rests with this charming, polite, and proper sociopath due to his character's construction. Also because, regardless of it sounding twisted, we're meant to favor him. And why is this? Because the series is about him. And so we'll study four basic archetypes in our examination of the saga of Hannibal Lecter: The Protagonist, The Antagonist, The Hero and The Villain.

The protagonist is the leading character or one of the major characters in a drama, movie, novel or other fictional text. From the greek word protagonistes meaning "first in importance," the protagonist has the will and capacity to pursue the object of his conscious and/or unconscious desire to the end of the line. The protagonist must be empathetic, we must be able to relate to him on the most basic and human level as he is portrayed realistically; however, he may or may not be sympathetic: we may not share his feelings or proclivities. For all intents and purposes, I believe Hannibal Lecter (Anthony Hopkins and Gaspard Ulliel) is the protagonist of the series we study this week. The four films, on their own, each have their own protagonist, as well and we'll see how they differ from the fact that Lecter is the series' protagonist. For two of the four films, he is clearly the protagonist, but is he for the other two? Hannibal Rising is a fictional biopic and, as the title suggests, the birth of the character we love to fear. After the death of his sister, he drives the plot as he hunts his five targets and systematically eliminates each according to his pleasure. He is central to the plot and it is for him and through him we travel the length of the story. Red Dragon, however, focuses on someone else. It seems that Will Graham (Edward Norton) is the protagonist. We focus our thoughts and feelings toward him, and Lecter takes a more supporting role as he is incarcerated for the entire plot, save for the teaser which tells us of Graham's capture of Lecter and their strange relationship. We feel for him, his family, his suffering and his feelings. But in the series, he is not a protagonist, in fact he's the opposite. Similarly, Clarice Starling (Jodie Foster and Julianne Moore) is the protagonist in Silence of the Lambs, but in the last film, Hannibal, she is the opposing force for the series' protagonist as well as in the film.

Contrary to popular belief, the protagonist is not necessarily The Hero. The Hero is a person who is admired or idealized for courage, outstanding achievements, or noble qualities. This individual, in the face of danger and adversity, displays courage and the will for self sacrifice. Hannibal Lecter, regardless of his command of presence in the series and polite intentions, boasts none of these things; thus, he cannot be a hero no matter how helpful he is. We must turn to some of his opposition for this, from those who pursue him: Hannibal Rising's Inspector Popli (Dominic West) and Lady Murisaki (Gong Li); Red Dragon's Will Graham and Jack Crawford (Harvey Keitel); Silence of the Lambs' and Hannibal's Clarice Starling (Jodie Foster and Julianne Moore). Usually coming from law enforcement, chosen to follow him, sometimes to their destruction; Graham, for instance. The series exception being, Lady Murisaki, who is an emotional opponent offering the conscience and soul Lecter does not have and cannot cultivate. A hero, our protagonist is not; he's something else.

Villains are evil characters. An effective villain is not just pure evil: he has what Aristotle called "goodness" in him, a sense of morality, appropriate to the needs of the plot. The word comes from the 15th century, defining a person of less than knightly status, eventually coming to mean a person who was not chivalrous. A villain represents the opposing values of a hero. Because of this, a convincing villain must be given a characterization making his or her motive for doing wrong convincing, as well a being a worthy adversary. Conversely to most plots, our protagonist is also our primary villain. But there are other villains in the series, too. Hannibal Rising is populated by those he hunts, the men who kidnapped Lecter and his sister, Misha, and also ate her in the harsh winter. At some point, they cease being the hunted and start hunting him and intend on killing him. Rhys Infans' Grutas is a perfect example of someone who is not an effective villain, but is an effective antagonist. He's pure evil, nothing is endearing and his motives are not portrayed. However, Red Dragon's Francis Dollarhyde (Ralph Fiennes) is the perfect example of an effective villain. He's loving toward his love interest and could easily forsake the evil path, but in the end choses his alter-ego's persona and tries to kill Graham's family. Therefore the moral choice is in him, but he choses the evil path. Our series' protagonist, unconventionally, is a villain. When offered the choice to sacrifice his vengeance and begin a life with Lady Murisaki, Lecter chooses the evil path and says, "Never."

What villains tend to be is the antagonist. From the Greek word antagonistes meaning "opponent, competitor or rival," an antagonist overtly clashes with the protagonist and, in equal will, strives against the conscious or unconscious desire of his counterpart. Around the mid-point of any season of Fox Television's series 24, the heroes of the United States Government agencies become the antagonists and protagonist and hero, Jack Bauer, is forced to go the distance of the rest of the season alone. These agents aren't evil, per se, they just actively oppose the protagonist. The antagonists for this series include Grutas and his crew, Fredrick Chilton (Anthony Heald,) Inspector Popli, Clarice Starling, Paul Krendler (Ray Liotta), Inspector Pazzi (Giancarlo Gianni) and Mason Verger (Gary Oldman.) An antagonist seems to be the simplest to classify, due to the simplicity of being an opponent to the protagonist.

Character archetypes help a viewer choose to be a fan of, or be a "hater" of, any certain character. Archetypes assist writers in defining who each member of their story is and where they fit in the moral tone, and action inside the plot. I love unconventional applications of anything, whether it be a story paradigm or plot formula or a new way to prepare and serve macaroni and cheese. Whomever said, "Variety is the spice of life," was absolutely spot on. This series is brilliant in its unconventional application of these four major character types nailing each with clarity and finesse.

***

Coming Soon: Hannibal Lecter: Series Analysis

Bobby

In the Spring of 1968, Robert Kennedy ran for President. After his brother's death in 1963 and the following murder of Dr. Martin Luther King Jr, the climate of the nation was sustained by chaos. Kennedy's life ended at the Ambassador Hotel in Los Angeles on June 4, 1968 by an assassin's gun while awaiting the results of the California primary. Bobby is the multi-layered chain of events chronicling the lives of the people inhabiting The Ambassador Hotel that infamous day.

From a woman (Lindsay Lohan) marrying a soldier (Elijah Wood) in order to be able to send him to Germany instead of Vietnam and save his life, to the Kitchen Staff, headed by a racist (Christian Slater,) being able to vote to a pair of socialites (Helen Hunt and Martin Sheen) looking for the perfect pair of black shoes to wear to the gala, Bobby is a brilliantly woven yarn. It's loaded with perfect pacing, a great music selection and top acting (yes, even Ms. Lohan) featuring both award-winniners and newbies. And the editing is stunning: with selections from footage of interviews and speeches given by the real Robert Kennedy and news footage from the coverage of the vietnam war and its accompanying protests intercut with the action of the cast. The atmosphere of hope surrounding the anticipated victory is built by degrees as the emotion rises and crashes hard as the bullets fly. It woos this jaded film-watcher, stirring my emotions, pulling my heartstrings and I weep, inspired by the care, love and soul this story holds profoundly.

And the theme of duty, honor, love and brotherhood, compounded by tragedy of failure in hope lost: it's painfully beautiful. The remorse felt by two young campaign workers who choose to engage in a drug-induced haze rather than work the campaign is felt keenly as they realize the waste of the day: the tragedy being real because we know it wouldn't have made a difference. And the special gift of a radio by one of the kitchen staff to his co-worker, so that he could listen to the baseball game he's missing, adds a glimmer of hope following such a crushed dream. Wood and Lohan's wedding couple is my favorite story alongside Hunt and Sheen's socialite couple, as they offer hope, love and they way we all wish life could be. But all is shattered by the killer's gunfire, not only ending the hope of the nation, but shattering the lives of five others who were injured that night. But there is hope still for us, even if the past wasn't healed by the rise of the hope of the people inside The Ambassador, the chorus which becomes a motif says, "never gonna break my faith," adding a defiant prayer of sheer will. This film is truly inspiring, inviting us to take a stand and put all divisions between us and our brother human beings aside to heal our surroundings.

When I purchased this film several years ago, it was an pure impulse buy: but I'm grateful that the moment was not passed over, because I love this film. I learn so much about filmmaking from the elegant package and the brilliant story told, every time I watch it; whether it be the inspirational personal stories or the stunning use and staging in the juxtaposition between the stock footage of the event and the performances by the cast and crew. The final montage, underscored by one of Kennedy's speeches, shows the aftermath for each of our cast as they mourn, seek help and reconnect, stealing my tears and inspiring duty, honor, brotherhood and love and the hope to carry on in any situation as the film comes to a close.

*****

IN: Shia LaBeouf

Out: Anthony Hopkins

Coming Soon: Hannibal Lecter and a Study on Character Archetypes: The Villainous Protagonist