Hearts of Darkness: A Filmmaker's Apocalypse (1991)

Directed by: Fax Bahr, Eleanor Coppola, and George Hickenlooper

Written by: Fax Bahr and George Hickenlooper

Players: Francis Ford Coppola, Eleanor Coppola,  John Milius, George Lucas, Martin Sheen, Frederic Forrest, Lawrence Fishburne, Marlon Brando, and basically the rest of the Apocalypse Now cast and crew.

Setup: Released 12 years after Francis Ford Coppola’s completion and public reveal of his massive fever dream set against the chaos of Vietnam, his wife Eleanor (along with Messrs. Bahr and Hickenlooper) guides us through the epic example of how life imitates art (or vice versa) with her own behinds-the-scenes footage of her husband attempting to create Destruction At Once!

Sorry, I mean Apocalypse Now.

Review: I first saw (and was subsequently blown away by) Apocalypse Now three years ago, not knowing much about it besides the setting of Vietnam and it being directed by Coppola.  Partaking in research as I normally do with a film I hold dear, I discovered it was loosely based on a Joseph Conrad novel (Heart of Darkness, as represented by this film’s title), there was a “Redux” version released in 2001, Martin Sheen almost died, and… what?!  Needless to say, this last bit of information was only the tip of the iceberg behind the scenes of one of the greatest films ever made (in my personal top 5). 

With this we embark on a truly fascinating peek into the actions of an award winning auteur (all shot by his wife Eleanor, as an assignment by the director).  Even with today’s bombardment of special featurettes accompanying every single DVD release, one cannot deny the excitement of seeing verisimilitude on display when self-fulfilling interviews are all we see otherwise: actor’s saying “Oh it’s a dream come true; Uwe Boll just KNOWS actors…you know,” or producers saying “Our movie made the Dalai Lama weep, AND just got nominated for a Pulitzer.”  While, ironically enough, our star Coppola (that is, Coppola of the 70s) may have actually made claims similar to these,  his opinion here seems genuine even when 90s Coppola tries to downplay it. 

Another aspect that makes this backstage glance stand apart is the fact that we ostensibly have personal access to the filmmaker at his most desperate (besides shooting footage, Eleanor secretly recorded conversations between the couple), painting a portrait of a brilliant yet fragile artist battling between his grand vision and the oncoming harsh realities of the immediate environment.  Throughout the film we see a constant struggle not just with our real-life characters on screen, but also with the editing delivering us an unbiased and undeclared verdict.  At the end, Coppola will be viewed as a tyrant, savant, neither, or both.  However we, and not the puppeteers, will rule this. 

 

Of course I would be remiss to suggest this film is just about potentially the greatest filmmaker of the 70s (Godfather 1 & 2, The Conversation, and this… if only he had stopped before Jack).  So many other people are a major part of this film (along with the film its about…man this gets confusing!), including all mentioned in the cast that consists of actors, writers, and partners.  We are also delivered a delicious history of the film juxtaposed against audio snippets from Orson Welles’s radio adaptation of Heart of Darkness (which I assume contained much less production drama).  Duality abound with Apocalypse’s script imitating production drama, viewpoint dichotomies from separation of more than a decade, and real life drama that makes you wonder how the on screen project was finished at all, Hearts of Darkness is a film to cherish like you’ll never see anything like it again.  As today’s Hollywood would never allow Apocalypse Now to me made with such risk (hi there CGI!), it will inadvertently kill off any chance of pulling back the curtain to such a grandiose tale ever again.    

Tidbit: Eleanor claims to have been recording conversations between her and Francis for her Diary.  While this could be argued as a betrayal of trust if not true, maybe she deserved some content to work with, especially if her husband inadvertently changes their lives for more than a year (filming was only supposed to last about 3 months).

Extra Tidbit: If you dig the combo of “fantastic film” with “fantastic film about fantastic film”, I hear Fitcaraldo (phenomenal) and Burden of Dreams (about the making of the former; still need to watch it) would be the next step.  

Drink of Choice: I wanted to get “meta” with the drink (movie about a movie, drink about a drink) but without any clear success, and wanting to avoid any obvious selections (Napalm shot?) I choose the Bajito:

• 2 shots Dark Rum
• 4 Basil Leaves (optional)
• 4 Mint Leaves
• 5 Slices Lime
• 1 tbsp Sugar

Combine ingredients with ice and shake vigorously (like a typhoon that is about to destroy your set).  Pour into tumbler glass, serve neat, and enjoy this earthy and tropical refreshment, edgy enough for a glimpse into the wild of humanity behind and in front of the camera…. A look into the jungle’s dark depths, the dark depths of a man’s soul, unflinching in – oh man, I need to shut up and take a drink!

Skyfall (2012)

Directed By: Sam Mendes

Written By: Neal Purvis, Robert Wade and John Logan

Players: Daniel Craig, Dame Judi Dench, Javier Bardem, Naomie Harris and Ralph Fiennes

Setup: Bond's loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost.

 

Review: Look, I'm a Bond fanatic and I can't remember a time in my life where I wasn't reading Ian Fleming's stories or watching his famous character come to life on film. So when I say I don't want to be the guy coming out of the theater saying Skyfall is the best Bond film in the fifty year franchise you need to know how serious I am when I say it just might be. I've been mulling it over for about a week and even caught it a second time and have come to the conclusion that Skyfall is damn near perfect.

Director Sam Mendes and cinematographer Roger Deakins have crafted a perfect Bond film that pays all kinds of respect to the rich cinematic history of 007 while creating a damn fine flick in its own right.

I don't want to get bogged down in plot in this review suffice to say that Skyfall kicks off with an amazing pre-title chase sequence that rivals anything that has come before it then leads into one of the most memorable and visually unique title sequences since ... well probably the brilliance of Casino Royale. As a for the Skyfall theme itself Adele has a perfect set of pipes to belt out a truly classic Bond theme and it doesn't disappoint, it truly belongs right up there with Shirley Bassey's Goldfinger. If you have somehow been living under a rock and haven't heard it by now (it's been getting an impressive amount of radio play) take a moment to listen, your ears will thank you.

 

On a whole Skyfall takes it too a whole new level and diverges from the storyline the previous two films have set up leaving behind the specter of Quantum and delving into new territory. In doing so it creates a stand-alone Bond film that will unquestionably belongs among the best in the franchise such as true Bond classics like From Russia With Love, Goldfinger, On Her Majesties Secret Service and The Spy Who Loved Me. Skyfall was the Bond movie I couldn't have dared hope for as a fan and it still hasn't quite sunk in, even after a second screening, how perfectly executed it is.

A lot of people are saying this is the follow-up to Casino Royale we've been waiting for but I'd even go further back ... a lot further back. In fact if I had to draw comparisons between one of those classic films and Skyfall then it would have to be From Russia With Love (coincidentally my personal favorite) as it gives us probably the closest depiction of Fleming literary Bond. But the similarities don't stop there. Hell, Craig is even wearing the same suit that Sean Connery was swagging around in FRWL, the pre-title sequence is set in Instanbul and he's rolling around in the first Bond's iconic ride (while that doesn't come until Goldfinger it's still awesome). The plot is also reminiscent of the serious Cold War code breaking counter-espionage intrigue in FRWL but this time modernized by way of a shadowy techno-terrorist in Silva. Also like FRWL Skyfall doesn't allow itself to get bogged down in the frivolity of gadgets which while fun don't really belong in a serious Bond film like the one director Sam Mendes and Craig have crafted in Skyfall. 

Now, what I have come to enjoy most about Daniel Craig's tenure as 007 so far is how personal and emotionally invested he is as Bond. In Casino Royale I found myself almost rooting for him to have that happy ending that wouldn't come and while many dismiss Quantum of Solace as a rushed to production Jason Bourne rip-off (I could not disagree more) at it's core a is revenge flick on par with Dalton's License to Kill that see's Bond trying to heal a wound that can never truly be healed. Bond as a character is forever wounded and in Skyfall the 007 we see has been through hell; time, physical and emotional abuse have taken their toll. We even get a glimpse (merely a glimpse) at his tragic backstory that all true Bond fanatics know too well but it is more than we've ever seen on screen before and it is something that has been a long time coming. Yes, he's still Bond and you know in your gut he's going to come out on top but looking at a scruffy Craig you are going to wonder how, especially when you see what he's up against ... possibly the greatest Bond villain of all time.

 

In the realm of Bond baddies I'll be the first to admit many are rather forgetable and are usually defined by simply one quirk, financial greed or complete megalomania which makes Javier Bardem's deliciously nefarious Silva so damn refreshing. We hear about him and even begin to dread his power long before we ever see him and when he finally does enter the film it is unquestionably one the greatest Bond villain entrance of all time. Silva is much more similar to Bond than 007 would like to admit and at it doesn't take much to actually sympathize with his backstory. Silva has a history that pits him against Bond at a very personal level, possibly the most personal since Blofeld crashed the honeymoon in On Her Majesties Secret Service (which Ed recently reviewed) and it creates an interesting dynamic of mutual respect and several rather humorous exchanges. Simply put; Bardem just takes it to a whole new level, give this man another damn Oscar.

One of the biggest complaints I've heard about Skyfall is that it is lacking in the Bond Girls department ... which is totally false. There are two actresses that I suppose you could categorize as Bond girls; a somewhat inexperienced MI6 field agent named Eve played by Naomie Harris who effortlessly banters with Bond and a troubled femme fatale portrayed by French actress Bérénice Marlohe in her English speaking debut. Both of them are perfectly cast and provide much more to the story than simple eye-candy (although they are both easy on the eyes anyway). Since Casino Royale Craig's Bond seems to have learned to distance himself emotionally to women or at least try to, which is in itself yet another classic Bond character trait that shows up in Skyfall.

But I think what really sets Skyfall apart from all previous Bonds is how integral the rest of MI6 is to the story, specifically Dame Judi Dench's M. She's been a staple in Bond films since GoldenEye but I don't think we ever truly get to see what she is capable of until this film. Skyfall's story very much centers around her character, in fact I would go as far to state it is her story and everyone else is along for the ride. Then we get a new character Mallory, something of a government bureaucratic that M has to answer to but played by the always welcomed Ralph Fiennes. You just know there's going to be more to Mallory than meets the eye and Fiennes and Dench have a great couple of scenes to chew on together. Ohm and yes, Q is back in a big way but Ben Whishaw's take on the Bond stalwart is both completely unlike late Desmond Llewelyn's Q while remaining completely faithful to it at the same time. People looking for ridiculous exploding pen gadgets of the Brosnan era Bond may be disappointed but Q does have a few tricks up his cardigan sleeves and I can't wait to see what they do with the character down the line.

Skyfall is so much more than a homage to what came before, it can completely stand on its own merits. Craig's other two Bond films were building up to this point and while Casino Royale and Quantum of Solace have classic Bond moments it isn't until Skyfall that we get an uncompromised full Bond film. Skyfall on a whole creates a very unique aesthetic in the blending of old and succeeds in creating something timeless.

Maybe that's the best way to sum up Skyfall on the whole; timeless.

Tidbit: Daniel Craig cried when he heard Adele's Skyfall theme, which he admitted in an interview “I cried ... from the opening bars I knew immediately, then the voice kicked in and it was exactly what I’d wanted from the beginning.”

Drink of Choice: A pretty big deal was made over the fact that Heineken was going to be a Bond sponsor and that Bond would swig from the green beer bottle at some point in Skyfall. Some purists were outraged, to which I say if it's good enough for Bond it's bloody well good enough for you.

On Her Majesty's Secret Service (1969)

Directed by: Peter Hunt

Screenplay by: Richard Maibaum

Based on the novel by: Ian Fleming

Players: George Lazenby, Diana Rigg, Terry Savalas

Setup: In the sixth outing for the character, James Bond (now played for the first time by someone other than Sean Connery; George Lazenby) pursues Spectre's Blofeld into the Swiss Alps, all while falling in love with a wealthy source's daughter and using any chance he can to break the fourth wall (because, you know, its fun to take an audience out of an awesome movie).

Review: This being the domestic release week for Skyfall, I have a whole schedule lined up to commemorate not only the new release but also the 50th Anniversary of the Bond series (that is, 50 years since the release of Dr. No).  I had actually planned on reviewing Killer Klowns from Outer Space (if it sounds like shit...) or Session 9 (a solid suspense thriller for Halloween), but as I also had Geroge Lazenby as my next Bond to revisit, I decided to have a go at critiquing an entry I was overall unfamiliar with.  I've only seen it once in its entirety, yet it made such an impression that I knew I'd have to view it again regardless of that fact I'm a self-proclaimed Bond aficionado (i.e. know way too much regarding trivia, while making Martinis with cheap vodka).  Along with this fact, I had some trepidation writing about it, and whether or not my musings should be on the film alone or including mention of other films.  Suffice it to say, I decided to mainly focus on this film instead of rambling about with comparisons to other Bond films as On Her Majesty’s Secret Service, though sometimes unjustly attacked for containing a less than stellar Bond actor, is definitely a solid Bond film.

Following in the footsteps of the entertaining yet arguably ridiculous antics of You Only Live Twice, OHMSS is a breath of fresh air.  The world of Bond is inherently ridiculous, but this film delivers with a believable approach, especially regarding the romance between Bond and Tracy (played wonderfully by Diana Rigg).  As Lazenby is obviously younger than his predecessor (though only two years younger than Connery when he made his debut), it could almost be argued this is a prequel of sorts to James's previous antics, with the vital love story giving depth to Bond's future character and displaying pleasure mixed with business, instead of the other way around.  The happiness displayed and developed only adds to future tensions when the plot builds around the 30-minute mark (only beginning to surface here, a rarity in the franchise but admirable or purposes of pacing and depth during the 140 minute run time).

 

One can’t help but be impressed with the detailed yet simple layout of geography for all to see (and NO volcano lairs as seen in the previous film).  There are multiple locales throughout, yet each one is prepped for us before the action takes place (especially true at Blofeld’s Ski Resort).  Consistency is also an admirable trait here, keeping action scenes relevant based on the environment they are located in.  They’re also fairly revolutionary to boot, as James Bond skis for the first time (of many future instances) on celluloid.  Long time Bond Editor and Second Unit Director Peter Hunt (taking the reigns here as Director) shows his veteran colors with patience and a thorough knowledge of what works for Bond, especially in the action which is genereally good, though spotty at times with slightly jarring cuts.  He also shows appreciation for the source material as the film follows the Ian Fleming novel page for page (must be good; the story here is great). 

While there is easy evidence for praise here, its not difficult to encounter faults front and center.  Ask a crowd who their favorite Bond is, and you'll end up with one sole soul in the back timidly shouting “Hoohrah” for George Lazenby.  Though not as bad as some make out, Lazenby lacks true believability as a suave secret agent.  He looks the part, but lazy acting, sudden Austrailian accents, and apparent brash youth does not help believeability.  Also, while dubbing is a mainstay of the series (either due to bad sound or an actor/actress being foreign) I don’t think a Bond has been dubbed over as much as Lazenby.  This does not occur the whole film, and it does sound like Lazenby dubbing over himself, but regardless of the reason I cannot help but consciously think about it throughout. 

Despite my problems with the film, they are minor and On Her Majesty’s Secret Service is overall a fantastic standout in the world’s longest running film series.  Give George Lazenby a chance, and you may come away with respect for this film.  For transparency’s sake, it’s probably in my Bond top 5 (a sacred list, to be sure).

 

Tidbit: Sean Connery was offered 1 million dollars to reprise his role for this film but declined.  I repeat: 1 MILLION DOLLARS.  Who’s to say what this awesome story would’ve been like with his company?

Drink of Choice: Please...

• 3 parts Vodka
• 1 part Vermouth

 Mix ingredients with ice.  Serve up.

 Oh!  And make sure you shake it!  Do not, I REPEAT, do not stir!!!

Moonrise Kingdom (2012)

Directed by: Wes Anderson

Written by: Wes Anderson and Roman Coppola

Players: Kara Hayward, Jared Gilman, Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman, Bob Balaban

Review: My favorite part about Wes Anderson movies are the attention, and study, of detail and order. Each of his films has had aspects and/or characters that are obsessed with detail also to a mathematical point. Scenes have a rhythmic flow to them, and combined with the score, dance naturally in front of your eyes. This movie immediately joins the endless argument of which Anderson film is the greatest, as well as the question of what his masterpiece will be—it seems as though every new film he makes it another hat thrown into the ring.

Like other Anderson flicks, the movie starts out with stylistic cinematography and unique character perspective. The movie is well paced and you quickly are thrown into the plot, which logically unfolds in the most engaging of ways.

It is set on a small New England island in the early 1960s; there are no roads, only well-worn dirt trails and footpaths. A member of the local Khaki Scouts, a young boy named Sam, has quit the troop and set out to meet up with his pen pal, Suzy. They met through chance earlier at a Church play and have been writing each letters which become more and more intimate until they ultimately decide to elope together. They are furiously searched after and the rest of the movie follows the story of two young lovers trying to be together, when every other force is trying to keep them apart.

The movie connects to me deepest when Sam and Suzy share their one moment of privacy together. They set up camp on an unnamed beach and innocently get to know each other. Both of them have no fear as they discuss their ideas and insecurities, they are confident that they are weak, they realize there is nothing to be ashamed of. They top this off with some dancing to a hip French singer and then kiss for the first time in their lives. It is sexual and a tad awkward, but very natural and filled with innocent curiosity. It sets the tone for the rest of the movie-- that the characters are going to be true to themselves, no matter the societal precedent.

I am still infatuated with this movie, it is a welcome surprise after the quiet letdown of The Darjeeling Limited and the understandable Fantastic Mr. Fox. The educated person will appreciate the movie, and the intellectually curious, especially those obsessed with the human condition, will love every minute of this film’s honesty.

Tidbit: Kara Hayward kept the kitten her character had after the shooting of the film. 

Drink of Choice:I would recommend for this film something smooth and calming, nothing that will make your tummy rumble… a nice Belgium beer that is heavy but mellow. 

The House of the Devil (2009)

Directed by: Ti West

Written by: Ti West

Players: Jocelin Donahue, Tom Noonan, Mary Woronov

Setup: Strapped for cash, young college student Samantha Hughes accepts an offer to "babysit" for some stranger, on your average weeknight with a solar eclipse... on the outskirts of town...somehow dealing with Satanic rituals (CHILL, you learn this in the beginning)...in a house built on a Native American burial ground (I said CHILL, as seen in... oh wait, that's from a different movie).

Review:  Color me excited to finally be checking a movie by oft heard about director Ti West (who also writes AND edits the picture), especially right before Halloween when I already happen to be on the prowl for an atmospheric and well made thriller that happily lacks B movie clichés. Suffice to say, this prowl was a success as we have a decent little suspense film (and an attractive throwback poster to boot!).

It's clear West is all about nostalgia by the opening credits; the whole segment happily emulates sequences from the 70s and early 80s, horror movies or not.  If one had no previous knowledge of the picture, they may assume they're checking a peppy dramedy... until about the 38 minute mark (and besides the fact the opening states "facts" about Satanic worshipers from the 80s).  Still, while relaxing moments exist, its pretty clear all is not what it seems with a calm yet creepy atmosphere right on the fringes of this frigid college town, (developed with assistance from the beautifully legato yet foreboding score).
 

Development is key, and West seems to appreciate this second to nostalgia.  Though the director may appear to only desire another chance to live in the 25-35 years ago (maybe the 60s with a little Rosemary’s Baby here and there) he clearly is interested in bringing those elements into the present day with a fresh take on the genre.  This shows especially in the camera work, which goes back and forth between dated and modern techniques, and without removing one from the film.  His love of the past also shows when viewing Tom Noonan's name in the cast (he of Manhunter fame, you know he's GOTTA be bad somehow) along with the solid music selection.  

"You know I was also in Heat... but yeah most people know me as the scary SOB from Manhunter"

While it is clear this is an independently produced film (not a terrible thing, but couldn't help but be conscious of the acting at times), it’s just as apparent this is a unique flavor of filmmaking.  Fresh moments of didactic emotions flood the screen, as when Samantha listens to music that evokes positivity, yet is crushed by the viewer when they recall the true environment she exists in (I get that same feeling when I'm up late at night dancing to "Call On Me" thinking an Alien baby might attack me).  Potential happiness can't be exhibited forever in this genre, as seen when the constructed and lengthy suspense leads to a decently gruesome and horrific third act (SPOILER: There will be blood).  

The film may find some detractors in its apparently meandering course to the crux of the matter.  While maybe too slow in some spots, I applaud this effort overall, as West displays the necessity and interest in showing some depth to the world (and developing some solid tension, giving the audience no clue as to when they should expect what they've been expecting!).  Almost bare bones, Devil excels in its tight construction and setting that all can relate to: being alone in the unknown... and for normal people, fear of being stuck in a creepy ass house babysitting for Tom Noonan (Manhunter YO!).

Tidbit: The film was shot on 16mm and had a VHS release.  Made in 2009, you cannot tell me somebody isn’t yearning to travel back 20 years or more.

Drink of Choice:  Blood On The Rocks

• 2 parts Tequila
• 1 part Triple Sec
• Club Soda 
• Grenadine (BLOOD)

Combine over some rocks, with a heavy hit of that Grenadine, and you've got a Margarita tailor made for Zombies.