The Power and Glory of NAPOLÉON

Writer/Director Abel Gance’s 1927 silent epic, Napoléon, an ambitious film long thought to be lost in its original form, has been restored due to recent discoveries from various sources (assembled by Kevin Brownlow) to a five and one-half hour version complete with a dazzling score (by Carl Davis) and intermissions that clearly showcases this classic as intended.

Based substantially on historic records and quotes, the film is divided into several major sections and covers Napoléon Bonaparte from childhood to youth, his rise to power through early military successes, the Reign of Terror of the French Revolution, his romance with Joséphine, and beginnings of his campaign for global conquest. 

Lavishly produced by Gance, who spared no expense, this film was made right as talking pictures were about to arrive, and yet its mastery of storytelling even compared to contemporary films in terms of technical achievement was way ahead of its time.  While many of the early silent classics were similarly based on historic events like The Civil War (Birth of a Nation) and The Russian Revolution (Battleship Potemkin), they were noteworthy in their technical achievements.  Napoléon is no different, and it is immersed in innovative creativity with color tints, camera shots (fluid, handheld and tracking), superimposed imagery, rapid cuts, dissolves, and an awesome, early version of tri-screen like Cinerama.

Not currently available domestically in mainstream outlets, it’s a film to look for if you are a hardcore film scholar and wonder why this film’s reputation has grown enormously.  It’s impressive indeed and combines engaging drama and spectacle as if history is unfolding before your eyes, and while some scenes are lengthy, it should not take away from the sheer spectacle and scope of the production. This labor of love is quite simply a masterpiece.

***** of ***** stars (for cinephiles)

 

Malevolence in WEAPONS

Writer/Director Zach Cregger has followed his great Barbarian with an impressive film, Weapons, a horror/mystery that delivers the goods in an original story featuring strong performances.

In a small town, 17 students in a 5^th grade class left their homes at 2:17 AM and disappeared into the night. After an extensive investigation over weeks produces no results, frustrated and angry parents including Archer (Josh Brolin) vent their emotions at the teacher, Justine (Julia Garner).  Against the wishes of the principal, Justine, desperate for answers, attempts to contact the one remaining student in her class, Alex.  As Archer searches for answers on his own, both his and Justine’s paths cross.  Could they be on the verge of finding the truth about the missing children?

The narrative is told in succession through each primary character’s point-of-view (like Rashomon), and these threads come together to form a more complete picture of the story.  Cregger does a nice job of setting up a terrifying premise and inserting nightmarish visions and clues in a film that is essentially an engrossing mystery/thriller that slowly peels back revealing layers.  There is a creepy, ominous feeling that permeates the entire film, and although not everything fits together neatly, for those who are willing to follow the twisted plot, the reward is a mind-blowing climax that brings the story to a startling, astonishing end where it becomes full on horror.  To say more would spoil the surprises, but when you realize what is happening, it will make sense.

Garner, Brolin, and the supporting cast (especially Amy Madigan) are quite good.  In a film that elevates Cregger to the pantheon of current, horror masters like Ari Aster and Jordan Peele, one can only wonder and anticipate the next project from his fertile mind.    

****1/2 of ***** stars

 

Déjà Vu in THE NAKED GUN

The Naked Gun is a solid remake/sequel to the outlandish, funny Naked Gun trilogy of films that were inspired by the short-lived Police Squad! TV series, all starring Leslie Nielsen. 

Lieutenant Frank Drebin, Jr. (Liam Neeson) of Police Squad investigates a murder that involves a sister, Beth (Pamela Anderson), and a hi-tech company. As they probe deeper, Frank and Beth discover there’s more subterfuge to the case, and naturally this leads to a diabolical plot for world domination.  Can Frank get to the truth and save the day?

At a lean 85 minute runtime, the film plays loose and fast with its narrative, but that doesn’t matter when the humor is ‘off the wall’.  Never taking things seriously, there are puns and sight gags galore that threaten to break the ‘fourth wall’, and though some of the jokes misfire, they keep flowing.   Playing it straight, Neeson is the lynchpin that makes this crazy comedy work from director/cowriter Akiva Schaffer (Saturday Night Live) while Anderson has reinvented herself as a bona fide star. Both Neeson and Anderson produce real screen chemistry that works to the film’s advantage.  

Best shared with an audience, this is the kind of genre that has rarely been represented of late but was plentiful especially in the 1980’s and 1990’s (Airplane, Hot Shots).  Is it better than the previous films? Not really, but it is a ridiculous, yet sweet homage to the original and a welcome return to sorely missed comedy.  Now a new generation of filmgoers can experience and enjoy the first of what will likely be more of these silly, enjoyable movies.  As always with these films, there are a couple of amusing cameos, and pay attention for some amusing end credits and scenes. 

**** of ***** stars (for Police Squad fans)

 

A Family on the Brink in I’M STILL HERE

 

Based on a true story of a family torn apart by an oppressive government, I’m Still Here is a completely captivating drama featuring an outstanding performance by Fernanda Torres.

In 1970s Brazil, a happy, well-to-do family goes about life surrounded by evidence of a military dictatorship. It is a time of political upheaval, and Eunice (Torres) and Rubens are loving parents.  When Rubens becomes involved with a rebel element, he is targeted by the government and taken one day to an unknown location.  Desperate to find her husband, Eunice finds herself taken for questioning. She and her family are forced to carry on without their dad.  As weeks and months pass, hope turns to despair as the family must contend with some unsettling information.  Through it all, Eunice must hold her family together.

Directed with compassion and intensity by Walter Salles (City of God), the film, which has a direct similarity to the great Missing, is seen through the eyes of the mother, and it is through her perseverance under heartbreaking circumstances that serves as the film’s backbone, as she protects her children from harsh truths. Indeed, Torres is amazing, and the film rests on her shoulders, elevating a good story to a great one. The family is realistically portrayed in its attempts at normalcy amid events beyond their control, and even as the government acts as a separate character with its secretive, threatening actions, above all, the family sticks together.  Their pain is our pain.

With a postscript that completes the circle of events with a sense of irony and sadness, this is a story that pulls no punches with its straightforward narrative.  Building bittersweet emotions slowly and honestly, it’s one of the year’s best films. 

***** of ***** stars

Trauma Past and Present in THE BRUTALIST

 

Director/writer Brady Corbet made a series of independent films and now has made an ambitious film, The Brutalist, a film that approaches greatness in its themes and acting.

László Tóth (Adrien Brody) is a Hungarian, Jewish survivor from World War II who has immigrated to the U.S. to bring his wife (Felicity Jones) and niece. An architect by trade in his home country, he scrapes by with jobs struggling to survive until he is given an opportunity to do a remodeling project that leads to a relationship with a wealthy businessman (Guy Pierce).  When he is given a huge contract to build an ambitious, urban center, László’s fortunes appear to brighten until an unexpected, dark turn of events.       

This drama which spans decades is noteworthy for its superior acting especially by Brody, an idealist haunted by his past and Pierce, the eccentric patriarch with a secret.  In what could be a metaphor about America, this story is one of marked contrast between the rich, entitled class and disenfranchised, impoverished poor, and its themes touch upon elements of racism and how a land of opportunity and its innocence is corrupted.  It’s also about the facades that people present to others that give way to a shocking, perverted truth.

The striking visuals, beautifully shot, are part of a consistent vision by Corbet in an epic narrative that is broken into two parts. It is the first part where the film excels with the promise of brilliance only to be let down to earth by its more modest second half and an unconventional ending. Although, its 214 minute runtime can be taxing, the film has to be admired for what it does accomplish which is far and away more than most feature films.               

****1/2 of ***** stars

NOSFERATU and Its Pervasive Darkness

 

Filled with a foreboding and menace, Nosferatu from director/writer Robert Eggers (The Lighthouse) is an excellent update of the original 1922 classic by F. W. Murnau.

It is 1838 in Germany and a woman, Ellen (Lily–Rose Depp), is plagued by visions of a deadly presence even as her beloved husband, Thomas (Nicholas Hoult), is called away on business for a mysterious client in a remote castle.  It is Count Orlock (Bill Skarsgård), a vampire with designs to relocate and feed on the populace while seeking Ellen, the object of his passion.  He travels undercover by ship to bring with his disease and pestilence to new environs while Ellen feels impending dread and inevitability.  Even as Thomas enlists the help of a professor (Willem Dafoe), Orlock advances to his obsession, and Ellen comes to the realization that she must face this nightmarish menace face-to-face.

This is an intensely atmospheric, even sensuous film, with memorable imagery beautifully shot and with sumptuous, period sets and costumes that compliment beautifully realized set pieces, all in keeping with a unified vision.  With meticulously assembled vignettes, this long gestating project, a labor of love by Eggers generates a pervasive mood, one of inevitability and doom.  It’s not an exaggeration to say this film is an homage not only to the original, silent version, but a tribute to the German expressionist era. 

Depp is excellent as is Skarsgård (It) who seems to thrive on villainous, horror roles, but it is the overall atmosphere that brilliantly acts as a character in an impressive, memorable film that can stand alone in its accomplishments. Vampire purist may relish in this lavish production that comes across as more gothic horror (with a couple graphic moments). Eggers is triumphant.

****1/2 of ***** stars (for vampire purists)

The Power of Dylan in A COMPLETE UNKNOWN

 

Director James Mangold (Ford v Ferrari) tackles the biographical drama, A Complete Unknown, and the result is a fascinating exploration of singer/songwriter Bob Dylan with an important, stunning performance by Timothée Chalamet.

In 1961, a hospitalized, music legend, Woody Guthrie, and friend Pete Seeger (Edward Norton) are witness to a young Bob Dylan (Chalamet) who impresses them with his singing and music.  A rising star, he plays small clubs and begins to attract notice of record companies where he records albums that become popular at a time of social change, civil rights, and free speech. His relationship with his girlfriend Sylvie (Elle Fanning) gets complicated when he meets fellow folk singer, Joan Baez (Monica Barbaro).  Desperate for his own artistic voice instead of catering to growing, public demand, Dylan risks his career by continuously evolving his music. 

 While it attempts to deconstruct the myth of Dylan and does provide some insight into his ethos, there is still an aura of mystery that remains.  The story is enhanced by a strong, period flavor of the sixties even as iconic moments from Dylan’s remarkable catalogue of song classics are reenacted.  (Even nonfans may be prompted to explore his music after watching this film.) It is during these set pieces (and those with Baez) that the film takes on an authentic, mythic quality.  Ironically, Johnny Cash is depicted here, and what a double bill this film and Mangold’s earlier bio film, Walk the Line, would make!

Chalamet is so good portraying Dylan that it is easy to forget how impressive Norton and Barbaro are in their own right. This insightful, detailed study of a music icon does more than scratch the surface of a legend; it gives him a heart and soul.

***** of ***** stars

The Magic of WICKED Part 1

 

An imaginative prequel to The Wizard of Oz, based on a novel and legendary Broadway adaptation, and directed by Jon M. Chu (Crazy Rich Asians, In the Heights), Wicked Part 1 is a colorful, energetic musical featuring two powerhouse performances and an infectious spirit.

As the people of Oz celebrate the demise of the Wicked Witch, Glinda (Ariana Grande) recalls how the two first met and formed a special, complicated relationship. Glinda befriends Elphaba (Cynthia Erivo) who was born green and shunned by her family and society.  As Elphaba realizes she has extraordinary powers that could be used to serve The Wizard, dark secrets emerge that could shake the core of Oz and jeopardize the girls’ sisterly bond. 

Serving as an origin tale for these characters and others, the film centers on an unusual relationship amid school (not unlike Hogwarts School), potential romance, and a conspiracy that permeates the students and faculty.  It’s a lesson in acceptance and love while embracing our differences even as sinister forces threaten to undermine everything. 

The classic songs (Popular, Defying Gravity) are in glorious form as Grande and Erivo demonstrate euphoric, vocal range.  Chu, who seems to be heir apparent to Rob Marshall (Chicago) in screen musicals, displays a visual flair that does not abandon its theatrical origins (nor should it.)  The film’s spectacle never shines at the expense of pathos.  (There are two wonderful cameos for fans of the stage version.)

Without a doubt the film rests on the strength of the two leads, and they excel particularly in their lovely duets.  The film ends on an emotional showstopper that is the dramatic peak of the film as one chapter closes vividly setting up characters and events that promise much more in the concluding follow-up film. We can’t wait. 

****1/2 of ***** stars

A Heart of Gold in THE WILD ROBOT

 

Filled with goodwill and an abundance of love, The Wild Robot is a wildly entertaining, animated adventure that embraces an array of heartfelt emotions.

A robot, Roz, is accidentally stranded on an island populated with a myriad of animals.  Trying to find a purpose, Roz befriends the inhabitants and adopts an orphaned, baby goose, Brightbill, while becoming buddies with a sly fox, Fink.  The island endures threats including natural disaster and the arrival of Roz’s company ship to reclaim its property. With the animals overcoming their fear, they band together for a greater good to save Roz.  Can they survive an onslaught of hi-tech robots and keep their merry band together? 

A delightfully, simple premise executed to perfection with its ‘fish out of water’ scenario, the storyline encompasses personal loss  and the bonding relationships with a surrogate family, the island’s animals.  It’s about a sense of community and uniting disparate animals for a common cause where sacrifice and altruism are in full display.  The plot is also about perseverance despite overwhelming odds.  Ultimately, it’s about self-discovery as Roz evolves her emotions and humanity while learning to care for another soul as evidenced by her attentiveness and love for Brightbill.  In concurrent narratives, at the same time Roz is learning to help her new friends, Brightbill is growing up and learning about life. 

The gorgeous animation is vivid, colorful, and imaginative as the imagery pops off the screen.  This is a film that builds its pathos to emotional highs and lows that touch the heart especially in the rousing end.  While it will undoubtedly appeal to children and perhaps (not surprisingly) move adults, it is most certainly one of the best films of the past year.

***** of ***** stars

A Powerful Choice in CONCLAVE

 

As an engrossing drama with elements of a thriller, Conclave holds your attention with riveting performances and a daring screenplay.

The Pope has died, and the Church has gathered its leadership and representatives to anoint a successor. What this also means is that under the leadership of Cardinal Thomas Lawrence (Ralph Fiennes), there is the need to conduct a conclave, a ritual and protocol of proceedings.to select a new pope. Past sins come to the fore, and the leaders must take into account the socio political ramifications of their pick which goes through a series of votes. With the need for seclusion and insulation of this world from the outside, the process takes an emotional toll amid the secrecy while the reputation of the Holy Church is at stake. As major candidates for the position are introduced, loyalties are tested and past secrets are revealed amid a series of maneuvers and even subterfuge.  When the remaining field is whittled down to finalists, an unexpected figure emerges that threatens to shake the core of the institution. 

The plot turns complex and convoluted as we learn more about the candidates, and the story becomes a mystery to be solved with the deceased pope and others having a hidden past. Just when the film seems to be going in one direction and a particular candidate, there is a surprise that elevates this to a special film.

Bolstered with striking visuals, director Edward Berger (All Quiet on the Western Front) keeps the narrative methodically paced and always engaging. Fred Zinnemann (The Nun’s Story) would approve.  Well-acted by a strong cast including Isabella Rossellini, Stanley Tucci, and John Lithgow, it’s tense throughout its solemnity and a fascinating depiction of important events in a fictitious, yet realistic setting.

****1/2 of ***** stars