falconesque

After the theatrical viewing: Wow, the production hit the highlights, though severe pruning remained obvious and, in places, greatly disappointing. The big battle scene was impressive, though impossible to follow who was fighting whom. Couldn't wait for the DVD to rewatch that scene.

Alas, even in slow motion the tiny figures are mostly indiscernible between the black and white whooshing around and the fast cuts. And the other disappointments become glaring.

The noncanon bits of "atmosphere" -- sugar spooned into cup, overlong closeup; portraits tipped out of paintings; pounding decrees into the castle wall -- even more so on repeated viewing feel as if they steal time better occupied by other missing moments, such as Molly's boggart or the brooms being impounded, or by fleshing out the twins' bits, which are astonishingly anemic.

Imelda was truly inspired casting, but OotP is her film at the expense of everyone and everything else, which is a shame. Yates goes too far in having McGonagall cowed as well, with the ham-fisted (and frankly, insulting) stair-stepping oneupsmanship about "loyalty." He already had Sybil Trelawney to cow to his heart's content (and Hagrid, though Hagrid was largely overlooked, too). McGonagall never caved to that woman, an inspiration sorely lacking in the film, where most of the adult roles are reduced to caricatures.

Gambon does well as an aloof Dumbledore, especially his exit with style, though his final sentiments almost prove too hard to swallow.

One uncomfortable gaff was using levicorpus in D.A. sessions. Though seen in memory, the jinx isn't introduced until HBP. The spell's execution is also off (a floaty levitating body, rather than a nonverbal wrenching of someone into the air), but that's a quibble.

Another quibble is where the effects work goes inconsistently thin. Hagrid in the forest and Mad-Eye in the photo spring to mind.

There's a lot of "floaty" going around OotP (particularly obvious was Sirius's bit about being "a good person"). There is enough atmosphere and plenty of inspirational lines within the texts as written for the director to pick something else; attempts to invent more, while cute once, fall flat and have as much perseverance as candyfloss.

Here's hoping Yates does better with the content as well as the flash in HBP, slowing down the action just a *tad* for comprehension and serving the story. And if not, here's hoping he's replaced for DH.

Excellent teleplay, exemplary performances. Riveting and thought-provoking. A top-notch production all around.

Beyond what else has been said, LIVE FROM BAGHDAD hails those who, as late as 1991, stood up for the freedom of the press, the battles waged, the compromises made, their failures as well as their successes. Bush the elder had ordered the press out of Baghdad, but failed, as this teleplay depicts. When Bush the younger reentered Iraq, he offered the press corps a leash instead, which most agencies snapped up.

LIVE FROM BAGHDAD, a brilliant bit of reporting done by an extraordinary CNN team, but also a subtle homage to those who help preserve one of the most vital proponents of liberty -- a free press.

I'll admit I channel-surfed into this gem. Click, and there's Depardieu, soaking wet and haggard, speaking French with English subtitles, in a lovely cluttered room...okay, I'm intrigued. (The room alone is enough to hold my attention; wonderful set dressing.) But moments later, the intrigue deepens. Who's that Inspector, so skeptical yet almost friendly in his interrogation? The actor looks so familiar. And his Inspector is nearly apologetic. Perhaps he's a fan of Depardieu's writer?

Boiled down to its essence, A Pure Formality is two guys talking, but I love two-guys-talking films. I was intrigued enough to avoid the listings and let the credits reveal Roman Polanski as acting the Inspector -- though he'd started his career acting, I'd seen only cameo appearances -- and his succinct performance dictates the pacing more often than not. You gotta like the guy, even though the Inspector's the antagonist to Depardieu's sympathetic and central point-of-view.

The film appeals to me as a writer, worrying if another eloquent phrase will ever flow, as a reader of mysteries and non-fictional criminal law (intertwining cluesmithing; you can keep the gory details), as a fetishist for the French countryside and language, and as a lover of libraries.

A Pure Formality is craftsmanship deserving a stellar DVD release.

First time I chanced upon "1776", I tuned in during the Declaration writing committee selection. There was William Daniels being his quality self, parrying barbs with everyone, and Ken Howard looking so young and strapping and so very, very tall, along with their fellows, all finely costumed. Such wonderful carriage is always worth a look, certainly.

Then they broke into "But, Mr. Adams" and my jaw dropped. "They're...SINGING?" Not only singing, but dancing! The sight of gentlemen Franklin, Livingston, and Sherman (Da Silva, Myhers, Robbins) frolicking on the stairs...oh, did I laugh! How delightful! Not put off by the disappearance of Dr. Franklin's gout, I settled in to watch what happened next.

This is a measure of the best of film. I was entertained and entralled. John Cullum's rendition of "Molasses to Rum" was chilling and thought-provoking.

May Columbia/Tristar unearth the Pioneer laser disc and release a special edition on DVD soon.