Meet LT Andrev Kanayev (Oskar Kuchera). He's in a bind. The USSR is dissolving and with it,Russia's strangehold over Eastern Europe. Says Kanayev's superior, 25 years of work in building the Warsaw Pact went down the drain.
Kanayev's unit is being withdrawn to what's left of Mother Russia. "I have no job, no house, no car," he laments to his friend Marek over a tankard of beer. Though Marek suggests the French foreign legion, LT Kanatev does not immediately tumble to the idea. He has to be prodded by being set up in an apparent homicide.
Smuggled into France, Kanayev attemts to enlist in French Foreign Legion. After rigorous basic training, Kanayev is recruited by French intelligence. Returned to Russia as a French operative, Kanayev produces impressive results but as Russia recovers, Kanayev's former comrades are hot on his tail.
Will he get caught? What are the consequences? Will he return to France and live in a Chateau in the country like a madman living in a home created by his imagination?
Excellent film! Little the US produces can compare to its scope and insight.
NYPD officer, Steven A Collura (Grant Show), is sent on a mission: infiltrate the Mob family led by Carlo Gambino (Robert Loggia). The Made-for-TV movie probes the inner workings f an undercover operation: On one hand, the operative projects a fantasy on the other hand his act creates a reality of its own.
To insert Officer Collura into the mob, he's teamed up with a former Mafia couple working off a case. Taking up residence with them as his "son", Collura lays down the rules: he's the boss he does what he wants; they're the help and that's it. The ex-Mafia couple have no choice but to grin and bear Collura's laws. As time progresses, they begin acting like a family so much so Collura's parents start berating Collura for his personal shortcomings, late hours, bad company and drinking.
Collura is so successful in inserting himself into the web of the mob that he strikes up a relationship with Carlo Gambino's beloved goddaughter Maria Caprefoli (Maria Pitillo), whom Carlo cautions Collura is a gentle but fragile flower.
Taken home to meet 'Mom' and 'Dad,' in their apartment in an old frame house on Pitkin Avenue in the mob strong hold of South Ozone Park, Maria asks the most telling question in the family oriented Italian - American world. Surprisingly, this obvious question was overlooked by all the mobsters right up to Carlo. "Oh, it's nice to meet your Mob and Dad, where does the rest of your family, your uncles and aunts and cousins live?" Mom, Dad and Junior all look at each other in fright and on a flimsy excuse leave the room.
Well an engagement is announced and Maria offers Collura a short preview of bliss, but forbids physical contact.
Meanwhile, Collura is advanced in the mob to the point he is trusted with a small role in the execution of Mob rogue and existentialist philosopher Joey Gallo. Handed a weapon, but advised that he'll only be part of the back - up, Collura panics and runs back to the police.
The story like The Impossible Spy and Scarlet Coat catch the very nature of an undercover operative. He projects a fantasy as reality. How far can the spy be drawn into the charade that he has created.
Contrary to other reviewers I found The Day of The Siege to be an excellent film well grounded in history. The Mouslem Turks in 1683 advanced from Constantinople to Vienna for a second attempt at unlocking the door to Western Europe. The push on Vienna led a century earlier by the intrepid Turkish Sultan Suleiman the Magnificent had been repulsed.
The Mouslem general The Vizier Mustafa leads a mighty horde of Turks and their allies and invests the City. True to Mouslem principles, Mustafa offers the inhabitants an opportunity to surrender peacefully. Though abandoned by the Emperor, the scratch force making up the garrison agrees to fight on.
It is at this juncture that Mustafa makes the critical mistake. An ally suggests a cover force to protect the besieging forces from an attack from the North. Convinced that the terrain is too difficult, Mustafa ignores the recommendation and concentrates his forces on the siege with a great deal of initial success: The Turks break the wall. Fatefully Mustafa hesitates. Historians speculate that he wanted to swallow the city whole so that marauding Jannisaries didn't loot and destroy an important commercial center and base of operations for a further push into Germany badly divided by civil war between Christian factions.
Mustafa's delay gives the Polish King Jan III just enough time to drag his canon through hostile terrain to attack the Turks and relieve the outnumbered garrison.
I think the film was an excellent portrayal of Mustafa as an honorable warrior who made two strategic blunders, of Jan III who appreciated the first rule of strategy: attack where the enemy never expects to find you and of the Holy Roman Emperor who prefigured The Bush's flight on a different 9-11 when he abandoned his wife, his capital and his country to run away.
The Eagle is an impressive vista on Roman Briton. It gives fair airing to Roman and Brythonic points of view.
Like Gaul, Eagle can be neatly divided into three parts: garrison life, life in the Roman colony and adventure north of the wall.
As the curtain opens we meet Marcus Flavius Aquilla (Channing Tatum) a newly minted commander on his way to a frontier outpost where Druids are rousing the restive Celts to action against the occupying Roman Army. Seasoned veterans at the officer's mess are skeptical of the new commander. "He's probably unpacking his rule-book," quips Galba (Paul Ritter).
Marcus surprises the officers and men with detecting an attack on the fort early enough to interdict it. There is quite a long wait in the dark of damp northern England during which Galba's stare tells it all. However Lutorious (Denis O'Hare) stands by the commander seemingly with bemused detachment. To the experienced legionnaire's surprise, Marcus was right. The Keltoi attack just as Marcus appears ready to call off the alert. New to the post, he isn't used to all the nocturnal noise that conceals the approach of Celtic warriors.
Injured in combat Marcus is sent to his uncle's villa in Southern Britain where Lutorious delivers news of the battle streamer awarded the unit, Marcus' medal and an honorable discharge.
Donald Sutherland plays Uncle Aurelius to perfection. As the most experienced actor in the cast he refrains from overpowering the stars Jaime Bell and Channing Tatum. But I think that Sutherland's genius in this film was that he was playing himself: the elderly urbane white liberal, a man of bearing, sophistication, distinction, culture and refinement.
Inviting a notable to the dinner table, Uncle Aurelius chides the guests about his vegetarian fare: "fish and eggs; lets not all rush at once."
Uncle believes that slaves should serve voluntarily or be left to their own devices. Uncle buys Esca (Jaime Bell) a slave to tend to Marcus but doesn't care if the slave runs away.
This Keltoi slave had been rescued by Marcus from a blood thirsty crowd in the arena because Esca had faced death unafraid. Reduced to personal servitude, Esca tells Marcus he hates everything Roman but will serve out of personal obligation, gratitude for being spared.
When the fully recovered Marcus decides on the adventure north of the wall to recover the lost Eagle of the 9th Legion Uncle with utter hypocrisy bluntly tells Marcus that one can not trust the word of a slave. "He says what he says and does what he does because he has to."
This sets the scene for the third act, the adventure north of the wall.
North of the wall there's a roll reversal, Marcus becomes Esca's slave. Yet true to his word, Esca helps Marcus recover the Eagle and defend it from re-capture.
The film is exceptional, partially because the lines of the Keltoi are scripted in the once outlawed Gaelic language with subtitles. When the Romans speak, they speak in English.
Meet the Battons, living comfortably in an upper middle class lifestyle in suburban Boston. The truth is Bobby Batton (Tom Sizemore) is a mobster. Unbeknownst to him, Batton's boss has decided to terminate Bobby. Batton is tipped to the plot against him when he foils a kidnap attempt on Batton's daughter Suzie.
His only way out is Witness Protection and a new identity. We see the pressure cooker turned up when Bratton and his family confronts the limitations of the work-a-day world and have to learn their cover stories. Bob Batton is particularly peeved that he must get a job. He holds the working class in especial contempt.
Forest Whitaker plays Steve Beck the FBI coach with great aplumb when he must tell Batton how to get a job. Why do you care? Batton exasperated with Beck's tenacity asks . Because it's my job, comes the smug reply.
Cindy Batton is played by Mary Elizabeth Mastrantonio, Agent Beck tells her she's worth maybe $35 G on the labor market if she finishes her paralegal degree and returns to work in a law firm. How are we going to live on that?
I won't agree that Witness Protection really does all that this US government propaganda movie says it does to trap real criminals. I do find the concept of adjusting to a completely new life interesting.
Class of 61: A Movie Glorifying The Southron Cause of Slavery
Recent history has produced several made-for-TV movies which have glorified the southron cause of slavery and secession even more than DW Griffith's film Birth of A Nation. In this film Slaves obey their masters in conformance with Holy Writ (Colossians 3:22) and regard the plantation as home.
This is a generous reading of the sands of time. Even as early as the 1950s with a real right wing star John Wayne in HORSE SOLDIERS, Hollywood showed how Black Southerners warmly greeted US Army troops. The answer to the writers of this film comes from Mr Lincoln himself: "Anyone who thinks slavery is a good idea ought to try it out." On the other hand the costuming was excellent and the scenery was well done.
I was surprised to see the number of negative commentary on this made for TV film. Much of it I think fails to understand the limitations of the genre of the story book Victorian Romance.
A client once told me, "Middle class marriages of that era were all arranged; that is why they were more enduring!"
Of course in MAKING OF A LADY, we're dealing with the upper crust. In England, that's the landed aristocracy, enjoying its last hurrah in the time of the Queen-regnant Victoria.
In reality making of the Lady is two stories in one. The first story is how Emily is selected to become the Lady of the Manor.
Meet Emily Fox-Seton (Lydia Wilson) good-natured, tall, with a respected family name but no money. Boarding with the Cupps, mother and daughter, Emily acts as a as a secretary to Lady Maria Byrne. (Joanna Lumley). At Lady Marie's country home, Emily meets Maria's cousin Lord James Walderhurst, a retired 50 year old colonel.
Lord James is widower who needs to get marry and quickly produce an heir to his fortune. It's a set up and Emily elected. Notwithstanding a little hesitation, Emily trots off in white to wed Lord James in an impressive church service which concludes with the arch of swords.
Now, James for all his hurry proves to be a bit of a shy breeder, until he shows Emily the "priest hole," a secret passage that connects their rooms. Mission accomplished. Had the story ended there, this would be a cute Victorian Romantic comedy with the cheery assurance that life goes on.
Enter Part II: The struggle for the Family Estate. A critical facet of the Victorian Romance was the struggle for the family estate and wealth.
By the time James is recalled to service in India, Emily is pregnant. Against the advice of Jame's loyal servants who are abit frosty to Emily, Emily admits two of Jame's relatives: Captain Alec Osborn (James D'Arcy) and Alec's Anglo-Indian wife dark complexioned Hester Osborn (Hasina Haque) to the Estate. They stand to inherit the entire Estate if James and Emily are unsuccessful in producing a new generation of Walderhursts. There's an interesting play on words at work in Walder (forest) Hurst (treed hill) suggesting Emily is riding a slippery slope.
Naturally, Captain Alec, his Anglo-Indian wife and her Indian servant with the frightfully sounding name Ameerah though syrupy friendly to Emily at least initially hatch plot after plot against the pregnant Emily. James returns from India in the nick-of-time to keep Emily from being suffocated by the powerful servant Ameerah.
The art form is the Victorian romance: the conflict is preserving the family line. Told in the version adapted by MAKING OF A LADY, the forces of evil are the fallen cousin who is wasteful and profligate and has moved from the protection of the caste structure by marrying beneath his station.
There are variations on the basic structure of the Victorian Romance where the wife of the lord of the manor and a servant are plotting against order and stability of the realm. This sometimes takes the form of the Butler did it. A more modern version of this yarn might daringly make the Anglo-Indian wife of the spent-thrift poorer relative the heroine of the story.
I saw the film 633 squadron when it was first released in '64. The film follows in the tradition of many great Air War Stories including DAWN PATROL. The score for the film is the finest musical adaptation or imitation of the revving aircraft engine.
Cliff Robertson who was a good American actor played a credible leading role as wing commander. We did deem it odd that the British would make an American a Major in the Royal Air Force and appoint him wing commander. That could be the work of studios trying to sell the story here in the US.
The perception of the colonial audience was that the mission portrayed was an attack on German Heavy Water experiments and that the attack took place earlier in the war.
The scene of bombing the GESTAPO HQs came right out of an earlier film, 13 Rue Madeleine (1947)starring Jimmy Carney.
Pre-Star Wars films like the live stage required a measure of "willing suspension of disbelief." I try to adjust myself to that before watching old films.
This film is based loosely on (a) US sponsored psychological experiment in which a prominent psychiatrist ran amok creating a prison in the basement of a noted liberal University. It follows in the steps of a German film Das Experiment (2001), highlighting lack of originality in the US theatre.
Very different from from the real life experiment in which the participants, recruited from students between semesters received rather chincy emoluments, the movie version claims that the test subjects, were offered stupendous incentives for their collaboration.
The film correctly states that volunteers were assigned roles and that as the experiment went on the participants fell into the roles that were given them. Like the German film, the experiment devolves into ever increasing dosages of violence.
In the US version, the feel good ending is even better than the German version. Travis (Adrien Brody) one of the prisoners has such a will to resist the torture and degradation that he busts out. Everyone follows him and they all receive their handsome checks.
In real life, there was no busting out but there was some busting back in. Some who had under intimidation quit the experiment returned and applied to be re-instated. They had formed a camaraderie with the others in the project and wanted to see it through.
In the film version the consequences for the authors of this fiendish experiment was severe. In an investigation that follows, the mad scientist, a rather small and squat gnomish sort behind the experiment, is indicted.
In real life nothing of the kind occurred. Jocularly speaking of the escapade a quarter century later, the real life psychiatrist hosted a US sponsored college course on psychology.
I was impressed with this German made film which I found to be superior to its American copy starring Sean Penn later produced.
This film is based loosely on a US sponsored experiment in which a prominent psychiatrist ran amok creating a prison in the basement of a noted liberal University. However differing from the real life experiment in which the participants, recruited from students between semesters received rather small emoluments, the movie version claims that the test subjects, recruited from newspaper ads were offered stupendous incentives for their collaboration.
The film correctly states that volunteers were assigned roles and that as the experiment went on the participants fell into the roles that were given them. Indeed at one point the 'guards' kidnap one of the staff and throw her behind bars.
In this version, a MI undercover agent has been inserted in the scenario in the role of a prisoner to act as a controller. He knows an escape route and can break up the experiment if he has to.
There is a feel-good ending in which the mad scientist behind the experiment comes down on charges.
In real life that never happened. Jocularly speaking of it a quarter century later, the real life psychiatrist hosted a US sponsored college course on psychology.
Horse Soldiers ranks with Major Dundee and Twelve O'Clock High in its study of the personality of command. Colonel John Marlowe is the man with the mission: break rebel supply lines supporting besieged Vicksburgh. On one hand he must deal with a meddlesome Regular Army Surgeon Major Henry Kendall (William Holden) and on the other an ambitious, backbiting subordinate Colonel Phil Secord who expects the campaign to launch him into politics. Along the way, the raiding force is constrained to internee Miss Hannah Hunter, (Constance Towers) a Southern Belle laced with a poisonous, duplicit charm.
Miss Hannah Hunter: (bending over with a plate of chicken, revealing ample cleavage) Do you prefer the leg... or the breast? Col. John Marlowe: I've had quite enough of both, thank you.
The raid must proceed with stealth and speed until it reaches it's target. Any man who can't continue must be left to the clemency of the enemy. Deep in rebel held territory, quarter is not to be expected. With such parameters, there is a constant clash between Dr Kendall and Colonel Marlowe. Behind his back, Kendall calls Colonel Marlowe 'Old Iron Head.' To his face Kendall is generally glib but subtle:
Major Kendall: That's a pretty primitive outlook; medically speaking, that is. Col. John Marlowe: Well, doctor, war isn't exactly a civilized business.
Col. John Marlowe: (during firefight) I didn't want this. I tried to avoid a fight! Major Kendall: That's why I took up medicine.
The US Army takes the rebel supply depot at Newton Station and routs a rebel attempt to retake it. The grim work is about to be done:
Miss Hannah Hunter: You're not going to burn the town down Major? Maj. Richard Gray: No ma'am just war supplies; cotton, railroad equipment, contraband ma'am.
But Marlowe a Railroad Engineer in civilian life does not revel in the task as does the would-be politician Phil Secord. The plan is to skedaddle South to US held Baton Rouge. Along the way PVT Dunker develops an infection which Dr Kendall treats with tree moss. The photography of the scene is incredibly well done with John Wayne's standing in the shadows looking on in horror. "You're putting dirt on a wound?"
There's a powerful ending. A dramatic Cavalry charge breaks through rebel lines and brings the US Cavalry across a creek and back into US held territory.
The skill with which the movie was done cannot be under-stressed. The film accurately shows the terrifying impact of the war on the civilian population and the enthusiastic greeting US forces received from the Black Southerners.
The film deserved all the commentary it received both pro and con. I was surprised and gratified that a film which deals with tragedy and the tragic attracted this much attention in a country which is dedicated to the patented formula Hollywood ending.
Meet Rhoda Williams (Brit Marling) she's got everything, pretty, a brilliant astronomy affectionado and on her way to MIT. Like most teens, she went out to celebrate and drove home drunk. On her way home, distracted by a strange phenomena in the sky, another earth which has come into view, she slams into John Burroughs' (William Mapother) car which was stopped at a light. John Burroughs' pregnant wife and son are killed in the collision. Burroughs goes into a coma.
Rhoda draws a four year stretch. Flash ahead 4 years, Rhoda is out of jail and Burroughs is out of a coma. Returning home to her room which was left as it was when she prepared to go out on the night of the collision, a sullen, morose Rhoda dismantles the room and sleeps on the floor. While her parole officer encourages her to return to school, she opts for a job cleaning the local high school so that she can avoid contact with other people. Wandering around in a fog, she gives up her flashy clothes and dresses as unattractively as possible, like a bum.
She has an important need to apologize to Burrows for his loss but ends up cleaning his house. Burrows might have remained in the alcohol numbed stupor into which he slid after recovering from the coma but Rhoda never cashed his checks. He therefore seeks her out and their relationship blossoms into a love interest. Burroughs returns to pursue the music he had laid aside, advising Rhoda that right before the tragic accident he had reached a state of contentment.
The implication is clear and Rhoda uses it to justify her actions to herself by believing she is making Mr Burrow's life a bit better every day. Even the distant, morose Rhoda seems to become more lively.
But Rhoda's past catches up with her when her essay wins a seat on the privately funded expedition to the alternate earth. Will her path cross over Mr Burroughs or will they collide once again? The photography nicely complements the script and imparts that distant or disconnected feeling to which a morose Rhoda is subject.
The ending has a powerful message on that subject, but see the film and come to your own conclusion.
Welcome to the Mobile Infantry. The Federation's strac force. Earth is united not in some pipe dream democracy but in a Spartan state where the only citizens are the warriors given preference in reproduction.
As the movie opens Johnny Rico (Casper Van Dien), Dizzy Flores (Dina Meyer), Carmen Ibanez (Denise Richards)and Carl Jenkins (Neil Patrick Harris) are finishing up high school. Their teacher Jean Rasczak (Michael Ironside) preaches the value of citizenship in the militarized state. Although Johnny is under Raszack's spell, his primary reason for signing up is to follow his girl friend Carmen who wants to be a pilot. Dizzy the quarterback of the High School's indoor football team signs up to follow Johnny, one of the Ends on the team.
Carl, a genius, gets sent to games and strategies. Carmen is tapped for pilot training; with low scores on aptitude tests, Johnny is sent for a rugged basic training in Mobile Infantry. After some contra-temps in training, Johnny nearly drops out but the enemy of the human race a species of bugs attacks earth and strikes Buenos Aires, Johnny's hometown. Johnny is out for revenge on the entire bug race.
There are some brutal battles on the bug's home planet and at an outpost of the federation on Planet P before the MI captures the brain bug.
The film came out in 1999 two years before the 9-11 attack on NYC. It is interesting to see where the writers correctly gauged the likely reaction and where they failed.
The acting if not stellar is extremely well done. The story line of young people fumbling around with adult responsibilities is credible. The phony newsreels that carry the script along and bring out background material might bring a smile to people old enough to remember Movietone news in the Theatres.
The film is highly recommended. The costuming is excellent with a decided tendency for a German look in the uniforms.
The Scarlet and the Black is billed as the real life story of Monsignor Hugh O'Flaherty, an Irish Roman-Catholic priest who rescued Allied POWs from German captors.
The year is 1943. Italy has surrendered. The Germans now occupying Rome are resisting an invasion by the US and the UK.Monsignor O'Flaherty (Gregory Peck), an Irish national runs an underground organization to provide safe haven to escaped US and British PoWs and other refugees. Father O'Flaherty is dogged by SS LTC Herbert Kappler (Christopher Plummer) who is in charge of military police operations. Anxious to prevent US and UK escapees from fleeing into the Vatican, theoretically an independent country recognized by The Reich, the Colonel has painted a white line across St. Peter's Square to mark the limits of Vatican sovereignty.
It's quite a cat and mouse game with Father O'Flaherty one step ahead of the SS both in the movement of US and UK personnel through Rome and in the war of wits. Audaciously, O'Flaherty recommends democracy to the German SS as an alternative to their brutish ways.
The made for TV movie suffers from an important historical lapse. Though Pope Pius as played by Sir John Gielgud is antagonistic to the Germans, real life Pius armed his Swiss Guard and instructed them to deny entry to the Vatican enclave to allied escapees. The role of Pius in World War II will always be a matter of controversy.
O'Flaherty and this story are supposedly based on real life events. If so, O'Flaherty was playing cat and mouse not only with the Germans but also with the Pope who at this point was unwilling to get involved. The big question I have is Why would O'Flaherty help Britons who were his country's enemy only recently expelled from his homeland or Americans who were allied with Britain? The film does not answer the question, but proceeds to show O'Flaherty help the wife and children of his nemesis escape retribution from the victors as an humanitarian gesture.
It is a good movie nonetheless and highly recommended.
I was surprised to read the many criticisms of this film as dated. In a real sense, as the film belongs to a particular historical era, it along with any film set in a particular time period would be dated. It is against that historical background, the licentiousness of the 1920s, the rise of dictatorships and totalitarian regimes in the roman church's heartland of southern Germany, Austria and Italy, and the onset of world war II that the priest, Stephen Fermoyle (Tom Tryon), always with an element of self-doubt, rises up the roman church's rigid hierarchy during those turbulent times to receive the red hat and deliver the acceptance speech at the end.
The prime motivation for rushing this film into production was the uproar over the controversial play THE DEPUTY which openly criticized the Vatican for its involvement with Germany. This film suggests that the church of Rome was more a victim of the fascists than a conspirator with them. That issue may be the subject of endless debate.
Yet, there is an important historical lapse in the film. The film correctly states that many officials of the roman church collaborated with the German New World Order, but the portrayal of the occupation of Austria as a violent act of aggression accompanied by a brutal assault on a church is not true. The Germans entered Austria with oompah bands and were enthusiastically greeted there.
The US however never treated Austria as a full-fledged opponent and thus Austria needed to be liberated rather than defeated.
Tom Tryon's performance received much criticism from others as weak. I found it worthy of a Jeffrey Hunter, a better known star of that time. Indeed Tryon's performance could stand up to Gregory Peck's portrayal of Monsignor Hugh O'Flaherty in The Scarlet and the Black (1983) which dealt with similar issues.
Pawn Stars is one of the better reality shows. Rich Anderson the owner of the Pawn Shop gives its tag line "Everything has a story; everything has a price. I do like the guest appearances of various experts like the Clark Co historian, but I particularly enjoy Chumlee whose childish temperament is a counterpoint to his bulky and powerful appearance and provides the show with enough comic relief to carry it through each episode. The patrons of the shop are an interesting lot, some are traders who came by an artifact accidentally in thrift stores or who hunt through estate sales for treasure; some are selling family heirlooms that many would find hard to part with. It's worthwhile TV at its best.
Certain figures are larger than life. J Edgar Hoover ranks highest among them in a career that spanned 55 years from 1917 to his death in 1972 at age 77. Leonardo DiCaprio gives the performance of a lifetime as the bull dog who forged a sleepy federal agency into the premier law enforcement agency mastering the art of scientific detection. Only the great actor Jimmy Cagney who often played G-Men could have done better.
The story is told as a retrospective account Hoover toward the end of his life dictated to a newly minted agent. The story begins in the Palmer raids following the bomb radicals had planted at the home of Attorney General Mitchell Palmer (Geoff Pierson). "One more turn of the rocking chair and the AG would have been splat," Hoover recalls. Though G-Men would later assume an air of professionalism and scientific dissection of crime, Hoover arms the G-Men with hand guns and does allow the rough stuff on the radicals. The radicals Hoover complains enjoy too much rapport with the public. "What's important," Hoover tells the G-Men, "at this time is to re-clarify the difference between hero and villain."
An agent who expresses the reservation that "The crimes we are investigating aren't crimes, they are ideas," is summarily dismissed even though he is a friend of Hoover.
No real Americans were damaged by The Palmer raids. Hoover found an ally at DOL (Immigrations) to ensure that many culprits were sent back where they belonged.
Neither the Palmer raids of the 1910s nor the excesses of the Roaring Twenties cemented the FBI's position as the nation's premier law enforcement agency. It was the identification of the Lindurgh kidnapper which made the Bureau. And this was no simple task accomplished despite a botched investigation by Jersey State Police and interference from the national hero Charles Lindburgh. In the process Hoover invented scientific detection even if he had to close DOJ's smoking lounge to do so.
Dr Albert Osborne: Is that all Mr. Hoover? I have a 2:30 class to teach. J. Edgar Hoover: No, you don't. Consider your pay doubled; you now work for your country. Congratulations, Dr. Osborne.
Ever brilliant and always effective in self-promotion, Hoover despite claims to the contrary secretly funded favorable Jimmy Cagney movies about the Feds, giving rise to the Great Myth that Washington can solve all local problems. But he kept his eye on politics or more particularly politicians, to ensure he maintained his fiefdom. By the time of Nixon, Nixon did not even ask to see the confidential files.
The film is long and some say it drags. However I might have liked to see Clint Eastwood's spin on how Hoover ended the open mob warfare of the 1920s. More likely than a few apprehensions of some notorious bad guys, the FBI cut a deal with the Mafia to put a lid on the gun battles, kidnappings and bank robberies prevalent throughout the 1920s. Hoover publicly denied that the Mob existed.
This movie deserved more reviews than it received. I recall seeing it many years ago on the BIG SHOW, the 3PM movie shown on NBC in the 1960s. Mrs. Claire 'High Pockets' Phillips (Ann Dvorak) was left stranded by the American defeat in the Philippians. The Island fell to the Japanese. American civilians are being interned.
Mrs Philippe manages to persuade Japanese authorities to leave her at liberty under flimsy Spanish identification papers. Behind their backs she is helping Filipino guerrillas and American soldiers in hiding. Can the rouse last until the Americans return? The acting by Ann Dvorak was superbly complimented by Richard Loo's performance as the enemy Colonel Masamato.
I was surprised that this film did not receive a revival when the movie THE GREAT RAID came out in 2005.
One commentator expressed doubt in Mrs Phillipe's exploits including following her husband's unit through the jungle. Americans of that generation unlike US people of later times had incalculable courage.
The US Army put Joe Bauers (Luke Wilson)its most average GI and a street prostitute Rita (Maya Rudolph) into an hibernation experiment. After a year the project was forgotten but the subjects remained in a state of animation for 500 years.
While they've been sleeping, the human race devolved. Intelligent people stopped reproducing while the unwashed masses, aided by advances in medical science, flowered out of control. The result is survival of the unfit-est.
How will decidedly average Rita and Joe survive an epoch in which they're the smartest people alive?
As depicted in this movie, the world of the future is an hilarious blend of lower caste cultures: people talk in an incomprehensible babble; the President, President Camacho, (Terry Crews) was picked because he was the Smack Down Champion; rehabilitation is running the gauntlet in Monster Truck Jam; they're watering the crops with Gatorade ... Meanwhile the infrastructure is collapsing and the crops are failing.
Can average Joe put them on the right track? It's an excellent social commentary ably made by the fine acting of Terry Crews, Luke Wilson and Maya Randolph.
While Josh Brolin captures the essence of President George W Bush, with the same skill that his father James once portrayed the esteemed Ronald Reagan, the highly complementary Bush biopic fell short of the mark. Oliver Stone was most impressed with The W's conversion to Born Again Christianity. The conversion is presented in a candied form in the picture. The W is said in this movie to have believed his pursuit of the presidency was a command from The Almighty; the movie missed all the major crises faced by the Bush Regime: the assumption of power after losing the election of 2000, the 9-11 disaster in which The Bush ran and hid, Katrina where the Bush allowed a major US seaport to be destroyed by a flood tide and the War Crimes sanctioned by The Bush in Irak. There is mention of the 2004 campaign in which W successfully portrayed Senator John Kerry, a decorated Naval hero from the Vietnam War as a coward but the film does not mention that W had deserted from the National Guard to go to Harvard Business School.
Truly Oliver Stone correctly gauged The Bush's skill as a politician in running the BAC from their loco side. However, it was the union Bush forged between the rational, urbane neo-cons and the more ethereal BAC which mark the Bush's unique political genius. No President since Franklin Delano Roosevelt ever accomplished such a monumental task. Yet President Bush had newspapers denying war crimes that the Pentagon had already admitted having occurred.
I gave the film a solid 7 since I do not believe a film which showed the W's talent in running the neo-cons would have been allowed to air.
The movie renders the "authorised" version of the so-called Valery Plame affair. A CIA agent and the third wife of Joe Wilson a career US Foreign service officer and occasionally a Democratic Party hanger-on who briefly held the title Ambassador to some small island nation, Val is a tough cookie at work leaning on the tough guys in the probe into Irak's WMD programme. Naomi Watts plays the part of the spy with the mostess, with blond hair and bright blue eyes, attractive enough to be a model. Her husband Joseph Wilson (Sean Penn) now retired from service and heading a one man private consulting firm is sent to Africa to investigate whether Irak has obtained Uranium.
On July 6, 2003, The New York Times, icon of The Establishment Press ran Wilson's "op-ed," "What I Didn't Find in Africa", in which decried the Bush Regime's twisting of intelligence reports to exaggerate Irak as a nuclear threat. Even though Wilson couched his accusations in cautionary language, in retaliation, the office of the churlish Vice President outted Val as a US spy, a mediocre one at best, and spread rumors that Wilson's junket to Africa was a prime example of cozy nepotism. Val's name and address appeared in the Washington papers.
Sean Penn rendered a bravura performance as Joseph Wilson the former US functionary stung with self-righteous indignation at the Bush Regime's willingness to take political revenge.
The stage was set for an epic battle between good against evil battle between The Bush Regime and the pure of heart Wilsons. Ultimately, Scotter Libby a VP aide served as sacrificial lamb. His sentence upon conviction for Obstructing Justice was commuted by President Bush in recognition of his services to The regime.
That's the authorised version.
Not mentioned in the movie was the jailing of Judith Miller a Pulitzer Prize-winning journalist, at the New York Times Washington bureau whose stories about the WMDs in Irak were often discredited by The Bush Regime. Ms Miller never published Val's name. Exactly how she fits in remains a mystery.
Far more significant is the parallel tragedy of the Welsh scientist Dr David Kelly employed by Britain. On 22 May 2003 Kelly expressed concerns over the accuracy of White Paper reporting WMD in Irak. Such a claim had been placed in the dossier by the government, even though it knew the claim was dubious. Hauled before the Parliamentary Foreign Affairs Select Committee on 15 July 2003, Kelly is said to have committed suicide near his home in Oxfordshire. One of the e-mails he sent before the supposed suicide was to New York Times journalist Judith Miller. The furor that arose in the US over the outing of Val Plame eclipsed the Kelly investigation.
Was Val the good girl scout this self-congratulatory movie makes claim or is there enough information in the movie to construct an alternative hypothesis?
Although Jason Robards doesn't look very Italian, he exudes The Big Feller's flamboyancy throughout this documentary styled movie about the infamous prohibition era massacre on February 14, 1929 at the Clark Street Garage in Chicago. The film brings the viewer through the history of Capone's bloody rivalry with the North side Irish German gang, the foiled attempts of the North Side Gang to take out Capone and Capone's bloody reprisals eliminating each successive Northside leader until the Northside's crown fell to Bugsy Moran (Ralph Meeker).
Ralph Meeker plays the part of the Northside leader as a foil to Jason Robard's mercurial Capone. In the film version, both Capone and Moran have excellent heads for business, leadership and strategy but Meeker as Moran assumes an aura of polished reserve and distance.
As the movie opens Capone hat in hand requests Mafia approval of a hit on Moran.
But on this occasion the Northside has the jump on Capone. The Mafia Don is executed. However Moran's expectation that the assassination will cause an ascension of Joe Aiello (Alex D'Arcy) a Mafioso more friendly to Moran proves to be unrealistic. Capone brutally kills Joe Aiello in reprisal.
The stage is now set for the biggest assassination in US history as Capone uses imported Mafia hoods to dress up like cops and machine gun down Moran's entire mob. Mafia spies misidentified a Moran lookalike as Moran; Moran escaped the trap.
Reporter: Y'know some are sayin' that it really was the cops who shot those men.
Bugs Moran: You must be new to this town, mister. Only Al Capone kills like that.
Only Frank Gusenberg (David Canary) lived to die in hospital. There he was interrogated by the stereotypical "good guy cop" of the 1960s, Russ Conway who had played The Hardy Boy's father, a serial that went along with The Micky Mouse Club.
Interrogator: (to Frank Gusenberg in hospital) I've got to level with you Frank, you're not going to make it. Want me to call a preacher?
Frank Gusenberg: Go Away.
It was a nice touch of comic relief at the end of a gruesome story, although succeeding generations unfamiliar with the Mickey Mouse Club will not understand.
Comparable films include Ben Gazzara in Capone and Tony Curtis in Lepke. I don't think the film is quite in the same genre as THE GOODFATHER I & II, which I much admire. This is a historical biopic; Godfather is all too real fiction.
Welcome to the 'Götterdämmerung'(Twilight) of the US Upper Middle Class. As the curtain opens Bobby Walker (Ben Affleck) is a middle level cog riding on Dream Street, with his only worry his latest trip to the links. Unbeknownst to Bobby when summoned to a meeting, the topic is not some senseless bureaucratic exercise but the pink slip. He is set adrift to wander in the nether world of the newly unemployed searching for jobs that don't exist.
Left inside the company is the only executive with a heart Gene McClary (Tommy Lee Jones) who argues for reduction of unnecessary expenses to save jobs right up to the point that the company declares his position redundant.
By contrast we see Bobby Walker's brother-in-law's small construction company which ultimately employs Bobby Walker as a roustabout helper. There the boss makes personal sacrifices to keep the business viable and the crew in a paycheck.
It is hard to feel sorry for any of the characters in the story. In their position, they should have known how fragile the situation was. Downsizing and give-backs, decimating the mid level professional managerial caste, have been going on since the Reagan years. In the case of Phil Woodward (Chris Cooper), universally recognized as a non-entity, the decision to tell Phil good bye was long overdue.
The character of Gene McClary is a bit inflated. Nice guys like him who survive to reach the Board usually do not take such a vehement position demanding reducing corporate expenses on frivolities to the point of endangering their own position. They might mention a concern, but little more.
The film suffers from a bad feel good ending in which Gene McClary tries to jump start the business that the company used to conduct, a virtually impossible task.
The Lincoln assassination was carried out by John Wilkes Booth and several others, some brought to trial, perhaps on direction from the Confederate War Department to revive the South's military position. With several confederate armies still unbowed, Secretary Edwin Stanton (Kevin Kline) seized the reigns of power, rounded up those who could be found and hauled them before a military court.
The movie pits the inexperienced lawyer Fredrick Aiken (James McAvoy), recently returned from the front, against the entire government anxious to quench the fires of the Southern Rebellion. The wily politico Senator Reverdy Johnson (Tom Wilkinson) who ought to have conducted the defence simply bowed out.
While the picture does not attempt to resolve the question of guilt or innocence, the movie presents an interesting dilemma, the conflict of mutually exclusive goods, the right to a fair trial which must be advocated by Attorney Aiken as opposed to the duty to keep the nation in tact which Secretary Stanton undertakes with relish. The characters are fumbling in a zone in which there are no right answers only paradoxes.
The photography with the dim lighting and deep shadows gives one the feel for the gas light era of the mid-Victorian period. The shades of grey are appropriate for the dimly lit realm in which all characters must function.
Did the Conspirators get what they deserved? That answer depends on which side of the Mason-Dixon line you're on.
The film is timely given the resumption of the Guantanamo Bay Military Tribunals.
Atonement is a brilliant adaptation for the screen of Ian McEwan's World War II dark, mis-casted romance of Robey Turner (James McAvoy) and "C" Tallis (Keira Knightley). The division of Christopher Hampton's brilliant screenplay into three principal parts, first set pre-war on an English country manor, then four years later in the midst of the disaster at Dunkirk, and then 60 years later in post-war Britain follows in the main the direction of McEwan's popular novel. It avoids the oppressive ennui of the first 50 pages of the McEwan novel by focusing directly on the major theme of the work, the misinterpretation of an adult event seen through immature teenage eyes.
To emphasize the point, Christopher Hampton uses a technique that violates the cardinal rule of story telling employing a multiple perspective on a particular scene.
The first part of the screenplay faithfully follows the book without venturing into the book's tedium.
The matriarch of the Estate, suffering in the summer heat from a migraine, laments that warm weather leads to immoral conduct. Age 13, Briony Tallis, "C's" teenage sister, is particularly attentive. Having caught the servant's son Robey and her patrician sister in 'fond embrace' in the Manor's library, Briony has persuaded herself that Robey is a sex maniac. When she spies her 16 year old cousin Lola Quincey (Juno Temple) out in the bushes with guest Paul Marshall (Benedict Cumberbatch), Briony cries rape and accuses Robey. Out of convenience or indifference, the elite prosecute Robey who is whisked off the prison with "C" crying "Come back to me."
Part II of the movie is fairly faithful to the book. Indeed in Part II, the action in the book becomes somewhat lively and interesting.
Flash ahead four years, Robey is out of stir in the fire of battle on the continent with the "John Bull" type Tommy Nettles (Daniel Mays)and the colonial sergeant Frank Mace (Nonso Anozie). Nettles complains "give the Jerries the continent; the French hate us anyway. Lets keep our Empire." Robey promises a kindly French farmer that the British will return. The Colonial emblematic for what was to come drifts away.
Rescued from Dunkirk, Robey reunites with "C." Briony tearfully promises to atone, to set the record straight. Is this a formula Hollywood ending?
Flash ahead 40 years to Part III for the surprise which is delivered with a bang. The ending differs from the book. The movie ending is well played and short, but one wonders whether Briony is atoning or bragging.
The book's ending is more drawn out and leaves a different question most subtly: Did Briony make the whole thing up?
The story is typically English with the long time gaps. I might have thought Robey's trial and conviction too interesting to leave out.