Beauty and the beast - ***

Beauty and the beast * * *

Drama. Disney. 1991.
D: Kirk Wise, Gary Trousdale.
P: Don Hahn.

“Belle, whose father Maurice is imprisoned by the Beast (really an enchanted Prince), offers herself instead and finds the prince inside the Beast”.

Fantastic musical, a slightly feminist romance told within the frames of the factory’s classical fairy tale structure, with beautiful settings, memorable sequences -including a breathtaking shot during the title song dance-, and an outstading song score composed of lavish music and sharp, knowing lyrics. It was the first animated film nominated for the Best Picture Oscar, and its dynamic animation foreshadowed what would come after it in terms of that area’s technology.

Significant production contribution: Music (Alan Menken), Songs (Alan Menken, Howard Ashman), Art direction (Brian McEntee)

United 93 - ***

United 93   * * *

Drama. Universal. 2006.
D: Paul Greengrass
P: Tim Bevan, Eric Fellner, Lloyd Levin.
111 minutes

“A real time account of the events on United Flight 93, one of the planes hijacked on 9/11 that crashed near Shanksville, Pennsylvania when passengers foiled the terrorist plot”.

A thorough, painstakingly clear-eyed, matter-of-fact account of the events surrounding the homonimous flight during the 9/11 terrorist attacks, it surprises for the realism its director achieved (great editing had a lot to do with it), and its dramatic intensity, which grows exponentially as the film progresses to its almost unbearable ending. Politically, it is unquestionable. As film, it’s a brilliant showcase of restraint and control of the medium.

Contribuciones cinematográficas significativas: Editing (Clare Douglas, Richard Pearson, Christopher Rouse); Directing (Paul Greengrass); Screenplay (Paul Greengrass)

Witness - ***

Witness * * *

Thriller. Paramount. 1985.
D: Peter Weir.
P: Edward S. Feldman.

“A young Amish boy is sole witness to a murder; policeman John Book goes into hiding in Amish country to protect him until the trial”.

Intelligent, subtle thriller with an emphasis on character, and the depiction of an Amish community and its contrast with the modern world. The film is wonderfully shot in a naturalistic fashion, and most of the production values are outstanding.

Significant production contribution: Cinematography (John Seale), Screenplay (Earl Wallace, William Kelley, Pamela Wallace), Direction, Acting (Harrison Ford, Lukas Haas), Editing (Thom Noble), Music (Maurice Jarre)

The terminator - ***

The terminator * * *

Thriller. Orion. 1984.
D: James Cameron.
P: Gale Ann Hurd.

“A human-looking, apparently unstoppable cyborg is sent from the future to kill Sarah Connor; Kyle Reese is sent to stop it”.

Action thriller with a science fiction storyline, put together with an economic, effective sense of storytelling, and featuring outstanding effects for such a cheap production. Well written.

Significant production contribution: Direction, Screenplay (James Cameron, Gale Ann Hurd), Special effects (Stan Winston, Jack Bricker, Richard Landon, Shane Mahan, John Rosengrant, Joe Viskocil, Tom Woodruff Jr.)

The day the Earth stood still - ***

The day the Earth stood still * * *

Adventure. 20th Century Fox. 1951.
D: Robert Wise.
P: Julian Blaustein.

“An alien lands and tells the people of Earth that they must live peacefully or be destroyed as a danger to other planets”.

Well directed and written, stands out as a science fiction outing for the level of its realization and its emphasis on realism, as well as some ingenious visual effects and a very slick, minimalistic design for the airship, which seems very ahead of its time. Herrmann composed one the first film scores which was largely electronic.

Significant production contribution: Direction, Special effects (Fred Sersen), Art direction (Lyle Wheeler, Addison Hehr), Music (Bernard Herrmann)

The wicker man - ***

The wicker man * * *

Horror. Brittish Lion. 1973.
D: Robin Hardy.
P: Peter Snell.

“A police sergeant is called to an island village in search of a missing girl whom the locals claim never existed. Stranger still, however, are the rituals that take place there”.

Disturbing horror story, depicted in a realistic fashion, concerning a pagan cult led by a suave despot that has survived generations on a remote island. Much of its power comes from its sense of genuinity, and its denoument is truly chilling. Its design defies categorization. Survives, deservedly, as a cult film.

SPC: Screenplay (Anthony Schaffer), Direction

The Personal History, Adventures, Experience, and Observation of David Copperfield, the Younger - ***

The Personal History, Adventures, Experience, and Observation of David Copperfield, the Younger * * *

Drama. MGM. 1935.
D: George Cukor.
P: David O. Selznick.

“The life and tribulations of one David Copperfield in his journey from early orphanity to education and happiness”.

A most adequate, charming realization of the Dickens classic, a triumph in literature even if it aged as too rudimentary a film in its flow and editing. It features one of the best direction of actors to have been witnessed by this spectator, with scores of wonderful actors giving pitch perfect renditions of a vast gallery of interesting characters. Excels as an account of humanity.

SPC: Direction, Acting (Eda May Oliver, Freddie Bartholomew, Basil Rathbone, W.C. Fields, Maureen O’Sullivan, Lionel Barrymore), Screenplay (Howard Estabrook, Lenore Coffee)

The body snatcher - ***

The body snatcher * * *

Horror. RKO. 1945.
D: Robert Wise.
P: Val Lewton.

“A ruthless doctor and his young prize student find themselves continually harassed by their murderous supplier of illegal cadavers”.

Finely crafted horror film based on the short story by Robert Louis Stevenson. Its direction and story development put it firmly above the average genre fare. Sideline note: as its horrors spring from drama, character and sheer talent at craftmanship, it stands as a testament to old-fashioned horror films, considering that today the lack of talent is substituted with graphic violence and cheap shocks, more akin for showing to a pack of idiotic baboons than to any educated audience.

SPC: Direction, Screenplay (Philip MacDonald, Val Lewton), Acting (Boris Karloff, Henry Daniell), Cinematography (Robert De Grasse)

Million dollar baby - ***

Million dollar baby * * *

Drama. Warner. 2004.
D: Clint Eastwood.
P: Clint Eastwood, Albert S. Ruddy, Robert Lorenz.

“A hardened trainer/manager works with a determined woman in her attempt to establish herself as a boxer”.

Optimal, minimal melodrama, with pure, strongly delineated characters, a fine sense of old fashioned storytelling, and a pitch perfect leading performance by Ms. Swank. Turns out to be a perfect vehicle for its director’s jaded, rough humanism, and he also finds a way to integrate into the film both his movie persona and his personal philosophy. An old man’s film, no doubt.

SPC: Acting (Hilary Swank, Morgan Freeman), Direction, Screenplay (Paul Haggis)

Wild at heart - ***

Wild at heart * * *

Drama. Polygram. 1990.
D: David Lynch..
P: Steve Golin, Monty Montgomery, Sigurjon Sighvatsson.

“Young lovers Sailor and Lula run from the variety of weirdos that Lula’s mom has hired to kill Sailor”.

A modern adaptation of “The wizard of Oz” with two youngsters in love, fleeing home following their own yellow road, rich in thematic and visual metaphors playing on the reputed film classic. Stands as Lynch’s “nightmare movie” with best narrative flow and pictorial quality, and Diane Ladd was terrific playing the girl’s mother, the wicked witch part.

SPC: Direction, Acting (Diane Ladd), Cinematography (Frederick Elmes)