Sunday, February 18, 2018

The Producers (1967 film)

Written and directed by Mel Brooks, The Producers is the story of a Broadway producer who teams up with an accountant in financing a sure-fire flop hoping to make money out of the flop and live happily. The film is a look into two different men who team up to find a flop as their choice would prove to be something that might offend so many in the hopes they can succeed by creating a Broadway bomb. Starring Zero Mostel, Gene Wilder, Kenneth Mars, and Dick Shawn. The Producers is a whimsical and lively film from Mel Brooks.

The film follows the life of a washed-up Broadway producer who hears his accountant talking about the ideas of making money in investing a flop where the two come together to find a sure-fire flop as they choose a play written by a former Nazi called Springtime for Hitler. It’s a film with a simple premise in which two men decide to take part in a scheme in the hopes they can make some serious money but the journey in finding the flop, getting the worst director to helm the play, and get a terrible cast would prove to be hard. Mel Brooks’ screenplay play into this unlikely partnership between the producer Max Bialystock (Zero Mostel) and the account Leo Bloom (Gene Wilder) as the former coaches the latter in what it takes to raise funds and such while convincing the Nazi playwright Franz Liebkind (Kenneth Mars) to have his play be made with the help of the notoriously-flamboyant director Roger De Bris (Christopher Hewett). It all play into this scheme where Bialystock and Bloom take careful planning into as it would culminate in the opening night where they hope to unleash the mother of all Broadway bombs.

Brooks’ direction is quite straightforward in terms of the compositions and setting as much of the film is shot on location in New York City with some of its interiors shot at the Chelsea Studio in the same city. While there are some wide shots including a key scene at the Metropolitan Opera House, much of Brooks’ direction rely on close-ups and medium shots to play into the interaction of the protagonists and the adventure they take. At the same time, Brooks would infuse elements of life-hearted banter as it relates to the nerve-stricken Bloom and the aggressive Bialystock where they encounter so many things. Brooks would also put in some moments that are funny such as a Swedish receptionist named Ulla (Lee Meredith) whom they hire just so she can wear skimpy clothes and dance. When the character known as L.S.D. (Dick Shawn) comes into the picture to audition for Hitler, the humor would amp up into the film’s climax for the play’s opening night. Yet, its aftermath that would lead to the funnier moments as it relates to the reaction of Springtime for Hitler and what the audience would see whether Bialystock and Bloom’s scheme would work. Overall, Brooks creates a witty yet exhilarating film about two Broadway producers trying to cash in by financing a sure-fire flop.

Cinematographer Joseph Coffey does excellent work with the film’s cinematography as it is straightforward and colorful for many of the scenes in the day as well as the way the play is presented in its lighting. Editor Ralph Rosenblum does nice work with the editing as it is straightforward with some rhythmic cuts to play into the humor. Production designer Charles Rosen and set decorator James Dalton do amazing work with the look of Bialystock and Bloom’s office as well as the staging of the play. Costume designer Gene Coffin does fantastic work with the lavish costumes from the dress that De Bris wear as well as the costumes at the play. Sound editor Alan Heim does terrific work with the sound as it is straightforward to play into the atmosphere of the crowds at the play. The film’s music by John Morris is wonderful for its playful orchestral score that add a lot to the film’s humor as it include a few original songs by Mel Brooks such as the titular song to the play.

The casting by Alfa-Betty Olsen is great as it feature some notable small roles from William Hickey as a drunk at a bar, Renee Taylor as an actress playing Eva Braun, Madelyn Cates as a landlord claiming to be a concierge, Barney Martin as an actor playing Hermann Goring, Andreas Voutsinas as De Bris’ assistant Carmen, Estelle Winwood as one of the old ladies that Bialystock woos to get her money, and Lee Meredith in a funny performance as the very attractive receptionist Ulla. Christopher Hewett is superb as the flamboyant and openly-gay play director Roger De Bris who cares more about extravagance rather than the story. Dick Shawn is hilarious as L.S.D. as a singer who auditions to play Hitler as he acts like a Beatnik of sorts as he consistently brings in the laughs.

Kenneth Mars is excellent as Franz Liebkind as the author of Springtime for Hitler as this former Nazi who wrote the play to show Adolf Hitler in a different light while being furious if things don’t go his way. Finally, there’s the duo of Zero Mostel and Gene Wilder in incredible performances in their respective roles as Max Bialystock and Leo Bloom. Mostel brings an energy and determination to his role as a man that is willing to humiliate himself to pleasure old ladies as well as deal with the struggles of being a producer. Wilder is definitely the funnier of the two in the way he is wracked with nerves as he comforts himself with a tiny piece of his blanket as well as display this abundance of energy that had been repressed in him. Mostel and Wilder are a joy to watch in the way they interact with each other as well as be foils to each other.

The Producers is a phenomenal film from Mel Brooks. Featuring a great cast, a witty story, some catchy songs, and an abundance of funny moments that are fun to watch. The film is a whimsical comedy that play into two men trying to pull a scheme by choosing the worst story ever in the hopes they can make money. In the end, The Producers is a spectacular film from Mel Brooks.

Mel Brooks Films: (Twelve Chairs) – Blazing Saddles - Young Frankenstein - (Silent Movie) – High Anxiety - (History of the World Pt. 1) – Spaceballs - (Life Stinks) – Robin Hood: Men in Tights - (Dracula: Dead and Loving It)

© thevoid99 2018

Saturday, February 17, 2018

Eric Clapton: Life in 12 Bars

Directed by Lili Fini Zanuck and written by Stephen “Scooter” Weintraub and Larry Yelen, Eric Clapton: Life in 12 Bars is the story of the life and career of one of the greatest guitarists in rock n’ roll from his time in the 1960s being an integral part of the emergence of blues in Britain and playing in bands like the Yardbirds, John Mayall’s Bluesbreakers, Cream, and Blind Faith and then becoming a successful solo artist. The film also explores Clapton’s struggle with drugs and alcohol as well as the need to be loved as it relates to the lonely childhood he had and how music saved him as well as give him the family that he’s always wanted. The result is a fascinating and evocative film from Lili Fini Zanuck.

Told through various audio clips and footages from interviews from other films and TV appearances, the film follows the life and career of Eric Clapton who emerged in the early 1960s under the radar of the British Invasion as a gifted guitarist with a love for American blues music. Before he would make waves for being in the supergroup power-trio Cream and later as a solo artist, Clapton was considered the best guitarist of his generation where in 1967. A fan wrote graffiti on the wall stating “Clapton is God” which would embarrass a young man who would endure a lot of pain in his early life as well as in his adult life where he spent much of the 1970s battling drug addiction and alcoholism. Much of the film’s first half explore Clapton’s time in the 1960s as well as going back to parts of his early life where he was raised by his grandparents.

With the aid of Chris King’s editing as well as the collection of audio interviews from sound editors Stephen Griffith and Andy Shelley, director Lili Fini Zanuck would showcase the events that shaped Clapton’s life from the fact that he had been abandoned by his mother who would later return to Britain with two children and reject him as well as a visit to Germany with his grandparents where his mother treated him poorly. It would affect his relationship with women including a time in the late 60s where he found himself falling for Pattie Boyd who was then-married to one of his best friends in George Harrison. Though Boyd would eventually divorce Harrison in the early 70s and marry Clapton a few years later, the relationship was shaky due to Clapton’s alcoholism as he traded his addiction to heroin to drinking alcohol.

It’s not just Clapton’s voice that is heard throughout the film but also archival audio from his grandmother Rose as well as Boyd, Harrison, Derek and the Dominos bandmate Bobby Whitlock, and a few others that would help play into Clapton’s story as well as the fulfillment he would have in the late 80s with the arrival of his son Conor until tragedy occurred in March of 1991 when Conor fell off a fifty-three story building in New York City and died at the age of four. His son’s death would inspire him to co-write the song Tears in Heaven that would give not just accolades but also start a period of rebuilding and creating the need for a treatment center as he would later find a new wife in Melia McEnrey who would give him three daughters while Clapton would also discover of another daughter he would have in 1985 as they would give him what he needed.

At the heart of the film is the music which is compiled by music supervisor Gary Welch that doesn’t just feature many of the music Clapton made in the bands he’s been in as well as the artists he collaborated with but also some of his influences. The film also features low-key score music by Gustavo Santoalalla who provides a mixture folk-based blues that play to pictures of Clapton’s pre-fame life.

Eric Clapton: Life in 12 Bars is a remarkable film from Lili Fini Zanuck. It’s a documentary that doesn’t play by the conventions while allowing audiences to get to know the man on and off the stage as well as someone that used music as his salvation no matter how hard the obstacles of life threw a lot at him. In the end, Eric Clapton: Life in 12 Bars is an incredible film from Lili Fini Zanuck.

© thevoid99 2018

Friday, February 16, 2018

The Auteurs #63: Adam McKay

Among the current crop of filmmakers working in the genre of comedy, Adam McKay is probably the best filmmaker working today in comedy though recent films are suggesting he’s moving away from the genre to tackle more serious subjects. Nevertheless, McKay has managed to provide a body of work that doesn’t just play into the world of silliness as well as push the ideas of what is profane in comedy. Through his collaboration with comedy actor Will Ferrell, McKay would provide not just exploration of men dealing with their shortcomings but also face obstacles that pushes them to be better. Even as his films in recent years show that he’s willing to showcase a world that might be too complex for a wide audience yet give them something to relate to. As he’s about to emerge with a new film that would explore the controversial life of former American vice president Dick Cheney, McKay has already made his mark in mainstream American cinema with his eye on the absurdities of the world.

Born on April 17, 1968 in Philadelphia, Pennsylvania, Adam McKay was the son of a jazz bassist and a cocktail waitress as he spent much of his young life living in Malvern, Pennsylvania. Like many kids living in rural or suburban areas near big cities, McKay spent much of his time escaping through films where video stores became the place to go to as he learned about the films of Akira Kurosawa and Federico Fellini while was also drawn by the comedies that were emerging during the early 1980s. In the late 1980s, McKay attended Penn State and Temple University where he would drop out from the latter just a semester-and-a-half before getting his bachelor’s degree feeling that college didn’t give him much to learn. In 1990, McKay moved to Chicago as he formed an improve comedy troupe called the Upright Citizen Brigade with Matt Besser, Ian Roberts, Rick Roman, and Horatio Sanz. The troupe would later include Amy Poehler and many others as the troupe would become a hit in the Chicago comedy circuit.

Through his work with Upright Citizen Brigade and the Second City comedy team in Chicago, McKay attempted to audition for the famed late-night comedy-sketch show Saturday Night Live in 1995 for its 21st season as a featured player but executive producer Lorne Michaels noticed McKay’s work as a writer. While McKay would spend time in cameo appearances during the 1995-2001 series, it was his work as a writer and later a head writer during this time that showcased his talents for creating sketches. It was during this time he met Shira Piven (sister of actor Jeremy Piven) whom he would marry in 1996 while that time writing for the show also gave him a chance to work with two of the show’s main cast members in Will Ferrell and David Koechner as they would become collaborators. Notably in the former as the two worked with closely while McKay would bring in fellow Second City alum Tina McKay to join the show as a writer for its 23rd season. Following the end of the 26th season in mid-2001, McKay would leave the show wanting to pursue work as a filmmaker having gained experiences directing a few episodes of Saturday Night Live during his tenure.

Anchorman: The Legend of Ron Burgundy

In the early 2000s during his time working for Saturday Night Live, McKay and Ferrell collaborated on ideas for a film that would eventually evolve into a project set in the 1970s about a news anchor and their sexism towards women at the time. The project attracted the interest of filmmaker Paul Thomas Anderson who wanted to produce it as he was a fan of the work that McKay and Ferrell has done but found some of the ideas that included a parody of the 1993 film Alive which lead to Anderson leaving the project. Filmmaker David O. Russell came on board as an executive producer as would Judd Apatow who would eventually produce the film. The project eventually morphed from a series of bizarre stories into a more straightforward story about a news anchor who falls for his new co-worker only to share the lead anchor job with her.

With Ferrell playing the role of the titular character and Christina Applegate in the role of his love interest/co-worker Veronica Corningstone, the cast would include several of McKay’s associates in David Koechner, Second City alum Steve Carell, and Chris Parnell of SNL as well as Paul Rudd, Kathryn Hahn, Fred Willard, and appearances from Ferrell’s Frat-Pack cohorts in Vince Vaughn, Ben Stiller, Jack Black, and Luke Wilson. The script would originally involve a story relating to a group of hippie bank robbers as well as other stories involving rival news organizations and Ron Burgundy dealing with changing times. The bank robber storyline wouldn’t be well-received during test screenings as McKay and Ferrell chose to re-write the script into something more cohesive as it play more in to Burgundy’s relationship with Corningstone and their eventual rivalry as well as a report about the impending birth of a panda at the San Diego Zoo.

Though the film was to be a starring vehicle for Ferrell who was becoming quite popular in comedy, both he and McKay knew that it shouldn’t revolve around him as they wouldn’t just make sure that Applegate’s role as Corningstone isn’t just some typical love interest. At the same time, Ferrell and McKay wanted to focus on the supporting characters such as Burgundy’s news team that included Rudd as the charming field reporter Brian Fantana, Koechner as the brash yet closeted sportscaster Champion “Champ” Kind, and Steve Carell as the loyal but dim-witted meteorologist Brick Tamland who would provide some of the film’s funnier moments. Much of the humor was improvisational due to many of the actors work in comedy clubs where they learned their craft. The film would also include this over-the-top sequence in which rival news team where Burgundy and his team face off against other teams led by Vaughn, Stiller, Wilson, and Tim Robbins as it adds to the sense of absurdity that Ferrell and McKay wanted.

The film made its premiere in late June of 2004 before going into a wider release in early July as the film received good reviews but some critics felt the film relied too much on gags and absurdity to be considered a well-rounded comedy. Yet, the film would prove to be a box office success grossing more than $90 million worldwide with $85 million in the U.S. against its $26 million budget. Upon the film’s home video release in December of that year, the film would grow into a cult classic of sorts with many quoting lines of that film as it would later be considered one of the finest comedies ever made.

Wake Up, Ron Burgundy: The Lost Movie

During the post-production for Anchorman, McKay wanted to revive the poorly-received storyline involving the bank robbers into another film of sorts where and Ferrell along with the film’s original editor Brent White in re-assembling a version of the film that would include outtakes and alternate versions into an entirely different film. The film would feature much of the original cast of the film with rapper Chuck D, SNL actress Maya Rudolph, Kevin Corrigan, and Tara Subkoff as the bank robbers where it played into them robbing banks for some kind of cause with Corningstone getting kidnapped while on assignment for another story. McKay would re-tool much of what had been shot in the initial production of Anchorman while bringing in material that had been deleted from the original film and reuse it for this sequel of sorts.

The film was released in December of 2004 as a bonus release for anyone who purchased the Anchorman DVD as the film received mixed reviews from critics as well as fans of the original film. Nevertheless, the film was successful enough to ensure the growing cult following for Anchorman as it had become popular among fans of comedies.

Talladega Nights: The Ballad of Ricky Bobby

The massive success of Anchorman wouldn’t just give McKay some clout but also helped make Will Ferrell a star that can bring in money as the two decided to work on another project that would play into another character who is unable to cope with reality. The film would be set in the world of NASCAR stock car racing as it relates to driver who becomes a racing champion as he would win all the time but struggles with father-abandonment issues as well as the emergence of a Formula One racer who would become his newest opponent. The film would have Ferrell in the lead role as it would be the second part of a thematic trilogy of films known as the Mediocre Man Trilogy relating to men dealing with their own insecurities and inability to deal with reality. With editor Brent White returning on board as McKay would gain another recurring collaborator in Oliver Wood as his cinematographer.

The cast, aside from McKay regular David Koechner, would include John C. Reilly as Ricky Bobby’s best friend Cal Naughton Jr., Sacha Baron Cohen as Bobby’s new rival Jean Girard, Michael Clarke Duncan, Amy Adams, Leslie Bibb, Jane Lynch, and Gary Cole. The film would be shot in North Carolina as it would play into the world of NASCAR with a lot of emphasis on product placement to establish the world that Bobby is in while it also had an element of satire. Yet, McKay didn’t want to make fun of NASCAR nor its racers as there’s cameos from several NASCAR luminaries including Dale Earnhardt Jr. who appears in a scene wanting an autograph from Bobby. It’s more about a man who wants to be in that culture of racing all because he wants to go fast and manages to become a star when he replaces a driver who quits during a race where he would become a superstar with his best friend becoming his teammate and the second-best driver in NASCAR.

Still, McKay wanted to show the flaws of Bobby as he always want his father to come and see him race since he was the inspiration for Bobby but he never shows up to a single race. At the same time, Bobby is forced to deal with the realities around him once he is unable to defeat Girard in a race as he loses his wife and everything else. It would eventually lead to his father coming back to help him as well as get inspiration from his longtime assistant who would get him to realize why he was a great racer. The film made its premiere in August of 2006 where it was a major commercial hit at the box office grossing more than $148 million in the U.S. box office with a worldwide total of $163 million against its $72.5 million budget.

The film would also receive positive reviews from critics as a lot of them had re-evaluated their opinion on Anchorman stating that McKay and Ferrell are a force to be reckoned with. The film also attracted positive notices from the racing community where the film’s climatic race was re-enacted somewhat when Carl Edwards ran towards the finish line after his car had crashed during a race at the 2009 Aaron’s 499. At the 2013 United States Grand Prix, racer Sebastian Vettel and his engineer Guillaume “Rocky” Rocquelin would make references to the film as well as pay homage to Bobby and Naughton’s “shake and bake” quote sustaining the film’s popularity.

The Landlord/Good Cop Baby Cop

During a break between film projects, McKay and Ferrell teamed up with writer/producer Chris Henchy in forming a project that would be a platform to create comedy shorts and ideas for people in the world of comedy. The production company that would become Funny or Die would begin as a comedy website to create shorts and ideas McKay teamed up with Drew Antzis in directing a two-minute short film about a man being confronted by his two-year old landlord. With McKay playing the small role, his daughter Pearl would play the landlord who confronts Ferrell about wanting her rent money while being intoxicated. The short film was seen on the Internet by millions in its initial 2007 release as it was considered one of the funniest videos ever shown which lead to McKay making another short film with his daughter and Ferrell.

The second short involves Ferrell as someone who refuses to cooperate with the police with McKay as one of the cops forcing to bring in someone that could break Ferrell which is Pearl. Pearl’s tactics would prove to be Ferrell’s undoing as she would assault him and give him insults to the point that Ferrell would confess. While the short didn’t have the big impact as its predecessor, the short was still successful though it would mark Pearl McKay’s final acting performance as she decided to retire at the age of two despite a cameo a few years later in Anchorman 2.

Step Brothers

During that break period between feature film projects and developing the Funny or Die production banner, McKay and Ferrell attempted to make a third film that would be part of a thematic trilogy with Anchorman and Talladega Nights. The project that was to become Booby Trap: The Tale of Rusty Butte was to revolve around a porn star and his skills in porn. Yet, the project never got off the ground as McKay and Ferrell would get another project in collaboration with John C. Reilly about two people meet and fall in love yet they both have unemployed slacker sons in their 40s who are forced to become stepbrothers against their own will. With McKay and Ferrell writing the script with Reilly receiving a story credit as it would star Ferrell and Reilly as the stepbrothers, the film would mark a major change for McKay in his approach to comedy as it had leaned towards element of satire and silly humor.

With Richard Jenkins playing Reilly’s father and Mary Steenburgen as Ferrell’s mother, the cast would include Adam Scott as Ferrell’s younger yet arrogant brother, Andrea Savage, and two regulars of the McKay ensemble in Kathryn Hahn and Rob Riggle plus a cameo from Seth Rogen. While McKay would also retain the services of his collaborators from previous films, he would gain the services of music composer Jon Brion who had been famous for his score music to the early films of Paul Thomas Anderson. The film would be shot largely on location in Southern California as McKay knew that this film would be different from previous films that often toed the line of what was acceptable and what was profane. Knowing that this film would be given a possible R rating for its brash language, McKay decided to forge ahead and create something that is confrontational and uneasy for a wide audience.

Among these scenes involve Ferrell and Reilly’s characters doing all sorts of things as it shows them not wanting to conform to the expectations of society such as this one moment where they both show up for job interviews in tuxedos proclaiming “we’re here to fuck shit up”. McKay also decides to give the other actors their moments with Kathryn Hahn in the role of Scott’s unhappy wife getting some scene-stealing moments as a frustrated wife who engages in a one-sided sexual affair with Reilly’s character. The film’s climax at this corporate wine mixer known as the Catalina Wine Mixer would play into the film’s protagonist who had succumbed to being part of society until Jenkins realizes how miserable they are. Even as it showcases a moment where an 80s Billy Joel tribute act is being heckled by a guest leading to its lead singer spewing profanity at the heckler to showcase the element of anarchy and rage that looms throughout the film.

The film was released in late July 2008 with a lot of anticipation where even though it made more than $128 million worldwide against its $65 million budget. It was considered a disappointment by some in the industry while the critical reception was polarizing as some didn’t like the film’s mean-spirited and confrontational humor though others found it to be fresh. The film’s home video release later in December would give the film an unexpected cult following that would grow as people would reenact certain scenes or say certain lines.

Eastbound & Down-Chapter 5

In 2006, McKay and Ferrell formed a production company called Gary Sanchez Productions named after a fictional financier from Paraguay as it would be a company that would develop films and TV shows where filmmaker Jody Hill had developed a project about a former baseball pitcher who returns to his hometown after years of failure where he becomes a middle school physical education teacher. McKay and Ferrell would serve as executive producers for the show that made its premiere in 2009 on HBO with Ferrell making an appearance as the owner of a car dealership. The show’s six episodes in the first season were directed by Hill and David Gordon Green while McKay would direct the fifth episode that featured Ferrell in an episode in which Ferrell’s character wants to challenge the character of Kenny Powers, played by Danny R. McBride, to face off against one of his foes played by Craig Robinson. It’s a moment where Powers wonders if he’s still got it after having been humiliated by his ex-girlfriend’s new boyfriend in the previous episode as it would become this big moment that Powers might return to the majors. The episode was a hit as it would give the show three more seasons on HBO to great acclaim and solid ratings.

The Other Guys

Having spent time producing and develop projects for other writers/filmmakers in comedy, McKay decided to return to the world of film though wanted to do something different while retaining his love for light-hearted comedy. During a dinner with Will Ferrell and actor Mark Wahlberg, McKay saw the two actors banter and laugh with each other prompting to create a buddy comedy for the two that would eventually be a spoof of sorts of the buddy cop films with Ferrell and Wahlberg in the lead roles. With Ferrell unable to take part in the writing due to other projects, McKay was able to get help from writer/producer Chris Henchy in writing the film. The film would more than just a buddy cop spoof sorts where it relates to two mismatched partners who try to prove their worth to the New York Police Department in filling the void of two revered cops who died on the job by taking on a case involving financial embezzlement.

The film’s cast would include Eva Mendes, Damon Wayans Jr., McKay regular Rob Riggle, Ray Stevenson, Steve Coogan, and Michael Keaton along with appearances from Samuel L. Jackson, Dwayne Johnson, an un-credited Anne Heche, and Bobby Cannavale as well as a cameo from Henchy’s real-life wife in actress Brooke Shields. Rapper/actor Ice-T would do some of the film’s narration as it would be shot largely in New York City as McKay retained the services of his many collaborators from the previous film. McKay would allow room for improvisation as well as provide moments for the supporting cast to do more such as Mendes and Keaton with the latter playing the police captain who also manages a Bed, Bath, and Beyond while unknowingly quote lyrics from the R&B group TLC.

The film would also include a subplot as it relates to a dark past that Ferrell’s character is carrying as he tries to deny the fact that he was once a pimp. It’s among some of the comical moments that McKay would create which is why Ferrell’s character often gets the attention of a lot of attractive women including Brooke Shields. Even as Ferrell’s character shows a dark side that is starting to re-emerge as McKay wanted to get that out in a funny way where he tells Keaton’s character “Gator needs his gat you punk-ass bitch!” The film would premiere on August 2010 where it was a big box office hit as it grossed more than $170 million worldwide against its $100 million budget. The film’s critical reception was also positive where the film would hint a new direction for McKay that was shown in the film’s closing credits.

Anchorman 2: The Legend Continues

After many attempts to get Booby Trap out of development, McKay and Ferrell decided in making a sequel to Anchorman that began around 2008 where the two traded ideas. During the production of The Other Guys, McKay and Ferrell wanted to incorporate more satire as it relates to the rise of FOX News and its right-wing stance in creating stories that are supposedly untrue. When the rights to the original film and its characters were transferred from Dreamworks to Paramount after a buy-out from the latter in 2006, plans for the sequel were on hold despite the fact that Ferrell, Paul Rudd, and Steve Carell were willing to take pay cuts to lower the film’s budget. In 2012, Paramount ultimately decided on getting the sequel made which Ferrell announced as the character of Ron Burgundy on Conan O’Brien’s late-night talk show. With Christina Ricci and David Koechner reprising their roles from the previous film, the cast would also include Kristen Wiig, Meagan Good, Dylan Baker, Greg Kinnear and James Marsden in major supporting parts.

With appearances from Vince Vaughn, Fred Willard, and Chris Parnell reprising their roles from the previous film as cameos, several personalities would appear in the film in cameos such as Will Smith, Harrison Ford, John C. Reilly, Jim Carrey, Marion Cotillard, Kirsten Dunst, Kanye West, Tina Fey, Amy Poehler, Liam Neeson, and Sacha Baron Cohen where many of them appear for the film’s climatic news team battle. Shot on a $50 million budget with much of it shot in Atlanta with some parts of the film shot on location in San Diego and Jersey City, New Jersey as the production began in March 2013 where McKay brought in Melissa Bretherton to aid regular editor Brent White in the editing for its impending release later that December. The film would be set in the early 80s where Burgundy doesn’t just deal with losing a top anchor spot to love-interest Veronica Corningstone but also take part in the emergence of 24-hour news where he calls upon his old team to join him.

While the film would have gags and such that was prevalent in the original film, McKay would tone it down in favor of satire as it relates to Burgundy’s plan to become a big deal in the ratings in creating news that people want to hear rather than what they need. It showcases the idea of what news would become in the 1990s and later into the 21st Century with Burgundy becoming extremely famous and eventually alienating his loyal news team. The film also included a subplot in which the character of Brick Tamland gets a love interest of his own in an equally-idiotic typist named Chani who is played by Kristen Wiig which gives the film some offbeat humor as well as a couple for audiences to root for. Yet, the film does remain a character study of sorts in which Burgundy is also a father to a boy that he shares custody with Corningstone who becomes appalled into what Burgundy has done to the news forcing him to make a decision as a man in what he really needs to do.

The film was released on December 2013 to much anticipation as it was a major box office hit grossing more than $170 million worldwide against its $50 million budget. The film’s critical reception was positive though many agreed that it isn’t as good as its predecessor but still entertaining enough. The film’s success continued to maintain Ferrell’s status as box office draw in comedies while McKay would also gain some clout though he decided to take a step back to help develop other projects for other filmmakers.

The Big Short

Following a break in between films where McKay produced his wife Shira Piven’s directorial debut in Welcome to Me starring Kristen Wiig, Jennifer Jason Leigh, James Marsden, and Wes Bentley which received good reviews despite its limited release. McKay was approached by Paramount in taking part in an adaptation of Michael Lewis’ 2010 non-fiction novel as it would be produced by Brad Pitt’s Plan B Entertainment platform with Pitt taking on a small acting role. Working with screenwriter Charles Randolph who had been involved in the project since 2013 when Paramount bought the rights to the book. McKay is aware of the complexities of this story that relates to the 2007-2008 financial crisis though he had explored the world of finance in 2010’s The Other Guys. It would take time for McKay and Randolph to find an approach to the film’s narrative as it would revolve around three different storylines playing into a group of men who would make discoveries that would cause the financial crisis.

With the exception of Steve Carell and production designer Clayton Hartley, McKay would work with an entirely new cast and crew for the film as it would be a much more serious project than his previous films yet it would feature elements of satire. The ensemble would also include Christian Bale, Ryan Gosling, Marisa Tomei, Melissa Leo, John Magaro, Finn Wittrock, Rafe Spall, Jeremy Strong, Hamish Linklater, Karen Gillan, and Tracy Letts. British cinematographer Barry Ackroyd would take part in the production which began in early 2015 in New Orleans with additional shooting in New York City and Las Vegas as it play into the vast environment of finances. Especially as the three different storylines would all be set in different places in time as well as different locations where these characters would make a discovery that would rock the financial world. Since the film would have taken on a complex subject that would probably overwhelm a wide audience, McKay found a way to explain these ideas.

In cameo roles, actress Margot Robbie, singer/actress Selena Gomez, famed chef Anthony Bourdain, and renowned economist Richard Thaler would appear as themselves in moments where the fourth wall is broken. The comical expositions from these individuals would define what these financial terms and ideas do and the effect it would have on a global economy. The approach would prove to be a difference-maker for the story as McKay would also show the immoral implications it would have where many of the film’s central characters deal with the consequences and face a world that is even more cynical in the wake of this crisis.

The film made its premiere at the AFI Film Festival in November of 2015 as it would be given limited release in early December before going wide a week later. The film would prove to be a major success both critically and financially as the film made more than $133 million worldwide against its modest $28 million budget. The film would give McKay not just his best reviews but also accolades as the film would receive five Oscar nominations including Best Supporting Actor to Christian Bale, Best Editing to Hank Corwin, Best Picture, and a Best Director nod for McKay. Yet, the film would win the Oscar for Best Adapted Screenplay to McKay and Randolph as it would mark a major career highlight for the former.

Succession (TV series)

Among the slew of upcoming projects that McKay is working on including a bio-pic about the entrepreneur Elizabeth Holmes entitled Bad Blood that is to star Jennifer Lawrence. One of two projects that McKay is about to unveil is a limited-TV series created by writer/producer Jesse Armstrong with McKay directing the episodes as it’s about an American global-media family. The series would star Brian Cox, Jeremy Strong, Kiernan Culkin, Sarah Snook, Nicholas Braun, Hiam Abbass, Matthew McFayden, and Alan Ruck. While there hasn’t been a release date on the series which will premiere on HBO, the project is still on board for a release as it is a mixture of comedy and drama.


The second upcoming project from McKay that is slated for a December 2018 release is a bio-pic on the former American vice president Dick Cheney that will be portrayed by Christian Bale. The film would once again be co-produced by Brad Pitt’s Plan B Entertainment platform with Annapurna Pictures distributing as it is likely to be an unconventional film. With Amy Adams playing Cheney’s wife in her second collaboration with McKay, the film would also star Bill Pullman, Tyler Perry, Alison Pill, Lily Rabe, and longtime McKay regular Steve Carell as Donald Rumsfield with Sam Rockwell as President George W. Bush. There is no clue on what the film will be like although McKay’s track record with past films will show that it will at least be interesting.

Whatever the outcome of his upcoming projects will be, there is no question that Adam McKay is one of Hollywood’s reliable filmmakers. While his films may cater to a wide audience, there is an element of substance in his approach in creating memorable and compelling characters as well as go into places that many comedies wouldn’t go into. Though he’s leaning towards more dramatic-based films, there is still that element of smart humor and satire that McKay is willing to put in to give audiences something to be engaged by. It is why Adam McKay is one of the small number of filmmakers in Hollywood who can create films to a wide audience as well as offer something unique to cinephiles that often doesn’t occur with mainstream films.

© thevoid99 2018

Thursday, February 15, 2018

Thursday Movie Picks: Break Into Song Scenes (Non-Musical)

For the seventh week of 2018 as part of Wandering Through the Shelves' Thursday Movie Picks series hosted by Wanderer. We venture films that feature moments where characters break into songs in a scene that isn’t a musical. Moments that are often funny or just out of place but still fun. Here are my three picks:

1. Step Brothers

If anyone doesn’t think this is one of the best comedies of the 21st Century so far, then go fucking die. Adam McKay’s anarchist comedy includes a hilarious sing that introduces one of the biggest assholes in film who decides to show off his singing skills by singing an acapella version of Guns N’ Roses’ Sweet Child O’ Mine. It shows the air of smugness that is carried with an extra ounce by Adam Scott’s son who gets a solo as he sings it as if he’s Justin Timberlake or something. It’s that kind of smugness where I feel like it if a kid is starting to act like a little shit, then you have my permission to kick the shit out of the little motherfucker. It’s one of the funniest scenes ever that’s inspired a lot of Internet parodies.

2. Holy Motors

From one of the finest and more overlooked films in recent years comes Leos Carax’s tribute to cinema that revolves a man playing different personalities to fit in with a certain environment. There’s a couple of musical scenes in the film yet it is the scene with international pop icon Kylie Minogue singing the original song Who Were We that is a big standout. It’s an intensely emotional moment in the film that showcases Minogue’s talent as a vocalist as well as what her character is doing for this particular scene with Denis Lavant’s character watching.

3. Rush Hour 3

The third and possibly final film of the series from Brett Ratner is definitely the weakest of the three films so far. It tries to be a lot of things despite its cast but it ends up trying too hard. Yet, there is a great musical sequence in which Chris Tucker tries to save a performer from a Chinese triad gang and then sings The Closer I Get to You as he’s later joined by Jackie Chan who can fucking sing. It’s a brief moment in the film but it’s such a joy to watch just because of Chan and Tucker singing together.

© thevoid99 2018

Wednesday, February 14, 2018

Loving (2016 film)

Based on the 2011 documentary film The Loving Story by Nancy Buirski, Loving is the true story of a white man who falls for and marries a black woman in the 1950s that would cause a lot of controversy and eventually a case in the Supreme Court. Written for the screen and directed by Jeff Nichols, the film is an exploration of two people who fall in love but would get in trouble over the fact that they’re people of who different color when interracial marriage was considered forbidden in 1950s America as the couple of Richard and Mildred Loving are respectively played by Joel Edgerton and Ruth Negga. Also starring Michael Shannon, Nick Kroll, and Marton Csokas. Loving is a somber yet evocative film from Jeff Nichols.

The film follows the true story of Richard and Mildred Loving who in 1958 drove to Washington D.C. from their home in a small town in Virginia to get married and thus would cause trouble in their home state leading to a nine-year battle for the right to stay married and stay in their home state. The film is a simple story of a couple where Richard is white and Mildred is black yet the two are in love and decide to get married when the latter becomes pregnant with their first child. Jeff Nichols’ screenplay doesn’t begin with how Richard and Mildred met but rather the moment they decide to marry as the former spends much of his time socializing with other African-Americans who see him as just another person to socialize with as his mother live in the same neighborhood that they live in. Though they hope by marrying in Washington D.C., nothing would go wrong as Richard and Mildred are just quiet and reserved people that don’t want to cause any trouble. Yet, the government in Virginia and many others see their action as something immoral as they would be forced to move to Washington D.C. with their growing family until they get the help from ACLU lawyer Bernard S. Cohen (Nick Kroll).

Nichols’ direction is understated in its approach to the story since it doesn’t try to go for any kind of lavish or grand visual statement. Instead, Nichols goes for something more intimate and dream-like in his direction as much of the film is shot on location on various locations in the state of Virginia where it does play into this period that is vibrant but also stuck between two different ideas with the emergence of the Civil Rights Movement of the 1960s. There are some wide shots to play into the locations as well as the world that the Loving are in that would include shots of fields and vast farmland. Yet, Nichols would emphasize more on close-ups and medium shots to get a look into the family life of Richard and Mildred whether it’s in the streets of Washington D.C. or at the farms of Virginia. Notably as the dramatic elements are told in a very low-key presentation in order to avoid the many conventions of melodrama.

The historical context of the film is prevalent but only in the background where the Loving family would hear about the growing Civil Rights Movement but they feel at first that it doesn’t concern them nor do they want to be involved because of their reserved personalities. Even as the lead-up towards the third act where Richard and Mildred cope with the unexpected media attention as the former is extremely uncomfortable while the latter is willing to speak but is also reluctant to divulge too much. Nichols would show how overwhelming the attention is as well as some of the prejudice that the couple would face as Richard would get a bigger understanding of what African-Americans deal. All of which forces him and Mildred to challenge the idea of marriage in America but do it very quietly as an act of defiance from a loud resistance. Overall, Nichols crafts a tender yet intoxicating film about a white man and a black woman wanting to stay married amidst the racial strife of the late 1950s/early 1960s in America.

Cinematographer Adam Stone does excellent work with the film’s cinematography with its naturalistic and dream-like feel for some of the farmland locations in the daytime as well as some low-key lighting for some of the scenes at night. Editor Julie Monroe does terrific work with the editing as it is largely straightforward in terms of the drama with bits of jump-cuts in some parts of the film. Production designer Chad Keith, with set decorator Adam Willis and art director Jonathan Guggenheim, does brilliant work with the look of the homes that the characters live in as well as the look of the courtrooms and places of what they looked like in those times.

Costume designer Erin Benach does nice work with the costumes as it is largely straightforward for what many of the clothes looked like in the early 1960s. Sound editor Will Files does superb work with the sound as it play into the atmosphere of the locations as well as some of the scenes in a few drag races that Richard goes to. The film’s music by David Wingo is incredible for its low-key score that has elements of ambient music and soft string pieces that doesn’t play into any kind of bombast while music supervisor Lauren Mikus provides a fun soundtrack that features a mix of rock n’ roll, blues, and R&B of the times from acts like Ritchie Valens, William Bell, Jerry Butler, Earl King, the Empires, Sonny Terry and Brownie McGhee, Magic Sam, and Clarence Reid.

The casting by Francine Maisler is marvelous as it feature some notable small roles from Sharon Blackwood as Richard’s mother who is also a midwife, Terri Abney as Mildred’s sister Garnet, Alano Miller as family friend Raymond Green, David Jensen as a judge that orders Richard and Mildred to leave Virginia, Bill Camp as Richard and Mildred’s attorney Frank Beazley in their early court cases, Christopher Mann and Winter Lee-Holland as Mildred’s parents, Jon Bass as Civil Rights attorney Phil Hirschkop, and Michael Shannon in a small yet terrific performance as LIFE magazine photojournalist Grey Villet who would be invited Richard and Mildred’s home as he gets to see what their life is like without exploiting them too much. Marton Csokas is superb as Sheriff Brooks as a local sheriff who doesn’t like what Richard and Mildred are doing as he’s intent on getting rid of them yet doesn’t do it in an aggressive manner but still be calm yet threatening. Nick Kroll is fantastic as Bernard Cohen as ACLU attorney who takes on Richard and Mildred’s case hoping it would mark a change as well as see that they’re a couple that isn’t doing anything wrong.

Finally, there’s the duo of Joel Edgerton and Ruth Negga in sensational performances in their respective roles as Richard and Mildred Loving. Edgerton provides a gruff yet low-key performance as a man that just minding his own business as well as be a good person to his wife and kids. Negga is just as reserved as Edgerton while being very soft-spoken in giving out interviews as well as be graceful in the way she carries herself. Edgerton and Negga together are a joy to watch in just how they display that sense of warmth and love for each that just feels right.

Loving is a tremendous film from Jeff Nichols that features incredible performances from Joel Edgerton and Ruth Negga. Along with its supporting cast, gorgeous visuals, and a compelling story that play into the real-life events of this couple. It’s a film that showcases the idea of love and what it can do in having two people fight in the most subtle way to showcase their commitment to one another. In the end, Loving is a spectacular film from Jeff Nichols.

Jeff Nichols Films: Shotgun Stories - Take Shelter - Mud - Midnight Special - The Auteurs #58: Jeff Nichols

© thevoid99 2018

Monday, February 12, 2018

The Thief of Bagdad (1940 film)

Produced by Alexander Korda, directed by Michael Powell, Ludwig Berger, and Tim Whelan, and screenplay Miles Malleson from a story by Miklos Rozsa and an idea by Lajos Biro, The Thief of Bagdad is the story of a prince who teams up with a scrappy thief in reclaiming his throne after being casted out. The film is a fantasy film that is told in a reflective manner as a prince tries to deal with his situation. Starring Conrad Veidt, Sabu, June Duprez, John Justin, Rex Ingram, Miles Malleson, and Morton Selten. The Thief of Bagdad is a glorious and enchanting film from Alexander Korda.

The film is partially a reflective story of a blind prince who had been dethroned by a royal official in the Grand Vizier named Jaffar (Conrad Veidt) as he is aided by a young thief who wants to help him realizing the severity of the situation. It’s a fantasy-adventure film that follows two men who find themselves in a situation where the prince goes blind and the thief briefly turns into a dog all due to this man trying to win over a princess who is interested in this prince. Miles Malleson’s screenplay does start off as a back-and-forth narrative in which Prince Ahmad (John Justin) is seen blind begging for anything with a dog at his side where he would tell his story to a group of women including a servant of Jaffar in Hamila (Mary Morris) who realizes what is going on. The first act play into Prince Ahmad becoming concerned with his rule as he is aware of his people not being enamored with them.

Taking Jaffar’s advice by pretending to be a normal citizen, it proves to be a set-u when Prince Ahmad is sent to a dungeon where he meets the thief Abu (Sabu). Abu is a common thief that knows how to get by as he helps Prince Ahmad knowing that he’s really an honorable man. The two would embark on a journey to reclaim Prince Ahmad’s throne but also pursue the elusive princess (June Duprez) whose father is obsessed with mechanical toys which Jaffar would use to win his approval. The film’s third act is about Abu and a journey he would take when he and Prince Ahmad become lost during their pursuit of the princess and Jaffar. Even as he would find a mysterious object that would give him the chance to prove his worth as a person.

The film’s direction under the supervision of its producer Alexander Korda who would do un-credited work along with his brother Zoltan and art director William Cameron Menzies who would both be un-credited for their contributions to the film’s production. Much of the work would be under the direction of Michael Powell, Ludwig Berger, and Tim Whelan with Powell providing much of the material that was filmed mainly on studio sets with some desert scenes shot on Monument Valley, the Grand Canyon, the Painted Desert, and Bryce Canyon in the U.S. While there are some wide shots for the large fantasy scenes and to get a scope of the palaces, it’s the usage of close-ups and medium shots in the way the characters interact or in their encounter with certain locations. The film do play into this idea of fantasy while Bagdad is presented as something otherworldly despite its sense of repression towards its people which Prince Ahmad learns and wants to rectify. The scenes in the third act where Abu meets a genie (Rex Ingram) would be a showcase for some primitive yet effective visual effects as it add to the sense of adventure that Abu would encounter. Even as the film’s climax is filled with a lot of visual splendor in its compositions as well as maintaining a sense of adventure. Overall, Korda creates a majestic and exhilarating film about a thief helping a blind prince reclaim his throne.

Cinematographer George Perinal, with Technicolor direction by Natalie Kalmus, does incredible work in the cinematography with its gorgeous Technicolor approach to the visuals including some scenes set at night as well as the attention to detail in the look of the colors. Editor Charles Crichton does excellent work with the editing as it is largely straightforward with some rhythmic cuts for some of the action. Production designer Vincent Korda, with scenic background by Percy Day, does brilliant work with the set design in creating lavish sets that would play into the colors of the backgrounds.

Costume designers Oliver Messel, John Armstrong, and Marcel Vertes do amazing work with the costumes as it play into the element of fantasy and in the time period as it help play into the vibrancy of the film’s look. The special effects work of Lawrence Butler does fantastic work with the visual effects as primitive as it was in the late 1930s/early 1940s as it have some wonderment in the effects as it relates to the genie flying as well as the mechanical toys in the film. The sound work of A.W. Watkins does superb work with the sound in the scenes with crowds as well as the sound effects of the toys that Jaffar brings to the sultan. The film’s music by Miklos Rozsa is phenomenal for its bombastic and heavy orchestral score filled with loud drums and percussions and sweeping orchestral arrangements as it is one of the film’s major highlights.

The film’s marvelous cast feature some notable small roles from Adelaide Hall as a singer for the princess, Allan Jeayes as a storyteller talking about the need for a rebellion, Mary Morris in a dual role as Jaffar’s agent Halima and a mechanical toy known as the Silver Maid, and Morton Selten as an old king that Abu would meet late in the film. Miles Malleson is terrific as the Sultan of Basra as a man that is obsessed with mechanical toys as he is swayed by Jaffar in getting a toy in exchange for Jaffar to have the princess. Rex Ingram is superb as the genie as a man who had been inside a lamp for 2000 years as he has issues with humans but is willing to grant Abu three wishes for freeing him. John Justin is fantastic as Prince Ahmad as a young man trying to understand the world he’s ruling and its people only to be usurped by Jaffar and become humble over his situation in his pursuit to reclaim his throne and win the heart of the princess.

June Duprez is excellent as the princess as a woman of such beauty that it is forbidden for regular people to see her as she is pursued by Prince Ahmad whom she sees as a man that is right for her while not wanting to be with Jaffar. Sabu is brilliant as Abu as this young thief that meets Prince Ahmad and wants to help while taking on a journey of his own where his enthusiasm and courage is key to Sabu’s performance. Finally, there’s Conrad Veidt in an amazing performance as the Grand Vizier Jaffar as a mysterious sorcerer who is intent on ruling Bagdad and other places while proving to be powerful and cunning as it’s just Veidt bringing a lot of charisma to a villainous character.

The Thief of Bagdad is a spectacular film from producer Alexander Korda. Featuring a great cast, gorgeous visuals, a sumptuous music score, and an engaging story of adventure and fantasy. It is truly one of the finest films of the fantasy genre as well as a visual marvel that is stunning in its imagery and sense of imagination. In the end, The Thief of Bagdad is a phenomenal film from Alexander Korda.

© thevoid99 2018

Saturday, February 10, 2018

The French Lieutenant's Woman

Based on the novel by John Fowles, The French Lieutenant’s Woman is the story of a Victorian-era gentleman who falls for a social outcast during the 19th Century while two actors playing the characters in a production of the film fall in love with each other. Directed by Karel Reisz and screenplay by Harold Pinter, the film is an unusual drama that mixes the period film with postmodern aesthetics to play into two cross-cutting narratives that blur reality and fantasy. Starring Meryl Streep, Jeremy Irons, Hilton McRae, Emily Morgan, Peter Vaughan, Leo McKern, Richard Griffiths, and Penelope Wilton. The French Lieutenant’s Woman is a ravishing and evocative film from Karel Weisz.

The film follows the love affair between a Victoria-era gentleman in Britain and a social outcast that is considered forbidden as the former is engaged to the daughter of a revered gentleman. At the same time, the story parallels with two actors taking part in a film production of the story that is being told as they’re having their own affair. Harold Pinter’s screenplay provides a cross-cutting narrative of sorts as the bulk of the film is about the story between the paleontologist Charles Smithson (Jeremy Irons) and this mysterious woman in Sarah Woodruff (Meryl Streep) whom he meets as she is standing on a pier during a windy and rainy day. Their relationship is one of intrigue from Smithson’s point of view as he is wondering about her story and why she is considered an outcast. Even as Smithson is reminding himself that he has an obligation to marry Ernestina (Lynsey Baxter) but remains entranced by Woodruff’s presence who often looks out at the sea as it relates to her sense of loss and longing as she had an affair with a married French officer.

Pinter’s script would also have this paralleling storyline in which the actors playing the characters of Smithson in Mike (Jeremy Irons) and Woodruff in the American actress Anna (Meryl Streep) who both begin an affair during the production as they try to figure out the story and characters they’re playing. Yet, their relationship has some complications as both of them are married to other people with Mike wanting to pursue Anna similar to what Smithson is doing in his pursuit towards Woodruff. Still, there is something about Woodruff that is compelling as she is a person that is anguished in her longing as it would often lead to episodes of madness which would drive Smithson into making impulsive decisions into his obsession for Woodruff.

Karel Reisz’s direction is quite exquisite for the way he would mirror certain locations of what it looked like in the 19th Century and what it would look like in the late 20th Century. Shot on various locations in Britain such as Lake Windermere, Exeter, Lyme Regis, the docks of London, and sets at the Twickenham Studios in Britain. The film does play into a world where many of the ideas of obsession and desire haven’t changed where Reisz would be in a certain location where the main story is taking place and then transport it to where the story is being told by the actors as they’re making the film. The approach to the compositions as well as trying to match it whether it’s in a wide or medium shot allows this line of fantasy and reality to emerge though the actors playing these characters are unaware of their relationship starting to mirror the way Smithson and Woodruff happens. Reisz’s close-ups would play into the growing relationship between the two couples in the film while he would create these exquisite wide shots to play into Woodruff’s sense of longing including this opening shot of Anna as Woodruff walking into the pier where Smithson would first meet her.

Reisz’s direction would also infuse elements of melodrama in some aspects of the main story as it relates to Smithson’s own search for Woodruff when she’s been sent away as he turns to others for help as they’re reluctant to knowing it would hurt his social status. Reisz would use some long shots to play into some of the monologues that happens including one in the forest where Woodruff reveals her affair with the French officer and how it ruined her to the point that she would turn into an outcast. The film’s third act would play into the pursuits of Smithson/Mike towards Woodruff/Anna with the latter in Anna attending a gathering held by Mike where it adds some confusion about what she wants to do in her relationship with Mike. Even as they’re about to film the ending as it is revealed that the book had multiple endings. One of which Reisz would make the choice as it add into the journey of these two couples with two different outcomes that blur reality and fiction. Overall, Reisz creates a riveting and enchanting film about a man pursuing an outcast in Victorian-era Britain with its players falling for each other.

Cinematographer Freddie Francis does incredible work with the film’s cinematography with its low-key yet naturalistic look for many of the daytime exterior scenes in the forests as well as the usage of available lighting for scenes at night while the 20th Century scenes is presented with bits of style in its usage of artificial lighting. Editor John Bloom does excellent work with the editing with its stylish transitions in some match cutting of locations in its different time periods as well as some rhythmic cuts to play into the drama. Production designer Assheton Gordon, with set decorator Ann Mollo plus art directors Allan Cameron, Norman Dorme, and Terry Pritchard, does brilliant work with the look of the sets of the 19th Century scenes from the rooms and offices where Smithson goes to as well as the hotel room that Mike and Anna stay at.

Costume designer Tom Rand does fantastic work with the period costumes of the 19th Century scenes as it play into the look and mood of the characters while going for something more casual for the scenes with Mike and Anna. Sound editor Don Sharpe does superb work with the sound in creating some natural textures in some of the locations as well as capturing some of the chaos in the some of the locations. The film’s music by Carl Davis is wonderful for its somber orchestral score that play into the drama as well as in some of the romantic scenes while the soundtrack include a couple of pieces by Johann Sebastian Bach and Wolfgang Amadeus Mozart.

The casting by Patsy Pollock is marvelous as it feature some notable small roles from Penelope Wilton as Mike’s wife Sonia, Peter Vaughan as Ernestina’s father, Richard Griffiths as a young nobleman Smithson gets drunk with, Emily Morgan as a young maid named Mary, Hilton McRae as Smithson’s assistant Sam, Lynsey Baxter as Smithson’s fiancĂ©e Ernestina, Charlotte Mitchell as an old woman Woodruff works for, and Leo McKern in a superb performance as Smithson’s mentor Dr. Grogan who helps Smithson trying to decide what is right. Finally, there’s the duo of Jeremy Irons and Meryl Streep in phenomenal performances in their respective dual roles of Charles Smithson/Mike and Sarah Woodruff/Anna. Irons provides a determination as well as a sensitivity in his approach to Smithson who would eventually become obsessed while is more calm but troubled as Mike. Streep has this air of radiance in her approach as Woodruff as a woman filled with a lot of anguish and torment to express her madness while is a bit more aloof yet witty as Anna.

The French Lieutenant’s Woman is a sensational film from Karel Reisz that features great performances from Meryl Streep and Jeremy Irons. Along with Harold Pinter’s inventive script, gorgeous visuals, and a sumptuous score, the film is truly an offbeat yet rapturous film that explores relationships and the pursuit of that in different time periods with two couples taking on paralleling journeys. In the end, The French Lieutenant’s Woman is an incredible film from Karel Reisz.

Karel Reisz Films: (Momma Don’t Allow) – (We Are the Lambeth Boys) – (Saturday Night and Sunday Morning) – (Night Must Fall) – (Morgan – A Suitable Case for Treatment) – (Isadora) – (The Gambler (1974 film)) – (Who’ll Stop the Rain) – (Sweet Dreams (1985 film)) – (Everybody Wins (1990 film))

© thevoid99 2018