by Ethan Johnson
August 15, 2006
"Winter" continues here in Dallas, which means lots and lots of Netflix rentals and Tivo backlog. Hopefully some first run stuff will make an appearance in the next installment.
Unforgiven: I never was much for Westerns, but I liked Clint Eastwood's "spaghetti westerns" days. Unfortunately, modern-day, big-budget movies make the material come off like hearing your favorite song sung at a benefit gala. So kiss [whatever band or artist] goodbye, today you're getting Dionne Warwick, Elton John, Robin Williams, Kenny G, Fabio, and Theodore from Alvin and the Chipmunks. Yes, Gene Hackman was good, but believe it or not the real let-down for me was Morgan Freeman. The role just screamed "token" to me, which stinks because I think he's a fine actor. But just like Will Smith in Wild Wild West, the casting of Freeman just sticks out as stunt casting. Worth the rental if Westerns are your bag.
The Constant Gardener: Hmmm. This is one of those movies where I wish Netflix would allow "half stars" in their rating system. Which means, 2 and a half stars. The movie is interesting once it really starts to get humming, which takes a small eternity. Plus I blame the marketing department in that they make the movie seem like more of a shoot-em-up thriller than it actually was. But the punchline is worth the rental, that is, if you can hang in there for it.
Serenity: Nutshell: I felt like I walked into the middle of someone else's conversation. I never saw Firefly and admit to wondering why there was so much anticipation going into this movie for an adaptation of a TV series that didn't last one season. It was fast-paced, and had moments, but really, after 60's Star Trek, if you've seen one "explosion rocks the bridge" scene, you've seen 'em all.
Memoirs of a Geisha: And the Oscar™ goes to: The cinematographers. Not sure if that happened, but if it did, I'll second. Story-wise the movie was interesting, but suffered from slow pacing to some extent only to be sped up towards the end. The cut-shots of water really got old for me, but visually, the movie was stunning so it was easy to tune out. Once again, there is a passing mention of the idea of parceling out one's culture to placate a larger or different market, in this case American GIs after WWII. They did a nice job of sticking with the featured story and setting it against an historical backdrop. Worth the rent.
Jump Tomorrow: Once upon a time, IFC showed a short film called Jorge that I wish I had taped, as it apparently has faded into obscurity. That film was essentially the screen test (per the filmmaker) for this one. As a result, many of the basic plot points relating to George/Jorge are faithfully replicated here, but in long form. In short, a hugely enjoyable film. Tunde Adebimpe was born to play this role. I blew it and didn't think to check the "special features" section of the disc (damn you, generic Netflix packaging!), or else I would have watched Jorge once more. Worth the rental, and be sure to check the special features section.
Mr. Smith Goes to Washington (1939): Wow. I'm a little late to the party here, but let me just say, "a more idealistic movie you will never find." And in a good way. TMC provided what was labeled a "restored" copy of the film, which got annoying where what seemed to be errant splices rudely cut many scenes. But there are stretches of bee-yoo-tee-ful writing. Rent it for no other reason to hear the speech about "living life like you just emerged from a tunnel." (Kissing fingers) Really, this is the upside of idealism. And Jimmy Stewart was just the guy to provide it.
Kinsey: I checked this out because "Jim" (John Krasinski) from the US version of The Office makes a brief appearance within the first half hour. Come for the quick cameo, stay for the rest of it. Liam Neeson was brilliant. I totally bought into his deportment of Kinsey, despite not knowing much about the genuine article. This is one of those movies where one gets the impression that the filmmaker was cheekily making reference to some modern attitude or event, but framing it in a historical light. John Ashcroft, maybe? Anyway, give it a spin.
The Pink Panther (2006): This was my penance for making Mar watch Shaolin Soccer. <EM>
I loved Unforgiven, though it's not a typical western because it's hard to really like any of the characters. In another weblog earlier this year, someone solicited their favorite revenge scenes in a movie. Of course, lots of people thought of The Princess Bride, but Unforgiven was one of my choices. It stripped away nearly all of the romantic mythos surrounding the "hired gun," while preserving most of the plot elements that made westerns so popular.
I loved when Little Bill Daggett told Munny, "I don't deserve this... to die like this. I was building a house." And Munny says, "Deserve's got nothin' to do with it."
No recitation of the many sins of Bill Daggett, justifying his immediate and violent death. Just a brief dismissal of the protest.
Or this one:
Bill Munny: Hell of a thing, killin' a man. Take away all he's got and all he's ever gonna have.
The Schofield Kid: Yeah, well, I guess he had it comin'.
Bill Munny: We all got it comin', kid.
And the movie's title and the closing title card recounting Munny's mother-in-law's visit to her daughter's grave suggest that Munny was never "forgiven." That his redemption in the larger society, nor in his own life, was not earned in the service of a maimed whore.
There's just a hint of a suggestion in the title card that he "prospered in dry goods," that gives the viewer some hope that, for himself at least, he achieved some measure of redemption or forgiveness.
I loved Unforgiven.