<a href="https://historyfanforever.wordpress.com/" title="historyfanforever" rel="home">historyfanforever

https://www.facebook.com/Julia-Donner-697165363688218/timeline

OLD NEW AGAIN

13 Friday Mar 2020

Posted by mlrover in Uncategorized

≈ 1 Comment

Tags

action movie, AUSTEN, Emma, England, films, GeorgetteHeyer, history, humor, Mark Wahlberg, movies, regency, reviews, romance, Spenser Confidential

EMMA

Having seen numerous versions of Emma, the real draw to the newest was Bill Nighy. I must say right away that he is splendid. With a twitch of his hand or a barely-there shrug, he conveys everything needed to be expressed. He added the right touch of humor, and IMHO, with a subtly that would please Austen. Many of her characters were meant to be whimsically humorous.

Austen’s Miss Woodhouse is not my favorite, since she is pushy, self-serving and proud. In this rendition, my mild aversion to her has been mollified. Anya Taylor-Joy portrays our heroine in a more accessible manner. Paltrow’s take was somewhat whiny, often petulant, rather childish. Taylor-Joy has created an Emma with more depth, a snobbish, self-satisfied busybody, who learns the meaning of true civility. By the end of the film, she is worthy of the excellent Mr. Knightly, who in this film (Johnny Flynn) comes across as too emotional. He’s a joy to watch, certainly, but the character of Mr. Knightly is a gentleman of constraint and superior style. And I didn’t quite understand the purpose of showing his bare backside or having him lying on the floor in despair. Mr. Knightly prostrate with frustration? Surely not.

And the marvelous Brit actors do not disappoint. Oh, the ensemble acting! So many favorites! And every one of them understands Austen’s restrained humor and sly enjoyment of pointing out humanity’s character flaws. Josh O’Connor as Mr. Elton, who gave us an interesting and sympathetic portrayal of Prince Charles in The Crown, embodies hypocrisy in an almost over-the-top performance. Tanya Reynolds as Mrs. Elton is spot-on as the society witch utterly oblivious to her own crass behavior. Miss Bates, (Miranda Hart of Call the Midwife) is the tender-hearted gentle lady of limited means, but generous of soul, who provides the perfect contrast to Emma’s smallness of character and the catalyst for a much-needed learning experience.

The costumes are exquisite. Emma’s wardrobe is extensive. The hats glorious. The houses and locales are lushly represented. The production is of the highest quality. The Brits almost always do it up right, but this is a step above and beyond. There are many reasons to see this movie, but first and foremost, if you are an admirer of Austen, this one should not be missed.

Older DVD Gem:

THE LAST WORD (2009)

This totally character-driven story is about previously powerful, retired ad exec Harriet Lauler (Shirley MacLaine), who decides that she wants her obituary written before her death. Unfortunately for her, the person she chooses to write it, Ann Sherman (Amanda Seyfried) has a will as strong as Lauler’s and won’t back down and write flowery drivel. Ann forces Lauler to confront the fact that almost everybody hated, feared, and avoided her. She didn’t merely crack the glass ceiling; she smashed it, which means she stepped on many to get there. In order to get a proper obit that conveys a brilliant legacy, Lauler must start a new direction at the end of her life.

The beginning of the film dwells too long on Lauler’s control issues and depression. Hang in there. Once it gets moving, it’s fascinating and goes in unexpected directions. There is so much meat in this story, so much to encourage personal reflection and make us wonder about our own legacies—not for the sake of vanity—but for the sake of self-improvement and finding the best ways to enrich our lives and live each day to its fullest.

On Netflix:

If you don’t mind graphic everything, check out Spenser Confidential. Loads of action, smarty-pants humor, and a guy who just wants to do the right thing. But beware of the girlfriend.

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML

https://www.facebook.com/Julia-Donner-697165363688218/timeline

Two Movies in Two Days

24 Tuesday Sep 2019

Posted by mlrover in Uncategorized

≈ 3 Comments

Tags

AD ASTRA, blogging, Brad Pitt, British, costume, Downton Abbey, Family, film review, films, Highclere Castle, history, Julia Fellowes, Lord Carnarvon, movie review, movies, NASA, outer space, period film, space travel

AD ASTRA

An outer space adventure that is mostly backdrop for wrenching internal struggle. Brad Pitt’s character, Major Roy McBride, has managed childhood issues with controlled avoidance. He’s buried pain so deeply that he’s cut himself off, shut down emotional responses. His success with this is demonstrated in how calm he remains in a terrifying life threatening accident that would make any normal person shriek nonstop or blackout. That neat talent is challenged when everything he’s done to protect himself begins to unravel with the monumental task of saving the world. His father, a brilliant scientist and deified astronaut thought dead, is making mayhem on Neptune. Son must find trouble-maker dad, save the universe, while his internal self is hanging on by a thread.

Pacing is difficult in space films, mainly because everything is slowed down on screen for the illusion of weightlessness. The action gets slow at times but never drags. It’s appropriate and is helped along by Pitt’s narration throughout the film, a curious then ruthlessly objective dissection of his mental status. His goal of saving the world, saving himself, and confronting his father is pitted against the difficulties and dangers of space travel. I got the feeling Pitt identified with his character on a gut level and liked the whole exploration of outer space versus exploration of emotional inner space theme.

Major Roy McBride is a hero steadfast, quick thinking and relentlessly brave. I see in him NASA’s long list of astronauts, but lacking their corny sense of humor. I also liked the clear-cut screenplay with a definite beginning, sometimes shocking middle segments, and a satisfying conclusion.

Some reviewers are whining about the lack of serious attention to the sacred sci-fi genre. I liked the film because space is used as secondary to Major McBride’s internal odyssey.

And now for something completely different:

DOWNTON ABBEY

So far, there is no way to compete with the Brits when it comes to period film production. What also amazed was getting the extensive cast back to do this film. In an NPR interview, Julian Fellowes expressed his astonishment of the same. Their joy of being together again glows on the screen.

Let’s be real. It took years to develop the history and scope of the Crawley family. To cram that much content into a two-hour film is impossible. Yes, the writing is trite and over-used, with tortuous injections of dues ex machina, but nobody cares. Certainly not the fans of this series. Me included. What we got was exactly what we wanted, the upstairs and downstairs back together again, the elegance of a fading era, the sparkle and beauty of it all. The costuming is so exquisite, down to the matching robin egg green of Dowager Countess Grantham’s satin slippers.

There is also the benefit of income for the repairs that a dwelling like Highclere Castle requires. (The window casement in one of the shots was so badly chipped its condition distracted.) Most of the grand houses are now in the National Trust, given up by families no longer able to financially keep pace with the upkeep. Lady Mary expressed the same worry about staying on at Downton, a reasonable concern.

The present day owner of Highclere, Lord Carnarvon (descendant of the famed King Tutankhamen excavation), gave a candid interview about how much the income for renting out his house for the series was appreciated for a new roof, among other things. Although the age of aristocracy has dwindled to its end, architecture and history must be preserved. Downton Abbey funds have helped greatly with that.

Link to Highclere: https://www.highclerecastle.co.uk/history-highclere-castle

This was the first time in a long, long time that I heard an audience of movie goers clap at the end of a film. It was good to hear and even better to escape from present day crassness into a lovely setting. Nostalgia is a wonderful thing.

Shameless plug portion: The Gracarin, scheduled for release on 10/10/19, is now available for pre-sale.

TWO MOVIES IN ONE WEEK

19 Thursday Sep 2019

Posted by mlrover in Uncategorized

≈ 1 Comment

Tags

blogging, courage, Dakota Johnson, down syndrome, films, Hustler, Leboeuf, movie review, new release, Zack Gottsagen

(No spoilers but I am opinionated.)

I belong to a movie group from my church that sees new releases and goes to dinner following to discuss. Hearing that they planned to see the Hustlers, I warned them. Restricted movies loaded with f-bombs doesn’t phase them, and they do appreciate the controversial, if well done.

The trailer to this one was enough to inform me that it wasn’t well-made and not a theme I’d like, but to be fair, I gave it a chance. It was worse than I suspected. If were possible to give this piece of soft porn a no stars, I would, but for the pleasure of seeing Mercedes Ruehl. Didn’t recognize her at first, since she succumbed to the Hollywood pressure of youth and plastics. Or a bad makeup job on purpose.

The reasons for disliking this movie on a visceral level were many. It was peopled with unlikable, repellent characters. This can be overcome, such as Melissa McCarthy’s fine work in Can You Ever Forgive Me. But that was about Lee Israel, a complex, interesting person. These women are pathetic Kardashian wannbes, and considering that low bar…it can’t get any lower.

In an era of women reaching for equality, this schlock flick set the movement back a century. Or more. I’m not judging women who strip for income. Many do so to pay off college debt or feed their kids. My disgust with this film comes from the constant bombardment of smut and a rationalization that adulterous Wall Street types deserve to be ripped-off because they caused the 2008 market crash. Even that’s pathetic, because big banks, like Chase and Wells Fargo to name a few, were the cause.

Worse was the rehashing and repetition of the sex parties and the women celebrating their take with spraying champagne and shopping sprees, scenes that did nothing to move the story forward but did a great job of creating boredom.

I suppose guys, being visual, would not agree my opinion. Although I could feel the discomfort of the men in our group. They’re gentlemen. They avoid lechery and have no need to bolster their sense of masculinity via the debasement of others.

Every character in this film is a creep with exception of Destiny’s grandmother, the charming Wai Ching Ho. Even then the writers concocted a scene to diminish her. The acting throughout was competent, but whoever thinks that Lopez’s performance is Oscar worthy has never taken an acting course. She is competent.

I could go on but I won’t waste your time. I’ve already wasted mine seeing this piece of trash. Can’t blame objectifying men for his flick. It was written and directed by women looking for creds with the Hollywood overlords.

Now for something to clean the palette:

The Peanut Butter Falcon

The trailer was enough to let it be known that this is not a great movie but an intriguing one. I hope it becomes a classic. The hang-up for me was Shia LaBeouf and Dakota Johnson, neither interesting performers, but happily in this case, were believable and accessible, likeable. Because of Zak, (Zack Gottsagen), they find the new life paths. Both are invested in Zak, protective and overprotective of a guy who needs none.

The writing is simplistic, which is sometimes not a bad thing. I had read that this fable-like film was written specifically for Gottsagen, whose strength of purpose and character carry the story arc. He has a strong presence on the screen that paired well with LaBeouf’s angst and Johnson’s floundering but well-intentioned obligation to a Down Syndrome client.

The only thing I found comparable to Mark Twain is floating on a raft. The setting and filming is atmospheric. One can almost smell the humidity and the river. Okay, there are a few cheesy parts, but easily forgivable. I will probably buy this when it comes out because of its charm and goodness of heart and because of that, five stars.

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML

https://www.facebook.com/Julia-Donner-697165363688218/timeline

Three Movies in Four Days Part 3

04 Tuesday Jun 2019

Posted by mlrover in Uncategorized

≈ 5 Comments

Tags

Bryce Dallas Howard, dance, Elton John, films, Gemma Jones, interview, movie review, Music, musical, nostalgia, NPR, Richard Madden, Royal Academy of Music, Taupin

Rocketman

Spoliers? Are you kidding? Who doesn’t know about Elton John? Familiarity with his music, and a growing appreciation of his present day style, had me thinking I might pass on this one. That would have been a HUGE mistake. On and off throughout this film I made comparisons to La La Land, which had none of Rocketman’s brilliance. Yes, I liked some of the dance numbers in LLL, but they are mediocre compared to Rocketman, especially Saturday Night’s exuberance. This is what a ‘Hollywood’ musical is all about and hasn’t been seen in way too long.

Elton John’s stage persona was/is bigger than life, but that becomes secondary in this homage to his music and Bernie Taupin’s lyrics. At some point it becomes apparent that Taupin’s lyrics are so well-woven into this story about Elton’s life and his eventual triumph over addiction, loneliness, and self-hate that it leaves one awed. And somewhat overwhelmed by the writing and production as a whole.

Look for Taron Egerton’s name in the Oscar nominations and on the fast track to win. (Haven’t seen the rest of the year’s contenders, so not sure about his ‘win’ yet.) All of the performances are superb. Richard Madden is deliciously vicious as a soul-sucking user. The always marvelous Gemma Jones warms the heart as his grandmother. Steven Macintosh as Elton’s father is a heartless creep, and Jamie Bell is subtle and true as the faithful Bernie Taupin. Elton’s brash mother is wonderfully done by Bryce Dallas Howard, daughter of Ron Howard. (Remember her as pie-eating Hilly in The Help?)

A reason for my initial hesitation to see this film was because of inaccuracies that usually accompany biopics. Then I learned that Elton was a producer. NPR interviewed him a few years back. He talked about his mother being a gunner in WWII, the influence of the Royal Academy of Music, the happiness he’s enjoying now.

For many this will be a dance down memory lane to what you were doing, or where you were, when you heard each song. Tiny Dancer shot me back to younger years in LA at the parties that went all night, sometimes for days, and the look in Bernie Taupin’s face when he said that the next day he’d be going to Paradise Cove. Back then, it was a private beach, placid and gorgeous. Now, it’s paved over, impersonal, clogged with gawkers, much like Elton’s life was about to become after that party.

Since this is a musical, something must be said about the music. Giles Martin deserves every speck of attention that must be given to what he has created with the score of this film. He has done everything possible to enhance the genius of Elton’s music without being intrusive. It’s voluptuous, reverent, electrifying and eloquent as required. He does what the very best accompanist does and that is provide a safe platform for the vocalist to shine.

Don’t run to see this film. Slap on a rocket and blast off. Elton would appreciate that kind of entrance.

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML

https://www.facebook.com/Julia-Donner-697165363688218/timeline

WHEN ECCENTRICS COLLIDE

03 Monday Dec 2018

Posted by mlrover in Uncategorized

≈ 3 Comments

Tags

Ali, awards, classical, Dinklage, films, Green Door, inspiration, jazz, Mortensen, movies, Music, review

Now that the end of the year film releases have opened the spigot and flooded theaters, it’s time to hit the cinema. I’m eager to satisfy curiosity and test the offerings—and to make comparisons and observations—so off I trotted to the nearest cinema.

Can You Ever Forgive Me?

I waited a long time for this one. I’ve said it before and will most likely be saying it again, if you can do comedy, you can do anything. Melissa McCarthy is brilliant. Her sympathy for the abrasive, abusive, and broken Lee Israel is utterly absorbing. She made accessible a thoroughly unlikable person and will be a strong award contender and should be a frontrunner for the SAG. Richard Grant is also marvelous. He and McCarthy bring to life the strange and desperate friendship between Israel and Hock.

I’m not sure why this film isn’t doing better at the box office. Perhaps it’s some industry-insider thing, which is shameful. The story is entirely character-driven, which makes some Hollywood exec types crazed, much the same way they used to bash Spielberg when he made “serious” films, which reminds me, HBO and Susan Lacy did a fabulous documentary about Spielberg.

Green Book

Already slated for numerous awards, I mainly went to see Viggo. The man has the ability, as does Olivia Spencer, to communicate reams of information in silence. Those eyes. He killed me with them in History of Violence, and this movie has some comparisons when it comes to violence, understanding and forgiveness. It’s a story about how defensive, and ingrained, prejudice can invert itself, remold to become acceptance and admiration, an outcome unbelievable, except that it did happen. Tony Vallelonga (Viggo Mortensen) and Dr.Don Shirley, (Mahershala Ali) were vastly different men. Tony was raised in a close-knit community that denigrated blacks, and Shirley well-educated and gifted, could barely tolerate Tone’s crassness.

The film title comes from The Negro Motorist Green Book, written by Victor Hugo Green. The screenplay is co-written by Nick Vallelonga, Tony’s son. There has been some backlash from Shirley’s family, who disagree with the eventual relationship between the two men and are of the opinion that Ali does not portray the terror evoked then, and still today, living and traveling in the south for blacks. They have their opinion, but mine is that Shirley, or the storyline, seeks to portray the dignity and courage it took to do that tour. The two men aren’t worlds apart, it’s more like universes. Tony, so violent and gross of manner, is so blessed with love for his family, while Shirley, so gifted and elegant, is estranged from his. Shirley learns to accept and allow himself to see underneath Tony’s persona, a man who accepts who and what he is, adores his family and yet thinks nothing of smashing somebody’s face into a bloody mess. That which horrifies Shirley is just another day on the job for Tony Vallelonga.

Don’t get so involved in the story that you miss the connection made between these two fiercely brilliant actors. It’s the sort of interplay that makes for a SAG award.

I Think We’re Alone Now (DVD)

I’ve adored Peter Dinklage since his portrayal of a scary on-the-edge-of-freaking-out children’s book writer in Elf. And what sort of asshat doesn’t love the wickedly droll Tyrion Lannister?

This dystopian story dissects the emotional fallout of a catastrophic planetary event with none of the disaster/violence theme. Its haunting and quiet until it gets ugly. Character motivation is deep and complex with a few surprising twists. What you think is weird at the beginning is given relevance as the story unfolds. Buy it, rent it, whatever. It’s worth your time and money. I have yet to see My Dinner with Hervé, a story Dinklage wanted told.

Next up, I’m itching to see The Favourite.

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML

https://www.facebook.com/Julia-Donner-697165363688218/timeline

ANOTHER 3 MOVIES IN 5 DAYS

12 Monday Mar 2018

Posted by mlrover in Uncategorized

≈ 3 Comments

Tags

#BlackPanther, Bolshoi, films, movie review, pet peeves

Up first is Red Sparrow.

The draw for me was Jennifer Lawrence. Her dancing performance went on too long, an error in direction, not Ms. Lawrence. She is not convincing as a Bolshoi prima ballerina. Not saying that she did a bad job, but that it takes many years to become a prima ballerina of the Bolshoi caliber. This flaw bothered me more than the graphic sex, purposely grim and shocking, which was more acceptable than expecting anyone interested in ballet to believe that a mediocre dancer, who wouldn’t get an audition for the Bolshoi corps de ballet, could be viewed as a national treasure. Why am I harping on this? The wasted time could/should have been used to advance/enrich the story, to illustrate how the loss of career and years of study devastated Dominika. All we got was her anger. Not enough to draw us to empathize. The script is so-so. Figured out the end early on, which means it was a bit of a letdown. (A blatant spoiler was slapped right at the beginning of the movie like a big red arrow flashing “this is a clue” when she got revenge on the pair who ruined her career.) It wasn’t a waste of money because Lawrence is always interesting.

The only interest I had in seeing A Wrinkle in Time was because of Chris Pine. The trailers didn’t spark a need to see this film and that’s not a good sign. The art design was merely OK. The make-up and hair, a disaster. I liked the kids a lot, especially Levi Miller and Deric McCabe. And the pacing was so slow I caught myself falling asleep. A lot.

Saved the best for last, Black Panther. Originally, I wasn’t hot to see this film because it was hyped and I avoid films with rap. But…it’s a remarkable movie and a refreshing change from the usual grim, superhero violence that screams “see how fabulous I am with the CGI stuff.”

Wow factor is off the chart for some of the characters. Andy Serkis is deliciously nuts as Klaue. Danai Gurira as Okoye, the General, is commanding, gorgeous and just plain-ole breathtaking. Chadwick Boseman made excellent use of his expressive eyes. I’ve always liked Martin Freeman and he didn’t fail my admiration with a well done American accent. Not easy for Brits and he did it while carrying off the token white guy role with subtle authority.

Script always gets my attention and this one had plenty of twists that wove nicely into the story arc and were skillfully placed. The graceful celebration of African cultures and a score inspired by haunting African Folk music enhanced what was happening on the screen and never detracted.

As I said earlier, I didn’t plan to go to see this film when it opened because I can’t tolerate rap in any form of the genre. I usually wait until it’s available to rent and mute the sound. As it was, I hustled out of the theater when the credits started to roll, overlaid with rap. I will confess that it sounded a higher quality than the usual hostile and monotonous monotone. Rap is essentially a form of poetry, and I ‘ve always wished the writers of this stuff would frame it without the childish backbeat. Even though simplistic and often vulgar, what they are expressing is important.

But what I loved most about this film was its groundbreaking adherence to the themes of ethics, honor, and duty. Movies of this type, superheroes saving the world, are crammed with and rely on loud, meaningless, glorified violence (with the exception of Ragnarok, which supplied some much-needed humor). The digital work in Black Panther was never glaringly obvious and gracefully enhanced the fantasy rather than slamming it in the viewer’s face. Granted, many film-goers like this sort of action, and that’s their proverbial bag. I reveled in this film’s elegance and celebration of African cultures. It may have been meant to be making a statement, but as I watched, I could only view it as splendid and exactly what a superhero movie should be.

P.S. Doing a blog tour this month. If interested, info is on the Julia Donner Facebook (see below) for a chance to win an Amazon GC.

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML