Author: Ryan F. (CT)
The Opening of the West
Produced by Andrew Dominik and Kirk Ellis
Directed by Andrew Dominik
Written by Andrew Dominik and Dale L. Morgan (story)
Cinematography by Roger Deakins
Film Editing by Dylan Tichenor
Costume Design by Patricia Norris
Production Design by Janice Blackie-Goodine
Original Score by Michael Giacchino
Principle Cast:
Josh Brolin as Jedediah Smith
Terry O'Quinn as Jedediah Smith Sr.
Christian Bale as Austin Smith
Jessica Lange as Sally Strong Smith
Gerald McRaney as William Ashley
Sean Astin as Jim Clyman
Tagline:
"The unworthy son once more sets out."
Synopsis:
Wind River, East Side of the Rocky Mountains, December 24, 1829
Dear Mother and Father,
Your unworthy son once more undertakes to address his much slighted parents.
I have several times written but have received no answer from any of you since I left home with the exception of Austin and Peter. They state that our parents now reside in Erie County, Pennsylvania and a few other particulars with regard to the family, but it would give me great satisfaction to hear more fully. It has been a long time since I left home and many times I have been ready to bring my business to a close and endeavor to come home. However, I have been hindered here to as our business is at present most important. It would be the height of impolicy to set a time to come home. However, I will endeavor, by the assistance of Divine Providence, too come home as soon as possible. The greatest pleasure I could enjoy would to be in your company, but whether I shall ever be allowed the privilege, God only knows.
You may well suppose that our society is of the roughest kind. Men of good morals seldom enter the business of fur trade, but I hope you will remember me before a throne of grace. Perhaps you may think it strange that I do not give you some particulars with regard to what is passing in this country, but it is perhaps better that we leave it for a meeting.
"May God of his infinite mercy allow me soon to join my parents" is the prayer of you undutiful.
Son
Jedediah S. Smith
Wind River, East Side of the Rocky Mountains, December 24, 1829
Dear Brother,
It has been some length of time since I wrote to you. I feel thankful for this privilege we enjoy of writing to and inquiring of each others welfare (both spiritual and temporal). Should you receive this, please give me an explanation of you silence and a full account of the situation of our friends and family. Since I left home, I have passed through various vicissitudes of fortune. I have been fortunate enough in some respects as I have been unfortunate in others. I have passed the lands from St. Louis, Missouri to the North Pacific Ocean. We are under the necessity of keeping a constant watch. Despie our vigilance, we sometimes suffer. In August 1827, ten men who were in company with me lost their lives by the Amuchabas Indians on the Colorado River, and in July 1828, fifteen others lost their lives by the Umpquah Indians on the river of the same name. My brother, believe me that we have many dangers to face and many difficulties to encounter. If I am spared, I am anxious to meet with you.
As for my spiritual welfare, I should hardly speak. I find myself one of the most ungrateful, unthankful creatures imaginable. Oh when shall I be under the care of a Christian Church? I have need of your prayers as I wish our society to bear my up before a throne of grace. I can not speak to my friends and family with regard to my coming home as I have set so many times and always found myself unable to perform.
Give my love to my father and my family, none accepted,
I remain as ever your affectionate brother
Jedediah Smith
Walnut Creek on the Arkansas, 300 Miles from the Settlements of Missouri September 24, 1831
My Dear Father,
It is painful at all times to reveal the death of a friend. However, when a brother must tell his father of the death of his brother, it is even more so. Your son Jedediah was killed on the Cimarron on the 27th of May on his way to Sante Fe by the Comanche Indians. His party was in distress for water, and he had gone alone when he was attacked by fifteen or twenty. As soon as he was wounded in the shoulder, he fired his gun. He killed the head chief where it is assumed they rushed him and dispatched him (such my father is the fate of him who you loved). I am convinced that this intelligence will grieve you much, but do not my dear father take it to heart too sorely. He trusted and confided in the Giver of all good and may we hope that his religion will be rewarded.
I am dear father your son forever
Austin Smith
What the Press Would Say:
The Opening of the West is a haunting telling of one of the lesser known heroes of the Old West, Jedediah Smith. Andrew Dominik returns to the western genre after his latest film, The Assassination of Jesse James by the Coward Robert Ford. Dominik brings along some of his crew from Assassination... (most importantly Roger Deakins who continues his impressive work) along for the ride. Michael Giacchino provides a gripping score that further enhances both the joyous and somber moments. Like Assassination..., the film goes deep into the psychological aspect of a perceived hero.
Josh Brolin puts in a powerful performance as the guilt-ridden Jedediah Smith. Brolin portrays with perfection not only the honorable leader, but the man ravaged by the knowledge he survived while those he led perished. Brolin continues to find ways to transform himself into any character with his newest metamorphosis as the religious mountain man. Terry O'Quinn masterfully plays the father who avoids his own son in hope he will not see his son's inevitable fate come upon him. Christian Bale delivers as well, displaying a wide range of skills (from scenes of displaying hope to those of despair).
Best Picture-Andrew Dominik and Kirk Ellis
Best Motion Picture-Drama (GG)
Best Director-Andrew Dominik
Best Actor-Josh Brolin
Best Supporting Actor-Christian Bale
Best Supporting Actor-Terry O'Quinn
Best Adapted Screenplay-Andrew Dominik and Dale L. Morgan
Best Original Score-Michael Giacchino
Monday, March 16, 2009
Dead Man's Party
Author: Chris K.
Location: AZ
“Dead Man’s Party”
Directed by Sam Mendes
Written by Charlie Kaufman
Music by Danny Elfman
Cinematography by Philippe Rousselot
Main Cast
Hugh Laurie as Johnny “The Lad” Rogers
Jackie Earle Haley as Ralph “Rip Jack” Tom
Elliot Yamin as Simon “Squirrelly” Johnson
Glenn Close as Warden Josephine
Tagline: “Leave your body and soul at the door”
Synopsis: Johnny was bad, even as a child everybody could tell everyone said if you don't get straight “You'll surely go to hell.” But Johnny didn't care he was an outlaw by the time that he was ten years old. He didn't wanna do what he was told just a prankster, a juvenile gangster. His teachers didn't understand they kicked him out of school at a tender early age just because he didn't want to learn things (Had other interests) He liked to burn things. The lady down the block, She had a radio that Johnny wanted oh so bad. So he took it the first chance he had then he shot her in the leg and this is what she said ”Only a lad. You really can't blame him. Society made him. He really couldn't help it. He didn't want to do it. He's underprivileged and abused perhaps a little bit confused” His parents gave up they couldn't influence his attitude. Nobody could help, the little man had no gratitude. When he stole the car nobody dreamed that he would try to take it so far he didn't mean to hit the poor man. Who had to go and die? It made the judge cry “Only a lad, He really couldn't help it, He didn't want to do it, He's underprivileged and abused perhaps a little bit confused.” It's not his fault that he can't behave. Society made him go astray perhaps if we're nice he'll go away. Hey there Johnny you really don't fool me. You get away with murder and you think it's funny. You don't give a damn if we live or if we die. Hey there Johnny boy I hope you fry!
Twenty years later after his most recent arrest for murder, Johnny “The Lad” is living his final day before his execution is set to begin.
7: 00 AM, 41 hours till his execution. Rooming with the mysterious Ralph “Rip Jack” Tom, who for the last 2 months refuses to tell Johnny his reason for being in jail. Warden Josephine, the defined evil bitch of this punishment facility, brings all the inmates out to the courtyard. Brings out a squirrelly young man, known as Simon, the Warden announces to the inmates Simon has been doing some…bad things involving the misfortune of inmates. After asking his reasoning for humiliating these fellow inmates, she begins to beat him incessantly. The crowd of inmates, instead of being appalled, seemed delighted even , Johnny in fact seems to want more…
I don't know why I feel this way. I don't know if it's right or wrong to laugh at misfortune, darkness can never last too long. Every time I think I'm falling and there's nobody around to hold me up. It seems like the world has come to an end. I look for miles but not a face is friendly then suddenly a hole opens up in the ground. The bottom of the hole is a raging fire, I try to jump over but there's no way; the next thing I know, I'm going down. The last time that I fell in love, the love was milk and honey but the milk turned sour. The woman became a monster and everyone I knew had become a stranger. The room went black and my luck was spent. Remembering when I was a young man. How everything seemed to turn against me. I didn't know a soul, it was an alien place. The sun was covered by a dark cloud and though I tried, I couldn't find a way to escape. The only way to go was straight down.
12:00 Noon 36 hours till his execution. It’s the usual for lunch, as it is every day. Creamed corn, mashed potatoes, and whatever the slop was made up. Surprisingly the slop was Johnny’s favorite part of lunch, except for some odd reason people wanted his company today. Even the little man, Simon, decided to join. Curious as to what he did, they begin to seemingly interrogate and probe him until he finally lets loose his inner self to them.
Here's something to think about, where would we be now without nasty habits? Life would be so dull without nasty habits. All those naughty little things that we don't discuss publicly; Tell me your secrets, does it please you to employ little girls or little boys. Do you like to romp and play by yourself when they're away? Do you peek at magazines filled with doggies and leather queens? Tell me your secrets that no one should hear, whisper them softly into my ear I won't tell, People act so proper when they're going 'bout their business. Cup of coffee, friendly conversation until they get home takes the phone off, lock the door and shut the curtains. Make sure that the neighbors are without suspicion. No one must know what I do when I'm all alone, nasty habits I'm so ashamed. No one knows what I do when I'm all alone but we must not let that stop our little game. Nasty habits here to stay now they'll never go away; Try and stop you'll have to pay.
8:00 PM 28 hours till his execution. Johnny and Ralph are within their cell, lights are dim and they are playing poker with half a deck. The game slowly continues as light conversation is made, the Warden walks by and raps the bars, startling the two. Then Ralph, through some inner demon, decides to break in front of Johnny. As sweat pours down his face, Ralph decides to tell him the reason of his jail sentence.
I love little girls they make me feel so good, so bad. When they're around they make me feel like I'm the only guy in town. I love little girls they make me feel so good. They don't care if I'm a one way mirror; they’re not frightened by my cold exterior. They don't ask me questions, don't want to scold me, don't look for answers, they just want to hold me. Isn't this fun, Isn't this what life's all about, Isn't this a dream come true, Isn't this a nightmare too. They don't care about my inclinations and they're not frightened by my revelations. Uh oh take a second take, Uh oh it's a mistake, Uh oh I'm in trouble. Uh oh the little girl was just to little. Isn't this what life's all about, Isn't this a dream come true, Isn't this a nightmare too . . . And I don't care what people say, I don't care what people think, I don't care how we look walking down the street.
9:00 AM 15 hours till his execution. Warden Josephine and Johnny are being called in for a final meeting to decide whether or not the state Supreme Court may allow him to be spared. Johnny is apathetic towards the judges, his lawyer seemingly asleep during the proceeding. Warden Josephine explains why Johnny is Insane and instead of a mental facility or a life sentence, except that the death penalty is the correct path.
I'm so sorry, please forgive me, who do I pray to straighten out this problem? Straighten out this problem, straighten out my mind. Straighten out this crooked tongue... My mind has wandered, from the straight and narrow. My mind has wandered from the flock, you see? My mind has wandered, the man just said so. My mind has wandered, I heard it on TV and the flock has wandered away from me now. I am the virus, are you the cure? I am morally, I'm morally impure. I am a disease and I am unclean. I am not part of God's well oiled machine. Christian nation, assimilate me. Take me in your arms and set me free. I am part of a degenerate elite. Dragging our society into the street, into the abyss and to the sewer don't you see. The man just told me, he told me on TV. Do you think you're better than me? Do you want to kill me or befriend me? I'd love to see inside your mind and tear it all apart. To cut you open with a knife and find your sacred heart, I'd love to take your satin dolls and tear them all to shreds. I'd love to mess your pretty hair, I'd love to see you dead.
11:50 10 minutes till his execution. Warden Josephine is within the chamber along with Johnny who is lying on the slab awaiting the injection. Ralph and Simon are both watching from the outside. Only a single reporter has come from a tiny outlet in a nowhere town of around 200 people. No family, no friends, no demonstrators, no one except for the two insane prisoners he befriended in the last two days. Dying alone and with no one Johnny somehow believes that it is his day.
I'm all dressed up with nowhere to go, walking with a dead man over my shoulder. It’s only me, waiting for an invitation to arrive. Going to a party where no one's still alive. I was struck by lighting walking down the street. I was hit by something last night in my sleep, It's a dead man's party. Who could ask for more? Everybody's comin', leave your body at the door. Leave your body and soul at the door… (Don't run away it's only me) Only me… Only me… All dressed up with nowhere to go walking with a dead man. Waiting for an invitation to arrive, walking with a dead man…Dead Man…Dead Man…I’ve got my best suit and my tie. Shiny silver dollar on either eye, I hear the chauffeur comin' to my door. Says there's room for maybe just one more… Don't run away it's only me, Don't be afraid of what you can't see, Don't run away it's only me… It’s only me… It’s only me… Don't be afraid of what you can't see. It’s only me…
What the Press would say:
A musical that takes place over two days, in a world that most take a blind eye, with music from a group whose music would consider…peculiar. Lets put together the quirkiest screenwriter of a generation, Charlie Kaufman (Eternal Sunshine for the Spotless Mind) and a image, story driven, and thematic director, Sam Mendes (American Beauty) teaming up to do a musical off the music of Oingo Boingo. These two use the genius and insight of filmmaking to create a prison cell that only takes place in the span of two days into a stimulating portrayal of the decay prisons have become. A message driven through, prisons have simply become holding cells instead of their original intention of being correctional institutions of rehabilitating prisoners. The unique characters, stimulating plot, artful direction, and brilliant prose are all reasons that “Dead Mans Party” is an Academy contender this Oscar season.
Sam Mendes’s artful direction provides a depth of realization that prisons are falling apart and the people inside are being forgotten with them. No matter what characters he studies or explores Mendes creates a portrayal of a prose that brings the script breath of reality and an escape for the audience with his musical scenes, that induce memories of Bob Fosse (Cabaret). His best section of film was the end where he blends death, relapse, humility, fear, and acceptance all into a single musical scene that leaves the audience breathless. The smooth transition from a third person narrative where peoples minds are shut from us, to a world where the musical numbers begin, the point of view becomes a world that is explored from the performers mind. The audience begins to see the world each of them envisions for themselves, an interesting stylistic device that has put this film and its directors well in front of the pack.
Charlie Kaufman takes leaps of faith as a screenwriter with his previous works. Now he has jumped off the bridge and may not be brought back up. Instead he floats up to the top far above he was when he was falling. His prose turns a simple story of prisoners into a social narrative using acclaimed music to show the deterioration of the human spirit within the considered lowest forms of society. Using his quirkiness and stylistic devices Kaufman has brought another work that leaves audiences breathless with his character exploration and societal criticism of our treatment of lowest society, which is seemingly ignoring the problem, instead of correcting.
The performances of these actors are chilling, rewarding, and thought provoking in each of their respects. Hugh Laurie (House) is a singer who previously used his talents in Comedy instead he has transferred himself to film and a full blown musical as a criminal who has turned to a lifetime of crime from petty to criminal to despicable. His depression, thoughtfulness, and anger seeps into the audience with each minute getting closer to his death. Laurie has turned a character from a simple musical character into one of films most unique roles that has become intriguing to the academy as time goes on. The two male supporting performances are by two people not known for separate things. One is not known as a singer, the other an actor. First Jackie Earle Haley (Little Children) has a single solo, is seen within just 30 minutes of film, and does not have the greatest voice to boot. Instead what he has is a wonderful performance where singing prowess is forgotten with a scary, disturbing, and strangely depressing character description. Elliot Yamin has only been a singer and was cast into a role where the music does not fit his style. Instead he performs a squirrelly, scared, and confused character into a remarkable performance as a sort of apprentice of sorts to our lead character. His strong singing, decent acting ability, and sympathetic nature give Yamin a decent chance of an academy award this season. The final performance is by Glenn Close (Fatal Attraction) as Warden Josephine who appears as a foreshadowing to a horrible occurrence or an insight to a character previously not seen. Close performs brilliantly as a woman who must be horrible in order to gain respect and is the first of her gender to defend male prisoners without incidence of sexual misconduct. Instead she is feared and loathed. The academy shant not ignore this wonderful and chilling performance come oscar time.
“Dead Man’s Party” is a musical film from the most eccentric team of direction, writing, and acting seen in a while. Instead it is a wonderful work of film, social criticism, and prose that many films forget for visuals or complicated musical numbers. Including both and an intriguing story, “Dead Man’s Party” is a lead contender to win Best Picture this awards season based on the brilliant concepts of societal ignorance and Hollywood loves to reward these type of films. Mendes, Kaufman, Laurie, Haley, Yamin, and Close all create a film, in their individual ways that brings it closer to gold on the night the awards are given out.
For Your Consideration
Best Picture
Best Director- Sam Mendes
Best Actor- Hugh Laurie
Best Supporting Actor- Elliot Yamin
Best Supporting Actor- Jackie Earle Haley
Best Supporting Actress- Glenn Close
Best Original Screenplay- Charlie Kaufman
Location: AZ
“Dead Man’s Party”
Directed by Sam Mendes
Written by Charlie Kaufman
Music by Danny Elfman
Cinematography by Philippe Rousselot
Main Cast
Hugh Laurie as Johnny “The Lad” Rogers
Jackie Earle Haley as Ralph “Rip Jack” Tom
Elliot Yamin as Simon “Squirrelly” Johnson
Glenn Close as Warden Josephine
Tagline: “Leave your body and soul at the door”
Synopsis: Johnny was bad, even as a child everybody could tell everyone said if you don't get straight “You'll surely go to hell.” But Johnny didn't care he was an outlaw by the time that he was ten years old. He didn't wanna do what he was told just a prankster, a juvenile gangster. His teachers didn't understand they kicked him out of school at a tender early age just because he didn't want to learn things (Had other interests) He liked to burn things. The lady down the block, She had a radio that Johnny wanted oh so bad. So he took it the first chance he had then he shot her in the leg and this is what she said ”Only a lad. You really can't blame him. Society made him. He really couldn't help it. He didn't want to do it. He's underprivileged and abused perhaps a little bit confused” His parents gave up they couldn't influence his attitude. Nobody could help, the little man had no gratitude. When he stole the car nobody dreamed that he would try to take it so far he didn't mean to hit the poor man. Who had to go and die? It made the judge cry “Only a lad, He really couldn't help it, He didn't want to do it, He's underprivileged and abused perhaps a little bit confused.” It's not his fault that he can't behave. Society made him go astray perhaps if we're nice he'll go away. Hey there Johnny you really don't fool me. You get away with murder and you think it's funny. You don't give a damn if we live or if we die. Hey there Johnny boy I hope you fry!
Twenty years later after his most recent arrest for murder, Johnny “The Lad” is living his final day before his execution is set to begin.
7: 00 AM, 41 hours till his execution. Rooming with the mysterious Ralph “Rip Jack” Tom, who for the last 2 months refuses to tell Johnny his reason for being in jail. Warden Josephine, the defined evil bitch of this punishment facility, brings all the inmates out to the courtyard. Brings out a squirrelly young man, known as Simon, the Warden announces to the inmates Simon has been doing some…bad things involving the misfortune of inmates. After asking his reasoning for humiliating these fellow inmates, she begins to beat him incessantly. The crowd of inmates, instead of being appalled, seemed delighted even , Johnny in fact seems to want more…
I don't know why I feel this way. I don't know if it's right or wrong to laugh at misfortune, darkness can never last too long. Every time I think I'm falling and there's nobody around to hold me up. It seems like the world has come to an end. I look for miles but not a face is friendly then suddenly a hole opens up in the ground. The bottom of the hole is a raging fire, I try to jump over but there's no way; the next thing I know, I'm going down. The last time that I fell in love, the love was milk and honey but the milk turned sour. The woman became a monster and everyone I knew had become a stranger. The room went black and my luck was spent. Remembering when I was a young man. How everything seemed to turn against me. I didn't know a soul, it was an alien place. The sun was covered by a dark cloud and though I tried, I couldn't find a way to escape. The only way to go was straight down.
12:00 Noon 36 hours till his execution. It’s the usual for lunch, as it is every day. Creamed corn, mashed potatoes, and whatever the slop was made up. Surprisingly the slop was Johnny’s favorite part of lunch, except for some odd reason people wanted his company today. Even the little man, Simon, decided to join. Curious as to what he did, they begin to seemingly interrogate and probe him until he finally lets loose his inner self to them.
Here's something to think about, where would we be now without nasty habits? Life would be so dull without nasty habits. All those naughty little things that we don't discuss publicly; Tell me your secrets, does it please you to employ little girls or little boys. Do you like to romp and play by yourself when they're away? Do you peek at magazines filled with doggies and leather queens? Tell me your secrets that no one should hear, whisper them softly into my ear I won't tell, People act so proper when they're going 'bout their business. Cup of coffee, friendly conversation until they get home takes the phone off, lock the door and shut the curtains. Make sure that the neighbors are without suspicion. No one must know what I do when I'm all alone, nasty habits I'm so ashamed. No one knows what I do when I'm all alone but we must not let that stop our little game. Nasty habits here to stay now they'll never go away; Try and stop you'll have to pay.
8:00 PM 28 hours till his execution. Johnny and Ralph are within their cell, lights are dim and they are playing poker with half a deck. The game slowly continues as light conversation is made, the Warden walks by and raps the bars, startling the two. Then Ralph, through some inner demon, decides to break in front of Johnny. As sweat pours down his face, Ralph decides to tell him the reason of his jail sentence.
I love little girls they make me feel so good, so bad. When they're around they make me feel like I'm the only guy in town. I love little girls they make me feel so good. They don't care if I'm a one way mirror; they’re not frightened by my cold exterior. They don't ask me questions, don't want to scold me, don't look for answers, they just want to hold me. Isn't this fun, Isn't this what life's all about, Isn't this a dream come true, Isn't this a nightmare too. They don't care about my inclinations and they're not frightened by my revelations. Uh oh take a second take, Uh oh it's a mistake, Uh oh I'm in trouble. Uh oh the little girl was just to little. Isn't this what life's all about, Isn't this a dream come true, Isn't this a nightmare too . . . And I don't care what people say, I don't care what people think, I don't care how we look walking down the street.
9:00 AM 15 hours till his execution. Warden Josephine and Johnny are being called in for a final meeting to decide whether or not the state Supreme Court may allow him to be spared. Johnny is apathetic towards the judges, his lawyer seemingly asleep during the proceeding. Warden Josephine explains why Johnny is Insane and instead of a mental facility or a life sentence, except that the death penalty is the correct path.
I'm so sorry, please forgive me, who do I pray to straighten out this problem? Straighten out this problem, straighten out my mind. Straighten out this crooked tongue... My mind has wandered, from the straight and narrow. My mind has wandered from the flock, you see? My mind has wandered, the man just said so. My mind has wandered, I heard it on TV and the flock has wandered away from me now. I am the virus, are you the cure? I am morally, I'm morally impure. I am a disease and I am unclean. I am not part of God's well oiled machine. Christian nation, assimilate me. Take me in your arms and set me free. I am part of a degenerate elite. Dragging our society into the street, into the abyss and to the sewer don't you see. The man just told me, he told me on TV. Do you think you're better than me? Do you want to kill me or befriend me? I'd love to see inside your mind and tear it all apart. To cut you open with a knife and find your sacred heart, I'd love to take your satin dolls and tear them all to shreds. I'd love to mess your pretty hair, I'd love to see you dead.
11:50 10 minutes till his execution. Warden Josephine is within the chamber along with Johnny who is lying on the slab awaiting the injection. Ralph and Simon are both watching from the outside. Only a single reporter has come from a tiny outlet in a nowhere town of around 200 people. No family, no friends, no demonstrators, no one except for the two insane prisoners he befriended in the last two days. Dying alone and with no one Johnny somehow believes that it is his day.
I'm all dressed up with nowhere to go, walking with a dead man over my shoulder. It’s only me, waiting for an invitation to arrive. Going to a party where no one's still alive. I was struck by lighting walking down the street. I was hit by something last night in my sleep, It's a dead man's party. Who could ask for more? Everybody's comin', leave your body at the door. Leave your body and soul at the door… (Don't run away it's only me) Only me… Only me… All dressed up with nowhere to go walking with a dead man. Waiting for an invitation to arrive, walking with a dead man…Dead Man…Dead Man…I’ve got my best suit and my tie. Shiny silver dollar on either eye, I hear the chauffeur comin' to my door. Says there's room for maybe just one more… Don't run away it's only me, Don't be afraid of what you can't see, Don't run away it's only me… It’s only me… It’s only me… Don't be afraid of what you can't see. It’s only me…
What the Press would say:
A musical that takes place over two days, in a world that most take a blind eye, with music from a group whose music would consider…peculiar. Lets put together the quirkiest screenwriter of a generation, Charlie Kaufman (Eternal Sunshine for the Spotless Mind) and a image, story driven, and thematic director, Sam Mendes (American Beauty) teaming up to do a musical off the music of Oingo Boingo. These two use the genius and insight of filmmaking to create a prison cell that only takes place in the span of two days into a stimulating portrayal of the decay prisons have become. A message driven through, prisons have simply become holding cells instead of their original intention of being correctional institutions of rehabilitating prisoners. The unique characters, stimulating plot, artful direction, and brilliant prose are all reasons that “Dead Mans Party” is an Academy contender this Oscar season.
Sam Mendes’s artful direction provides a depth of realization that prisons are falling apart and the people inside are being forgotten with them. No matter what characters he studies or explores Mendes creates a portrayal of a prose that brings the script breath of reality and an escape for the audience with his musical scenes, that induce memories of Bob Fosse (Cabaret). His best section of film was the end where he blends death, relapse, humility, fear, and acceptance all into a single musical scene that leaves the audience breathless. The smooth transition from a third person narrative where peoples minds are shut from us, to a world where the musical numbers begin, the point of view becomes a world that is explored from the performers mind. The audience begins to see the world each of them envisions for themselves, an interesting stylistic device that has put this film and its directors well in front of the pack.
Charlie Kaufman takes leaps of faith as a screenwriter with his previous works. Now he has jumped off the bridge and may not be brought back up. Instead he floats up to the top far above he was when he was falling. His prose turns a simple story of prisoners into a social narrative using acclaimed music to show the deterioration of the human spirit within the considered lowest forms of society. Using his quirkiness and stylistic devices Kaufman has brought another work that leaves audiences breathless with his character exploration and societal criticism of our treatment of lowest society, which is seemingly ignoring the problem, instead of correcting.
The performances of these actors are chilling, rewarding, and thought provoking in each of their respects. Hugh Laurie (House) is a singer who previously used his talents in Comedy instead he has transferred himself to film and a full blown musical as a criminal who has turned to a lifetime of crime from petty to criminal to despicable. His depression, thoughtfulness, and anger seeps into the audience with each minute getting closer to his death. Laurie has turned a character from a simple musical character into one of films most unique roles that has become intriguing to the academy as time goes on. The two male supporting performances are by two people not known for separate things. One is not known as a singer, the other an actor. First Jackie Earle Haley (Little Children) has a single solo, is seen within just 30 minutes of film, and does not have the greatest voice to boot. Instead what he has is a wonderful performance where singing prowess is forgotten with a scary, disturbing, and strangely depressing character description. Elliot Yamin has only been a singer and was cast into a role where the music does not fit his style. Instead he performs a squirrelly, scared, and confused character into a remarkable performance as a sort of apprentice of sorts to our lead character. His strong singing, decent acting ability, and sympathetic nature give Yamin a decent chance of an academy award this season. The final performance is by Glenn Close (Fatal Attraction) as Warden Josephine who appears as a foreshadowing to a horrible occurrence or an insight to a character previously not seen. Close performs brilliantly as a woman who must be horrible in order to gain respect and is the first of her gender to defend male prisoners without incidence of sexual misconduct. Instead she is feared and loathed. The academy shant not ignore this wonderful and chilling performance come oscar time.
“Dead Man’s Party” is a musical film from the most eccentric team of direction, writing, and acting seen in a while. Instead it is a wonderful work of film, social criticism, and prose that many films forget for visuals or complicated musical numbers. Including both and an intriguing story, “Dead Man’s Party” is a lead contender to win Best Picture this awards season based on the brilliant concepts of societal ignorance and Hollywood loves to reward these type of films. Mendes, Kaufman, Laurie, Haley, Yamin, and Close all create a film, in their individual ways that brings it closer to gold on the night the awards are given out.
For Your Consideration
Best Picture
Best Director- Sam Mendes
Best Actor- Hugh Laurie
Best Supporting Actor- Elliot Yamin
Best Supporting Actor- Jackie Earle Haley
Best Supporting Actress- Glenn Close
Best Original Screenplay- Charlie Kaufman
Peace Like A River
Sanford (CA)
Peace Like A River
Crew:
Author of original novel: Leif Enger
Writer: Brian Helgeland
Director: Jonathon Demme
Cast:
Dennis Quaid as Jeremiah Land
Nathan Gamble as Reuben Land
Marlene Lawston as Swede Land
Logan Lerman as Davy Land
Aaron Eckhart as Agent Martin Andreeson
Tagline: "Mircales are fickle things, but don't ever think for a moment that they don't exist."
Synopsis:
When Dad skidded into the delivery room, Dr. Nokes was sitting on the side of the bed, holding my mother's hand. She was wailing--I picture her as an old woman here,although I was never to see her as one--and old Nokes was attempting to ease her grief. Nothing could be done, he was saying, perhaps it was for the best. I was lyinguncovered on a metal table across the room. Dad lifted me gently. I was gray and beginning to cool. A little clay boy. Dr. Nokes told him, "Jeremiah, it has been twelveminutes. There would be brain damage by now." Dad ignored him.
"Breathe. Reuben Land, in the name of the living God I am telling you to breathe."
I now think of my survival as my Dad's first miracle. Of course, I didn't think much on this until eleven years later. You see, one comes to know the meter of his father'swalk. I remember, I was in the outhouse when I heard the familiar cadence. One-two-three-stop. One-two-three-stop. I looked. He was pacing in the bed of his truck, handsover his face, praying. Praying hard for an end to this business with Finch and Basca. Praying for his own safety, maybe, but I'm sure more for Davy's. When those twoboys tried to rape Davy's girlfriend Dolly, when Dad saved her, well, we all knew that wouldn't be the end of it. To call those two the "bullies" of the junior class, '63, wasdoing them an upright honor. And Davy, at sixteen, was rash enough to think the beating they were administered at the hands of my Dad the janitor was not near adequateretribution. Dad was alone in prayer. One-two-three-stop. One-two-three-stop. One-two-three-four-five-six-seven-eight-nine... My Dad had walked right off the end ofthe bed, and kept right on walking, three feet in the air, as if on God's hand itself. Make of it what you will.
Davy did wind up killing those boys. Maybe it was self defense, maybe it wasn't. (They were in OUR house at the time, after all. One doesn't drop by in the middle of the nightwith a baseball bat to ask for a cup of sugar, this I know.) One way or the other, Davy broke out of jail before anybody could convict him of anything. Swede, my eight-year-oldsister, in all her Wild West romanticism, was delighted beyond measure when we learned that Davy escaped on horseback. Swede, Swede was a regular poet, even at that age.When Dad promptly swept us into the Airstream trailer and carted us westward on nothing but blind faith and my Dad's hunches, she wrote oft of our travels so:
And will we find our Davy safe,
Along this stealthy track?
And might all our implorings steal,
Our outlaw brother back?
Such verse, I recall, made me profoundly uncomfortable. I had never thought of our voyage as a secret, never realized just how disturbing it was that FBI Agent MartinAndreeson seemed all too familiar with our route, how he continued to trail us, show up in unfortunate places across the country to question Dad with growing enmity.I at last understood when we did not fill up on gas in Mandan, for the FBI was parked at every station. Why? Yes, Davy was a wanted murderer who had crossed state lines,but he was only our brother. Swede was thrilled with the Us Against The World romance, but I was not. It sure is one thing to say you're at war with this whole world and stickyour chest out believing it, but when the world shows up with its crushing numbers and its predatory knowledge, it is another thing completely. Those police were lookingfor us, I was sure, Dad was sure, Swede was more than certain. Looking for a green pickup trailing a twenty-foot Airstream home through the tiny town of Mandan. We tiptoedthrough the village like a fat boy through a wolf pack, but each patrolman looked right through us. Make of it what you will.
The journey brought trial fraught with joy. For a practical lifetime we searched for Davy. On naught but the substance of things hoped for we traversed the rugged West. Onthe substance of things hoped for, awaiting the throbbing heart of news. When ice assailed us, on we went, until ice could pursue no more. In defiance, our feet pushed urgently on.
What the press would say:
Here is a movie that aspires to nothing less and nothing more than beauty, one that simply places the unalloyed soul of an unbreakable family in front of an audience and delights inits awe. Little else but miracles transport us on a journey from Minnesota, to stunning regions across America, in a trek that channels the gallivanting cinematography of IntoThe Wild and the pensiveness of The Visitor.
Dennis Quaid puts forth the best performance of his career as an embattled father with a transcendent consicence. He is stronger than all the tribulations of an undone life, bearingthe saddle of pain, tragedy and triumph invisibly. He is the title's namesake, without debate, he is the bubble of peace guarding his two children against turbulous struggle ofrecovering the third. His strength, resolve, faith and wisdom power the film. With Peace Like A River, Quaid has announced his status as one of the finest actors of our time, provingthat all along, amidst dreadful comdies and other subpar fare, he really did always have it in him.
The two principal young actors are brilliant as well, capturing in equal parts the wonder and loss of children far from home, wanting only for their brother. Nathan Gamble is achinglysympathetic, and Marlene Lawston is breathtaking as a girl intelligent twofold beyond her years. Jonathon Demme's direction is key, he sets a mood and tempo early that is constantand friendly, electing smartly only to frame the characters and their actions, rather than emphasize them. Indeed, understatement is the beauty of the movie, as whisper-soft writingand muted visual tones create a sense of heaven, one un-breachable by any hardship. Peace Like A River is heart and beauty, distilled, and it's one of the masterpieces of recentmemory.
For Your Consideration:
BEST PICTURE
BEST DIRECTOR--JONATHON DEMME
BEST ACTOR--DENNIS QUAID
BEST SUPPORTING ACTOR--NATHAN GAMBLE
BEST SUPPORTING ACTRESS--MARLENE LAWSTON
BEST SUPPORTING ACTOR--LOGAN LERMAN
BEST SUPPORTING ACTOR--AARON ECKHART
BEST ADAPTED SCREENPLAY
Peace Like A River
Crew:
Author of original novel: Leif Enger
Writer: Brian Helgeland
Director: Jonathon Demme
Cast:
Dennis Quaid as Jeremiah Land
Nathan Gamble as Reuben Land
Marlene Lawston as Swede Land
Logan Lerman as Davy Land
Aaron Eckhart as Agent Martin Andreeson
Tagline: "Mircales are fickle things, but don't ever think for a moment that they don't exist."
Synopsis:
When Dad skidded into the delivery room, Dr. Nokes was sitting on the side of the bed, holding my mother's hand. She was wailing--I picture her as an old woman here,although I was never to see her as one--and old Nokes was attempting to ease her grief. Nothing could be done, he was saying, perhaps it was for the best. I was lyinguncovered on a metal table across the room. Dad lifted me gently. I was gray and beginning to cool. A little clay boy. Dr. Nokes told him, "Jeremiah, it has been twelveminutes. There would be brain damage by now." Dad ignored him.
"Breathe. Reuben Land, in the name of the living God I am telling you to breathe."
I now think of my survival as my Dad's first miracle. Of course, I didn't think much on this until eleven years later. You see, one comes to know the meter of his father'swalk. I remember, I was in the outhouse when I heard the familiar cadence. One-two-three-stop. One-two-three-stop. I looked. He was pacing in the bed of his truck, handsover his face, praying. Praying hard for an end to this business with Finch and Basca. Praying for his own safety, maybe, but I'm sure more for Davy's. When those twoboys tried to rape Davy's girlfriend Dolly, when Dad saved her, well, we all knew that wouldn't be the end of it. To call those two the "bullies" of the junior class, '63, wasdoing them an upright honor. And Davy, at sixteen, was rash enough to think the beating they were administered at the hands of my Dad the janitor was not near adequateretribution. Dad was alone in prayer. One-two-three-stop. One-two-three-stop. One-two-three-four-five-six-seven-eight-nine... My Dad had walked right off the end ofthe bed, and kept right on walking, three feet in the air, as if on God's hand itself. Make of it what you will.
Davy did wind up killing those boys. Maybe it was self defense, maybe it wasn't. (They were in OUR house at the time, after all. One doesn't drop by in the middle of the nightwith a baseball bat to ask for a cup of sugar, this I know.) One way or the other, Davy broke out of jail before anybody could convict him of anything. Swede, my eight-year-oldsister, in all her Wild West romanticism, was delighted beyond measure when we learned that Davy escaped on horseback. Swede, Swede was a regular poet, even at that age.When Dad promptly swept us into the Airstream trailer and carted us westward on nothing but blind faith and my Dad's hunches, she wrote oft of our travels so:
And will we find our Davy safe,
Along this stealthy track?
And might all our implorings steal,
Our outlaw brother back?
Such verse, I recall, made me profoundly uncomfortable. I had never thought of our voyage as a secret, never realized just how disturbing it was that FBI Agent MartinAndreeson seemed all too familiar with our route, how he continued to trail us, show up in unfortunate places across the country to question Dad with growing enmity.I at last understood when we did not fill up on gas in Mandan, for the FBI was parked at every station. Why? Yes, Davy was a wanted murderer who had crossed state lines,but he was only our brother. Swede was thrilled with the Us Against The World romance, but I was not. It sure is one thing to say you're at war with this whole world and stickyour chest out believing it, but when the world shows up with its crushing numbers and its predatory knowledge, it is another thing completely. Those police were lookingfor us, I was sure, Dad was sure, Swede was more than certain. Looking for a green pickup trailing a twenty-foot Airstream home through the tiny town of Mandan. We tiptoedthrough the village like a fat boy through a wolf pack, but each patrolman looked right through us. Make of it what you will.
The journey brought trial fraught with joy. For a practical lifetime we searched for Davy. On naught but the substance of things hoped for we traversed the rugged West. Onthe substance of things hoped for, awaiting the throbbing heart of news. When ice assailed us, on we went, until ice could pursue no more. In defiance, our feet pushed urgently on.
What the press would say:
Here is a movie that aspires to nothing less and nothing more than beauty, one that simply places the unalloyed soul of an unbreakable family in front of an audience and delights inits awe. Little else but miracles transport us on a journey from Minnesota, to stunning regions across America, in a trek that channels the gallivanting cinematography of IntoThe Wild and the pensiveness of The Visitor.
Dennis Quaid puts forth the best performance of his career as an embattled father with a transcendent consicence. He is stronger than all the tribulations of an undone life, bearingthe saddle of pain, tragedy and triumph invisibly. He is the title's namesake, without debate, he is the bubble of peace guarding his two children against turbulous struggle ofrecovering the third. His strength, resolve, faith and wisdom power the film. With Peace Like A River, Quaid has announced his status as one of the finest actors of our time, provingthat all along, amidst dreadful comdies and other subpar fare, he really did always have it in him.
The two principal young actors are brilliant as well, capturing in equal parts the wonder and loss of children far from home, wanting only for their brother. Nathan Gamble is achinglysympathetic, and Marlene Lawston is breathtaking as a girl intelligent twofold beyond her years. Jonathon Demme's direction is key, he sets a mood and tempo early that is constantand friendly, electing smartly only to frame the characters and their actions, rather than emphasize them. Indeed, understatement is the beauty of the movie, as whisper-soft writingand muted visual tones create a sense of heaven, one un-breachable by any hardship. Peace Like A River is heart and beauty, distilled, and it's one of the masterpieces of recentmemory.
For Your Consideration:
BEST PICTURE
BEST DIRECTOR--JONATHON DEMME
BEST ACTOR--DENNIS QUAID
BEST SUPPORTING ACTOR--NATHAN GAMBLE
BEST SUPPORTING ACTRESS--MARLENE LAWSTON
BEST SUPPORTING ACTOR--LOGAN LERMAN
BEST SUPPORTING ACTOR--AARON ECKHART
BEST ADAPTED SCREENPLAY
Evil Incarnate
Author: George
Location: Atlanta
Evil Incarnate
Directed by: Terry George
Written by: Terry George
Music by: Mychael Danna
Cast:
Colin Farrell as Charles Manson
Kevin Bacon as Vincent Bugliosi
Kevin McNally as Judge Older
Rebecca Hall as Susan Atkins
Kim Director as Patricia Krenwinkel
Zuleikha Robinson as Sarah Van Houten
Tagline: “Whenever you looked into his eyes, the only thing you saw was the evil within”
Synopsis: They looked at each other for a long time, the serial killer and the prosecutor. The dark, claustrophobic jail cell was the very opposite of the ranch where the killer had stayed for the past year, just as the prosecutor requested. Their names were Charles Manson and Vincent Bugliosi, the definition of enemies. Manson looked shorter than Bugliosi expected and smiled a great deal more than he would have liked. Manson’s eyes looked over Bugliosi intently, trying to figure out who this man was that could end his life now, in 1971. While Manson saw a man with strict principles that could not be easily swayed, Bugliosi saw the exact opposite. While trying to see a man, he saw only evil and madness. What scared Bugliosi the most was that Manson knew it himself, and loved the attention it got.
Throughout the trial that would come about Manson would become one of the most infamous and publicized killers in American history. The way he soaked up the press with a smile or bow and had plenty to say to them made Bugliosi uncomfortable. Even though he had been at this job for years he had never met such an insane sociopath in his life. He and Judge Older had become friends before the trial and both were shocked at the way Manson carried himself, with no remorse or regrets.
Manson would become his own attorney for the first half of the trial. Perplexing Bugliosi and Older (as well as the jury and the press) Manson built his own case on his lunatic ideals and weak alibis. Even if his story was weak, his demeanor was very energetic and almost scary. His rants and body language added to the already insane portrait the press was giving him. Bugliosi had been tested before, but never had he seen such a blatant disregard for the law and human ethics before. Manson’s charisma and booming voice didn’t charm anyone to his defense, but it certainly left an impact on everyone that was there.
Bugliosi soon started going to Manson’s cell to understand his story and case, but soon he went for a different reason. To see who this man was. He simply could not believe that a man could be this evil, this unremorseful. Manson is all too happy to tell his stories to Bugliosi taking him back to the murders he and his “family” committed. Bugliosi was soon sick of Manson’s demeanor and tried to distance himself from him as much as possible. But he still couldn’t let go of the fascination he had of him. The sickness he felt when he heard the man’s name. The fact that he was a man at all.
Bugliosi found the three women linked with Manson for conspiracy and murder, Susan Atkins, Patricia Krenwinkel, and Sarah Van Houten. He found Krenwinkel and Van Houten too devoted to their “master” to cooperate, but found Atkins to be having second thoughts. The more he talked to Atkins the more he realized what Manson had done. He had ruled their lives and governed them with an iron fist. He had given no control of the commune to anyone else, and set himself up as a prophet ready to begin the apocalypse. He tried to get Atkins to testify against Manson, but she was too afraid of what he might do to her if she did. Her tears and sorrow hardened Bugliosi considerably and gave him no room anymore to be consumed with Manson’s behavior.
Over the course of the trial, Manson’s love of media attention brought him fame never before reached by a criminal. Every week he would find something new for the press to grab on too. He would greet them with outstretched arms and his head bowed to the right like Christ, or he would talk to the camera and would continue for along time, horrifying and fascinating the American people. His most renowned act of media craving was when he got a knife and marked an X between his eyes, the three women followed suit, showing Manson’s monstrous control over them. The pressure of putting this man away was almost too much to bear for Bugliosi. The media attention was getting to him also and soon made him question his practices. Manson had gotten a real attorney now. Bugliosi needed a break.
The night before Manson was to go on the stand himself, Bugliosi visited judge Older at his house. Bugliosi and Older and began to drink liquor together. Bugliosi spilled what had been preying on his mind during the entire case to Older. His belief that good was in everyone had been shaken considerably. He had always been a prosecutor and had put away psychotic killers before, but this was different. Never before had he seen such evil in a man, such madness. Was there really no good in this man at all? Was there no heart in him? Could he ever be forgiven? How could he live with all that blood on his hands? How could a man be so hateful and enjoy it so much? Bugliosi had come to tears by now, finally letting it all go. Older waited patiently and finally said that this man was pure evil, simple as that. They turned on the midnight news and, to Bugliosi’s disgust, Manson was on again. He had just shaven his head and beard saying that he was the devil “and the devil always has a shaved head.” Fueled by the fury of Manson’s smiling attitude, Bugliosi went home to prepare for his cross examination of Manson. To put him to death.
The next day was the biggest ever for both men. Manson sat on the witness stand in chains, (he had just attacked Older during the testimonies of the three women) while Bugliosi silently waited to be able to attack Manson. When he got his chance, he didn’t hesitate. Armed with evidence and hatred, Bugliosi quickly dissolved the defense’s case. Manson soon lost his controlling, intimidating behavior and got on the defensive. His eyes became wild and his voice started to quiver until he could handle it no more. Manson finally gave in to his anger and let out an angry tirade blaming everyone and everything for what had happened. He blamed the three women and showed his real vicious nature with attacks on blacks and minorities and a full story and the impending apocalypse that his murders were supposed to start. He showed who he really was to the press and American people. Bugliosi had finally accomplished the most exhausting case of his career. Charles Manson had been defeated.
Before Manson had been taken away forever to prison, Bugliosi went to see him one last time. The two men looked at each other for a while. Manson’s long ragged hair was gone, making him look younger than before. Bugliosi didn’t know why he was there. Manson moved his lips in what appeared to be an ungrateful smile and bowed slightly. Bugliosi didn’t say anything, he wasn’t scared anymore. He left the cell and Manson forever, but he would never be able to forget him or the evil within him.
What the press would say:
Equipped with a devilish smile and a cold, penetrating stare, Colin Farrell shows what he is truly capable of as the evil and charismatic Charles Manson. His battle with prosecutor Vincent Bugliosi is one of the best we have had in a long time. Kevin Bacon plays the prosecutor with stunning humanity and conviction giving his character a full three dimensional turn. Farrell gives the performance of his life. A flashy, vicious performance that makes you cringe and want to cover your eyes at the madness within. His presence on the screen is terrifying and when he is not, he is still felt throughout the lives of those involved. But while Farrell is insane and very talkative, Bacon is subtle and humane giving a completely opposite character than Farrell. But these performances wouldn’t have come about if it wasn’t for the incredibly well written script and spot on direction from Terry George. His remarkable commitment to the film shows thru every shot, and really gives the film an edge other interpretations have been missing. The verbal battles between Manson and Bugliosi are incredibly well written and edited to make it seem just as tense as anything in the courtroom. The character of Manson himself is depicted in a way never before done and unusually true to his real persona. Manson was a true media jester, feeding off the attention he got. He would often rant in court and did have erratic mood swings that would intimidate the jury and the court. Instead of a film that delves deep into a tortured soul of Manson, it gives him the portrait he deserves. One of him being the devil himself. Manson offered no redeemable qualities so why should he been given any in this film? Granted it’s not 100 percent accurate, the film does give a very menacing and (deservedly) cruel portrait of the man. Farrell has a field day with him giving his most dynamic performance of the year. Only Hall has a surprisingly emotional turn out of the supporting cast, generating fear, desperation, and love all in one scene. Her turn in this is one for the books as a very well acted, but not over acted, scene of emotions. Bacon is just as good as Farrell or Hall and carries the movie along with them, creating a deeply human character. Evil Incarnate is a provocative edgy film that is Terry George at his finest.
Nominations:
Best Picture
Best Actor (Colin Farrell)
Best Actor (Kevin Bacon)
Best Supporting Actress (Rebecca Hall)
Best Director (Terry George)
Best Original Screenplay (Terry George)
Location: Atlanta
Evil Incarnate
Directed by: Terry George
Written by: Terry George
Music by: Mychael Danna
Cast:
Colin Farrell as Charles Manson
Kevin Bacon as Vincent Bugliosi
Kevin McNally as Judge Older
Rebecca Hall as Susan Atkins
Kim Director as Patricia Krenwinkel
Zuleikha Robinson as Sarah Van Houten
Tagline: “Whenever you looked into his eyes, the only thing you saw was the evil within”
Synopsis: They looked at each other for a long time, the serial killer and the prosecutor. The dark, claustrophobic jail cell was the very opposite of the ranch where the killer had stayed for the past year, just as the prosecutor requested. Their names were Charles Manson and Vincent Bugliosi, the definition of enemies. Manson looked shorter than Bugliosi expected and smiled a great deal more than he would have liked. Manson’s eyes looked over Bugliosi intently, trying to figure out who this man was that could end his life now, in 1971. While Manson saw a man with strict principles that could not be easily swayed, Bugliosi saw the exact opposite. While trying to see a man, he saw only evil and madness. What scared Bugliosi the most was that Manson knew it himself, and loved the attention it got.
Throughout the trial that would come about Manson would become one of the most infamous and publicized killers in American history. The way he soaked up the press with a smile or bow and had plenty to say to them made Bugliosi uncomfortable. Even though he had been at this job for years he had never met such an insane sociopath in his life. He and Judge Older had become friends before the trial and both were shocked at the way Manson carried himself, with no remorse or regrets.
Manson would become his own attorney for the first half of the trial. Perplexing Bugliosi and Older (as well as the jury and the press) Manson built his own case on his lunatic ideals and weak alibis. Even if his story was weak, his demeanor was very energetic and almost scary. His rants and body language added to the already insane portrait the press was giving him. Bugliosi had been tested before, but never had he seen such a blatant disregard for the law and human ethics before. Manson’s charisma and booming voice didn’t charm anyone to his defense, but it certainly left an impact on everyone that was there.
Bugliosi soon started going to Manson’s cell to understand his story and case, but soon he went for a different reason. To see who this man was. He simply could not believe that a man could be this evil, this unremorseful. Manson is all too happy to tell his stories to Bugliosi taking him back to the murders he and his “family” committed. Bugliosi was soon sick of Manson’s demeanor and tried to distance himself from him as much as possible. But he still couldn’t let go of the fascination he had of him. The sickness he felt when he heard the man’s name. The fact that he was a man at all.
Bugliosi found the three women linked with Manson for conspiracy and murder, Susan Atkins, Patricia Krenwinkel, and Sarah Van Houten. He found Krenwinkel and Van Houten too devoted to their “master” to cooperate, but found Atkins to be having second thoughts. The more he talked to Atkins the more he realized what Manson had done. He had ruled their lives and governed them with an iron fist. He had given no control of the commune to anyone else, and set himself up as a prophet ready to begin the apocalypse. He tried to get Atkins to testify against Manson, but she was too afraid of what he might do to her if she did. Her tears and sorrow hardened Bugliosi considerably and gave him no room anymore to be consumed with Manson’s behavior.
Over the course of the trial, Manson’s love of media attention brought him fame never before reached by a criminal. Every week he would find something new for the press to grab on too. He would greet them with outstretched arms and his head bowed to the right like Christ, or he would talk to the camera and would continue for along time, horrifying and fascinating the American people. His most renowned act of media craving was when he got a knife and marked an X between his eyes, the three women followed suit, showing Manson’s monstrous control over them. The pressure of putting this man away was almost too much to bear for Bugliosi. The media attention was getting to him also and soon made him question his practices. Manson had gotten a real attorney now. Bugliosi needed a break.
The night before Manson was to go on the stand himself, Bugliosi visited judge Older at his house. Bugliosi and Older and began to drink liquor together. Bugliosi spilled what had been preying on his mind during the entire case to Older. His belief that good was in everyone had been shaken considerably. He had always been a prosecutor and had put away psychotic killers before, but this was different. Never before had he seen such evil in a man, such madness. Was there really no good in this man at all? Was there no heart in him? Could he ever be forgiven? How could he live with all that blood on his hands? How could a man be so hateful and enjoy it so much? Bugliosi had come to tears by now, finally letting it all go. Older waited patiently and finally said that this man was pure evil, simple as that. They turned on the midnight news and, to Bugliosi’s disgust, Manson was on again. He had just shaven his head and beard saying that he was the devil “and the devil always has a shaved head.” Fueled by the fury of Manson’s smiling attitude, Bugliosi went home to prepare for his cross examination of Manson. To put him to death.
The next day was the biggest ever for both men. Manson sat on the witness stand in chains, (he had just attacked Older during the testimonies of the three women) while Bugliosi silently waited to be able to attack Manson. When he got his chance, he didn’t hesitate. Armed with evidence and hatred, Bugliosi quickly dissolved the defense’s case. Manson soon lost his controlling, intimidating behavior and got on the defensive. His eyes became wild and his voice started to quiver until he could handle it no more. Manson finally gave in to his anger and let out an angry tirade blaming everyone and everything for what had happened. He blamed the three women and showed his real vicious nature with attacks on blacks and minorities and a full story and the impending apocalypse that his murders were supposed to start. He showed who he really was to the press and American people. Bugliosi had finally accomplished the most exhausting case of his career. Charles Manson had been defeated.
Before Manson had been taken away forever to prison, Bugliosi went to see him one last time. The two men looked at each other for a while. Manson’s long ragged hair was gone, making him look younger than before. Bugliosi didn’t know why he was there. Manson moved his lips in what appeared to be an ungrateful smile and bowed slightly. Bugliosi didn’t say anything, he wasn’t scared anymore. He left the cell and Manson forever, but he would never be able to forget him or the evil within him.
What the press would say:
Equipped with a devilish smile and a cold, penetrating stare, Colin Farrell shows what he is truly capable of as the evil and charismatic Charles Manson. His battle with prosecutor Vincent Bugliosi is one of the best we have had in a long time. Kevin Bacon plays the prosecutor with stunning humanity and conviction giving his character a full three dimensional turn. Farrell gives the performance of his life. A flashy, vicious performance that makes you cringe and want to cover your eyes at the madness within. His presence on the screen is terrifying and when he is not, he is still felt throughout the lives of those involved. But while Farrell is insane and very talkative, Bacon is subtle and humane giving a completely opposite character than Farrell. But these performances wouldn’t have come about if it wasn’t for the incredibly well written script and spot on direction from Terry George. His remarkable commitment to the film shows thru every shot, and really gives the film an edge other interpretations have been missing. The verbal battles between Manson and Bugliosi are incredibly well written and edited to make it seem just as tense as anything in the courtroom. The character of Manson himself is depicted in a way never before done and unusually true to his real persona. Manson was a true media jester, feeding off the attention he got. He would often rant in court and did have erratic mood swings that would intimidate the jury and the court. Instead of a film that delves deep into a tortured soul of Manson, it gives him the portrait he deserves. One of him being the devil himself. Manson offered no redeemable qualities so why should he been given any in this film? Granted it’s not 100 percent accurate, the film does give a very menacing and (deservedly) cruel portrait of the man. Farrell has a field day with him giving his most dynamic performance of the year. Only Hall has a surprisingly emotional turn out of the supporting cast, generating fear, desperation, and love all in one scene. Her turn in this is one for the books as a very well acted, but not over acted, scene of emotions. Bacon is just as good as Farrell or Hall and carries the movie along with them, creating a deeply human character. Evil Incarnate is a provocative edgy film that is Terry George at his finest.
Nominations:
Best Picture
Best Actor (Colin Farrell)
Best Actor (Kevin Bacon)
Best Supporting Actress (Rebecca Hall)
Best Director (Terry George)
Best Original Screenplay (Terry George)
The Lonely Widow
Author: T.D. (TX)
The Lonely Widow
A Miramax Films Production
Written and Directed by Mark Herman
Produced by Robert Fox and Scott Rudin
Cinematography by Andy Collins
Editing by Michael Ellis
Music by Philip Glass
Principal Cast
Julie Christie as Virginia Holt
Ewan McGregor as Geoffrey Holt
Jude Law as Calvin Holt
Kate Winslet as Priscilla Holt-Baddeley
and
Ian McKellen as Rupert Holt
Tagline: “He’s dead. They don’t know he’s dead. She has to tell them. And it won’t be easy.”
Synopsis:
*Virginia rises from the couch and goes into the kitchen to get some popcorn for her and Rupert. She comes back only to find his body lying still on the ground. Shocked and horrified, she puts the body on the couch and calls the constables. An hour later they came, took the body away and told her to get some rest. At midnight she was still awake and sitting on the couch. Alone and with no one to talk to, she looks around at the pictures of her and Rupert, and while doing so she glances over at a dusty frame lying flat down on the lamp table. She goes over, picks it up and sees her, Rupert and three other people. It’s been nearly 10 years since she’d last seen these three people, and she needed them at this time.*
Rupert and Virginia Holt have been married for 40 years. They have three children named Geoffrey, Calvin and Priscilla. They were a happy family; almost too good to be true. However, on the day of October 13th, 1999 their happy lives would shatter and fall apart as if someone had smashed a large mirror into their joyful life. On that fateful day, Calvin came out as a gay man during lunch. Rupert, who was an Anglican pastor, angrily told his son to get out of his home and his life. Calvin looked at his mother for support, but she just sipped her tea and said nothing. Calvin walked out and they never see him again. Priscilla was ashamed with her parents, and during their argument she told them she was going to marry Thomas Baddeley, a gardener who is an Atheist, behind their back. Rupert and Virginia forbid this marriage and they told her that if she walks out and marries him they will disown her. She walks out and they never see her again. Geoffrey, their eldest son, remained until late in the evening. During “family time” he told his parents that he was going to drop out of college and be a songwriter for a friend’s band. They both laughed at the idea of him writing “dirty and sinful” lyrics and told him he needed to stay at Cambridge to pursue a degree and follow in Rupert’s footsteps of carrying on the duties of being a pastor. After their lengthy fight Geoffrey stormed out and told his parents that he never wants to speak to them again.
*And that day was the last time Rupert would ever see his children. The next day he took down the pictures of his children and placed them in a shoebox. He misses one, however, and it was the framed family photo that Virginia took and placed face down on the lamp table.*
*Now she holds that picture in her hand and begins to cry. She has no one to be there for her. No one to talk to or feel love from, and now all she wants is her children back. Caring the photo with her across her chest she opens a phone book and finds the name “Baddeley, Thomas and Priscilla”. She dials the number and she hears a voice.
“Hello?”
“Priscilla Holt?”
“Yes? Who is this?”
“It’s me. Your mother.”*
What the Press would say:
And that synopsis is only the beginning of Mark Herman’s new film “The Lonely Widow”. This film is a remarkable and powerful story about a woman whose husband dies and in the bereavement calls her children back home after not seeing them for ten years. They each come home with stories and surprises but have little remorse for their father, a man who threw them out of his life, and no remorse for their mother, who stood by their father’s side. The screenplay is an outstanding and powerful piece in its own way and it captures every single detail and beauty of this little film. Herman, who has had such hit films in the past, has outdone himself by creating a visually stunning work of art with his direction. He manages to capture the right angles at the right time, and not only does he shine but so does his team who worked tirelessly to make this movie become a genuine masterpiece.
The cast, which consist of an elite group of actors and actresses, has done an outstanding job and will receive acclaim from the critics and audiences. Leading this extraordinary band of hard-working actors is Julie Christie, the film’s lead character. Christie plays Virginia Holt, a selfish and over-religious woman who watches her own children be thrown out by their father. Years later he dies and she’s all alone. She calls her children back home, and they do come but with no remorse for her, which makes her time with them uneasy and hard. Even with them back home she still feels alone, and she apologizes to them but the only thing they focus on is arranging Rupert’s funeral and leaving. Christie hits it out of the park with this role, and this performance is by far her best work to date. She manages to make us both hate and feel sorry for Virginia and she also captures the emotions and feelings at the right times.
Ian McKellen gives an extraordinary tour-de-force performance as Rupert Holt, an Anglican pastor who is strict, old-fashioned and deeply religious. He is also vain and ungrateful, but he hides this from others but not his family. He does not tolerate anything of what he calls “unholy”, and when something is “unholy”, he does not ignore it. That is why he threw his children out. One is gay, one wanted to marry an Atheist and one wanted to drop college for music. The gay one, who is magnificently played by Jude Law, is named Calvin and he was the first to leave and come back. He doesn’t hug his mother nor barely looks at her, and he tells her that he’s still gay and lives with a man who is HIV+ and takes care of him. Geoffrey, who is played by the talented Ewan McGregor, comes back next and he ignores his mother and hugs his brother. Geoffrey became a songwriter and has won a Song of the Year Grammy a few months ago, which surprises the family. Finally Priscilla, who is played by the gorgeous and hard-working Kate Winslet, comes home after dropping off the kids to Thomas, who has divorced her after 7 years of marriage. She too ignores her mother and hugs her siblings. All three delivered solid, Oscar-worthy performances as a gay man who lost his freedom, his job and everything he had to take of his dying lover, a songwriter who struggles with the constant traveling, leaving his girlfriend alone and not being able to enjoy a stable life, and a plus-size, divorced mother who’s in financial debt and tries to balance out life between work and being a mother of two.
This March, be prepared for a movie that will take your breath away. Herman’s “The Lonely Widow” will be a timeless classic that all will enjoy both now and in the future. It will leave you in tears, and most importantly it will leave you with an ending that will make you think if they had or had not forgiven their mother or father.
For Your Consideration
Best Picture
Best Motion Picture – Drama (GG)
Best Cast Ensemble (SAG)
Best Director – Mark Herman
Best Actress in a Leading Role – Julie Christie
Best Actor in a Supporting Role – Ian McKellen
Best Actor in a Supporting Role – Ewan McGregor
Best Actor in a Supporting Role – Jude Law
Best Actress in a Supporting Role – Kate Winslet
Best Original Screenplay
Best Film Editing
Best Original Score
The Lonely Widow
A Miramax Films Production
Written and Directed by Mark Herman
Produced by Robert Fox and Scott Rudin
Cinematography by Andy Collins
Editing by Michael Ellis
Music by Philip Glass
Principal Cast
Julie Christie as Virginia Holt
Ewan McGregor as Geoffrey Holt
Jude Law as Calvin Holt
Kate Winslet as Priscilla Holt-Baddeley
and
Ian McKellen as Rupert Holt
Tagline: “He’s dead. They don’t know he’s dead. She has to tell them. And it won’t be easy.”
Synopsis:
*Virginia rises from the couch and goes into the kitchen to get some popcorn for her and Rupert. She comes back only to find his body lying still on the ground. Shocked and horrified, she puts the body on the couch and calls the constables. An hour later they came, took the body away and told her to get some rest. At midnight she was still awake and sitting on the couch. Alone and with no one to talk to, she looks around at the pictures of her and Rupert, and while doing so she glances over at a dusty frame lying flat down on the lamp table. She goes over, picks it up and sees her, Rupert and three other people. It’s been nearly 10 years since she’d last seen these three people, and she needed them at this time.*
Rupert and Virginia Holt have been married for 40 years. They have three children named Geoffrey, Calvin and Priscilla. They were a happy family; almost too good to be true. However, on the day of October 13th, 1999 their happy lives would shatter and fall apart as if someone had smashed a large mirror into their joyful life. On that fateful day, Calvin came out as a gay man during lunch. Rupert, who was an Anglican pastor, angrily told his son to get out of his home and his life. Calvin looked at his mother for support, but she just sipped her tea and said nothing. Calvin walked out and they never see him again. Priscilla was ashamed with her parents, and during their argument she told them she was going to marry Thomas Baddeley, a gardener who is an Atheist, behind their back. Rupert and Virginia forbid this marriage and they told her that if she walks out and marries him they will disown her. She walks out and they never see her again. Geoffrey, their eldest son, remained until late in the evening. During “family time” he told his parents that he was going to drop out of college and be a songwriter for a friend’s band. They both laughed at the idea of him writing “dirty and sinful” lyrics and told him he needed to stay at Cambridge to pursue a degree and follow in Rupert’s footsteps of carrying on the duties of being a pastor. After their lengthy fight Geoffrey stormed out and told his parents that he never wants to speak to them again.
*And that day was the last time Rupert would ever see his children. The next day he took down the pictures of his children and placed them in a shoebox. He misses one, however, and it was the framed family photo that Virginia took and placed face down on the lamp table.*
*Now she holds that picture in her hand and begins to cry. She has no one to be there for her. No one to talk to or feel love from, and now all she wants is her children back. Caring the photo with her across her chest she opens a phone book and finds the name “Baddeley, Thomas and Priscilla”. She dials the number and she hears a voice.
“Hello?”
“Priscilla Holt?”
“Yes? Who is this?”
“It’s me. Your mother.”*
What the Press would say:
And that synopsis is only the beginning of Mark Herman’s new film “The Lonely Widow”. This film is a remarkable and powerful story about a woman whose husband dies and in the bereavement calls her children back home after not seeing them for ten years. They each come home with stories and surprises but have little remorse for their father, a man who threw them out of his life, and no remorse for their mother, who stood by their father’s side. The screenplay is an outstanding and powerful piece in its own way and it captures every single detail and beauty of this little film. Herman, who has had such hit films in the past, has outdone himself by creating a visually stunning work of art with his direction. He manages to capture the right angles at the right time, and not only does he shine but so does his team who worked tirelessly to make this movie become a genuine masterpiece.
The cast, which consist of an elite group of actors and actresses, has done an outstanding job and will receive acclaim from the critics and audiences. Leading this extraordinary band of hard-working actors is Julie Christie, the film’s lead character. Christie plays Virginia Holt, a selfish and over-religious woman who watches her own children be thrown out by their father. Years later he dies and she’s all alone. She calls her children back home, and they do come but with no remorse for her, which makes her time with them uneasy and hard. Even with them back home she still feels alone, and she apologizes to them but the only thing they focus on is arranging Rupert’s funeral and leaving. Christie hits it out of the park with this role, and this performance is by far her best work to date. She manages to make us both hate and feel sorry for Virginia and she also captures the emotions and feelings at the right times.
Ian McKellen gives an extraordinary tour-de-force performance as Rupert Holt, an Anglican pastor who is strict, old-fashioned and deeply religious. He is also vain and ungrateful, but he hides this from others but not his family. He does not tolerate anything of what he calls “unholy”, and when something is “unholy”, he does not ignore it. That is why he threw his children out. One is gay, one wanted to marry an Atheist and one wanted to drop college for music. The gay one, who is magnificently played by Jude Law, is named Calvin and he was the first to leave and come back. He doesn’t hug his mother nor barely looks at her, and he tells her that he’s still gay and lives with a man who is HIV+ and takes care of him. Geoffrey, who is played by the talented Ewan McGregor, comes back next and he ignores his mother and hugs his brother. Geoffrey became a songwriter and has won a Song of the Year Grammy a few months ago, which surprises the family. Finally Priscilla, who is played by the gorgeous and hard-working Kate Winslet, comes home after dropping off the kids to Thomas, who has divorced her after 7 years of marriage. She too ignores her mother and hugs her siblings. All three delivered solid, Oscar-worthy performances as a gay man who lost his freedom, his job and everything he had to take of his dying lover, a songwriter who struggles with the constant traveling, leaving his girlfriend alone and not being able to enjoy a stable life, and a plus-size, divorced mother who’s in financial debt and tries to balance out life between work and being a mother of two.
This March, be prepared for a movie that will take your breath away. Herman’s “The Lonely Widow” will be a timeless classic that all will enjoy both now and in the future. It will leave you in tears, and most importantly it will leave you with an ending that will make you think if they had or had not forgiven their mother or father.
For Your Consideration
Best Picture
Best Motion Picture – Drama (GG)
Best Cast Ensemble (SAG)
Best Director – Mark Herman
Best Actress in a Leading Role – Julie Christie
Best Actor in a Supporting Role – Ian McKellen
Best Actor in a Supporting Role – Ewan McGregor
Best Actor in a Supporting Role – Jude Law
Best Actress in a Supporting Role – Kate Winslet
Best Original Screenplay
Best Film Editing
Best Original Score
A Love Supreme
Author: Brian C. (NJ)
A Love Supreme
Director- Jim Sheridan
Writers: Jim Sheridan and Terry George
Cinematography- Chris Menges
Editing- Naomi Geraghty
Musical Score- John Coltrane
CAST
Hakeem Kae-Kazim - John Coltrane
Anika Noni Rose- Juanita Naima Grubb
Idris Elba - Elvin Jones
Wood Harris- Jimmy Garrison
Mos Def- McCoy Tyner
Anthony Mackie- Eric Dolphy
Tagline: “It was more than music. It was his devotion, his passion, and his faith. It was A Love Supreme.”
Synopsis:
Acknowledgement
With one hand clutching a needle, and the other closed in a fist, John Coltrane sent his life tumbling towards a low point. Possibly the greatest musical mind of the 20th century, his thoughts were far away from music, not even focusing on the show he had that night. Instead, he was focused on the heroine that was flowing into his veins. After sitting for a moment, he staggered across the room to grab his saxophone, making sure not to forget the half empty bottle of gin on the floor. He knew he was late, but frankly he didn’t care.
Coltrane stood on stage next to Miles Davis, another great musical mind, but more importantly his boss. Coltrane was a member of Davis’s band, and he was in the middle of a show at Café Bohemia in New York. He stepped up to the microphone to take his solo, but the combination of alcohol and heroine proved to be too much. He passed out on stage, ending the performance for that night. He awoke backstage to a furious Davis, who pulled him off the floor and slapped him across the face before punching him in the stomach. Davis then fired him as he left the club. Realizing that his addiction had overgrown his musical talent, Coltrane finally acknowledged that he had hit rock bottom.
Resolution
Coltrane moved back to Philadelphia with a resolution. He wanted to rid himself of his addictions and emerge in touch with his music, but more importantly in touch with God. He and Juanita, his wife, moved in with his family. Dedicated to killing his addictions cold turkey, he locked himself in his room for two weeks, only letting Juanita in on occasion. By day, he suffered through the shaking and vomiting brought on by withdrawal. When he gathered the strength to focus his thoughts, he prayed. With Juanita as his spiritual guide, Coltrane used the pain to bring him closer to God.
By night, Coltrane played with McCoy Tyner, a pianist, at a nightclub called the Red Rooster. His mind was scattered and dysfunctional though, and he could not perform well. While his fellow musicians excused his poor performances, knowing what he was going through, audiences grew angry. They would jeer at him as he struggled through solos, when in fact he was really only trying to hide the symptoms of withdrawal. People left the club disappointed with what they had seen, but Coltrane knew that each show was a step closer to sobriety and a step closer to God. Each moment was a step closer to his resolution.
Pursuance
Reconnected with God and now flourishing in his revitalized musical talent, Coltrane set out to connect his musical creativity with his spirituality. He traveled to Paris with his pianist, Tyner, a new bassist, Jimmy Garrison, and a new drummer, Elvin Jones. Coltrane also brought Juanita and his dear friend and fellow musician Eric Dolphy. While Tyner, Garrison, and Jones partied their way throughout Paris, Coltrane remained focused on his spiritual rebirth. He and Dolphy would talk about God while the other musicians drank their way through the city. Between two performances, the three got excessively drunk and shattered the front window of a nearby store. Returning to the club laughing about their recent mischief, they entered to see Coltrane with tears in his eyes, saddened to see his friends engage in the behavior that had sent his own life in a downward spiral.
Tragedy struck the quartet though as they toured through Paris, when Dolphy collapsed and died in his hotel room. Dolphy had been playing a show in Berlin when his lifetime struggle with diabetes overcame him. The four musicians traveled back to Los Angeles to attend his funeral. Despite the sadness of the event, Coltrane was inspired. The death of his dear friend helped him realize that he had reached a point in life where he no longer needed to search for God. He had spent the last several years trying to connect with God and to revitalize his spirituality. Dolphy’s death helped him realize though that he had been pursuing something that he already had.
Psalm
On December 9, 1964, John Coltrane released himself musically in creating his ultimate gift to God. Coltrane met with Tyner, Garrison, and Jones in Englewood Cliffs, New Jersey to record what would become one of the most monumental albums of all time. The four of them entered the studio with no previous rehearsal of the music. They dimmed the lights in the studio, and poured their passion and creativity into thirty-five minutes of jazz. When they finished, no one spoke, each of them realizing that they had successfully turned improvisation into spirituality. Coltrane had finally created his own gift to God, his own humble offering, his own psalm.
What the Press Would Say:
Jim Sheridan has successfully turned one of the greatest jazz albums of all time into what could possibly be one of the most inspiring films of the year. Sheridan takes an unorthodox approach to this film, separating it into four distinct parts, each named after a song on Coltrane’s album. Each part of the film directly relates to the title of the song it represents, illustrating the events in Coltrane’s life that inspired him to create “A Love Supreme.” In creating the film this way, Sheridan opens up Coltrane’s mind for the viewer to explore. This also helps him highlight the emotional changes that Coltrane endured throughout his life, eventually building up to his own personal climax, which was the creation of “A Love Supreme.” Sheridan has truly taken the most exciting part of Coltrane’s life and made an equally exciting film. His artistic vision has once again shined through, as it did with his films such as My Left Foot: The Story of Christy Brown, and Sheridan should gain some attention come awards season.
Hakeem Kae-Kazim has really burst onto the awards scene with his portrayal of John Coltrane. He has shown flashes of brilliance in supporting roles in films such as Hotel Rwanda, but his performance in A Love Supreme will undoubtedly garner him some awards consideration. Kae-Kazim not only had the difficult task of portraying one of the most complex minds of the jazz world, but he essentially had to play four different characters. Each part of the film represents a different John Coltrane as he changes throughout his life, and Kae-Kazim had the daunting responsibility of conveying the different emotional states of Coltrane in each part. While Kae-Kazim is surely surrounded by a strong supporting cast, he really does steal the show with his performance. Kae-Kazim has really delved into Coltrane’s psyche for this role, and he does a terrific job of illustrating Coltrane’s creativity and mental complexity on screen.
A Love Supreme truly does justice to the amazing and interesting life that John Coltrane led. The outstanding script, written by Sheridan and his longtime collaborator Terry George, is expressive and intense at the same time. As a whole, the film can be considered one of Sheridan’s best. Laced with Coltrane’s actual compositions, the film shows the emotional roller-coaster that was John Coltrane’s life, also managing to highlight his spirituality and his awesome abilities on the saxophone. This mixture of music and emotion truly creates for an interesting and inspiring film.
FYC:
Best Picture
Best Director: Jim Sheridan
Best Actor: Hakeem Kae-Kazim
Best Adapted Screenplay
A Love Supreme
Director- Jim Sheridan
Writers: Jim Sheridan and Terry George
Cinematography- Chris Menges
Editing- Naomi Geraghty
Musical Score- John Coltrane
CAST
Hakeem Kae-Kazim - John Coltrane
Anika Noni Rose- Juanita Naima Grubb
Idris Elba - Elvin Jones
Wood Harris- Jimmy Garrison
Mos Def- McCoy Tyner
Anthony Mackie- Eric Dolphy
Tagline: “It was more than music. It was his devotion, his passion, and his faith. It was A Love Supreme.”
Synopsis:
Acknowledgement
With one hand clutching a needle, and the other closed in a fist, John Coltrane sent his life tumbling towards a low point. Possibly the greatest musical mind of the 20th century, his thoughts were far away from music, not even focusing on the show he had that night. Instead, he was focused on the heroine that was flowing into his veins. After sitting for a moment, he staggered across the room to grab his saxophone, making sure not to forget the half empty bottle of gin on the floor. He knew he was late, but frankly he didn’t care.
Coltrane stood on stage next to Miles Davis, another great musical mind, but more importantly his boss. Coltrane was a member of Davis’s band, and he was in the middle of a show at Café Bohemia in New York. He stepped up to the microphone to take his solo, but the combination of alcohol and heroine proved to be too much. He passed out on stage, ending the performance for that night. He awoke backstage to a furious Davis, who pulled him off the floor and slapped him across the face before punching him in the stomach. Davis then fired him as he left the club. Realizing that his addiction had overgrown his musical talent, Coltrane finally acknowledged that he had hit rock bottom.
Resolution
Coltrane moved back to Philadelphia with a resolution. He wanted to rid himself of his addictions and emerge in touch with his music, but more importantly in touch with God. He and Juanita, his wife, moved in with his family. Dedicated to killing his addictions cold turkey, he locked himself in his room for two weeks, only letting Juanita in on occasion. By day, he suffered through the shaking and vomiting brought on by withdrawal. When he gathered the strength to focus his thoughts, he prayed. With Juanita as his spiritual guide, Coltrane used the pain to bring him closer to God.
By night, Coltrane played with McCoy Tyner, a pianist, at a nightclub called the Red Rooster. His mind was scattered and dysfunctional though, and he could not perform well. While his fellow musicians excused his poor performances, knowing what he was going through, audiences grew angry. They would jeer at him as he struggled through solos, when in fact he was really only trying to hide the symptoms of withdrawal. People left the club disappointed with what they had seen, but Coltrane knew that each show was a step closer to sobriety and a step closer to God. Each moment was a step closer to his resolution.
Pursuance
Reconnected with God and now flourishing in his revitalized musical talent, Coltrane set out to connect his musical creativity with his spirituality. He traveled to Paris with his pianist, Tyner, a new bassist, Jimmy Garrison, and a new drummer, Elvin Jones. Coltrane also brought Juanita and his dear friend and fellow musician Eric Dolphy. While Tyner, Garrison, and Jones partied their way throughout Paris, Coltrane remained focused on his spiritual rebirth. He and Dolphy would talk about God while the other musicians drank their way through the city. Between two performances, the three got excessively drunk and shattered the front window of a nearby store. Returning to the club laughing about their recent mischief, they entered to see Coltrane with tears in his eyes, saddened to see his friends engage in the behavior that had sent his own life in a downward spiral.
Tragedy struck the quartet though as they toured through Paris, when Dolphy collapsed and died in his hotel room. Dolphy had been playing a show in Berlin when his lifetime struggle with diabetes overcame him. The four musicians traveled back to Los Angeles to attend his funeral. Despite the sadness of the event, Coltrane was inspired. The death of his dear friend helped him realize that he had reached a point in life where he no longer needed to search for God. He had spent the last several years trying to connect with God and to revitalize his spirituality. Dolphy’s death helped him realize though that he had been pursuing something that he already had.
Psalm
On December 9, 1964, John Coltrane released himself musically in creating his ultimate gift to God. Coltrane met with Tyner, Garrison, and Jones in Englewood Cliffs, New Jersey to record what would become one of the most monumental albums of all time. The four of them entered the studio with no previous rehearsal of the music. They dimmed the lights in the studio, and poured their passion and creativity into thirty-five minutes of jazz. When they finished, no one spoke, each of them realizing that they had successfully turned improvisation into spirituality. Coltrane had finally created his own gift to God, his own humble offering, his own psalm.
What the Press Would Say:
Jim Sheridan has successfully turned one of the greatest jazz albums of all time into what could possibly be one of the most inspiring films of the year. Sheridan takes an unorthodox approach to this film, separating it into four distinct parts, each named after a song on Coltrane’s album. Each part of the film directly relates to the title of the song it represents, illustrating the events in Coltrane’s life that inspired him to create “A Love Supreme.” In creating the film this way, Sheridan opens up Coltrane’s mind for the viewer to explore. This also helps him highlight the emotional changes that Coltrane endured throughout his life, eventually building up to his own personal climax, which was the creation of “A Love Supreme.” Sheridan has truly taken the most exciting part of Coltrane’s life and made an equally exciting film. His artistic vision has once again shined through, as it did with his films such as My Left Foot: The Story of Christy Brown, and Sheridan should gain some attention come awards season.
Hakeem Kae-Kazim has really burst onto the awards scene with his portrayal of John Coltrane. He has shown flashes of brilliance in supporting roles in films such as Hotel Rwanda, but his performance in A Love Supreme will undoubtedly garner him some awards consideration. Kae-Kazim not only had the difficult task of portraying one of the most complex minds of the jazz world, but he essentially had to play four different characters. Each part of the film represents a different John Coltrane as he changes throughout his life, and Kae-Kazim had the daunting responsibility of conveying the different emotional states of Coltrane in each part. While Kae-Kazim is surely surrounded by a strong supporting cast, he really does steal the show with his performance. Kae-Kazim has really delved into Coltrane’s psyche for this role, and he does a terrific job of illustrating Coltrane’s creativity and mental complexity on screen.
A Love Supreme truly does justice to the amazing and interesting life that John Coltrane led. The outstanding script, written by Sheridan and his longtime collaborator Terry George, is expressive and intense at the same time. As a whole, the film can be considered one of Sheridan’s best. Laced with Coltrane’s actual compositions, the film shows the emotional roller-coaster that was John Coltrane’s life, also managing to highlight his spirituality and his awesome abilities on the saxophone. This mixture of music and emotion truly creates for an interesting and inspiring film.
FYC:
Best Picture
Best Director: Jim Sheridan
Best Actor: Hakeem Kae-Kazim
Best Adapted Screenplay
Jimmy's World
Author: Evan(NY)
"Jimmy's World"
Written by: Courtney Hunt
Directed by: Courtney Hunt
Cast
Janet Cooke - Taraji P. Henson
Marion Barry - Morgan Freeman
Bob Woodward - Richard Gere
Donald Graham - Matt Damon
Phil Donahue - Jeremy Piven
Tagline: "There is no antidote for guilt."
Synopsis:
Janet Cooke (Henson) was just 27 years old when she was hired as a staffwriter on the weekly section on the Washington Post. claiming she had adegree from Vassar college, and Sorbonne University, and had recieved anaward from the Toledo Blade newspaper, Janet was given a great position,and good pay.
Trying to move up in the newspaper hierarchy, Janet looked into some leadsshe had on an 8 year old heroin addict living in Washington. unable tolocate the boy, Janet decided to publish a story on him anyway. OnSeptember 29th, 1980, "Jimmy's World" was published, and it chronicled thelife of an 8 year old black boy named Jimmy who was a third generationheroin addict.
The story became incredibly popular, and the overwhelming responses fromreaders prompted the mayor of Washington, Marion Barry (Freeman) toorganize an all city search for the boy. unable to locate him, Barry liedto the public, saying he was in the governments hands, and was beingtreated.
The lack of face time for Jimmy made the public question the story'svalidity. despite all this, the paper defended Janet's story. AssistantManaging Editor Bob Woodward (Gere) decided to submit her story for thePulitzer Prize. On April 13th, 1881, Janet was awarded the Pulitzer Prizefor Feature Writing.
As Janet became more and more famous, her guilt began to bite at herstomach. but she couldn't admit to anyone that she had fabricated thestory. Meanwhile, editors at the Toledo Blade read her bibliographicalinformation and noticed some problems; like how she had never worked attheir paper. upon further investigation, post publisher Donald Graham(Damon) grudgingly held a press conference, admitting that the story hadbeen fiction.
Only two days after winning the Pulitzer Prize, Janet returned it, andretired. In 1982 she appeared on the Phil Donahue (Piven) show and toldthe country that the high pressure had corrupted her judgment. fading backinto obscurity, Janet tried to get jobs at other newspapers, but nobodywould hire her after the anger she had caused so many people.
She moved to Anne Arbor, Michigan and got a job as a cashier in a largemall, where she has spent years of her life, alone. Marion Barry had toexplain that he had not lied, but had just told the public what theywanted to hear, and Donald Graham had to put up with the scathing commentsof other newspaper owners for the rest of his career. All this because onewoman had created a world in her mind, a world that caused more pain inreal life, than in her head.
Press Section
Courtney Hunt, who took the industry by storm last year with her highlymoving, award winning indie "Frozen River" has moved towards a much moremainstream film here, with the story of journalist Janet Cooke. "Jimmy'sWorld" is a very well made, classy film that knows what it is, and doesn'ttry too hard to be anything else. helmed expertly by Ms, Hunt, "Jimmy'sWorld" is quite moving, and has a message that is universal: every wrongaction has a consequence. with a steller cast, "Jimmy's World" is achronology of the short career of the exceptional journalist Janet Cooke,who lost everything after fabricating a story. Oscar Nominee Taraji P.Henson plays Cooke, and is wonderful, taking a character who realizes thewrongness of her actions after it's too late. with a quiet confidence notoften seen, Henson is a fresh face to watch come oscar time. MorganFreeman also gives a powerful performance as the mayor of D.C. he caresabout people, and is wrongfully peanalized for Ms. Cooke's mistakes.Freeman catches his sorrow and dissapointment spot on, creating a roundedcharacter out of a somewhat flat one on paper. "Jimmy's World" is a greatbio-pic, and one that should not be missed.
FYC
Best Picture
Best Director - Courtney Hunt
Best Actress - Taraji P. Henson
Best Supporting Actor - Morgan Freeman
Best Supporting Actor - Richard Gere
Best Adapted Screenplay
"Jimmy's World"
Written by: Courtney Hunt
Directed by: Courtney Hunt
Cast
Janet Cooke - Taraji P. Henson
Marion Barry - Morgan Freeman
Bob Woodward - Richard Gere
Donald Graham - Matt Damon
Phil Donahue - Jeremy Piven
Tagline: "There is no antidote for guilt."
Synopsis:
Janet Cooke (Henson) was just 27 years old when she was hired as a staffwriter on the weekly section on the Washington Post. claiming she had adegree from Vassar college, and Sorbonne University, and had recieved anaward from the Toledo Blade newspaper, Janet was given a great position,and good pay.
Trying to move up in the newspaper hierarchy, Janet looked into some leadsshe had on an 8 year old heroin addict living in Washington. unable tolocate the boy, Janet decided to publish a story on him anyway. OnSeptember 29th, 1980, "Jimmy's World" was published, and it chronicled thelife of an 8 year old black boy named Jimmy who was a third generationheroin addict.
The story became incredibly popular, and the overwhelming responses fromreaders prompted the mayor of Washington, Marion Barry (Freeman) toorganize an all city search for the boy. unable to locate him, Barry liedto the public, saying he was in the governments hands, and was beingtreated.
The lack of face time for Jimmy made the public question the story'svalidity. despite all this, the paper defended Janet's story. AssistantManaging Editor Bob Woodward (Gere) decided to submit her story for thePulitzer Prize. On April 13th, 1881, Janet was awarded the Pulitzer Prizefor Feature Writing.
As Janet became more and more famous, her guilt began to bite at herstomach. but she couldn't admit to anyone that she had fabricated thestory. Meanwhile, editors at the Toledo Blade read her bibliographicalinformation and noticed some problems; like how she had never worked attheir paper. upon further investigation, post publisher Donald Graham(Damon) grudgingly held a press conference, admitting that the story hadbeen fiction.
Only two days after winning the Pulitzer Prize, Janet returned it, andretired. In 1982 she appeared on the Phil Donahue (Piven) show and toldthe country that the high pressure had corrupted her judgment. fading backinto obscurity, Janet tried to get jobs at other newspapers, but nobodywould hire her after the anger she had caused so many people.
She moved to Anne Arbor, Michigan and got a job as a cashier in a largemall, where she has spent years of her life, alone. Marion Barry had toexplain that he had not lied, but had just told the public what theywanted to hear, and Donald Graham had to put up with the scathing commentsof other newspaper owners for the rest of his career. All this because onewoman had created a world in her mind, a world that caused more pain inreal life, than in her head.
Press Section
Courtney Hunt, who took the industry by storm last year with her highlymoving, award winning indie "Frozen River" has moved towards a much moremainstream film here, with the story of journalist Janet Cooke. "Jimmy'sWorld" is a very well made, classy film that knows what it is, and doesn'ttry too hard to be anything else. helmed expertly by Ms, Hunt, "Jimmy'sWorld" is quite moving, and has a message that is universal: every wrongaction has a consequence. with a steller cast, "Jimmy's World" is achronology of the short career of the exceptional journalist Janet Cooke,who lost everything after fabricating a story. Oscar Nominee Taraji P.Henson plays Cooke, and is wonderful, taking a character who realizes thewrongness of her actions after it's too late. with a quiet confidence notoften seen, Henson is a fresh face to watch come oscar time. MorganFreeman also gives a powerful performance as the mayor of D.C. he caresabout people, and is wrongfully peanalized for Ms. Cooke's mistakes.Freeman catches his sorrow and dissapointment spot on, creating a roundedcharacter out of a somewhat flat one on paper. "Jimmy's World" is a greatbio-pic, and one that should not be missed.
FYC
Best Picture
Best Director - Courtney Hunt
Best Actress - Taraji P. Henson
Best Supporting Actor - Morgan Freeman
Best Supporting Actor - Richard Gere
Best Adapted Screenplay
Drops of Jupiter
Author: Evan (NY)
"Drops Of Jupiter"
Written and Directed By: Baz Luhrmann
Cast
Evan Rachel Wood - Stella Belle
Megan Fox - Pearl Perdente
Jesse Eisenberg - Dio Lord
"stars were never meant to be tied down."
Synopsis
Since she was 17, and had first seen the female body as more than something to simply admire or envy, Pearl Perdente had been madly in love with her lifelong friend, Stella Belle. Stella was a dreamy, adventurous, and very creative person who enjoyed life, but longed for her life to be like that of the people on movie screens and magazines. she longed to befamous. famous and beautiful. Having both grown up in the small southern Wisconsin town of Shuttlehead, they had had a simple, active upbringing. They matured side by side, along with a boy who lived down the road named Dio Lord. Dio was a low key, thoughtful, content person who had started dating Stella when they were 19. Now, at 22, their relationship is more a product of convenience, and friendship, than of love or sexual attraction. Him and Stella both worked at a roadside dinner, and Pearl at the bait & tackle shop next door to it. Although infatuated with Stella, pearl didn’t act on any of her feelings, out of a fear that their perfect life would be broken. neither her nor Dio expected too much from life. That's the main difference between them and Stella, who dreamed big. bigger than planets. Dio gave her a weeklong vacation to L.A. for her 23rd birthday. L.A. was her dream city. full of excitement, Stella joyfully traveled to California. The lights are bright, the streets flat and devoid of pot holes, and the people beautiful. Stella has her breath taken away by how much more magical LA was than her hometown. She wandered around, and accidentally walked into a private party. she mingled with various stars, and had a great time. For a week she is was heaven, soaring higher and higher, becoming someone different. her plaid skirts became Abercrombie, her hair shifted from auburn to platinum blonde, and her boots; stilettos. Upon her return to her hometown, she takes both Dio and Pearl aback transformation. not only did she glow , she held herself higher. Stella longed for LA, and the stars again. she had returned from fleeting among them, and had traveled back into earths atmosphere; back to the real world. but she then has far greater horizons. She wants to be a star.Pearl doesn't understand her friend anymore, but is still in love with her. but Stella really was like a star. she was unattainable, even her light came from the past, when she was still the old her. Dio has even started to lose his attraction to her, and began to drift away on the cosmic winds. He was frightened of what she was becoming, and of the life she wanted to lead. Dio got in his car and drove south, looking for a new place to be simple. Stella decided that she has to leave her town to become herself. Pearl, devastated, finally confessed her love, but Stella has already gone too far away from earth. Stella was always moving forward. Stella, not really knowing how to take this new piece of information, also fled the town, without leaving as much as a note for Pearl. Heaven is overrated, Pearl knew, and she had fallen in love with a shooting star. She had never thought about the future, only about the past and the present. But now she had too decide what to do next. The past is only the past if you let it be.
Press Section
In Baez Luhrmann's visually arresting, wonderfully imagined new film, "DropsOf Jupiter," very loosely based on the song by Train, everything seems tomean something else. the fantastic script uses symbolism and metaphorsvery well, as images return and mean certain things (like the stars, andthe unattainable). Even the characters Italian names mean something.Stella Bella is beautiful star, Dio is God, and Percent is loser. theplot of "Drops Of Jupiter" is internally complex, but also quiteinteresting. a two of friends, Pearl and Dio (Fox and Eisenberg) inWisconsin witness a profound transformation as one of their friends, Stella (Evan Rachel Wood), becomes conceited, and overly confident. one ofher friends sticks by her, because she loves her, as more than a friend,while her boyfriend drifts away, scared of the complicated life shewanted. topically, this story is simple, but the underlying profoundnessis something audiences will take with them out of the theatre. asides frombeing a visual breakthrough, the performances by the three young leads areextraordinary. Jesse Eisenberg gives a quiet, moving performance as ayoung man who doesn't want life to be any more complicated. his feelingstowards his girlfriend cause inner struggles that we can see brewing inhis eyes. Evan Rachel Wood also gives a thoroughly engaging, wonderfulperformance as a dreamy girl who at first is interested in fame, but afterexperiencing it, finds a hunger inside her that causes her to distanceherself from those she loves. as part of a character study, Evan RachelWood gives a truly phenomenal performance. Looking beautiful as always,the stunning Megan Fox gives an emotional, but reserved performance asPearl, the closet lesbian who tries to stay in love with her best friend,even when her friend no longer even seems to care. never before has Foxgiven this good a performance, but now we can all see she has a brightfuture as more than a sex symbol. "Drops Of Jupiter" is a veryinteresting, powerful film that anyone who has ever witnessed a friendchange, while they seem to stay the same, should see.
FYC
Best Picture
Best Director - Baez Luhrmann
Best Actress - Evan Rachel Wood
Best Supporting Actress - Megan Fox
Best Supporting Actor - Jesse Eisenberg
Best Adapted Screenplay
"Drops Of Jupiter"
Written and Directed By: Baz Luhrmann
Cast
Evan Rachel Wood - Stella Belle
Megan Fox - Pearl Perdente
Jesse Eisenberg - Dio Lord
"stars were never meant to be tied down."
Synopsis
Since she was 17, and had first seen the female body as more than something to simply admire or envy, Pearl Perdente had been madly in love with her lifelong friend, Stella Belle. Stella was a dreamy, adventurous, and very creative person who enjoyed life, but longed for her life to be like that of the people on movie screens and magazines. she longed to befamous. famous and beautiful. Having both grown up in the small southern Wisconsin town of Shuttlehead, they had had a simple, active upbringing. They matured side by side, along with a boy who lived down the road named Dio Lord. Dio was a low key, thoughtful, content person who had started dating Stella when they were 19. Now, at 22, their relationship is more a product of convenience, and friendship, than of love or sexual attraction. Him and Stella both worked at a roadside dinner, and Pearl at the bait & tackle shop next door to it. Although infatuated with Stella, pearl didn’t act on any of her feelings, out of a fear that their perfect life would be broken. neither her nor Dio expected too much from life. That's the main difference between them and Stella, who dreamed big. bigger than planets. Dio gave her a weeklong vacation to L.A. for her 23rd birthday. L.A. was her dream city. full of excitement, Stella joyfully traveled to California. The lights are bright, the streets flat and devoid of pot holes, and the people beautiful. Stella has her breath taken away by how much more magical LA was than her hometown. She wandered around, and accidentally walked into a private party. she mingled with various stars, and had a great time. For a week she is was heaven, soaring higher and higher, becoming someone different. her plaid skirts became Abercrombie, her hair shifted from auburn to platinum blonde, and her boots; stilettos. Upon her return to her hometown, she takes both Dio and Pearl aback transformation. not only did she glow , she held herself higher. Stella longed for LA, and the stars again. she had returned from fleeting among them, and had traveled back into earths atmosphere; back to the real world. but she then has far greater horizons. She wants to be a star.Pearl doesn't understand her friend anymore, but is still in love with her. but Stella really was like a star. she was unattainable, even her light came from the past, when she was still the old her. Dio has even started to lose his attraction to her, and began to drift away on the cosmic winds. He was frightened of what she was becoming, and of the life she wanted to lead. Dio got in his car and drove south, looking for a new place to be simple. Stella decided that she has to leave her town to become herself. Pearl, devastated, finally confessed her love, but Stella has already gone too far away from earth. Stella was always moving forward. Stella, not really knowing how to take this new piece of information, also fled the town, without leaving as much as a note for Pearl. Heaven is overrated, Pearl knew, and she had fallen in love with a shooting star. She had never thought about the future, only about the past and the present. But now she had too decide what to do next. The past is only the past if you let it be.
Press Section
In Baez Luhrmann's visually arresting, wonderfully imagined new film, "DropsOf Jupiter," very loosely based on the song by Train, everything seems tomean something else. the fantastic script uses symbolism and metaphorsvery well, as images return and mean certain things (like the stars, andthe unattainable). Even the characters Italian names mean something.Stella Bella is beautiful star, Dio is God, and Percent is loser. theplot of "Drops Of Jupiter" is internally complex, but also quiteinteresting. a two of friends, Pearl and Dio (Fox and Eisenberg) inWisconsin witness a profound transformation as one of their friends, Stella (Evan Rachel Wood), becomes conceited, and overly confident. one ofher friends sticks by her, because she loves her, as more than a friend,while her boyfriend drifts away, scared of the complicated life shewanted. topically, this story is simple, but the underlying profoundnessis something audiences will take with them out of the theatre. asides frombeing a visual breakthrough, the performances by the three young leads areextraordinary. Jesse Eisenberg gives a quiet, moving performance as ayoung man who doesn't want life to be any more complicated. his feelingstowards his girlfriend cause inner struggles that we can see brewing inhis eyes. Evan Rachel Wood also gives a thoroughly engaging, wonderfulperformance as a dreamy girl who at first is interested in fame, but afterexperiencing it, finds a hunger inside her that causes her to distanceherself from those she loves. as part of a character study, Evan RachelWood gives a truly phenomenal performance. Looking beautiful as always,the stunning Megan Fox gives an emotional, but reserved performance asPearl, the closet lesbian who tries to stay in love with her best friend,even when her friend no longer even seems to care. never before has Foxgiven this good a performance, but now we can all see she has a brightfuture as more than a sex symbol. "Drops Of Jupiter" is a veryinteresting, powerful film that anyone who has ever witnessed a friendchange, while they seem to stay the same, should see.
FYC
Best Picture
Best Director - Baez Luhrmann
Best Actress - Evan Rachel Wood
Best Supporting Actress - Megan Fox
Best Supporting Actor - Jesse Eisenberg
Best Adapted Screenplay
Stalemate
Name: Tony
From: Pittsburgh
"Stalemate"
Directed by Terry Zwigoff
Written by Jim Taylor
Produced by Lianna Halfon
Music by Mychael Danna
Editing by Pamela Martin
Casting by Cassandra Kulukundis
Cinematography by Affonso Beato
Principal Cast:
Michael Keaton as Carl Berke
Iben Hjejle as Pearl Singer
Scott Taylor-Compton as Miranda Berke
Michael Angarano as Stan
Illeana Douglas as Lucy Weiss
Matha Maclsaac as Alaina
Tagline: "When all else fails, more will"
Synopsis: Carl Berke stops for his morning coffee; he sighs at the girl at the counter. He pleads for her not to burn the milk this time, it would be the fourth. She does and after a few choice words, he throws it in the trash. The former outspoken, substitute teaching time bomb once wondered how his life turned into an endless amount of random occurrences that shaft him any way possible. Now, he's learned to not care.
It's been two years since the Berke family moved due to Carl's alleged sexual harassment charge. His daughter Miranda didn't have trouble meeting people. Unfortuanately her best friend, Alaina, isn't her friend at all. Her constant bragging about doing coke with Paris Hilton during her trip to California wears thin early in the morning. Miranda's only real communication is Stan, her quiet, soft spoken lab partner in chemistry. She knows he'll never tell anyone her discussions, who is there to tell for Stan? He never says a word. Miranda's conflict comes from Pearl Singer, her English instructor. Her grade is at a point where it is required for tutoring. Against Pearls will, she must do the tutoring, despite knowing her long time friend, Lucy Weiss, was victim to Carl's charge.
Although Carl once thought the charges were from the hands of a paranoid, fragile business law instructor, it's been far too long for debate anymore. Instead, he comes home from work, looks through his daughters text messages, turns on his CB radio, and drinks a cold one. His relationship with his daughter has never been this distant; he knows his negativity and inappropriate wit has taken it's toll and will eventually have to change; right now, who cares, Frisky Dingo is on. Despite Lucy's attempts to stop Pearl, it is her first time at the Berke residence for tutoring. She makes it unaware of her relationship with Lucy, and decides to be friendly with Carl. While turned off by his sarcastic dialogue, she is intrigued by his intelligence and hard facts on life in general. Carl is displeased with her presence, but ultimately enjoys the discussions no one else will have with him. In time, his social relationship with Pearl is a way to bring him closer with his daughter by opening up more and wanting to get to know her again on a personal level. Over time, Pearl enjoys Carl's company and Stan has even asked Miranda on a date.
Pearl begins taking heat from her co-workers for spending time with a former sexual harassing substitute. Her working environment has been stressful to a point where she thrives for Carl's affection. To Carl, she is a welcomed adversary with bite, but he fears hard commitment. Eventually, Carl opens up to her about the constant mental suffering he endures. The stares he receives, the whispers he hears behind his shoulder, and the bickering from the average 70 old woman in the grocery line calling him the rudest man. It is the first time he asks to be listened too by Pearl. Miranda develops a liking for Stan as she is exposed to his music, love for film, obsession with samurai swords, and his collection of doc martins. Carl's invasion of privacy finally holds merit when he reads a disturbing text on Pearls cell phone from Lucy Weiss. He demands to know their relationship and the truth is out. He accuses Pearl of collaborating with Lucy to set him up for another charge. Pearl takes all she can handle and leaves. For Miranda, she is Carl's only reliance to let out his frustration with harsh words towards her and destroying any breakable object in site. The next day at school, Stan tries to cheer her up, but she has none of it. It gets to a point where she breaks it off and tells him his own harsh reality and how she despises it.
Carl leaves a traumatic impact on Miranda. He tries to visit Pearl at the school while leaving her messages but she doesn't break. Although he blindly ignored their real connection, he is soon realizing it without her company. The next day at school, Miranda realizes her lab partner is absent. That following night, the news reports that her partner took his own life earlier in the day. She lays on the couch in disbelief. Her emotions are running high as Carl sits down and comforts her. It'll be alright...
What the press would say:
"Stalemate" is an appropriate term used to describe the latest Terry Zwigoff project with the likes of the brilliant tragicomedy eye of Jim Taylor. In this particular script, our primary characters are all determined not to progress in life or make any sudden action. However, it is the strict connection between them that forces them into boundaries they are not willing to go, but ultimately leads them into unpredictable territories where they need each other, despite their obligation to not change. Some of the beauty within the script are the events that the audience are not shown and are left for us to make our own conclusions. We never know if Carl actually committed the crime he was charged for, and Taylor does a fantastic job at leaving hints in the film that are strong for both cases. Zwigoff really captures the essence of the freshness, yet believable traits these characters possess. "Stalemate" is the engaging story that the teenager, adult, and the carelessness can relate to.
If there were a film for Michael Keaton to show his true abilities once again, this is it. Keaton has a symbolic relationship with the script that in ways reflect on his situation with Hollywood and the fans of films in general. With a perfectly tactless and engrossing character, Keaton does wonders and never once abandons it, nor does he show any remorse. He defends his character through and through and doesn't want to change for anyone. The beauty of the character is its ability to change the outcome and attitude of everyone who encounters him or those around the people in which he has encountered with, and yet we can't virtually tell a change with his character. It's the little things Keaton does that distinguish what mood he is feeling and why he is feeling it. In a way, this is the perfect character for Keaton to bash his harsh critics by not changing who he really is, and at the same time giving a genuine, spot-on performance. He savors on letting his voice be heard through a cynical and bitter direction. The last scene solidifies the virtuosity Keaton possesses; a scene where his daughter pleads for his affection, and even if he doesn't cry or shiver, but we are well aware deep down it is what he is feeling. Iben Hjejle plays the English instructor that is torn between her relationship with Carl and her uncertainty of his past actions. It's a heart felt, comedic, and drastically difficult performance to pull off. Here is a role that demands her emotions to be bought out, while simultaneously trying to hide them because of peoples judgemental perceptions they have for her. Whether it's Carl or the people at work, she is torn and eventually makes a decision to which she knows she will not ever want to go back to. Playing the daughter is Scott Taylor-Compton. Although not acclaimed as the other stars in the film, she shines through and delivers by stealing the scenes from her co-stars with her lovability and kindness. The most challenging part in the role is that Compton must let it be known to the audience of the impact Carl leaves on her. While innocence runs through her blood, she at times cannot help but to feel corrupt and full of hate and despair. Some of the most pivotal scenes are the ones where she is engaging Stan. It gives a surreal, brash look on a real teen's conversation and a real teen's reaction. Playing the role of Stan is impressive stand-out Michael Angarano. Angarano is in the position to where he doesn't rely on dialogue, but the "facial expressions tell a story" angle that most of us are familiar with. However, Angarano brings the character much needed depth with his constant reaction to everything Miranda says, and eventually forces himself to go deeper in this slow motion relationship. He realizes he's taking a chance and wants to find a place for himself in the world. We get the sense that he is easily breakable, lonely, and perhaps listened to those harsh words from the other students more than he should have. It's troubled, grotesque role and Angarano is sure to make noise this year.
While we may have the feeling of emptiness inside after enduring the heart felt yet remorsefully sad conclusion, we begin to realize that it is pain and the illusion that we must literally "fight" our way through life, and that is what makes us grow as human beings. While our characters essentially took common risks in their normal life, it's those common risks that we come to not recognize, and it is those small risks that are the deciding factors in our ability to progress. If it isn't something we can learn from, it is something we can admire, along with the immensely impressive acting display and key direction that makes "Stalemate" the most effective film of the year.
FYC:
Best Picture
Best Actor - Michael Keaton
Best Supporting Actor - Michael Angarano
Best Supporting Actress - Iben Hjejle
Best Supporting Actress - Scott Taylor-Compton
Best Original Screenplay - Jim Taylor
Best Director - Terry Zwigoff
From: Pittsburgh
"Stalemate"
Directed by Terry Zwigoff
Written by Jim Taylor
Produced by Lianna Halfon
Music by Mychael Danna
Editing by Pamela Martin
Casting by Cassandra Kulukundis
Cinematography by Affonso Beato
Principal Cast:
Michael Keaton as Carl Berke
Iben Hjejle as Pearl Singer
Scott Taylor-Compton as Miranda Berke
Michael Angarano as Stan
Illeana Douglas as Lucy Weiss
Matha Maclsaac as Alaina
Tagline: "When all else fails, more will"
Synopsis: Carl Berke stops for his morning coffee; he sighs at the girl at the counter. He pleads for her not to burn the milk this time, it would be the fourth. She does and after a few choice words, he throws it in the trash. The former outspoken, substitute teaching time bomb once wondered how his life turned into an endless amount of random occurrences that shaft him any way possible. Now, he's learned to not care.
It's been two years since the Berke family moved due to Carl's alleged sexual harassment charge. His daughter Miranda didn't have trouble meeting people. Unfortuanately her best friend, Alaina, isn't her friend at all. Her constant bragging about doing coke with Paris Hilton during her trip to California wears thin early in the morning. Miranda's only real communication is Stan, her quiet, soft spoken lab partner in chemistry. She knows he'll never tell anyone her discussions, who is there to tell for Stan? He never says a word. Miranda's conflict comes from Pearl Singer, her English instructor. Her grade is at a point where it is required for tutoring. Against Pearls will, she must do the tutoring, despite knowing her long time friend, Lucy Weiss, was victim to Carl's charge.
Although Carl once thought the charges were from the hands of a paranoid, fragile business law instructor, it's been far too long for debate anymore. Instead, he comes home from work, looks through his daughters text messages, turns on his CB radio, and drinks a cold one. His relationship with his daughter has never been this distant; he knows his negativity and inappropriate wit has taken it's toll and will eventually have to change; right now, who cares, Frisky Dingo is on. Despite Lucy's attempts to stop Pearl, it is her first time at the Berke residence for tutoring. She makes it unaware of her relationship with Lucy, and decides to be friendly with Carl. While turned off by his sarcastic dialogue, she is intrigued by his intelligence and hard facts on life in general. Carl is displeased with her presence, but ultimately enjoys the discussions no one else will have with him. In time, his social relationship with Pearl is a way to bring him closer with his daughter by opening up more and wanting to get to know her again on a personal level. Over time, Pearl enjoys Carl's company and Stan has even asked Miranda on a date.
Pearl begins taking heat from her co-workers for spending time with a former sexual harassing substitute. Her working environment has been stressful to a point where she thrives for Carl's affection. To Carl, she is a welcomed adversary with bite, but he fears hard commitment. Eventually, Carl opens up to her about the constant mental suffering he endures. The stares he receives, the whispers he hears behind his shoulder, and the bickering from the average 70 old woman in the grocery line calling him the rudest man. It is the first time he asks to be listened too by Pearl. Miranda develops a liking for Stan as she is exposed to his music, love for film, obsession with samurai swords, and his collection of doc martins. Carl's invasion of privacy finally holds merit when he reads a disturbing text on Pearls cell phone from Lucy Weiss. He demands to know their relationship and the truth is out. He accuses Pearl of collaborating with Lucy to set him up for another charge. Pearl takes all she can handle and leaves. For Miranda, she is Carl's only reliance to let out his frustration with harsh words towards her and destroying any breakable object in site. The next day at school, Stan tries to cheer her up, but she has none of it. It gets to a point where she breaks it off and tells him his own harsh reality and how she despises it.
Carl leaves a traumatic impact on Miranda. He tries to visit Pearl at the school while leaving her messages but she doesn't break. Although he blindly ignored their real connection, he is soon realizing it without her company. The next day at school, Miranda realizes her lab partner is absent. That following night, the news reports that her partner took his own life earlier in the day. She lays on the couch in disbelief. Her emotions are running high as Carl sits down and comforts her. It'll be alright...
What the press would say:
"Stalemate" is an appropriate term used to describe the latest Terry Zwigoff project with the likes of the brilliant tragicomedy eye of Jim Taylor. In this particular script, our primary characters are all determined not to progress in life or make any sudden action. However, it is the strict connection between them that forces them into boundaries they are not willing to go, but ultimately leads them into unpredictable territories where they need each other, despite their obligation to not change. Some of the beauty within the script are the events that the audience are not shown and are left for us to make our own conclusions. We never know if Carl actually committed the crime he was charged for, and Taylor does a fantastic job at leaving hints in the film that are strong for both cases. Zwigoff really captures the essence of the freshness, yet believable traits these characters possess. "Stalemate" is the engaging story that the teenager, adult, and the carelessness can relate to.
If there were a film for Michael Keaton to show his true abilities once again, this is it. Keaton has a symbolic relationship with the script that in ways reflect on his situation with Hollywood and the fans of films in general. With a perfectly tactless and engrossing character, Keaton does wonders and never once abandons it, nor does he show any remorse. He defends his character through and through and doesn't want to change for anyone. The beauty of the character is its ability to change the outcome and attitude of everyone who encounters him or those around the people in which he has encountered with, and yet we can't virtually tell a change with his character. It's the little things Keaton does that distinguish what mood he is feeling and why he is feeling it. In a way, this is the perfect character for Keaton to bash his harsh critics by not changing who he really is, and at the same time giving a genuine, spot-on performance. He savors on letting his voice be heard through a cynical and bitter direction. The last scene solidifies the virtuosity Keaton possesses; a scene where his daughter pleads for his affection, and even if he doesn't cry or shiver, but we are well aware deep down it is what he is feeling. Iben Hjejle plays the English instructor that is torn between her relationship with Carl and her uncertainty of his past actions. It's a heart felt, comedic, and drastically difficult performance to pull off. Here is a role that demands her emotions to be bought out, while simultaneously trying to hide them because of peoples judgemental perceptions they have for her. Whether it's Carl or the people at work, she is torn and eventually makes a decision to which she knows she will not ever want to go back to. Playing the daughter is Scott Taylor-Compton. Although not acclaimed as the other stars in the film, she shines through and delivers by stealing the scenes from her co-stars with her lovability and kindness. The most challenging part in the role is that Compton must let it be known to the audience of the impact Carl leaves on her. While innocence runs through her blood, she at times cannot help but to feel corrupt and full of hate and despair. Some of the most pivotal scenes are the ones where she is engaging Stan. It gives a surreal, brash look on a real teen's conversation and a real teen's reaction. Playing the role of Stan is impressive stand-out Michael Angarano. Angarano is in the position to where he doesn't rely on dialogue, but the "facial expressions tell a story" angle that most of us are familiar with. However, Angarano brings the character much needed depth with his constant reaction to everything Miranda says, and eventually forces himself to go deeper in this slow motion relationship. He realizes he's taking a chance and wants to find a place for himself in the world. We get the sense that he is easily breakable, lonely, and perhaps listened to those harsh words from the other students more than he should have. It's troubled, grotesque role and Angarano is sure to make noise this year.
While we may have the feeling of emptiness inside after enduring the heart felt yet remorsefully sad conclusion, we begin to realize that it is pain and the illusion that we must literally "fight" our way through life, and that is what makes us grow as human beings. While our characters essentially took common risks in their normal life, it's those common risks that we come to not recognize, and it is those small risks that are the deciding factors in our ability to progress. If it isn't something we can learn from, it is something we can admire, along with the immensely impressive acting display and key direction that makes "Stalemate" the most effective film of the year.
FYC:
Best Picture
Best Actor - Michael Keaton
Best Supporting Actor - Michael Angarano
Best Supporting Actress - Iben Hjejle
Best Supporting Actress - Scott Taylor-Compton
Best Original Screenplay - Jim Taylor
Best Director - Terry Zwigoff
The Color Purple
Author: Jeffrey
Location: Long Island
The Color Purple
Directed by Rob Marshall
Written by Kasi Lemmons
CAST
LaChanze as Celie
Audra McDonald as Shug Avery
Terrence Howard as Mister
Chandra Wilson as Sofia
Elijah Kelley as Harpo
Rosario Dawson as Squeak
and
Anika Noni Rose as Nettie
Tagline: The book that redefined literature is now redefining movie musicals.
Synopsis:
Pregnant again. Celie’s only solace is in her sister and the baby growing inside of her, but when her Pa takes her baby away from her right after she gives birth, his only words of advice to her are: “You better not never tell nobody but God.” Confused and helpless, Celie spends the next few years of her life with the comfort of God and her sister Nettie before Mister comes and snatches her away to become his wife. He wanted Nettie (and was already with that hussy Shug Avery according to town gossip), but he’s stuck with ugly Celie.
Celie’s life with Mister consists mostly of working in the field and caring for his several children. When Nettie comes to visit Celie, she is pushed away by Mister; afterwards, on her way home, she is almost raped by him. Although she promised to write to Celie every week, Celie never gets letters from sister.
Years later, Mister’s oldest son Harpo has grown a unique bond with Celie and brings home his new love, Sofia; she’s a prideful, independent woman who Harpo (through Mister’s example) mistakenly believes he can control. In actuality, Sofia controls Harpo and beats him when he acts out. Sofia teaches Celie that a woman will only suffer if she allows herself to suffer, although Celie still can’t stand up to Mister like Sofia would be able to. Fed up with Harpo, Sofia leaves him and is soon replaced by a mousey waitress in his bar named Squeak.
Celie is later blown away by the arrival of Shug Avery. Shug, although indubitably beautiful by any standards, is a wreck. Spreading salt deeper into the wound of his malevolence towards his wife, Mister invites Shug to stay at the house. Celie is enamored by Shug’s presence even when Shug tells her, “You sure is ugly.” A rocky relationship turns into an unlikely friendship between the two women, and right under Mister’s nose, it evolves into a romantic fling. Shug is only the second person Celie has ever loved, and she is spiritually reunited with the first when Shug surprises her with a letter postmarked from Africa. It’s from Nettie.
Nettie has become a missionary in Africa, but before that she managed to stumble upon the adoptive parents of Celie’s two children. The five of them went to Africa and have since discovered some shocking secrets, the most uplifting of which being that Celie’s Pa isn’t really her Pa; instead, Celie and Nettie’s father died before they had a chance to know him. Shug and Celie practically destroy the house looking for more letters, and when they find a stash of them it becomes clear to Celie that Mister has hidden them from her all these years. Infuriated, she feels the urge to kill him.
Also feeling the urge to kill is Sofia. She got into trouble with the love when she beat up the mayor in Georgia and got a prison sentence. It was overturned eventually in exchange for igniting in Sofia the one thing she wanted least in life: she would have to become the mayor’s maid.
Twelve years of suppressed anger and letters from Nettie pass by; then, finally, Shug gets through to Celie in a discussion of God. Shug finds God’s form ambiguous, and encourages not viewing him as white or black, man or woman, or even necessarily as human. God, Shug explains, is just a figure that wants to be loved. That’s why he creates the color purple: so people have something to look at and love him for. Celie takes this and finds her own religious awakening brewing. After their conversation, Celie makes a decision to go to Memphis with Shug and finally stand up to Mister.
It is on Easter that Celie stands her ground against Mister for his irrefutable malice towards her. She eventually leaves him speechless and accompanies Shug to Memphis with Squeak, who can’t bear Harpo’s change in personality since Sofia has been punished. In response to this, Harpo and Sofia reconcile after years of estrangement and Sofia finally, willing, returns to her husband and children. Likewise, in the presence of Celie’s absence, Mister starts to reexamine his own life and finds himself changing for the better.
Although she starts a successful pants making business in Memphis, Celie returns to her home because the man she knew as “Pa” died; her real father left his enormous estate to her! She has small interactions with Mister on her visit home, who has made a surprising effort to loosen up and make amends. What Celie doesn’t know is that Mister is planning a surprise for her: he is trying to bring Nettie back from Africa, and enlists Harpo and Sofia to help him.
But Shug has decided to leave Celie for a man. She runs off with a flute player for one final fling, leaving Celie not destroyed emotionally, but with more independence and a stronger love for herself. Shug returns just in time for a 4th of July cookout, which is disrupted by an unfamiliar family’s arrival. Nettie runs up to Celie’s porch and practically engulfs her in a warm embrace for the first time in over 30 years. Reunited with her sister, it seems like Celie’s life has panned out better than she could have ever dreamed even with the hardships she endured early on.
What the Press Would Say:
A Pulitzer-Prize winning novel written by Alice Walker was turned into a film in 1985, with much of its plot butchered to fit the standards of Hollywood. In 2005, Broadway rectified many of the problems of the film with a musical version of Walker’s life-changing book. Now, the film version of the Broadway phenomenon has filled in all of the gaps and issues with striking candidacy and heart.
Rob Marshall’s style might seem unfit for “The Color Purple” at first, but he has crafted a superb look at the life of not a woman, not a feminist, not a lesbian, but a human being. He has merged the visuals of “Memoirs of a Geisha” with the (considerably subtler) style seen in “Chicago”. Coupled with the screenwriter of the acclaimed “Eve’s Bayou”, who finally succeeds in producing an adaptation worthy of being derived from Walker’s masterpiece, Marshall has delivered the most surprising film of the year in terms of quality and awards potential.
The only member of the Original Broadway Cast to appear in the film is LaChanze, reprising her role as the protagonist, Celie. Although heavyweights (in terms of fame) such as American Idol stars Fantasia and Jennifer Hudson, her own co-star Anika Noni Rose, and Sharon Leal were considered for the role, Marshall could not deny the vibrancy and realism that LaChanze brings to the role. LaChanze is the breakout star of the year, turning her Tony-winning performance into an Oscar-caliber character study that begins as a weak, unconfident, ugly girl to a wise, proud, and beautiful woman.
Why doesn’t Audra McDonald get more movie deals? The four(!) time Tony winner and star of “Private Practice” plays a once-in-a-lifetime role as the life changing, sexy, successful Shug Avery like a pro. Nobody could play the role better because of the passion seen in McDonald’s portrayal. The character of Shug Avery is an enviable role for any thespian, considering the powerful motivation she provides for the protagonist. Another outstanding supporting player in Celie’s story is that of Sofia, played by the irresistibly charming Chandra Wilson. Wilson, who has been awarded plentifully for strong feminine roles in the past, brings her talents to the big screen and refuses to let anybody ignore her. Wilson is commanding and fierce, stubborn and proud, realistic and raw; she packs some of the film’s most powerful emotional punches. She shines brightest in the newly written song for the film, “Anything Else”, in which she laments on her impending service to the mayor’s family. Without a doubt, Wilson is headed for gold this month.
Rosario Dawson and Anika Noni Rose also provide much entertainment and heartbreak respectively in their cameos. Anika Noni Rose is especially effective in her brief scenes, showing that distance has not shattered her relationship with her sister.
Although adapted from what is considered a feministic source material, ultimately “The Color Purple” is a story about human nature. This common misconception may make it hard for the men to stand out, but the valiant efforts in this film will make that close to impossible. Terrence Howard brings a performance out that differentiates itself from that of the original show’s actor and Danny Glover’s film portrayal of Mister. He is much less subdued and more frightening, loosening up gradually throughout the film rather than abruptly at the end. Howard’s performance directly reflects his character’s relationship with Shug; she is the only person he’s ever loved, and when she begins to fall out with him, a transformation is visible. Mister’s son Harpo is played by Elijah Kelley of “Hairspray” fame. Kelley tackled on one of the meatiest roles this year, and will please audiences by creating a character so loveable, flawed, and different from past incarnations of Harpo.
Marshall’s adaptation of “The Color Purple” is unmatched by the previous two attempts. From its harrowing imagery to its uplifting finale, the story was Walker once told it is finally worthy of praise and adoration in all aspects.
For Your Consideration:
Best Picture
Best Director – Rob Marshall
Best Actress – LaChanze
Best Supporting Actress – Audra McDonald
Best Supporting Actress – Chandra Wilson
Best Supporting Actor – Terrence Howard
Best Supporting Actor – Elijah Kelley
Best Adapted Screenplay
Location: Long Island
The Color Purple
Directed by Rob Marshall
Written by Kasi Lemmons
CAST
LaChanze as Celie
Audra McDonald as Shug Avery
Terrence Howard as Mister
Chandra Wilson as Sofia
Elijah Kelley as Harpo
Rosario Dawson as Squeak
and
Anika Noni Rose as Nettie
Tagline: The book that redefined literature is now redefining movie musicals.
Synopsis:
Pregnant again. Celie’s only solace is in her sister and the baby growing inside of her, but when her Pa takes her baby away from her right after she gives birth, his only words of advice to her are: “You better not never tell nobody but God.” Confused and helpless, Celie spends the next few years of her life with the comfort of God and her sister Nettie before Mister comes and snatches her away to become his wife. He wanted Nettie (and was already with that hussy Shug Avery according to town gossip), but he’s stuck with ugly Celie.
Celie’s life with Mister consists mostly of working in the field and caring for his several children. When Nettie comes to visit Celie, she is pushed away by Mister; afterwards, on her way home, she is almost raped by him. Although she promised to write to Celie every week, Celie never gets letters from sister.
Years later, Mister’s oldest son Harpo has grown a unique bond with Celie and brings home his new love, Sofia; she’s a prideful, independent woman who Harpo (through Mister’s example) mistakenly believes he can control. In actuality, Sofia controls Harpo and beats him when he acts out. Sofia teaches Celie that a woman will only suffer if she allows herself to suffer, although Celie still can’t stand up to Mister like Sofia would be able to. Fed up with Harpo, Sofia leaves him and is soon replaced by a mousey waitress in his bar named Squeak.
Celie is later blown away by the arrival of Shug Avery. Shug, although indubitably beautiful by any standards, is a wreck. Spreading salt deeper into the wound of his malevolence towards his wife, Mister invites Shug to stay at the house. Celie is enamored by Shug’s presence even when Shug tells her, “You sure is ugly.” A rocky relationship turns into an unlikely friendship between the two women, and right under Mister’s nose, it evolves into a romantic fling. Shug is only the second person Celie has ever loved, and she is spiritually reunited with the first when Shug surprises her with a letter postmarked from Africa. It’s from Nettie.
Nettie has become a missionary in Africa, but before that she managed to stumble upon the adoptive parents of Celie’s two children. The five of them went to Africa and have since discovered some shocking secrets, the most uplifting of which being that Celie’s Pa isn’t really her Pa; instead, Celie and Nettie’s father died before they had a chance to know him. Shug and Celie practically destroy the house looking for more letters, and when they find a stash of them it becomes clear to Celie that Mister has hidden them from her all these years. Infuriated, she feels the urge to kill him.
Also feeling the urge to kill is Sofia. She got into trouble with the love when she beat up the mayor in Georgia and got a prison sentence. It was overturned eventually in exchange for igniting in Sofia the one thing she wanted least in life: she would have to become the mayor’s maid.
Twelve years of suppressed anger and letters from Nettie pass by; then, finally, Shug gets through to Celie in a discussion of God. Shug finds God’s form ambiguous, and encourages not viewing him as white or black, man or woman, or even necessarily as human. God, Shug explains, is just a figure that wants to be loved. That’s why he creates the color purple: so people have something to look at and love him for. Celie takes this and finds her own religious awakening brewing. After their conversation, Celie makes a decision to go to Memphis with Shug and finally stand up to Mister.
It is on Easter that Celie stands her ground against Mister for his irrefutable malice towards her. She eventually leaves him speechless and accompanies Shug to Memphis with Squeak, who can’t bear Harpo’s change in personality since Sofia has been punished. In response to this, Harpo and Sofia reconcile after years of estrangement and Sofia finally, willing, returns to her husband and children. Likewise, in the presence of Celie’s absence, Mister starts to reexamine his own life and finds himself changing for the better.
Although she starts a successful pants making business in Memphis, Celie returns to her home because the man she knew as “Pa” died; her real father left his enormous estate to her! She has small interactions with Mister on her visit home, who has made a surprising effort to loosen up and make amends. What Celie doesn’t know is that Mister is planning a surprise for her: he is trying to bring Nettie back from Africa, and enlists Harpo and Sofia to help him.
But Shug has decided to leave Celie for a man. She runs off with a flute player for one final fling, leaving Celie not destroyed emotionally, but with more independence and a stronger love for herself. Shug returns just in time for a 4th of July cookout, which is disrupted by an unfamiliar family’s arrival. Nettie runs up to Celie’s porch and practically engulfs her in a warm embrace for the first time in over 30 years. Reunited with her sister, it seems like Celie’s life has panned out better than she could have ever dreamed even with the hardships she endured early on.
What the Press Would Say:
A Pulitzer-Prize winning novel written by Alice Walker was turned into a film in 1985, with much of its plot butchered to fit the standards of Hollywood. In 2005, Broadway rectified many of the problems of the film with a musical version of Walker’s life-changing book. Now, the film version of the Broadway phenomenon has filled in all of the gaps and issues with striking candidacy and heart.
Rob Marshall’s style might seem unfit for “The Color Purple” at first, but he has crafted a superb look at the life of not a woman, not a feminist, not a lesbian, but a human being. He has merged the visuals of “Memoirs of a Geisha” with the (considerably subtler) style seen in “Chicago”. Coupled with the screenwriter of the acclaimed “Eve’s Bayou”, who finally succeeds in producing an adaptation worthy of being derived from Walker’s masterpiece, Marshall has delivered the most surprising film of the year in terms of quality and awards potential.
The only member of the Original Broadway Cast to appear in the film is LaChanze, reprising her role as the protagonist, Celie. Although heavyweights (in terms of fame) such as American Idol stars Fantasia and Jennifer Hudson, her own co-star Anika Noni Rose, and Sharon Leal were considered for the role, Marshall could not deny the vibrancy and realism that LaChanze brings to the role. LaChanze is the breakout star of the year, turning her Tony-winning performance into an Oscar-caliber character study that begins as a weak, unconfident, ugly girl to a wise, proud, and beautiful woman.
Why doesn’t Audra McDonald get more movie deals? The four(!) time Tony winner and star of “Private Practice” plays a once-in-a-lifetime role as the life changing, sexy, successful Shug Avery like a pro. Nobody could play the role better because of the passion seen in McDonald’s portrayal. The character of Shug Avery is an enviable role for any thespian, considering the powerful motivation she provides for the protagonist. Another outstanding supporting player in Celie’s story is that of Sofia, played by the irresistibly charming Chandra Wilson. Wilson, who has been awarded plentifully for strong feminine roles in the past, brings her talents to the big screen and refuses to let anybody ignore her. Wilson is commanding and fierce, stubborn and proud, realistic and raw; she packs some of the film’s most powerful emotional punches. She shines brightest in the newly written song for the film, “Anything Else”, in which she laments on her impending service to the mayor’s family. Without a doubt, Wilson is headed for gold this month.
Rosario Dawson and Anika Noni Rose also provide much entertainment and heartbreak respectively in their cameos. Anika Noni Rose is especially effective in her brief scenes, showing that distance has not shattered her relationship with her sister.
Although adapted from what is considered a feministic source material, ultimately “The Color Purple” is a story about human nature. This common misconception may make it hard for the men to stand out, but the valiant efforts in this film will make that close to impossible. Terrence Howard brings a performance out that differentiates itself from that of the original show’s actor and Danny Glover’s film portrayal of Mister. He is much less subdued and more frightening, loosening up gradually throughout the film rather than abruptly at the end. Howard’s performance directly reflects his character’s relationship with Shug; she is the only person he’s ever loved, and when she begins to fall out with him, a transformation is visible. Mister’s son Harpo is played by Elijah Kelley of “Hairspray” fame. Kelley tackled on one of the meatiest roles this year, and will please audiences by creating a character so loveable, flawed, and different from past incarnations of Harpo.
Marshall’s adaptation of “The Color Purple” is unmatched by the previous two attempts. From its harrowing imagery to its uplifting finale, the story was Walker once told it is finally worthy of praise and adoration in all aspects.
For Your Consideration:
Best Picture
Best Director – Rob Marshall
Best Actress – LaChanze
Best Supporting Actress – Audra McDonald
Best Supporting Actress – Chandra Wilson
Best Supporting Actor – Terrence Howard
Best Supporting Actor – Elijah Kelley
Best Adapted Screenplay
Big Bucks
D.W. Dillon
Las Vegas, NV
Big Bucks
Directed by Wes Anderson
Written by Wes Anderson
Music by Mark Mothersbaugh
Principal Cast:
Paul Giamatti as Michael Larson
Willem Dafoe as Peter Tomarken
Beth Grant as Teresa Dinwitty
Cary Elwes as Ed Long
Robin Tunney as Janie Litras
Paul McCrane as Michael Brockman
Tagline: "You don't need to press your luck to beat the game."
Synopsis:
Chocolate, vanilla and cookie dough, butter-pecan and Rocky Road and on and on it goes for Michael Larson (Paul Giamatti), the grizzly ice cream man with a dream. A rich dream, and we're not talking about chocolate. His longtime girlfriend Teresa thought TV-dinners on tray tables in the living room, watching game shows like "Press Your Luck" was a fun bonding experience. Little did she know, it was Michael's true obsession. He had found the key to a better life by memorizing the so-called random patterns on the game show's money board. Armed with the pause and slow-motion buttons on his remote and VCR, he studied the lights glowing across the money board as the patterns passed through the infamous money-draining "whammies" and over the "big bucks" and prizes. He sought out the five light patterns to avoid those pesky whammies and score the big bucks.
The get-rich-quick scheme seemed full-proof, yet his love-life began to take the hits as he devoted his days and nights to beating the game, Teresa began growing frustrated. She was not a priority and tried hard to prove to her love that materialistic things didn't matter. Michael would hear none of it as his delusions of grandeur dominated the household until it was time for him to finally press his luck.
"Have you ever overdosed on ice cream?" asked the famous game show host, Peter Tomarken (Willem Dafoe) to the coy Michael Larson, who nodded his head no. "Well, let's hope you don't O.D. on money", and little did Peter Tomarken know, no truer words were ever going to be said on the show. Having perfected the patterns of the game show's money board, the patterns didn't translate so well up-close and live as Michael Larson finished in last place at the end of the first round, behind the annoying dental assistant, Janie Litras (Robin Tunney) and the friendly Baptist preacher, Ed Long (Cary Elwes). By the second round, the ice cream man had mastered the timing and would bulldoze his way past the preacher earning over $110,000, and facing the futile dental assistant in the final round, who lacked not only chances to win, but the secret to win as well. Head of programming at CBS, Michael Brockman (Paul McCrane) sought out to prove Michael Larson was nothing more than a cheater. Well-respected host Tomarken did not want his game show or reputation tarnished and would fight Brockman the whole way for Larson. In Larson's own defense, he proclaimed, "It's as if I had cracked the books and won on Jeopardy!". He was finally awarded his money, but the ice cream man's journey was far from over.
While mastering the art of getting rich quick, the newly married Michael Larson didn't think to master the art of being rich. While attending a Christmas Party with his wife Teresa, the simplistic nature and carelessness of Michael cost him almost half his winnings, coming home to a broken house and finding an empty shoe box that had once contained $50,000. With no desire to peddle ice cream, and coming so close to financial freedom, he would fly out to the studios and try to convince Brockman to let him back on another game show. Teresa had enough, and with no prospects and his wife a past memory, Michael found himself battling throat cancer and mild dementia. A chance encounter outside the CBS building, on his way to receive his pilot's license, Peter Tomarken would come face to face with the man who broke his game show. Holding no grudge unlike the producers that paid him, Tomarken who tried to always find the genius in people, was always amazed by Larson offered a helpful hand, to which the former ice cream man shyly declined.
Larson's poor investment into Ponzi scheme left him broke and on the run from the authorities. With Robert Redford's "Quiz Show" playing on television, small piles of change scattered the night stand in his motel room, cancer took the contestant's final breathe. Seven years later, a cancer patient laid waiting to be picked up and flown to UCLA for treatment. At the same time, Peter Tomarken and his wife, prepared their Beachcraft Bonanza plane for take off. On route to transport the much needed cancer patient. Their noble volunteer efforts with a non-profit organization to transport sick patients to treatment was not without inspiration. Though shortly after their take-off, engine trouble consumed the fate of the Tomarkens. Whether it be luck or fate, life is full of prizes and whammies.
What the Press Will Say?
Acclaimed filmmaker Wes Anderson brings his quirky and sentimental style to the most famous game show performance of all time. Big Bucks tells the story of ice cream man Michael Larson (played by Paul Giamatti) and how he discovers a way to legitimately beat the game show "Press Your Luck", his life spirals up and down as he struggles to balance his success, fame and life in. Packed with a killer eclectic soundtrack from the likes of Fishbone, The Pogues, Eels and Morrissey, we are delighted in the experience and triumph of Michael Larson and saddened in his fall. In the lead role of of the determined yet jolly ice cream man turned game show hero Michael Larson, Paul Giamatti's performance is a tour de force. His ability to draw us into Larson's buckled down drive to become more than your average joe resonates within the human condition, as well as his desperate pleas and attempts to gain back the greatness he once achieved. On his quest for the brass ring are a plethora of eccentric characters who challenge him, whether it be on a game show for money or in the game of life and love. Beth Grant as Larson's devoted love interest Teresa Dinwitty is comforting and somber, with her breaking point coinciding with his own. While Teresa is the catalyst to Larson's emotional journey, Peter Tomarken (played by Willem Dafoe) embodies the success and wonderment Larson so as desires. Dafoe's most colorful and charismatic performance since Nosferatu in Shadow of the Vampire. Wes Anderson hones in and masters the grandeur he has always set out for, and came close to achieve with The Royal Tenenbaums, and finally finds in Big Bucks. Precision filmmaking and mesmerizing performances capture three decades in the life of a man who reached for the stars.
Best Picture
Best Director - Wes Anderson
Best Actor - Paul Giamatti
Best Supporting Actor - Willem Dafoe
Best Supporting Actress - Beth Grant
Best Original Screenplay - Wes Anderson
Las Vegas, NV
Big Bucks
Directed by Wes Anderson
Written by Wes Anderson
Music by Mark Mothersbaugh
Principal Cast:
Paul Giamatti as Michael Larson
Willem Dafoe as Peter Tomarken
Beth Grant as Teresa Dinwitty
Cary Elwes as Ed Long
Robin Tunney as Janie Litras
Paul McCrane as Michael Brockman
Tagline: "You don't need to press your luck to beat the game."
Synopsis:
Chocolate, vanilla and cookie dough, butter-pecan and Rocky Road and on and on it goes for Michael Larson (Paul Giamatti), the grizzly ice cream man with a dream. A rich dream, and we're not talking about chocolate. His longtime girlfriend Teresa thought TV-dinners on tray tables in the living room, watching game shows like "Press Your Luck" was a fun bonding experience. Little did she know, it was Michael's true obsession. He had found the key to a better life by memorizing the so-called random patterns on the game show's money board. Armed with the pause and slow-motion buttons on his remote and VCR, he studied the lights glowing across the money board as the patterns passed through the infamous money-draining "whammies" and over the "big bucks" and prizes. He sought out the five light patterns to avoid those pesky whammies and score the big bucks.
The get-rich-quick scheme seemed full-proof, yet his love-life began to take the hits as he devoted his days and nights to beating the game, Teresa began growing frustrated. She was not a priority and tried hard to prove to her love that materialistic things didn't matter. Michael would hear none of it as his delusions of grandeur dominated the household until it was time for him to finally press his luck.
"Have you ever overdosed on ice cream?" asked the famous game show host, Peter Tomarken (Willem Dafoe) to the coy Michael Larson, who nodded his head no. "Well, let's hope you don't O.D. on money", and little did Peter Tomarken know, no truer words were ever going to be said on the show. Having perfected the patterns of the game show's money board, the patterns didn't translate so well up-close and live as Michael Larson finished in last place at the end of the first round, behind the annoying dental assistant, Janie Litras (Robin Tunney) and the friendly Baptist preacher, Ed Long (Cary Elwes). By the second round, the ice cream man had mastered the timing and would bulldoze his way past the preacher earning over $110,000, and facing the futile dental assistant in the final round, who lacked not only chances to win, but the secret to win as well. Head of programming at CBS, Michael Brockman (Paul McCrane) sought out to prove Michael Larson was nothing more than a cheater. Well-respected host Tomarken did not want his game show or reputation tarnished and would fight Brockman the whole way for Larson. In Larson's own defense, he proclaimed, "It's as if I had cracked the books and won on Jeopardy!". He was finally awarded his money, but the ice cream man's journey was far from over.
While mastering the art of getting rich quick, the newly married Michael Larson didn't think to master the art of being rich. While attending a Christmas Party with his wife Teresa, the simplistic nature and carelessness of Michael cost him almost half his winnings, coming home to a broken house and finding an empty shoe box that had once contained $50,000. With no desire to peddle ice cream, and coming so close to financial freedom, he would fly out to the studios and try to convince Brockman to let him back on another game show. Teresa had enough, and with no prospects and his wife a past memory, Michael found himself battling throat cancer and mild dementia. A chance encounter outside the CBS building, on his way to receive his pilot's license, Peter Tomarken would come face to face with the man who broke his game show. Holding no grudge unlike the producers that paid him, Tomarken who tried to always find the genius in people, was always amazed by Larson offered a helpful hand, to which the former ice cream man shyly declined.
Larson's poor investment into Ponzi scheme left him broke and on the run from the authorities. With Robert Redford's "Quiz Show" playing on television, small piles of change scattered the night stand in his motel room, cancer took the contestant's final breathe. Seven years later, a cancer patient laid waiting to be picked up and flown to UCLA for treatment. At the same time, Peter Tomarken and his wife, prepared their Beachcraft Bonanza plane for take off. On route to transport the much needed cancer patient. Their noble volunteer efforts with a non-profit organization to transport sick patients to treatment was not without inspiration. Though shortly after their take-off, engine trouble consumed the fate of the Tomarkens. Whether it be luck or fate, life is full of prizes and whammies.
What the Press Will Say?
Acclaimed filmmaker Wes Anderson brings his quirky and sentimental style to the most famous game show performance of all time. Big Bucks tells the story of ice cream man Michael Larson (played by Paul Giamatti) and how he discovers a way to legitimately beat the game show "Press Your Luck", his life spirals up and down as he struggles to balance his success, fame and life in. Packed with a killer eclectic soundtrack from the likes of Fishbone, The Pogues, Eels and Morrissey, we are delighted in the experience and triumph of Michael Larson and saddened in his fall. In the lead role of of the determined yet jolly ice cream man turned game show hero Michael Larson, Paul Giamatti's performance is a tour de force. His ability to draw us into Larson's buckled down drive to become more than your average joe resonates within the human condition, as well as his desperate pleas and attempts to gain back the greatness he once achieved. On his quest for the brass ring are a plethora of eccentric characters who challenge him, whether it be on a game show for money or in the game of life and love. Beth Grant as Larson's devoted love interest Teresa Dinwitty is comforting and somber, with her breaking point coinciding with his own. While Teresa is the catalyst to Larson's emotional journey, Peter Tomarken (played by Willem Dafoe) embodies the success and wonderment Larson so as desires. Dafoe's most colorful and charismatic performance since Nosferatu in Shadow of the Vampire. Wes Anderson hones in and masters the grandeur he has always set out for, and came close to achieve with The Royal Tenenbaums, and finally finds in Big Bucks. Precision filmmaking and mesmerizing performances capture three decades in the life of a man who reached for the stars.
Best Picture
Best Director - Wes Anderson
Best Actor - Paul Giamatti
Best Supporting Actor - Willem Dafoe
Best Supporting Actress - Beth Grant
Best Original Screenplay - Wes Anderson
Nostradamus
Author: Adrian James
Location: Nashville, TN
NOSTRADAMUS
CREW:
Directed by: Darren Aronofsky
Written by: John Logan and Darren Aronofsky
Cinematographer: Seamus McGarvey and Matthew Libatique
Editor: Jay Rabinowitz
CAST:
Emile Hirsch - Charlie Duncan
Richard Dreyfuss - Pete Howell
Rachel McAdams - Anna Duncan
Dev Patel - Omar Shirad
Zach Braff - Hughey Fritz
Marion Cotillard - Sylvie Lefèvre
TAGLINE: In the Heavens, a Fire is Seen.
SYNOPSIS: The year was 2010. In the United States of America, the economy had sunken to an all time low, and the people had been thrown into an all out depression. Armed forces were pulled out of Iraq and sent home, and America had become isolated from the rest of the known world. The government had begun censoring broadcast news sources, and the American people no longer knew what was happening in Europe and the Middle East. The internet was now restricted, in a way of protecting the people from the knowledge that may cause anarchy. With the United States limiting itself to personal problems, the world was free to do as it saw fit, without the threat of the American police actions such as the Gulf War and Vietnam. Iranian scientists secretly perfected nuclear weapons of mass destruction in March of 2011. By February 2011, however, the United Kingdom, Russia, and France had followed in America's footsteps and cut themselves out of the loop. With no larger, richer, and stronger nations to hold them back, in December of 2012, Iran launched nuclear warheads at Paris, London, Moscow, Los Angeles, New York, and Baghdad. The nations of France, Germany, and Italy all surrendered to the new Iranian Empire. Russia resisted, and was then invaded by Iranian armed forces. In nearly four days, the Russia surrendered. Being isolated from the havoc in Europe, the United States of America began healing the wounds of 10/21/2012. Billions of people around the world struggled to find their new meanings on this planet. This is their story.
Charlie Duncan - Part One
Working in the garage of an auto-repair shop, Charlie had access to all kinds of machinery. Throughout his workday, he would spend his downtime in the back room, tinkering. At night, he would go home to his wife, Anna, and not tell her about his plans. Ever since the economic meltdown, Charlie has been closely following the government's actions. He knows that they are keeping the citizens prisoners, and denying them their rights. But he has a plan to change all of that. In his basement, Charlie has a list of over 3,000 people's names and phone numbers. They have agreed to be a part of the uprising. Today, Charlie finished his project in the back room of Tim's Auto-Body Shop. A home fashioned bomb.
Pete Howell - Part One
His whole life he has lived in Frankfort, Illinois. He grew up working on his father's farm, and took over after his father died. His sons went on to live fulfilling lives in New York City, becoming doctors, and lawyers, and business executives. Until November 21st of 2012 when they were killed in the Iranian bombings. He has since lived a life of seclusion, not associating himself with the town he knows. Frankfort is slowly becoming a ghost town, and he is dying with it. But one day, he finds a man lying in his barn, badly wounded. He takes him inside and when the man comes to, Pete asks him what his name is, but the man can't remember. He appears to have amnesia, and Pete decides to call him Hughey Fritz.
Sylvie Lefèvre - Part One
After the bombings of 2012, Iranian forces invaded, and conquered France. The took the rubbled city of Paris and made it the death camp for the surviving civilians. Sylvie Lefèvre was a nurse before the tragedies of 10/21, and lost her husband and children in the destruction of Paris. She owns a boarding house, but never lends out the rooms. She stays inside, occasionally going out to the market. Iranian police have been searching for, and killing any Palestinian people they come across, and at times even execute their French prisoners. Sylvie feels it is safer for her to just stay indoors and not risk it. At night, Sylvie would leave her table scraps for her dog Sophie, and then take the remainder of what she cooked and bring it to the cellar door. She opens the door and walks down the steps. She takes what food she brought down, and then feeds the Palestinian orphans she found 3 weeks ago. She does this every night.
Omar Shirad - Part One
Being an Iranian teenager in a time of world dominance, Omar should have everything under control. But it isn't that way at all. He gets picked on daily by the bigger, stonger boys, and the society he lives in doesn't quite take kindly to homosexuals. Everyday is a stuggle for Omar, but he survives. He makes friends with a man who tells him he can stop being the laughing stock. That HE can be a hero. Omar wants nothing more than to be accepted by his peers, so he accepts this man's offer. The man, unbeknownst to Omar, was an Iranian government agent, sent to recruit young men to suicide bomb the Palestinian hideouts. Omar begins his training next week.
Charlie Duncan - Part Two
His army grew by the day. More and more of the people learned of the American National Threat Inc. His weapons cache was becoming crowded, and he felt it was time for a message to be sent to the rest of the public. After wiring a bomb into a briefcase, he laid it down in a DMV, and walked out the door. Later on the news, Anna watched the building in flames as the names of the victims displayed on the screen. The building was at the bottom of an apartment complex put in place for war victim's families who went broke after the depression. None of the building's tenants survived the explosion.
To Congress,
I address you today to discuss the growing concern with the safety of the American public from the violence of American Terrorist organizations. Last week, in Portland, a bombing took place killing nearly 200 cramped, poverty ridden citizens. It was I who organized the attacks. We call ourselves A.N.T.I. and we are your voting public. The country we now live in is the result of a nation run by cowards. When the world's future needed aid, we stood back and did nothing. And now we pay for it, with the losses of Los Angeles and New York City. Our government keeps us locked up, on our own soil. No knowledge of the outside world. Well here is the deal I make you. Release the prisoners, and the rebellion will go away. Give us back the freedom our forefathers died to give us. If you fail to release us, then the violence and anarchism will only increase in quality and quantity. You have 3 days.
-FREEBIRD
Once the three days went bye, and congress had not even made an announcement, Charlie targeted a law firm. He had men take the building under seige, and execute the captives. The soldiers were killed in the process, but Charlie said that it was a risk they needed to take. The message still hadn't gotten through. Anna, however, soon put the pieces together. She began to suspect Charlie of being involved. He denied it, and she didn't believe him. Then on the news, a report was saying that "the government has officially stated that they will not negotiate with the American Terrorists." Charlie, in response to the failure to cooperate, next targeted an elementary school.
Pete Howell - Part Two
He takes a liking to this amnesiac boy. Fritz gives him help around the farm, much like his sons used to. The world was dead all around them, but they seemed alone on their own little place, free from the war and the pain that goes along with it. During the days, they worked on constructing a new barn. At night, they would sit around Pete's firepit and talk, with Pete teaching Fritz about the world. They were friends, and Pete felt a new sense of fatherhood.
Fritz' memory has slowly been coming back to him. He does not tell Pete, because he remembers all of it. He knew Pete's daughter before the destruction in New York. She moved out there in 2010 to live with her brothers, after getting hooked on meth. Pete disowned her. Fritz was responsible for her addiction. While walking through town, the town that he remembers, Fritz meets an old friend. Tom, who used to deal meth. That night, Fritz didn't come back from the store. Pete waited up until, late that night, he heard footsteps outside. Fritz was nearly passed out on his porch, showing signs of drug use.
Sylvie Lefèvre - Part Two
Iranian presence was ever increasing in Paris. They had begun an all out extermination of Palestinians in the nation. They were investigating homes of suspected Palestinian harborers. Sylvie feared for her life, but also for the lives of these orphans. This was her second chance to save her children, in God's eyes. She made a plan to smuggle them out of Paris so they could live at her parent's summer home in the hills. She would take care of this in a week.
Sylvie's neighbor had been increasingly suspicious of her affairs in the past month. She was taking out the garbage four more times than usual, and occasionally stayed up incredibly late on work nights. She feared that this was part of the grief that Sylvie felt over the loss of her family. One night, she went over to Sylvie's house to chech on her. She knocked, and Sylvie answered. After a night of drinking wine and talking, a baby began to cry in the distant rooms of the house. When Sylvie's neighbor discovered the Palestinian children, she left immediately. Sylvie decided that she would have to escape to country sooner than she originally thought.
Omar Shirad - Part Two
His training was brutal. He would undergo hours of physical torture for days on end, only to be rewarded with more beatings throughout the night. When it was over, they treated him like a hero. He loved it. They soon gave him his mission, to infiltrate the rundown cinema in the lower east side. It's said that at this film theater, a group of Israeli rebels have their meetings. If Omar were to just stroll in there, carrying a bookbag on his back, then no one would see it as hostile. And this was his mission.
“After there is great trouble among mankind, a greater one is prepared. The great mover of the universe will renew time, rain, blood, thirst, famine, steel weapons and disease. In the heavens, a fire seen.”
-Nostradamus
PRESS SECTION:
"It started out as just an idea. You know, like, what would relatively normal people change into, and become, when faced with the end of the world as we know it. After that, we decided that we couldn't just focus on American people, because Americans wouldn't be the only ones effected by global change. We had to encorporate all walks of life into this bleak vision of the future."
-director Darren Aronofsky on Nostradamus
Nostradamus, Darren Aronofsky's ambitious, poignant vision of future turmoil delves into the lives of 4 different people dealing with the end of the world. "Requiem for a Dream" director Aronofsky crafts a realistic, visual masterpiece. From the newspaper reel in the beginning (fantastically set to The Boxer, by Simon and Garfunkel) depicting the events leading up to nuclear war, to the heartbreaking conclusion in the end (with Somewhere Over the Rainbow playing as a dark undertone), Nostradamus grabs you and doesn't let go.
"Charlie Duncan is a man who was never one of the most fortunate of people. Growing up middle class, he was never really well off. But after the tragedy happens, it's like something snapped in him, almost turning him into a monster. One that no one could predict, or even control. And in the end, right before the bomb goes off in his hand at the elementary school, it seems like he finally witnessed what a demon he had become. But it was too late."
-actor Emile Hirsch on his character "Charlie Duncan"
"She had everything ripped away from her, in an instant. She never had the oppurtunity to let it go. It was all at once, and it seemed she could not forget that. But when she is given a second chance, to help these orphans, it's almost not even a thought in her mind. And when she risks everything to bring them to safety, it really shows her true heroism, and brings her peace of mind. I believe that is why she smiles through the tears as she is executed."
-actress Marion Cotillard on her character "Sylvie Lefèvre"
Aronofsky seems, in this film, to put together all the skills he has mastered in his previous films. The visualizations, and the character's losses and goals in "The Fountain". The deep, subtle character dimensions in "The Wrestler". And the desparation of human nature in "Requiem for a Dream". The whole cast shines brightly, and the screenplay is sharp. Nostradamus is truly a film ahead of its time.
FOR YOUR CONSIDERATION:
Best Picture
Best Director - Darren Aronofsky
Best Original Screenplay - John Logan and Darren Aronofsky
Best Actor - Emile Hirsch
Best Supporting Actor - Richard Dreyfuss
Best Supporting Actress - Marion Cotillard
Location: Nashville, TN
NOSTRADAMUS
CREW:
Directed by: Darren Aronofsky
Written by: John Logan and Darren Aronofsky
Cinematographer: Seamus McGarvey and Matthew Libatique
Editor: Jay Rabinowitz
CAST:
Emile Hirsch - Charlie Duncan
Richard Dreyfuss - Pete Howell
Rachel McAdams - Anna Duncan
Dev Patel - Omar Shirad
Zach Braff - Hughey Fritz
Marion Cotillard - Sylvie Lefèvre
TAGLINE: In the Heavens, a Fire is Seen.
SYNOPSIS: The year was 2010. In the United States of America, the economy had sunken to an all time low, and the people had been thrown into an all out depression. Armed forces were pulled out of Iraq and sent home, and America had become isolated from the rest of the known world. The government had begun censoring broadcast news sources, and the American people no longer knew what was happening in Europe and the Middle East. The internet was now restricted, in a way of protecting the people from the knowledge that may cause anarchy. With the United States limiting itself to personal problems, the world was free to do as it saw fit, without the threat of the American police actions such as the Gulf War and Vietnam. Iranian scientists secretly perfected nuclear weapons of mass destruction in March of 2011. By February 2011, however, the United Kingdom, Russia, and France had followed in America's footsteps and cut themselves out of the loop. With no larger, richer, and stronger nations to hold them back, in December of 2012, Iran launched nuclear warheads at Paris, London, Moscow, Los Angeles, New York, and Baghdad. The nations of France, Germany, and Italy all surrendered to the new Iranian Empire. Russia resisted, and was then invaded by Iranian armed forces. In nearly four days, the Russia surrendered. Being isolated from the havoc in Europe, the United States of America began healing the wounds of 10/21/2012. Billions of people around the world struggled to find their new meanings on this planet. This is their story.
Charlie Duncan - Part One
Working in the garage of an auto-repair shop, Charlie had access to all kinds of machinery. Throughout his workday, he would spend his downtime in the back room, tinkering. At night, he would go home to his wife, Anna, and not tell her about his plans. Ever since the economic meltdown, Charlie has been closely following the government's actions. He knows that they are keeping the citizens prisoners, and denying them their rights. But he has a plan to change all of that. In his basement, Charlie has a list of over 3,000 people's names and phone numbers. They have agreed to be a part of the uprising. Today, Charlie finished his project in the back room of Tim's Auto-Body Shop. A home fashioned bomb.
Pete Howell - Part One
His whole life he has lived in Frankfort, Illinois. He grew up working on his father's farm, and took over after his father died. His sons went on to live fulfilling lives in New York City, becoming doctors, and lawyers, and business executives. Until November 21st of 2012 when they were killed in the Iranian bombings. He has since lived a life of seclusion, not associating himself with the town he knows. Frankfort is slowly becoming a ghost town, and he is dying with it. But one day, he finds a man lying in his barn, badly wounded. He takes him inside and when the man comes to, Pete asks him what his name is, but the man can't remember. He appears to have amnesia, and Pete decides to call him Hughey Fritz.
Sylvie Lefèvre - Part One
After the bombings of 2012, Iranian forces invaded, and conquered France. The took the rubbled city of Paris and made it the death camp for the surviving civilians. Sylvie Lefèvre was a nurse before the tragedies of 10/21, and lost her husband and children in the destruction of Paris. She owns a boarding house, but never lends out the rooms. She stays inside, occasionally going out to the market. Iranian police have been searching for, and killing any Palestinian people they come across, and at times even execute their French prisoners. Sylvie feels it is safer for her to just stay indoors and not risk it. At night, Sylvie would leave her table scraps for her dog Sophie, and then take the remainder of what she cooked and bring it to the cellar door. She opens the door and walks down the steps. She takes what food she brought down, and then feeds the Palestinian orphans she found 3 weeks ago. She does this every night.
Omar Shirad - Part One
Being an Iranian teenager in a time of world dominance, Omar should have everything under control. But it isn't that way at all. He gets picked on daily by the bigger, stonger boys, and the society he lives in doesn't quite take kindly to homosexuals. Everyday is a stuggle for Omar, but he survives. He makes friends with a man who tells him he can stop being the laughing stock. That HE can be a hero. Omar wants nothing more than to be accepted by his peers, so he accepts this man's offer. The man, unbeknownst to Omar, was an Iranian government agent, sent to recruit young men to suicide bomb the Palestinian hideouts. Omar begins his training next week.
Charlie Duncan - Part Two
His army grew by the day. More and more of the people learned of the American National Threat Inc. His weapons cache was becoming crowded, and he felt it was time for a message to be sent to the rest of the public. After wiring a bomb into a briefcase, he laid it down in a DMV, and walked out the door. Later on the news, Anna watched the building in flames as the names of the victims displayed on the screen. The building was at the bottom of an apartment complex put in place for war victim's families who went broke after the depression. None of the building's tenants survived the explosion.
To Congress,
I address you today to discuss the growing concern with the safety of the American public from the violence of American Terrorist organizations. Last week, in Portland, a bombing took place killing nearly 200 cramped, poverty ridden citizens. It was I who organized the attacks. We call ourselves A.N.T.I. and we are your voting public. The country we now live in is the result of a nation run by cowards. When the world's future needed aid, we stood back and did nothing. And now we pay for it, with the losses of Los Angeles and New York City. Our government keeps us locked up, on our own soil. No knowledge of the outside world. Well here is the deal I make you. Release the prisoners, and the rebellion will go away. Give us back the freedom our forefathers died to give us. If you fail to release us, then the violence and anarchism will only increase in quality and quantity. You have 3 days.
-FREEBIRD
Once the three days went bye, and congress had not even made an announcement, Charlie targeted a law firm. He had men take the building under seige, and execute the captives. The soldiers were killed in the process, but Charlie said that it was a risk they needed to take. The message still hadn't gotten through. Anna, however, soon put the pieces together. She began to suspect Charlie of being involved. He denied it, and she didn't believe him. Then on the news, a report was saying that "the government has officially stated that they will not negotiate with the American Terrorists." Charlie, in response to the failure to cooperate, next targeted an elementary school.
Pete Howell - Part Two
He takes a liking to this amnesiac boy. Fritz gives him help around the farm, much like his sons used to. The world was dead all around them, but they seemed alone on their own little place, free from the war and the pain that goes along with it. During the days, they worked on constructing a new barn. At night, they would sit around Pete's firepit and talk, with Pete teaching Fritz about the world. They were friends, and Pete felt a new sense of fatherhood.
Fritz' memory has slowly been coming back to him. He does not tell Pete, because he remembers all of it. He knew Pete's daughter before the destruction in New York. She moved out there in 2010 to live with her brothers, after getting hooked on meth. Pete disowned her. Fritz was responsible for her addiction. While walking through town, the town that he remembers, Fritz meets an old friend. Tom, who used to deal meth. That night, Fritz didn't come back from the store. Pete waited up until, late that night, he heard footsteps outside. Fritz was nearly passed out on his porch, showing signs of drug use.
Sylvie Lefèvre - Part Two
Iranian presence was ever increasing in Paris. They had begun an all out extermination of Palestinians in the nation. They were investigating homes of suspected Palestinian harborers. Sylvie feared for her life, but also for the lives of these orphans. This was her second chance to save her children, in God's eyes. She made a plan to smuggle them out of Paris so they could live at her parent's summer home in the hills. She would take care of this in a week.
Sylvie's neighbor had been increasingly suspicious of her affairs in the past month. She was taking out the garbage four more times than usual, and occasionally stayed up incredibly late on work nights. She feared that this was part of the grief that Sylvie felt over the loss of her family. One night, she went over to Sylvie's house to chech on her. She knocked, and Sylvie answered. After a night of drinking wine and talking, a baby began to cry in the distant rooms of the house. When Sylvie's neighbor discovered the Palestinian children, she left immediately. Sylvie decided that she would have to escape to country sooner than she originally thought.
Omar Shirad - Part Two
His training was brutal. He would undergo hours of physical torture for days on end, only to be rewarded with more beatings throughout the night. When it was over, they treated him like a hero. He loved it. They soon gave him his mission, to infiltrate the rundown cinema in the lower east side. It's said that at this film theater, a group of Israeli rebels have their meetings. If Omar were to just stroll in there, carrying a bookbag on his back, then no one would see it as hostile. And this was his mission.
“After there is great trouble among mankind, a greater one is prepared. The great mover of the universe will renew time, rain, blood, thirst, famine, steel weapons and disease. In the heavens, a fire seen.”
-Nostradamus
PRESS SECTION:
"It started out as just an idea. You know, like, what would relatively normal people change into, and become, when faced with the end of the world as we know it. After that, we decided that we couldn't just focus on American people, because Americans wouldn't be the only ones effected by global change. We had to encorporate all walks of life into this bleak vision of the future."
-director Darren Aronofsky on Nostradamus
Nostradamus, Darren Aronofsky's ambitious, poignant vision of future turmoil delves into the lives of 4 different people dealing with the end of the world. "Requiem for a Dream" director Aronofsky crafts a realistic, visual masterpiece. From the newspaper reel in the beginning (fantastically set to The Boxer, by Simon and Garfunkel) depicting the events leading up to nuclear war, to the heartbreaking conclusion in the end (with Somewhere Over the Rainbow playing as a dark undertone), Nostradamus grabs you and doesn't let go.
"Charlie Duncan is a man who was never one of the most fortunate of people. Growing up middle class, he was never really well off. But after the tragedy happens, it's like something snapped in him, almost turning him into a monster. One that no one could predict, or even control. And in the end, right before the bomb goes off in his hand at the elementary school, it seems like he finally witnessed what a demon he had become. But it was too late."
-actor Emile Hirsch on his character "Charlie Duncan"
"She had everything ripped away from her, in an instant. She never had the oppurtunity to let it go. It was all at once, and it seemed she could not forget that. But when she is given a second chance, to help these orphans, it's almost not even a thought in her mind. And when she risks everything to bring them to safety, it really shows her true heroism, and brings her peace of mind. I believe that is why she smiles through the tears as she is executed."
-actress Marion Cotillard on her character "Sylvie Lefèvre"
Aronofsky seems, in this film, to put together all the skills he has mastered in his previous films. The visualizations, and the character's losses and goals in "The Fountain". The deep, subtle character dimensions in "The Wrestler". And the desparation of human nature in "Requiem for a Dream". The whole cast shines brightly, and the screenplay is sharp. Nostradamus is truly a film ahead of its time.
FOR YOUR CONSIDERATION:
Best Picture
Best Director - Darren Aronofsky
Best Original Screenplay - John Logan and Darren Aronofsky
Best Actor - Emile Hirsch
Best Supporting Actor - Richard Dreyfuss
Best Supporting Actress - Marion Cotillard
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