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marcus-fabius
Reviews
Sense and Sensibility (1995)
Shows the power of Film to touch our emotions
To really understand and appreciate the great beauty of this film, the viewer has to be aware of the cultural norms and constraints that society imposed on individuals in the period the film is set in. Any attempt to compare those norms and values to modern norms and values is simply pointless. In this respect, Emma Thompson and the Director Ang Lee did a brilliant job in this film. The entire plot of the film rests on the invidious obligations, social structures and legal diktats of the period, such as English inheritance law, breach of promise law, rigid class-based social stratification, and so on. The very strong impression I get from repeated viewing of the film is that the characters generally complied with their obligations more or less with resignation, an important exception being Marianne, but she learns the reality of those constraints in the hardest way.
The cinematography is superb: wonderful vistas of open country estates, rain and wind swept meadows and rural life being presented with great flair. I constantly found myself looking at background details, such as the footmen standing behind the rich people at their tables: most likely, if I had lived in that period, I would be one of those standing behind. Or perhaps driving a carriage for the rich folk. So much to think about in this film.
As for the actors, they are simply superb and inspired casting all round. I cannot single out any of them above the others, so I would comment on the most powerful scenes in the film that work heavily on the emotions (which is where the film genre triumphs): 1) the scene where Willoughby rides out of the mist and rain to rescue Marianne is simply superb; 2) the scene where Alan Rickman as Colonel Brandon first sets eyes on Marianne is so charming; 3) the most emotional scene is where Edward explains to Elinor that he is not married. Elinor's reaction is extraordinary, and both Hugh Grant and Emma Thompson are superb here; 3) the most powerful scene in the film for me says it all: Willoughby looking down from the hill at the church, knowing he has lost Marianne and thrown away his future by his own actions: a totally impressive scene. Superb.
This film stands repeated viewing. The music will pull you in and the characters will haunt you, and you will want to go over it again and again. If you have any emotional triggers, prepare to have them pulled by this great film.
Marcus Fabius
Star Trek: The Corbomite Maneuver (1966)
Beautifully scripted and acted moments
It is too easy to miss the superb moments in this episode. For me the greatest highlight out of several is the relatively long (ten minutes according to the script) countdown to destruction sequence. When faced with the threat of total annihilation from Balok, Kirk proves his mettle as a starship commander by his calm pronouncements, providing the leadership qualities required to keep the apparently doomed crew focused on their duties. But as the clock ticks down to disaster, the young officer Bailey starts to crack and does so in the most convincing manner when triggered by the apparent futility of Sulu's announcement of the time. This scene is superbly well acted by Anthony Call, as other reviewers have noted. Bravo to him and a personal Lifetime Acting Star from me for a really great performance. As for the others on the bridge, I could almost feel the greater experience of the older crew keeping them in line whilst the inexperienced Bailey disintegrates under the strain. I could also feel the strong compassion in McCoy as he escorts the by now devastated Bailey off the bridge. Marvellous acting from DeForrest Kelley in this episode.
These early episodes of Star Trek retain their dramatic power on repeated viewing, principally because of the great acting and scripts, combined with music that is really cut to the cloth of the drama so well. I think the great variety of musical atmosphere in the original Star Trek series is one of several reasons for the enduring appeal of the series. I have often thought that later generations of Star Trek tended to use background music far too flippantly, almost like Musak, as a cover for mediocre scenes. There are great moments of silence in the Corbomite Maneuver which add immensely to the dramatic effect, with background starship chatter adding to the effect, again as noted by other reviewers. Simply a superb episode.
Bad Day at Black Rock (1955)
Deep and masterful study of human psychology
There is one sure yardstick I use when judging a film: do I want to see it again? Bad Day at Black Rock has consistently drawn me back for yet another viewing every time it is scheduled on the small screen. This is a superb film.
Looking at some other reviews, I think some people have missed the point completely about this film. It is not a Western in disguise or an attempt to "entertain" for two hours. Anyone who wants any of that can surely find countless other lesser films to watch. No. This film is a beautifully crafted, skilled exploration into the deep waters of human psychology and I value it highly on account of that. We can learn from such films more about the depths and heights that our species can sink or rise to. That is surely the real reason why we should read great novels: not for entertainment but what they can tell us about the human condition.
All the characters in this film display fluctuations in their convictions, loyalties and emotions. Just as in real life, no one is ever one-dimensional. At one time, the hero is sure of what he is doing, the next he appears to be backing down when his deadly predicament starts to become clearly defined. At one point we even start to think that the great hero may crack and that he really has feet of clay.
There are numerous twists and turns in this film and watching out for them and understanding what is going on gives an essential element of suspense. Bored? Not for a moment. Right up to the end, we are not sure how things will play out. In the final scene, I was absolutely not sure whether Doc would get the medal.
The casting is fascinating in this film. I agree with some reviewers that James Cagney would have been a decent alternative to Spencer Tracy. However, Tracy's performance is riveting and he cannot be criticised. I don't accept he was too old for the scenario: his character could well have been a senior commander who saw active action four years earlier. So top marks to him. Another top mark goes to Robert Ryan, who is ideal in his role. As for the other cast members, they give the film a potent edge, particularly Lee Marvin and Ernest Borgnine.
The cinematography is outstanding. The director is a master and the scenes are beautifully rendered in scale and composition. As for the music, it comes across as quite incidental, giving the occasional jolt to the viewer's nervous system as required. This film does not need a memorable score to stand up as a great film.
All round, this is one of my favourite films.
L'ira di Achille (1962)
Excellent vision of classical psychology
I saw Achilles (1962) listed on my satellite TV programme guide and decided to see if it was better than the typical dubbed Italian muscle-man movie. Fear not, it is really good. It is one of the better films of the genre I have seen. It is a surprisingly moving film, very watchable and giving no impression of card-board background. Throughout the film, the well-paced and convincing battle-scenes are interspersed with many instances of well-written dialogue from the main characters, conveying the deeply humanistic motives running throughout the Iliad. There are no crass scenes: heroes show fear or nobility whilst kings betray their obligations or come to their senses and do the right thing. All the main characters emerge as real humans with all the flaws and virtues that characterise humanity. The scriptwriters get it just right many times.
As for the casting, Gordon Mitchell is just right as Achilles and gives a fine performance. This film is highly recommended.