Wednesday, July 29, 2015
Below is a gallery featuring photos from a new thriller directed by Pierre Morel called "TAKEN". The movie stars Liam Neeson, Maggie Grace and Famke Jenssen:
"TAKEN" (2009) Photo Gallery
Saturday, July 25, 2015
"GOLDFINGER" (1964) Review
Ever since its release in 1964, the James Bond movie, "GOLDFINGER" has been regarded as one of the best ever in the franchise. In fact, it is considered by many Bond fans as the franchise's definitive film, considering that it more or less created what is known as "the Bond formula".
The 1959 Ian Fleming novel, upon which the movie is based, is also highly regarded by some fans. However, others believe that the movie is an improvement on the literary version. While I agree that the movie, "GOLDFINGER" is an improvement over the novel, I have a rather low opinion of both the novel and the cinematic adaptation. However, I am here to comment on the movie and not the novel.
The plot for "GOLDFINGER" begins with MI-6 agent James Bond sabotaging a Latin American drug laboratory. Following this assignment, Bond rests at an exclusive Miami Beach hotel, where he receives instructions from his superior "M" - via C.I.A. operative Felix Leiter - to observe a bullion dealer name Auric Goldfinger. Bond discovers that Goldfinger is cheating at gin rummy with the help of employee Jill Masterson. Bond distracts Jill and blackmails Goldfinger into losing the game. While enjoying sex with Jill inside his hotel room, Goldfinger's Korean (or Japanese) manservant Oddjob knocks Bond unconscious. The agent regains consciousness and finds Jill's dead body covered in gold paint.
After "M" censures Bond for screwing up his assignment in Miami Beach, he orders the agent to discover how Goldfinger is smuggling gold out of Europe. Bond engages in a golf match with the villain, before following him to Switzerland. There, the agent meets Jill's sister, Tilly, who seeks revenge against Goldfinger for her sister's death. Eventually, Bond and Tilly form a short-lived alliance before the latter is killed by Oddjob and the former becomes Goldfinger's prisoner. Fearful that the British agent might know the details of his new operation in the United States, Goldfinger keeps Bond a prisoner, instead of killing him.
As I had earlier stated, "GOLDFINGER" is without a doubt one of my least favorite Bond movies of all time. And there are many reasons why I harbor such a low opinion of it. Some of the the film's problems stemmed from some poor characterizations. James Bond spent most of the movie either behaving like an oversexed adolescent or an idiot schoolboy. This characterization merely hampered Sean Connery's performance in the movie and led me to consider it one of his worst. The movie also featured one-dimensional portrayals in characters such as Auric Goldfinger's henchman, Oddjob, which allowed actor Harold Sakata spend most of the movie wearing a menacing smile; the thuggish Mafia bosses who visit Goldfinger's Kentucky farm; and a very weak Felix Leiter, as portrayed by Canadian actor Cec Linder, who spent most of the movie behaving like a sidekick, instead of an ally from the C.I.A.
"GOLDFINGER" also featured some incredibly bad plotholes that make me wonder why this film is so highly regarded. For instance, I understood why Goldfinger had ordered Oddjob to kill Jill Masterson for her betrayal. Why did he not order Oddjob to kill Bond, who had compromised Jill and caused him to lose the card game? Goldfinger decides to keep Bond a prisoner, instead of making more of an effort to learn what Bond knew about his current scheme, "Operation Grand Slam". I think drugs would have been a good deal more helpful than a gold laser threatening the agent's nether regions. The method Bond used to convince Pussy Galore, Goldfinger's personal pilot, to betray her boss disgusted me. It disgusted me that screenwriters Richard Maibaum and Paul Dehn allowed Bond wrestle Pussy to the barn floor and use sex to get her to betray Goldfinger. It disgusted me that the entire scene reeked of attempted rape. Why not have Bond convince her that Golfinger was simply a nutcase? I guess Maibaum and Dehn, or the producers, wanted an excuse for Bond to use his "magic penis" on the leading lady.
The movie's most perplexing plot line involved the Mafia bosses' visit to Goldfinger's farm. It featured one of the most ridiculous and unnecessary plot turns in the movie franchise's history. The sequence began with the gangsters' arrival and demand for Goldfinger's presence and the money he owed them. And while Bond eavesdropped on the conversation, Golfinger revealed his Fort Knox plan. Then he murdered them. Many Bond fans have claimed that the reason Goldfinger revealed his plan to the Mafia bosses before murdering them, was because he wanted bask in the enjoyment of letting someone know about his plans. If that was the case, why not have Goldfinger tell Bond earlier in the film before before attempting to kill the agent or leave him for dead? Why save this moment for a bunch of one-dimensional gangsters in the first place? What makes this scenario even more ridiculous is that when one of the gangsters, Mr. Solo, decided that he wants nothing of the Fort Knox plan, Goldfinger sent him on his way with a gold bar . . . before Oddjob killed the man and crushed him inside a car. Goldfinger could have simply killed Solo and the other gangsters at the same time . . . without this ludicrous revelation of his Fort Knox plan?
Were there any positive aspects about "GOLDFINGER"? Well . . . yes, or else I would consider this entry in the franchise to be the worst. Thankfully, the movie's cast included Gert Fröbe as Auric Goldfinger. Although my opinion of Goldfinger's intelligence has diminished over the years, I remain impressed by Frobe's commanding presence and excellent performance. The movie also featured the talented and classy Honor Blackman (who was already famous in Great Britain for her role in the TV series, "THE AVENGERS"), playing the tough and intelligent Pussy Galore. I enjoyed Ms. Blackman's performance so much that it seemed a shame that her character was ruined in that Galore/Bond wrestling match inside the barn at Goldfinger's Kentucky farm. Shirley Easton made the most of her brief appearance as one of the doomed Masterson sisters, Jill. And one might as well face it, I doubt no one will ever forget that last image of her gold-painted body spread out upon the bed inside Bond's Miami hotel room:
"GOLDFINGER" also benefited from Ted Moore's photography of Britain, Switzerland and Kentucky; which featured beautiful and sharp color. I was also impressed by Peter R. Hunt's editing, which seemed most effective in the car chase around Goldfinger's Switzerland plant, the showdown at Fort Knox and the fight aboard Goldfinger's plane. Last by not least, I have to mention the music featured in the film. Between John Barry's score and theme song performed by the talented Shirley Bassey, I must admit that the film's music is one thing in "GOLDFINGER" that rose above everything else. After all, the move's theme song is considered one of the best in the Bond movie franchise. And that is an opinion I do share.
Despite some of the movie's positive aspects - some of the performances, the photography and the music - I have always harbored ambiguous feelings about "GOLDFINGER" for years. In the past, I tried to accept the prevalent feeling that it was probably one of the best Bond movies. But after watching it the last time . . . well let me put it this way, whether or not it was responsible for creating the Bond formula, I finally realized how much I truly dislike it.
Tuesday, July 21, 2015
Here is some information about an old dish first created during the first year of World War II in Great Britain. I learned about this dish, while watching the "Wartime" segment of the BBC series, "THE SUPERSIZERS GO", hosted by Giles Coren and Sue Perkins.
First known as (Lord) Woolton Pie, this savory vegetable pie dish was first created during the early years of the Second World War at the Savoy Hotel in London by its then Maitre Chef de Cuisine, Francis Latry. The dish was one of a handful recommended to the British public by the Ministry of Food during the war to support a nutritional diet, despite shortages and rationing of many types of food - especially meat. The pie was named after Frederick Marquis, 1st Earl of Woolton, who became Minister of Food in 1940.
Woolton Pie consisted of diced and cooked potatoes (or parsnips), cauliflower, rutabaga, carrots and turnips. Rolled oats and chopped spring onions were added to the thickened vegetable water, which was poured over the vegetables themselves. The dish was topped with potato pastry and grated cheese and served with vegetable gravy. The recipe could be adapted to reflect the availability and seasonality of ingredients.
Lacking in any meat, Woolton Pie was not well received by the British public. In fact, it was among several wartime austerity dishes that were quickly forgotten by the end of the war.
Below is a recipe for Woolton Pie:
1 lb Potatoes
2 lbs Carrots
½ lb Mushrooms
1 Small leek
2oz Margarine or Chicken Fat
2 Spring onions
Salt, Pepper, Nutmeg, Chopped Parsley.
Bunch of herbs made of 1 small Bay Leaf, 1 small sprig of Thyme, Parsley and Celery
Peel the potatoes and carrots, cut them into slices of the thickness of a penny. Wash them well and dry in a tea-cloth. Fry them separately in a frying pan with a little chicken fat.
Do the same for the mushrooms, adding the finely chopped onions and leek. Mix them together and season with salt, pepper and a little nutmeg and roughly chopped fresh parsley.
Fill a pie-dish with this mixture, placing the bundle of herbs in the middle. Moisten with a little rolled oats, chopped onions, a little giblet stock or water. Allow to cool. Cover with a pastry crust made from half beef-suet or chicken fat and half margarine. Bake in a moderate oven for 1½ hours.
This recipe has been translated from an original flimsy Savoy Restaurant kitchen copy.
Sunday, July 19, 2015
Below are images from the 2009 X-MEN movie, "X-MEN ORIGINS: WOLVERINE". Directed by Gavin Hood, the movie starred Hugh Jackman, Liev Schreiber and Danny Huston:
"X-MEN ORIGINS: WOLVERINE" (2009) Photo Gallery
Thursday, July 16, 2015
"THE HISTORY OF TOM JONES, A FOUNDLING" (1997) Review
The year 1963 saw the release of Tony Richardson's Academy Award winning adaptation of Henry Fielding's 1749 novel, "The History of Tom Jones, a Foundling". Another thirty-four years passed before another adaptation of the novel appeared on the scene. It turned out to be the BBC's five-episode miniseries that aired in 1997.
"THE HISTORY OF TOM JONES, A FOUNDLING" is a comic tale about the life and adventures of an English foundling, who is discovered in the household of a warm-hearted landowner in Somerset named Squire Allworthy. The latter adopts the child and Tom Jones grows up to be a lusty, yet kindly youth; who falls in love with one Sophia Western, the only child of Allworthy's neighbor, Squire Western. Tom is raised with the squire's nephew, a falsely pious and manipulative young man named Mr. Blifil. Because the latter is Allworthy's heir, Sophia's father wishes her to marry Mr. Blifil, so that the Allworthy and Western estates can be joined as one. Unfortunately for Squire Western and Mr. Blifil, Sophia is in love with Tom. And unfortunately for the two young lovers, Tom is discredited by Mr. Blifil and his allies before being cast away by Squire Allworthy. In defiance of Squire Western's wishes for her to marry Mr. Blifil, Sophia (accompanied by her maid, Honour) runs away from Somerset. Both Tom and Sophia encounter many adventures on the road to and in London, before they are finally reconciled.
Actually, there is a lot more to "THE HISTORY OF TOM JONES, A FOUNDLING". But a detailed account of the plot would require a long essay and I am not in the mood. I have noticed that the 1997 miniseries has acquired a reputation for not only being a first-rate television production, but also being superior to the 1963 Oscar winning film. As a five-part miniseries, "THE HISTORY OF TOM JONES, A FOUNDLING" was able to adhere more closely to Fielding's novel than the movie. But does this mean I believe that the miniseries is better than the movie? Hmmmm . . . I do not know if I can agree with that opinion.
I cannot deny that "THE HISTORY OF TOM JONES, A FOUNDLING" is a well made television production. Director Metin Hüseyin did an excellent job of utilizing a first-rate production crew for the miniseries. Cinders Forshaw's photography was well done - especially in Somerset sequences featured in the miniseries' first half. Roger Cann's production designs captured mid-18th century England in great detail. And Rosalind Ebbutt's costumes designs were not only exquisite, but nearly looked like exact replicas of the fashions of the 1740s. The look and style of "THE HISTORY OF TOM JONES, A FOUNDLING" seemed to recapture the chaos and color of mid-18th century England.
"THE HISTORY OF TOM JONES, A FOUNDLING" could also boast some first-rate performances. The miniseries featured solid performances from the likes of Christopher Fulford and Richard Ridings as Mr. Blifil's allies, Mr. Square and Reverend Thwackum; Kathy Burke, who was very funny as Sophia's maid, Honour; Celia Imrie as Tom's London landlady, Mrs. Miller; Peter Capaldi as the lecherous Lord Fellamar; Tessa Peake-Jones as Squire Allworthy's sister Bridget and Benjamin Whitrow as the squire. The episode also featured solid turns from the likes of Kelly Reilly, Camille Coduri, Matt Bardock, Roger Lloyd-Pack, and Sylvester McCoy. Max Beesley was solid as Tom Jones. He also had good chemistry with his leading lady, Samantha Morton, and did a good job in carrying the miniseries on his shoulders. However, I do feel that he lacked the charisma and magic of Albert Finney. And there were times in the miniseries' last two episodes, when he seemed in danger of losing steam.
But there were some performances that I found outstanding. Brian Blessed was deliciously lusty and coarse as Squire Western, Allworthy's neighbor and Sophia's father. I really enjoyed his scenes with Frances de la Tour, who was marvelous as Sophia's snobbish and controlling Aunt Western. Lindsay Duncan gave a subtle performance as the seductive Lady Bellaston. James D'Arcy was outstanding as Squire Allworthy's nephew, the sniveling and manipulative Mr. Blifil. Ron Cook gave the funniest performance in the miniseries, as Tom's loyal sidekick, Benjamin Partridge, who had earlier suffered a series of misfortunes over the young man's birth. Samantha Morton gave a superb performance as Tom's true love, Sophia Western. Morton seemed every inch the graceful and passionate Sophia, and at the same time, conveyed the strong similarities between the young woman and her volatile father. But the one performance I truly enjoyed was John Sessions' portrayal of author Henry Fielding. I thought it was very clever to use Sessions in that manner as the miniseries' narrator. And he was very entertaining.
The producers of the miniseries hired Simon Burke to adapt the novel for television. And I believe he did an excellent job. I cannot deny that the miniseries' running time allowed him to include scenes from the novel. Thanks to Burke's script and Hüseyin's direction, audiences were given more details on the accusations against Jenny Jones and Benjamin Partridge for conceiving Tom. Audiences also experienced Bridget Jones' relationship with her cold husband and the circumstances that led to the conception of Mr. Blifil. Judging from the style and pacing of the miniseries, it seems that Hüseyin was inspired by Tony Richardson's direction of the 1963 film. There were plenty of raunchy humor and nudity to keep a viewer occupied. More importantly, "THE HISTORY OF TOM JONES, A FOUNDLING" proved to be a fascinating comic epic and commentary on class distinctions, gender inequality and social issues.
However, I still cannot agree with the prevailing view that the miniseries is better than the 1963 movie. Mind you, the latter is not perfect. But the miniseries lacked a cinematic style that gave the movie a certain kind of magic for me. And due to Hüseyin and Burke's insistence on being as faithful to the novel as possible, the miniseries' pacing threatened to drag in certain scenes. The scenes featuring Tom and Partridge's encounter with an ineffectual highwayman, their viewing of a puppet show, and a good deal from the London sequences were examples of the miniseries' slow pacing. I could not help feeling that "THE HISTORY OF TOM JONES, A FOUNDLING" could have easily been reduced to four episodes and still remain effective.
I also had a few problems with other matters. One, I never understood why Lady Bellaston continued her campaign to get Sophia married to Lord Fellamar, after Squire Western prevented the peer from raping his daughter. Why did she continued to make life miserable for Tom after receiving his marriage proposal . . . the same proposal that she rejected with contempt? And what led Sophia to finally forgive Tom for the incident with Mrs. Waters at Upton and his marriage proposal to Lady Bellaston? After he was declared as Squire Allworthy's new heir, Sophia refused to forgive Tom for his affair with Lady Bellaston. But the next shot featured Tom and Squire Allworthy returning to Somerset . . . and being greeted by Sophia, along with hers and Tom's children. WHAT HAPPENED? What led Sophia to finally forgive Tom and marry him? Instead of explaining or hinting what happened, Burke's script ended on that vague and rather disappointing note.
But despite my problems with "THE HISTORY OF TOM JONES, A FOUNDLING", I cannot deny that I found it very enjoyable. Director Metin Hüseyin and screenwriter Simon Burke did a first-rate job in bringing Henry Fielding's comic opus to life. They were ably assisted by an excellent production staff and fine performances from a cast led by Max Beesley and Samantha Morton.
Monday, July 13, 2015
Below is Part Two to my article about Hollywood's depiction about the westward migration via wagon trains in 19th century United States. It focuses upon the 1967 movie, "":
"WESTWARD HO!": Part Two - "THE WAY WEST" (1967)
Based upon A.B. Guthrie Jr.'s 1949 novel, "THE WAY WEST" told the story of a large wagon train's journey to Oregon in 1843. The wagon train is led by a widowed former U.S. Senator named William Tadlock (Kirk Douglas). A former mountain man named Dick Summers (Robert Mitchum) is hired as the wagon party's guide and among the last to join the train is farmer Lije Evans (Richard Widmark), his wife Rebecca (Lola Albright)and their 16 year-old son Brownie (Michael McGreevey); who were living near Independence when the wagon train was being formed.
During the journey to Oregon, the movie introduced audiences with the other members of the wagon train. They included a family from Georgia named the McBees (Harry Carey Jr., Connie Sawyer and Sally Field), and the recently married Johnnie and Amanda Mack (Mike Witney and Katherine Justice). Personal friendships and animosities flourished during the 2,000 miles journey. Summers managed to befriend both Lije and Brownie Evans. The latter fell in love with the McBees' extroverted daughter Mercy, who developed a crush on Johnnie Mack. The latter had difficulty consummating his marriage with a sexually unresponsive wife. Frustrated, Mack turned to Mercy for a brief tryst. Senator Tadlock proved to be an intimidating, yet manipulative leader. Only two people dared to question his decisions - Summers and Lije. Especially the latter. Although willing to question Tadlock's leadership, Lije was reluctant to replace him as the wagon party's new leader.
"THE WAY WEST" received a good deal of negative criticisms. It has also been compared to "HOW THE WEST WAS WON" to its detriment. I plan to write a review of "THE WAY WEST" in the future. But right now, I am more interested in how the movie fared in regard to historical accuracy.
II. History vs. Hollywood
The Tadlock wagon party headed for Oregon Territory in 1843, the year known as "The Great Migration of 1843" or the "Wagon Train of 1843", in which an estimated 700 to 1,000 emigrants left for Oregon. The number of emigrants in Tadlock's party and the year in which the movie is set, seemed historically accurate. "THE WAY WEST" also featured a few well-known landmarks along the Oregon Trail. Such landmarks included Chimney Rock, Scott's Bluff, Independence Rock and Fort Hall. Fort Laramie did not play a role in the movie's plot.
So far, "THE WAY WEST" seemed to be adhering to historical accuracy. Unfortunately, this did not last. One, the wagons featured in the movie came in all shapes and sizes. They ranged from farm wagons to large Conestoga wagons. I cannot even describe the wagon used by the McFee family. It was not as heavy as a Conestoga, but it was long enough to convey Mr. McFee's peach tree saplings across the continent. The draft animals used by the emigrants turned out to be a mêlée of oxen, mules and horses. The movie did point out the necessity of abandoning unnecessary possessions to lighten the wagons' loads. Only, it was pointed out when the wagon party attempted to ascend a very steep slope what looked like the in Idaho.
"THE WAY WEST" did not feature a large-scale attack by a horde of Native Americans. But the movie came damn near close to including one. The wagon party first encountered a group of Cheyenne warriors not far from Independence Rock. When one of the emigrants, Johnnie Mack, mistook a chief's young son hidden underneath a wolf's skin as a real wolf and shot him, the wagon train made tracks in order to avoid retribution. The Cheyenne caught up with the wagon party and demanded the head of the boy's killer. The other emigrants declared they were willing to fight it out with the Cheyenne, until they discovered they would be facing a large horde of warriors. In the end, Mr. Mack confessed to the crime and allowed himself to be hanged, in order to spare Brownie Evans from being handed over to the Cheyenne by Tadlock.
Dramatically, I found this sequence to be effective. I admired how director Andrew V. McLaglen developed the tension between the emigrants, Senator Tadlock and the Cheyenne demanding justice. Historically, I found it a mess. The number of Cheyenne warriors that had gathered for the sake of one boy struck me as very improbable. The only times I could recall that many Native Americans gathering at one spot was the council for the 1851 Treaty of Fort Laramie and the Battle of Little Bighorn. And considering that the Cheyenne nation were spread out from the Black Hills in present-day South Dakota to southern Colorado, I found this encounter between the Tadlock wagon party and the Cheyenne historically improbable.
"THE WAY WEST" fared somewhat better than "HOW THE WEST WAS WON" in regard to historical accuracy. But I found it lacking in some aspects of the plot. Like the 1962 movie, "THE WAY WEST" proved to be more entertaining than historically accurate.
Friday, July 10, 2015
Below are screencaps from "PRIDE AND PREJUDICE", the BBC 1980 adaptation of Jane Austen's 1813 novel. Adapted by Fay Weldon, the five-part miniseries starred Elizabeth Garvie and David Rintoul:
"PRIDE AND PREJUDICE" (1980) Screencaps Gallery