Shakespeare in Love

Shakespeare in Love, released in 1998, won seven Oscars at the Academy Awards. It’s a fictional tale about William Shakespeare, so don’t expect a biography! I don’t think you need to know much about Shakespeare to watch this film. It’s about one man’s muse, how he becomes inspired and creative, and his muse is the beautiful Viola (Gwyneth Paltrow). Marc Norman and Tom Stoppard, playwrights with many writing credits to their names, wrote the screenplay. You’ve probably heard of the famous play Romeo and Juliet, one of Shakespeare’s most frequently performed and filmed stories. That’s all the Shakespeare you really have to know.

Young Will Shakespeare (Joseph Fiennes) has a bad case of writer’s block. He’s not perfect, and not making much money off his career as a playwright. Viola loves the poetry of Shakespeare and dresses as a man to get a place onstage. Meanwhile, her marriage to the gold-digger Lord Wessex (Colin Firth) is pending.

When Will meets Viola, the words flow effortlessly onto the page, even with the added handicap of writing with a quill dipped in ink. Will finds inspiration in every encounter he has with Viola and it comes across in his writing. The language is so rich and beautiful in this film. I appreciated the references to other works of Shakespeare’s, not that I am by any means an expert on his plays.

Other actors play good roles and they later developed long, ongoing careers in film, including Geoffrey Rush, Tom Wilkinson, Rupert Everett, Ben Affleck, yes, Ben Affleck, as an actor who plays Mercutio. Imelda Staunton plays Viola’s nurse and confidant most engagingly.

Gwyneth is luminous in her role as Viola, and Joseph Fiennes is passionate in all he does. The costumes are ludicrous, but well designed for the times. The film serves to point out how little opportunity women had at this time, 1593. We have come a long way, but not far enough as recent events would have us realize.

Does Shakespeare in Love live up to what Queen Elizabeth (Judi Dench) asked Will for: a play to show the meaning of true love? I think it does. It’s also a story of actors, how they long to play their roles and give it all they’ve got on stage. It’s about the rehearsals, how everyone wants to tell Will how to write his play. The characters are a microcosm of the entertainment world.

In addition to Best Original Screenplay, Shakespeare in Love also won Best Picture, Best Actress and Supporting Actress for Gwyneth Paltrow and Judi Dench, Best Art Direction-Set Decoration, Best Costume Design and Best Original Musical Score. It is rated R for sexuality, an unfortunate rating; I think PG-13 would be more appropriate given the worldliness of teens today. This is a movie that should be watched by all serious screenwriters, as it is a tribute to the trials and tribulations of the writer. Norman and Stoppard have crafted a beautiful script that we can all be entertained by.

The Red Balloon (Le ballon rouge)

The Red Balloon (Le ballon rouge) is an interesting exception to a winning Best Original Screenplay in that it is a short film. Released in 1956, it is a French film by Albert Lamorisse, who both wrote and directed this delightful 34-minute classic. It also won the Palme d’Or for best short film at the Cannes Film Festival.

Nearly a silent movie with very little dialogue, it follows the adventures of a little boy, Pascal (Pascal Lamorisse) after he finds a red balloon. The balloon turns out to have magical powers, and follows the boy around the streets of Paris, to school, to his home, and to his childhood playgrounds. The red balloon is almost like a pet, loyal and faithful.

It is beautifully filmed, and the streets of Paris are as narrow and winding as I recall from when I visited this beautiful city. Being filmed in 1956, Paris appears to have not recovered from the war totally. There are lots of crumbling buildings around and vacant lots where boys challenge each other and carry on with their rough games and bullying.

We see Pascal and the red balloon head off to school, the little children joining him in the queue to enter the building, so cute in their school clothes, marching in with child size briefcases. Most of the boys are wearing shorts, and the girls sweet little dresses. There is magic in the air for certain wherever this balloon goes. The musical score nicely complements the adventures of Pascal and his red balloon.

The little boy, Pascal, is the son of the director and writer. His daughter Sabine also appeared in the movie. I imagine the streets where this was filmed now looks completely different some 50 years later.

The Red Balloon is the only short film to win the Academy Award for Best Original Screenplay. Why this was placed in with the full-length features that year is up for speculation. It was a groundbreaking film at the time, which is why I suppose it was included.

There are Academy Award categories for Live Action Short, Animated Short, and Documentary Short. They can be no longer than 40 minutes in length, including the credits (The Red Balloon was 34 minutes!). This year I was able to watch all three categories of nominated shorts at my local art cinema. I enjoyed them immensely, and I recommend you seek them out next year prior to the awards ceremony. They may be short, but tell a good story in as little as a few minutes. The creativity, skill, and talent that go into these short films amazes me.

It’s interesting that balloons are such a joy to so many children and even to adults. They’re colorful, light and airy, and with helium in them, they float to the ceiling. What is it about them that is so appealing to you? Perhaps you could share a story in the comments below about a favorite memory with balloons in your own life.

The Queen

The Queen, released in 2006, was nominated for six Academy Awards (including Best Picture) and Best Original Screenplay. I couldn’t find a film beginning with the letter Q that had won Best Original Screenplay, so resorted to a list of those that had been nominated. Helen Mirren won an Academy Award for Best Actress for her portrayal of Queen Elizabeth II. (Best Original Screenplay that year went to Little Miss Sunshine.)

I remember well exactly where I was in my life when I heard that Princess Diana had died. I was shocked and angry at the paparazzi that surely contributed to the fatal accident. I had never been one to follow Diana’s activities with zealous interest, and yet I certainly had heard enough about her to mourn the loss of this special woman.

The Queen examines the week following Diana’s death from the perspective of the royal family, and that of recently elected Prime Minister Tony Blair (Michael Sheen). The Queen’s initial reluctance to acknowledge Diana’s death publicly was a mistake she was severely criticized for. Some of what is depicted is surely the result of writers/filmmakers’ creative imagination, but it all serves to make a point about Diana’s tragic death. I appreciated the film as one who is not all that familiar with the British monarchy and England’s strange obeisance to a centuries old tradition of honoring this genealogical line. I came away from the film having gained some insight into the tradition that uses God’s will as a reason for this family’s privilege.

The scenery shown as the royal family goes stalking (hunting) in the week following Diana’s death is stark, yet beautiful. It is a part of the British Isles I had not seen before: 40,000 mountainous and mostly treeless acres belonging to the royal family.

The Queen and Prince Philip (James Cromwell) are at Balmoral Castle, along with Diana’s sons and Prince Charles (Alex Jennings) and eventually return to London where they see the mourners and tributes that have been left to honor Diana in front of the palace. Diana was the “People’s Princess,” well loved and respected, despite the divorce that seems to have scandalized the royal family more than the general public.

Liberal use of archival footage of Princess Diana is sprinkled throughout the film. I thought that this must have been a very stressful time for Mr. Blair, having just met the Queen and then dealing with the public’s reaction to what appeared to them to be a lack of sympathy for the death of Diana, their heroine.

The film is rated PG-13 for brief strong language. If you remember Diana fondly, I think you will appreciate this film. Helen Mirren is a great actress and her role as Queen Elizabeth is one that likely gave her many challenges, especially being that the Queen is still alive. Although it is the Queen’s story being told here, for me it was really all about remembering Diana. And for that reason, I recommend The Queen.

The Piano

Released in 1993, The Piano won Academy Awards for Best Original Screenplay for Jane Campion, who was also the director, Best Actress for Holly Hunter, and Best Supporting Actress for Anna Paquin. The Piano also won the Palme d’Or, the highest prize given at the Cannes Film Festival. The film is rated R for moments of extremely graphic sexuality. I don’t know why they didn’t include mention of an extreme violent act in that explanation, as that is what truly deserved the R rating.

The film is alternately depressing, erotic, tense, cruel, and loving. If I could describe it for you in a term often used for a particular genre of novel, I’d say it is literary, and metaphorical at times. Jane Campion has written a screenplay that goes deep beneath the surface of what we see occurring between the characters. It’s a story of love, jealousy, rage and perseverance in an extremely harsh climate in 1850’s New Zealand.

Ada (Holly Hunter) is a mute Scottish woman whose father is marrying her off to Stewart (Sam Neill), a landowner in New Zealand. She and her young daughter Flora (Anna Paquin) arrive on the tumultuous shores with their few belongings, including Ada’s cherished piano. Ada does not speak, and expresses herself through playing her piano. She uses some type of sign language with her daughter, or writes messages to those around her when she wants to communicate something to them.

She is not enamored of Stewart who initially gives her some distance in order for her to get to know him and hopefully develop some affection for him. A neighbor, quite friendly with the local Maori tribes people, is George Baines (Harvey Keitel). He is attracted to Ada, and this leads to events that change everyone’s lives.

The forests of New Zealand are wet and dreary, filled with mud from downpours of rain, and hardly any sun. It is not a hospitable environment at all, and it looks as if no one ever really dries out. Despite this, Ada and Flora attempt to make the best of it. In contrast, the scenes set ocean side are particularly beautiful, Ada playing the piano while Flora cavorts about doing cartwheels and making patterns in the sand with stones.

Both actresses give really outstanding performances. Holly Hunter doesn’t say a word except for brief voice over’s at the beginning and end of the film. Her actions and facial expressions have to tell her whole story, as does her piano playing, which was actually Holly playing the piano. Anna Paquin has such a strong well-developed character in Flora, and she was only nine years old at the time. Her emotional outbursts contrast nicely with the stolidity of her mother Ada. We never really hear the truth about Flora’s father, or at least I suspect we haven’t, as Flora is a bit of a storyteller.

I have found that people either love or hate The Piano. It’s all up to the subjective tastes of the viewer.

On the Waterfront

Winner of eight Academy Awards including Best Picture, Best Actor for Marlon Brando, and Best Original Screenplay, On the Waterfront is a classic for all time. A black and white film from 1954, it was filmed on the seaside loading docks of New York. The gritty story is still significant today; only the players have changed.

Terry (Marlon Brando) and his older brother Charley (Rod Steiger) have gotten mixed up with Johnny Friendly (Lee J. Cobb) who terrorizes the longshoremen in the union. The corrupt union bosses run the show and says who will and will not work each day, essentially owning them and ignoring any rights the union has granted them.

Terry unknowingly leads a man to his death at the hands of the thugs who are loyal to Johnny Friendly, and Edie (Eva Marie Saint), the man’s sister, is on a mission to find the murderers. Terry falls in love with Edie and their tentative relationship is romantic and sweet. Father Barry (Karl Malden) becomes involved fighting the union bosses out of a social conscience, liberally augmented by his Catholicism. He riles up the men working on the docks to stand up to Johnny Friendly and his thugs. This only increases the bloodshed.

Elia Kazan directed the film, and I watched an extra feature on the DVD to learn more about the film and the times in which it was made. There was a fascinating piece interviewing mostly Rod Steiger and James Lipton from Inside the Actors Studio, about the famous scene between Charley and Terry, who was a former boxer, in the taxicab. “I coulda been a contender. I coulda been somebody,” Terry tells him. A powerful scene between the two brothers and a movie line that is repeated again and again was born.

In a biography of Marlon Brando I read that he didn’t really hold acting in such high esteem and only did it for the money. If that is true, what he did for the money was of such high quality, you just know he gave every performance all he had.

The other Academy Awards handed out were to Eva Marie Saint for Best Supporting Actress, Best Director for Elia Kazan, Best Cinematography, Best Art Direction-Set Decoration, and Film Editing. Budd Schulberg wrote the screenplay.

On the Waterfront is one film you should watch if you haven’t seen it already, or watch again if you saw it years ago. The message is still relevant to today. The corrupt union bosses, and the crime they brought with them, has been replaced by large corporations who still rob workers of their rightful wages and their rights as workers, and their right to be treated with humanity. The greed of Johnny Friendly equals the greed of any CEO of any corporation that exists today. Working class people just want to live, support their families and experience love like anyone else. On the Waterfront confronts the corrupt system, but who will confront corruption today? Each one of us.

Network

I’m as mad as hell and I’m not going to take this anymore!

~ Howard Beale in Network

Network was a sensation in 1976 (the film is rated R), and it holds true to our world today, some forty years later. Howard Beale (Peter Finch) is at the end of his career as a news anchor on UBS television network. He has a breakdown on air, and to the surprise of network executives, the ratings skyrocket.

Diana Christensen (Faye Dunaway) is an ambitious woman striving to make a name for herself in network programming, and she will stop at nothing until she gets the ratings higher. She pitches an idea to the execs, including Frank Hackett (Robert Duvall), about Howard being let loose live on air, and sets about having an affair with a network exec, married man Max Schumacher (William Holden). His wife Louise (Beatrice Straight) confronts Max when he tells her he is in love with another woman, and it is her great delivery of her lines and emotions that no doubt scored her a Best Supporting Actress Oscar for her performance.

Other Academy Awards given out for Network were Best Actor and Actress for Peter Finch and Faye Dunaway, and Best Original Screenplay for Paddy Chayefsky. Peter Finch was the first posthumous winner honored by the Academy.

Howard’s diatribes on air are like a bad reality show. The only difference from today is it’s not scripted, and he’s speaking the truth, truth that unfortunately still rings true. Television has become a propaganda machine, influencing everything about life in America; what to buy, whom to love or hate, what candidates to support, and we know some stations deliver this garbage more than others. Corporations run the world, a statement made more than once in Network, and that is exactly who is running the world today. They buy political candidates and have nothing but greed and profit as their goals.

The CEOs are as evil as you can get, and we see them in Network. It doesn’t help that people like Diana succumb to the power and applause from her peers so that she sells out Howard, and makes a mockery of the evening news.

There is a narrator who bookends and provides commentary on the rise and fall of Howard Beale. The dialogue is overwritten (real people don’t speak like that), but the message of the film remains strong.

I suggest you watch Network. After you watch it, find the series The Newsroom on whatever streaming or DVD service you use. It is a contemporary take on the network news written by the brilliant screenwriter Aaron Sorkin. It aired for three seasons (25 episodes) and stars Jeff Daniels, Dev Patel, and other fine actors. They take real news situations and deliver the news like it should be delivered, ethically and responsibly, without bias or moneyed interests dictating how to report events. The Newsroom shows how real investigative journalism should be done prior to it becoming the evening news.

Midnight in Paris

Woody Allen won Best Original Screenplay at the 2012 Academy Awards for the wonderful film Midnight in Paris. The film begins with a very leisurely stroll through the charming streets of Paris, past monuments and recognizable landmarks, before zooming in on our main characters, Americans visiting the city of love.

Gil (Owen Wilson) is a successful screenwriter engaged to Inez (Rachel McAdams), and they are staying in Paris along with Inez’s parents. Gil aspires to be a novelist, his heroes being the writers who lived and wrote in Paris in the 1920’s. Gil is awash in his love for Paris and wants to move there, but Inez will have none of that.

Unexpectedly, friends of Inez are also in the city, and they accompany Gil and Inez on a trip to Rodin’s museum. Paul (Michael Sheen) is a pedantic know-it-all, and Gil is not fond of his company. One evening, Gil goes for a stroll by himself and this is where the magic happens.

He is transported to 1920’s Paris in a classic Peugeot at the stroke of midnight. All the best intellectuals, artists and musicians are in attendance at a party: the Fitzgerald’s, Hemingway, Cole Porter. He is of course enchanted, and is introduced to Gertrude Stein (Kathy Bates), who agrees to read his novel.

Adriana (Marion Cotillard) is a beautiful free spirit who associates with all the freest painters of the day, including Picasso. Gil is inexplicably drawn to her, and the fun never stops. I love the way we meet famous people as he explores this alternate universe each night.

Allen asks the question in this film of which era would be the best to live in: the ‘20s, the 1890’s, the Renaissance? Each generation longs for the mystique of the one preceding it. It all makes for a very good story, lots of creative sets and costumes, and the great dialogue that Woody is known for.

I like Woody’s films, but Midnight in Paris is my all time favorite. Besides his screenplay winning at the Oscars, he also won Best Original Screenplay at the Golden Globes that year. I remember the camera focusing in on Owen Wilson when it was announced Woody had won. Woody was of course not in attendance. Owen was looking quite pleased at the film’s being honored. He does a great acting job, and without him, the story just wouldn’t have been the same. Marion Cotillard is perfect as a sort of femme fatale that Gil falls for. And the city of Paris is shown off to great advantage in virtually every scene.

I’ve been to Paris and was impressed. I think even if you’ve only seen Paris in pictures, this film will enchant you. The story is inventive, meticulously staged on camera, and the comedy between the characters helps alleviate some of the serious questioning that Gil does about his life. It is rated PG-13 for some sexual references and smoking.

Put this high on your list of must see films.

Little Miss Sunshine

I was delighted to see Little Miss Sunshine in my alphabet soup of Best Original Screenplay winners, as it is one of my favorite films. Released in 2006, it has an all-star ensemble cast who play a family focused on getting to the Little Miss Sunshine beauty pageant in Redondo Beach, California. This involves a cross-country road trip from Albuquerque to the coast in an old yellow VW van. The film is rated R for language, some sex and drug content.

Olive Hoover (Abigail Breslin) wins a minor beauty pageant in her hometown and is invited to attend the contest of Little Miss Sunshine. Her parents, Sheryl (Toni Collette) and Richard (Greg Kinnear), agree to take her there, but must also take the rest of their family along with them.

Dwayne (Paul Dano) is their voluntarily mute teenage son focused on becoming a pilot in the air force; Frank (Steve Carell) is Sheryl’s gay brother, recently recovering from a serious suicide attempt; and Grandpa (Alan Arkin) is Richard’s grandfather, living with them after having been kicked out of his retirement home.

When a film’s characters talk about philosophers such as Proust and Nietzsche, you know it’s not your typical Hollywood story. Michael Arndt won Best Original Screenplay as the writer of this delightful and intelligent comedy. Alan Arkin won an Academy Award for Best Supporting Actor for his role as Grandpa.

There is so much to laugh about, even though the comedy is a bit dark at times. Richard is a perpetual optimist, set on becoming the next big self help guru, helping winners succeed through using his nine steps, no less. Bryan Cranston (Breaking Bad) appears as Stan Grossman, Richard’s business contact that he hopes will be able to get his nine-step work published.

Olive practices diligently on her dancing routine, which is coached by her Grandpa. The film culminates in typical beauty pageant fashion where little girls compete in swimsuits, gowns and in the talent category. Since we never get to actually see Olive and Grandpa rehearse, the delightful debut of Olive on stage is even more exciting than you could imagine, along with many other surprises along the way.

The family has to push and pull together to help Olive meet her goals. This is an entertaining film that I love to watch. Although the family lives in Albuquerque, it was filmed in Arizona and California. It has a good pace and everyone’s individual lives are focused on and showcased during the trip and the action. The well-known cast does a wonderful job with this story.

Abigail Breslin was off to a good start in this film, as she was nominated for Best Supporting Actress. Greg Kinnear (As Good As It Gets), Toni Collette (The Sixth Sense), and Steve Carell (Foxcatcher) have all been nominated for Oscars in the films I just listed, and I don’t doubt that Paul Dano will be next. Look for more films by these wonderful actors and actresses; you won’t be disappointed.

The King's Speech

The King’s Speech is a film from 2010 about the real life story of Prince Albert (Colin Firth) who became King George the VI of England, and his struggles with speaking. He had a stuttering problem, which is a huge issue for anyone being able to communicate with others effectively, and it may bring shame and ridicule to the victim. It was made even more difficult for this sensitive man nicknamed Bertie, and who was expected to make speeches to the kingdom. (Royalty has more than one name, which can be confusing.)

His wife Elizabeth (Helena Bonham Carter) has been seeking out the help of linguists, speech therapists, and healers for many years, and they finally light upon Lionel Logue (Geoffrey Rush), whose unorthodox, yet effective ways of dealing with the stuttering issue begin to help Albert.

This was an interesting time in British history to portray, as the years depicted led up to Britain entering into war against Nazi Germany. Also in the mix was Albert’s well-known brother David, aka King Edward the VIII (Guy Pearce), whose affair with American socialite and twice-divorced Wallis Simpson (Eve Best) led to scandal for the crown. When he abdicates the throne, Albert is thrust even more into the public eye when he becomes King George.

The film is a beautiful, often dreamy depiction of the streets and countryside of England. Set decorations and costuming were well done and no doubt congruent with the times. Academy Award winner Alexandre Desplat (who won for The Grand Budapest Hotel) wrote the score, and the selections of music throughout fit the time and situations well. Danny Cohen was nominated for Best Cinematography and although he didn’t win, the nomination was well deserved.

More than a story about the King of England, it is a story that anyone who has the affliction of stuttering can be inspired by. The psychological basis for the problem is explored, and the stormy relationship between Logue and Albert depicted very well.

My favorite part of the film is when King George gives his famous speech over the “wireless” to his kingdom, including Canada, Australia, etc. announcing war with Germany. It is the most moving piece in the film that may bring you to tears. It is beautiful to watch Logue acting as a sort of conductor to George’s reading his speech.

The King’s Speech won four Academy Awards: Best Picture, Best Original Screenplay for David Seidler, Best Actor for Colin Firth, and Best Director for Tom Hooper. It is rated R for some language. I think the R rating shouldn’t scare you off from sharing this film with your children. The language is probably nothing they haven’t already heard, and the film’s message so important it shouldn’t be missed for that reason.

I highly recommend this film. It is engaging on many levels, for the history, for the compassion evoked in the viewer towards King George and for all people with a stuttering problem, and just because it is so well crafted.

Juno

The film Juno won a Best Original Screenplay Academy Award for new screenwriter Diablo Cody. It is a fast paced, clever and quirky movie from 2007 about teen pregnancy and adoption. It is not, however, a typical adoption story.

Juno (Ellen Page) has one night of introductory sex with her classmate and friend Paulie Bleeker (Michael Cera), and as happens far too frequently, their unprotected tryst results in 16-year-old Juno being with child.

Her father Mac (J. K. Simmons) and step-mother Bren (Allison Janney) are the way parents everywhere should be if their precocious teen becomes pregnant: supportive. Juno has decided to have the baby and give it up to a loving home for adoption.

Enter Vanessa (Jennifer Garner) and Mark (Jason Bateman) as the couple who are overjoyed to be the recipient of Juno’s baby gift. All of these arrangements are completed in an entertaining way, while traversing the four distinct seasons of a year in Minnesota. We see Juno’s life unfold through this year, from the reveal of her pregnancy to the birth.

This is not your typical A-Z adoption story, and the twists and turns it takes are really entertaining, as life progresses in a somewhat non-linear fashion for Juno. I liked how the film ended, but I can’t tell you why because I don’t want there to be any spoilers for you!

All the characters’ dialogue is very well written, and Juno especially has a mouth on her that Ellen Page delivers with such finesse and unselfconsciousness, no wonder she received an Academy Award nomination that year for Best Actress. The character Juno is a little over the top, but not pretentious like Clementine in Eternal Sunshine of the Spotless Mind. The film was also nominated for Best Picture and Best Director for Jason Reitman.

This film could be a tearjerker for you. I don’t normally like sappy kinds of films about babies, but certain ones like Juno and Knocked Up, end up being very funny for me as well as making me a little teary eyed.

The film was released in 2007 and is rated PG-13 for mature thematic material, sexual content and language. There are a few voice over’s in the film, all by Juno, and the uncommon use of this technique fits the story well. The voters in the Academy chose an offbeat comedy to award Best Original Screenplay to in Juno, and this doesn’t often happen. The Academy prefers drama when giving out awards. In this case, I believe it was well deserved.

A note here on my process for selecting the Best Original Screenplay Academy Award winners for the Blogging A to Z Challenge. I looked at the winners in this category chronologically from most recent on back, and as each letter came up, gave it a place in the alphabet for the month of April. This kept out any bias I might have about a particular film, and whether I wanted to watch or write about it. Thanks for reading!

Interrupted Melody

Let me just say right up front: I don’t like opera. But this movie about an opera singer begins with the letter I, and won an Academy Award for Best Original Screenplay, so I watched it in the interests of my commitment to the Blogging A to Z Challenge! I saw it on Amazon streaming (it wasn’t very easy to find).

Interrupted Melody is a film from 1955 based on the true story of Marjorie Lawrence, a gifted opera star. It is dense in the beginning with numerous arias of various productions she sang in. Despite my having to sit through the beautiful soprano vocal expertise of Eileen Farrell, who was dubbed in later, the story was fascinating and heartwarming.

Marjorie Lawrence (Eleanor Parker) grew up in a small town in Australia. Her vocal gifts were noticed at a young age and she was able to obtain a scholarship to Paris. Her career is no less than a catapult to fame and notoriety. Her brother Cyril (Roger Moore) was her manager. Marjorie is a strong willed woman, shown in various scenes where she defies her director on stage during a performance, much to the delight of the audience and her critics.

She meets Dr. Tom King (Glenn Ford) and they immediately fall in love. As with complicated relationships where both individuals want careers, it’s a struggle to finally commit to each other.

The unfortunate illness of Marjorie hits suddenly and she is diagnosed with polio. The rest of the film is focused on Dr. King and Marjorie dealing with her illness, which was devastating to a young woman used to being center stage and singing joyfully every day of her life.

It’s about the time of World War II, which ends up figuring into the story. What I liked about the film was the wonderful screenwriting and dialogue, especially between Marjorie and Tom. They have an easy repartee, and their romance is made believable, although I’m sure it was spiffed up for a Hollywood movie.

The other thing about the story that is interesting is how a couple deals with illness and the entire disruption of their lives. Do they just give up, stay down, or do they find a way to cope with the drastic changes?

It was an inspiring story, and if you like opera, you will definitely love this film. Perhaps you’ve even heard of Marjorie Lawrence. I did recognize some of the operatic stories that were staged briefly to show how Marjorie commanded the stage (Carmen, Madame Butterfly, Samson and Delilah, and a couple works of Wagner, among others).

It is rare that the Academy recognizes a musical for best screenplay, much less best picture. This is the only one I’m aware of that featured an opera star. Eleanor Parker sung the arias in her performance, and later Eileen Farrell’s voice was dubbed in. It sounds and looks impressive. I actually thought Eleanor Parker was the one singing until I read about the dubbing. Well done.

Her

Joaquin Phoenix stars in the 2013 quirky futuristic film, Her, by Spike Jonze. Computers have reached a level of sophistication whereby artificial intelligence in the form of a special operating system (OS) can be purchased by lonely humans as a sort of companion and organizer of their life.

Theodore (Joaquin Phoenix) is a lonely man going through a divorce from Catherine (Rooney Mara). He has a job as a letter writer for those who apparently cannot write. Scary future if people have mostly lost the capability to write for themselves, and scarier still that there are signs of that almost everywhere these days (but not in Blogging A to Z!). Theodore puts his innermost thoughts and feelings directly into the personal letters he writes for his clients.

Scarlett Johansson is the voice of Samantha, the OS who organizes Theodore’s life. She is never seen obviously, but plays an important role for Theodore, who is coping with the grief from his separation and trouble in love. He soon becomes infatuated with Samantha, and they are nearly inseparable.

A good friend from college days, Amy (Amy Adams), is a confidant for Theodore, one of the few real people he seems to connect with. Everyone in this film seems to be having trouble with relationships, including Amy. No wonder; they’re all walking around talking into space, kind of like having a blue tooth, and seldom interact with each other.

Cyber sex (Kristin Wiig in a hilarious turn as the voice of SexyKitten) and surrogate sex so that Samantha can have sex with Theodore, provide some really hilarious moments. Basically, this is about a society where no one knows how to have a truly satisfying intimate relationship anymore. Theodore has a blind date (Olivia Wilde) that doesn’t go anywhere either.

The film is rated R for language, sexual content, and brief graphic nudity. It takes place in a Los Angeles of the future, looking mysteriously like the well-populated skyline of Singapore, where it was filmed, along with some filming taking place in LA.

I like Her. Joaquin Phoenix really has to carry the whole film and his expressive face is in virtually every scene. I also enjoyed the sparse costuming, a future world where men don’t wear belts anymore, just those tight slacks.

I agree with the Academy awarding the Best Original Screenplay to Her and Spike Jonze. The writing is terrific, great dialogue (in fact this is one of the films I’ve seen where there is almost constant dialogue), and really quite thoughtful conversations between the characters, whether they are another human or an OS.

Are we as a world heading this way? You’d think so watching people walking down the street like they do in this film, not really seeing what’s around them, all focused on their devices. I hope it doesn’t turn out to be film as prophecy, and we all succumb to the addictive draw into our computers, telephones, and whatever other electronic device is next available on the market.

Gosford Park

Gosford Park is a 2001 British film directed by Robert Altman. It received an Academy Award for Best Original Screenplay, and is rated R for some language and brief sexuality.

Taking place in 1932, it features a party at the country manor of William (Michael Gambon) and Sylvia (Kristin Scott-Thomas) McCordle. The guests arrive for a weekend of hunting, each accompanied by a valet or maid. This was a time in Britain when the classes were quite distinctly separated in terms of wealth and servitude. Not exactly American slavery in the pre-civil war days, but it had its own disgusting over- and undertones to it as depicted in the film.

The cast is divided into the upstairs guests, and the downstairs servants.  Mrs. Wilson (Helen Mirren) meticulously runs every aspect of the servants’ work. Her sister also works in the manor, as does the sister’s husband. Elsie (Emily Watson) is an outspoken servant, warming to a visiting maid Mary (Kelly Macdonald). Robert Parks (Clive Owen) enters the picture as the valet of a guest, and the other residents of this mansion do not ignore his good looks.

The trailer suggests that someone will be murdered during this film, and thus it is a whodunit, with clues sprinkled liberally throughout. Missing knives, bottles of poison, and lots of motives to do any number of people in, both within the guests as well as for the servants milling about trying to do their job to their employer’s satisfaction.

Morris Weissman (Bob Balaban) is a Hollywood exec invited to the hunting weekend, and he brings his valet, a curious Scotsman, Henry Denton (Ryan Phillippe). Sexual dalliances in the house are common, and the upper class doesn’t seem to be any better off really than the lowly servants, financially that is.

A Hollywood star Ivor Novello (Jeremy Northam) provides welcome relief as he plays the piano and sings. William’s aunt Constance (Maggie Smith) is a real shrew, very disdainful to the other guests, and goes about with such an air of entitlement that perhaps only Maggie Smith could pull it off (and she did). The grounds where they go pheasant hunting are quite beautiful. You can almost feel the rain and dampness that permeates the poorly heated mansion.

Basically, I liked this film. Robert Altman directed the weaving of these disparate lives together very well. I wondered how he could keep track of all the different scenes, as the action travels upstairs and downstairs to give us a feel for who all the characters are, setting the stage for the murder that comes well after an hour into the film.

Who did it? I can’t say much more here as no spoilers will pass my lips. How do all the players fit together? You will need to see for yourself. It is a well-written and filmed murder mystery, not launching prematurely, but allowing us to see what this culture was like. If you’re an Anglophile, or a Maggie Smith fan, definitely watch Gosford Park.

Father Goose

Father Goose is a comedy/romance from 1964 starring Cary Grant and Leslie Caron. Cary Grant was 60 years old, and Leslie Caron 33 years old when the film was made, and somehow, despite their age difference, they make a good match for a romantic comedy.

Walter Eckland (Cary Grant) is an American with a drinking problem who has fled to the South Pacific in order to escape his conventional life only to find himself in the middle of World War II. Commander Frank Houghton (Trevor Howard), of the British Royal Navy, tricks Walter into taking up residence on an isolated island where he is to watch for enemy aircraft and report their movements. Walter was assigned the moniker of Mother Goose as a code name to be used when speaking over the radio to the Commander and his staff, thus the title of the film.

Walter is sent to rescue another spotter in danger, and when he arrives at the other island discovers Catherine Freneau (Leslie Caron) and the seven female students she is responsible for. Walter reluctantly transports them back to his island, and all sorts of adventures are just waiting to happen. The dialogue between Walter and Catherine is witty, the interactions between Walter and the Commander and his staff are very funny, and the girls each have their own unique way of dealing with Walter, who is changed by them. This film is definitely all about Cary Grant. He is front and center of just about every scene.

Movies from the 1960’s and earlier have some strange things going on in them. Walter and Catherine slap each other in the face several times, and this seems to be some kind of foreplay for them. That part is interesting because we get to see what was acceptable back then that wouldn’t be tolerated today. Aside from the bizarre slapping episode, there really is nothing objectionable in the film, and it is quite entertaining.

I read that Cary Grant said that he was more like the character of Walter Eckland than for example, some of his more suave, privileged characters. I have always enjoyed his performances in Alfred Hitchcock films especially. Hitchcock, who didn’t really hold actors in very high esteem, reportedly said that Cary Grant was the only actor he loved working with.

Father Goose won Best Original Screenplay at the Academy Awards for story by S. H. Barnett, and screenplay by Peter Stone and Frank Tarloff. This may be a good time to talk about writing credit conventions. You will notice that there is story and screenplay mentioned when referencing the award here. Story refers to actual writing, not just an idea. It can take the form of a story or treatment, or sometimes a complete script. Screenplay in this case would then refer to a subsequent writer doing a rewrite of the original material.

This is a classic film watched over and over again for its unique storyline and comedy. I highly recommend it to you.

Eternal Sunshine of the Spotless Mind

Charlie Kaufman is known for some kind of strange screenplays (Being John Malkovich, and Adaptation are two I really enjoyed). Eternal Sunshine of the Spotless Mind is another. I had seen it several years ago, when first released in 2004 and I didn’t care for it very much. It was a film that won Best Original Screenplay for Charlie Kaufman, and it begins with E, so I watched it again.

This time I enjoyed it. Don’t know what put me off the first time, but this story of people desperate to rid their memories of failed romance works. The film is rated R for language, some drug and sexual content.

Joel (Jim Carrey) meets free spirit Clementine (Kate Winslet), and they end up in a stormy relationship. Joel finds out by accident that Clementine has undergone a procedure by Dr. Mierzwiak (Tom Wilkinson) to erase all memories of him. Dr. Mierzwiak‘s business, Lacuna, Inc., caters to those hurt by love that just want a new start.

Once Joel finds this out, he too wants the procedure done. After all it is non-surgical and deemed safe. Dr. Mierzwiak employs three assistants, Stan (Mark Ruffalo), Mary (Kirsten Dunst), and Patrick (Elijah Wood). Three kooky free spirits themselves, they administer the brain altering procedure to Joel in his bed in his own apartment during the night, getting into all sorts of escapades while he’s asleep.

That part was really funny, as is what happens when Joel begins to resist the erasing of his memories of Clementine. The world around him begins to fade and disappear, like a pencil erasing a picture someone has drawn. The cinematography reminded me of a more recent film, Inception, where the world folds in on itself. In the spotless mind, the world simply crumbles and turns to ash.

Clementine is an annoying sort of young woman, striving to be cool and daring for attention, which you know is done to cover up her insecurities and lack of confidence. She seems phony to me, but Joel loves her.

Joel is a lonely sort of guy, also insecure, but where Clementine likes to be on stage, he does not. He’s more of the wallflower type, miserable yet safe standing in a corner watching the world go by. I thought both characters were well written, and the performances by Carrey and Winslet excellent.

The three assistants to Dr. Mierzwiak are a welcome addition to the cast of characters. Their individual stories help to create the comedy in what could otherwise have been just a boring story about two miserable people looking to forget each other.

Is Valentine’s Day really the most miserable holiday of the year? For those unlucky in love, perhaps erasing your memories will make you happier. But does it? Be sure to watch the extra feature on the DVD of an ad for Lacuna, Inc. where Dr. Mierzwiak makes the case for undergoing his safe, non-surgical procedure. Then you can decide if you too want eternal sunshine in your mind.

Django Unchained

Quentin Tarantino. If you don’t know who that is, you’ve been asleep at the movies. He won best original screenplay for this 2012 fictional film, Django Unchained, which takes place in America two years prior to the Civil War. Christoph Waltz won his second Academy Award for best supporting actor in this gruesome tale.

Tarantino’s movies are violent. It is rated R for strong graphic violence throughout, a vicious fight, language, and some nudity. Django (Jamie Foxx) is one of several slaves being transported somewhere, walking barefoot, chains around their ankles, when German dentist Dr. King Schultz (Christoph Waltz) accosts the group. He quickly convinces the slave traders to sell him Django, once he’s determined that Django could spot the men he is after for a bounty, dead or alive. He then frees him, not approving of slavery.

Thus begins the partnership of Django and Dr. Schultz. They team up to hunt down white men who are bank robbers, cattle rustlers, etc. and shoot them dead. Django has a wife, Hilde (Kerry Washington), who has been sold to slave owner Calvin Candie (Leonardo diCaprio) on a plantation in Mississippi. Dr. Schultz encourages Django to find her offering his assistance.

The blood bath begins. Blood is splattered everywhere, over the white balls of cotton in the hot fields, over the houses and clothing of anyone unlucky enough to be in the way. If this film doesn’t make you want gun control, nothing will. You’ll need a strong stomach to watch the cruelty dealt out by wicked slaveholders.

The reason perhaps why this film won an award is that it is written very well, utilizing the legend of Siegfried and Brunhilde, saved from the dragon. Hilde speaks German due to ownership by a previous German slave owner, and can converse with Dr. Schultz effectively.

Christoph Waltz brilliantly plays the character of Dr. King Schultz. The dialogue is written so engagingly and he never comes out of character. He played a Nazi in Tarantino’s film Inglorious Bastards, (his first Academy Award winning role) a sort of cathartic film where we get to watch Nazis being terminated by a group of volunteers. Yes, we hate the Nazis and we hate slave owners, so seeing them get blown away gives some satisfaction, but it doesn’t really do the job.

For that, we still have to fight racism and racial profiling, and intolerance of religious groups for which some are still at risk and are killed for even today. It is not enough to watch this film. I wonder if Mr. Tarantino does anything to fight intolerance and injustice other than make his films. I hope so.

I do recommend this film if you’re a screenwriter who can also stomach the blood shed. It harkens back to old Westerns made in the beginnings of cinema in America, and the music accents the action quite well. Expertly filmed, it is often visually appealing, showing the Western landscape, the mountains and rivers that are still so beautiful today.

Crash

Written and directed by Paul Haggis, the drama Crash from 2004 won Best Film, Best Original Screenplay (for Paul Haggis and Robert Moresco), and Best Film Editing at the Academy Awards. It is rated R for language, sexual content, and some violence. It employs an ensemble cast whose characters weave in and out of each other’s lives over a 36-hour period in Los Angeles.

This film has at its core an examination of racism and prejudice. The characters are a cross-section of America in ethnicity, social class, and religion. Police officers figure prominently in this tale of tragedy and thankfully, in some cases, redemption.

The best most heart wrenching moments in the film are those with Daniel (Michael Pena), a Hispanic locksmith with a young daughter Lara (Ashlyn Sanchez). He faces discrimination for nothing more than basically sporting tattoos on his person from Jean (Sandra Bullock), who has the locks changed on her home after being carjacked at gunpoint with her husband, district attorney Rick (Brendan Fraser). She suspects Daniel’s a gang member and can’t be trusted to change the locks in her home. While Daniel works on a job at a convenience store, an encounter with the shop owner Farhad (Shaun Toub) creates such bitterness in Farhad’s soul that he goes after Daniel. This was a brilliant piece of writing that translated well to the screen.

Despite a best original screenplay win, some of the dialogue feels a bit didactic. Maybe it’s the delivery, or just that there was so much to delineate and say about race relations in LA that it couldn’t come off as more natural sounding dialogue. Again, the story lines about Daniel and Farhad are the most genuine and natural and well performed. A lot of the other characters are just spouting off long diatribes about the state of affairs in LA and really all of America in terms of race and prejudice.  In the 13 years since Crash was released, not much has changed in terms of some still harboring fear and prejudice of anyone who is different from them in terms of sexual orientation, religion or race.

Other cast members include Don Cheadle, Jennifer Esposito, Matt Dillon, Ryan Phillippe, Thandie Newton, Terrance Howard, Loretta Devine, and Tony Danza. They were cast well in their roles and all do a good job with the situations they were asked to portray.

Crash is the kind of film where you really have to pay attention to every encounter, and then at the end, the missing links between the characters come around full circle. I basically like the film despite its preachy message. About every ethnic group is represented here; African-Americans at two extremes of social class, Asians, Hispanics, Muslims, white privileged upper class, and basically working class law enforcement. The weaving back and forth between stories works to draw the viewer along and stay engaged with the film. You’re always wondering what will happen next to the person on screen, and to the relationships between the characters.

Birdman or (The Unexpected Virtue of Ignorance)

Birdman or (The Unexpected Virtue of Ignorance) is a fine cinematic offering released in 2014 from director Alejandro Gonzalez Inarritu, also the director of Gravity and The Revenant. Birdman is a tale of one man’s attempt to create something he believes will have a lasting impact on the world.

Riggan Thomson (Michael Keaton) has had a career in filmmaking, most notably as the superhero Birdman. He writes a play based on a short story by esteemed author Raymond Carver, What We Talk About When We Talk About Love. The play is in rehearsals with opening night on Broadway fast approaching when we meet Riggan struggling to both direct and star in his play.

Sam (Emma Stone), Riggan’s daughter, works for him as a sort of gofer running errands, and she is one angry young lady fresh out of rehab. His ex-wife Sylvia (Amy Ryan) comes for a visit, and further complicating his life, his three fellow actors are all neurotic and self-absorbed: Mike (Edward Norton) is a handful of ego driven charisma, who harasses his former lover Lesley (Naomi Watts) on stage and off, and Riggan’s much younger lover Laura (Andrea Riseborough) is jealous and insecure. His manager Jake (Zach Galifianakis) tries to keep things steady for Riggan, but chaos tends to follow him everywhere.

The story works well, alternating between Riggan’s direction of the play and his inner musings, or rather possession, by his alter ego Birdman. The story effectively ridicules the super hero genre, and the movie-going public’s questionable intelligence in gravitating towards those types of films.

Broadway is painted to be an ego filled place, from the critics who can make or break an opening, to the actors who constantly wonder if they are good enough for the stage. The film is confined mostly to the theater, the back stage behind the scenes workings of the production, and to the actors’ dressing rooms that serve as sanctuary and a place to vent their angst. The camera often follows the actor down hallways and through the depths of the theater in one smooth take, serving to unite the action with the character’s internal progression as the tension builds and Riggan reaches the point of breaking.

I really enjoyed this film. I saw it in the theater when it first came out, and liked it on DVD again. All the acting is superb, especially Edward Norton as the self-confident actor whose inner core is not so strong when he’s not on stage. He and Michael Keaton have some really intense scenes together, very well played by both.

Inarritu has proven himself to be an excellent screenwriter and director. Birdman walked away with four Academy Awards: Best Picture, Best Original Screenplay, Best Director, and Best Cinematography for Emmanuel Lubezki.

I recommend Birdman for anyone interested in the theater, as well as the psychology of the inner creative self. The film is rated R for language throughout, some sexual content and brief violence. It is not a film for children.