A Reel Opinion: JUSTICE LEAGUE Take 2

With the global pandemic known as COVID19 shutting down Hollywood releases and productions, there hasn’t been much movie news to write about. Last week however came news that would have stopped the presses pandemic or not; Zack Snyder’s JUSTICE LEAGUE will debut on the new streaming service HBO Max in 2021, either in a four-hour director’s cut or in six TV-style chapters. The news immediately sent social media into a frenzy, with two entrenched sides; those who want no more superhero movies from Snyder, and those who have been cult-like in their support of it…going to war. 

What is this all about? Back in 2016, Warner Bros. finally began filming JUSTICE LEAGUE; their superhero team-up film with famed DC Comics characters Superman, Batman, and Wonder Woman all appearing together. At the helm was Snyder, who had just delivered two not-so-well-received DC films; the Superman flick MAN OF STEEL (2013), and BATMAN V. SUPERMAN: DAWN OF JUSTICE (2016). Seven months after filming finished, Snyder stepped away from the project for personal reasons. In his place came Joss Whedon, who had brought us the mighty AVENGERS (2012) for rival studio Marvel. For curious reasons, Whedon re-wrote, re-shot, and re-edited Snyder’s film. The result was a compromised movie that felt choppy, truncated, and in the eyes of most fans…incomplete. Critics were harsh, and the box office take was harsher. 

Since the release of the film in November of 2017, fans have been banging the drum for the Snyder Cut; the film that Snyder wanted to make. Fans pushed the hashtag #ReleaseTheSnyderCut across social media platforms to the point of annoyance, with some groups even hijacking panels at comic-cons. The general thought was that there was a completed film just sitting in a vault at Warners, just waiting for some executive to let it out. 

While those supporters of the Snyder Cut may have their hearts in the right place, most of them just didn’t understand how filmmaking works. News outlets are reporting that the forthcoming HBO release will require at least $30 million to complete, which includes visual effects, scoring, and bringing actors back in to record additional dialogue. No actual filming will take place. All that post-production work indicates that there was never a completed film ready to go, which means all the hashtaggers were demanding a car that was only partly down the assembly line. 

Many fans have accepted this news with a groan, while others who have been hashtagging away see this as a win for fandom. The latter can take a victory lap all they want, but many film writers have pointed out that with COVID shutting down productions all over the world, patching together a new JUSTICE LEAGUE would be a relatively easy way to make content for a new streaming service. Fans that hated Snyder’s previous two superhero films, which were the lead-up to JUSTICE LEAGUE, are certainly not looking forward to more from him. And there is still the un-answered question of why Whedon was tasked with re-arranging and changing so much from Snyder’s original plan. Rumors have persisted that it was a mess, and it’s now up to Snyder and HBO to clean it up. Either way, this is one story that is only just beginning to enter its homestretch. 

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ZACK SNYDER’S JUSTICE LEAGUE will debut on HBO Max in 2021. 

A Reel Retro Review: THE STEEL HELMET (1951)

With no new films to review for the foreseeable future, Reel Speak’s new feature, Reel Retro Reviews, will randomly review a classic film from the TCM broadcast schedule every Monday. Not just for the sake of filling time, but to hopefully introduce some classic, overlooked, and perhaps forgotten screen gems to those of us who may be unfamiliar or unawares of their existence.  

The Korean War has not received as much cinematic attention as the Vietnam War and World War II. Samuel Fuller’s THE STEEL HELMET may not go down in history as the best film to go to Korea, but it is the very first to do so, and marches ahead boldly to blaze a path for all war films to follow. 

Sgt. Zack (Gene Evans), is the lone survivor of prisoners executed by the enemy. He is assisted by a young boy (William Chun), whom he nicknames Short Round. The two cross paths with Cpl. Thompson (James Edwards), a black medic and eventually a patrol led by Lt. Driscoll (Steve Brodie)…on a mission to secure an abandoned temple as an observation post. 

Shot on a shoestring budget over just 10 days while the Korean War was still going on, THE STEEL HELMET does not have much by way of plot or scale. There is no real grand mission to accomplish, and the film only follows the patched-together unit as they survive one scrap after another to get to the abandoned temple…which may not be as empty as they thought. Director Samuel Fuller, who was drawing on his own experiences as a WWII vet, makes up for the lack of plot by weaving in themes of worldwide racism; a scene where a North Korean prisoner baits Thompson into a conversation about American’s Jim Crow laws is very well done and speaks volumes. There is also the ongoing relationship between Sgt. Zack, who is portrayed as gruff and mean, and Short Round…with Short Round constantly having to remind Zack that he doesn’t like to be called the G-word. Fuller also tacks on the ethics of the treatment of prisoners of war for good measure. 

Fuller doesn’t hang his helmet on race and war ethics, and he manages to shoot a film that ramps up the tension nicely. A scene where the patrol is pinned down by a sniper is very well done, and seems to be the inspiration for where Stanley Kubrick would take his own war film, FULL METAL JACKET (1987), thirty years later. Scenes inside the temple where a hidden threat plays a deadly game of cat-and-mouse are also well done and border on a horror film. The film’s lone drawback is its low budget which really shows. Exterior scenes shot in a park look great, but the film later shifts to a jungle set with the fakest looking plants of all time. There also several “extras” who look right at the camera, and scenes where the troops are in a tower looking out over the countryside are a laugh…as they’re looking an obvious blank wall. 

THE STEEL HELMET could be considered to be a B-movie with its flaws, but its strengths are many. The performances are excellent all around, and the battle scenes, enhanced by military stock footage, really work despite their simplicity. Today’s military dramas play a lot with ethics and race issues; all themes that started with THE STEEL HELMET.

BOTTOM LINE: See it 

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Reel Facts: THE STEEL HELMET infuriated the U.S. military at the time with its scene of a prisoner of war being executed. Fuller was summoned to the Pentagon where he was able to confirm that such things did happen, using his own WWII service as proof. 

A Reel Opinion: The Top 10 Best War Films

The Memorial Day holiday weekend is upon us. This American holiday, which many consider to be the unofficial start of Summer, originally began after the Civil War with ceremonies for soldiers who had fallen in battle. After World War I the day was expanded to honor those who died in all American wars, and in 1971 it was declared a national holiday to be celebrated on the last Monday in May. 

For many Americans, Memorial Day means a three-day weekend, and those of us who have served or who have had family in the military may approach it with reverence. For fans of cinema, the day can mean a chance to revisit some classic war films, of which there is no shortage. Ever since D. W. Griffith’s 1910 silent picture THE FUGITIVE, filmmakers have used the great conflicts as a stage for some epic and personal stories. War has been good business for Hollywood for over 100 years, and that leads us to Reel Speak’s Top 10 Best War Films. 

To be considered, a film must take place during a real-life war, which eliminates fantasy films such as STAR WARS and THE LORD OF THE RINGS. A good war film actually has war in it, which (sadly) eliminates dramas such as SCHINDLER’S LIST and THE IMITATION GAME. These are the films that focus on the soldier’s experience during the hell that is war, and do the best job in putting the audience in their boots. 

So stand at attention…

10. GLORY (1989)

Edward Zwick directed this Civil War era film about the 54^th Massachusetts Infantry Regiment; the Union Army’s second African-American regiment of the war. It explores deep-rooted prejudices and brings the war to life with deep character work and stunning cinematography. The ensemble cast is excellent, as is James Horner’s score. It won three Oscars, including Best Supporting Actor for Denzel Washington. 

9. PATHS OF GLORY (1957)

Stanley Kubrick brought us this WWI drama about a commanding officer (Kirk Douglas), who has to defend his troops at a court martial who refused to continue a suicidal attack. Often considered to be an anti-war film, it takes a hard look at the price of war, including over-zealous commanders who consider their men to be expendable. Military ethics are at play here, with themes that can be applied to any war from any era. 

8. DUNKIRK (2017)

Christopher Nolan’s stunning account of the famed Dunkirk evacuation; an embarrassing WWII setback that nearly wiped out a large portion of the British army. The massive scope of the event is depicted by three different timelines; the evacuation of the soldiers over the course of a week, the civilian-led rescue craft over a day, and a pilot over an hour. A great building of tension and an emotional climax that offers hope in the face of defeat. 

7. THE BRIDGE ON THE RIVER KWAI (1957)

This multi-Oscar winner, including Best Picture, tells the story of British POW’s who are forced to build a railway bridge. One of the ugliest elements of any war story are the prisoners of war, and this David Lean-directed epic takes a hard look at it along with clashing cultures; it’s a war within a war. It has spectacle and a large scope, but finds that balance of intimacy with its characters, brought to life by its ensemble cast, including the late great Alec Guinness, who would take home an Oscar for Best Actor. 

6. 1917 (2019)

Directed by Sam Mendes and shot by master cinematographer Roger Deakins, this stunning achievement of a film hasn’t had the test of time put to it yet, but it’s hard to imagine this WWI picture aging poorly. Shot and cut to look like one continuous take, 1917 follows two British soldiers on a desperate mission to prevent thousands of troops from walking into an ambush. Strategic and personal stakes are at play, and along with being a grand technical masterpiece, serves as a tribute to the many faces lost in The Great War. 

5. PATTON (1970)

George C. Scott took home a Best Actor Oscar for his portrayal of General George Patton; one of history’s most revered and controversial military leaders. PATTON differs from many war pictures by not being centered on one single battle or mission, and instead works as a biopic as it follows Patton through some of his best victories throughout WWII. A winner of seven total Oscars including Best Picture, PATTON has the unique style of showing war through one person’s eyes. 

4. THE DEER HUNTER (1978)

Only a portion of Michael Cimino’s Best Picture-winning Vietnam War story actually takes place in ‘Nam, but the scenes we do get are some of the most intense and harrowing ever put to film. Boldly made during a time when Hollywood was just beginning to touch on the still-fresh war, it tells the story of how the far-away war forever altered the lives of a group of Pennsylvania friends, as played by Robert DeNiro, Christopher Walken, John Cazale, John Savage, George Dzundza, and Meryl Streep. Often recalled for its brutal scene of a game of Russian roulette, it brilliantly brings the war home…which is an often forgotten angle. 

3. PLATOON (1986)

Another Best Picture winner set in Vietnam. Oliver Stone directs this war drama which was based on his own experiences during the war, and follows an infantry platoon who spends just as much time battling with each other as they do the enemy. Charlie Sheen stars as a young volunteer soldier who finds his own soul in a battle between warring platoon leaders, as played by Tom Berenger and Willem Dafoe. Despite realistic battle scenes that are not only spectacular and frightening, PLATOON finds a way to be spiritual as well. 

2. SAVING PRIVATE RYAN (1998)

Steven Spielberg has spent a lot of time in WWII, beginning with his nutball comedy-flop 1941 (1979), and a triumph with his Best Picture-winning SCHINDLERS LIST (1992). His SAVING PRIVATE RYAN takes us to Normandy, beginning with a breathtaking portrayal of the D-Day invasion that re-wrote the book on how battle scenes would be filmed for the next two decades. From there, the film moves to a personal story, with a small squad of soldiers assigned the odd mission of finding one man in the middle of the war. After 20 years the battle scenes are still stunning, and the wraparound ending serves as an emotional tribute to veterans…along with a life-lesson that sticks. 

1. APOCALYPSE NOW (1979)

Similar to THE DEER HUNTER, making a Vietnam movie while the wounds were still fresh was a bold move. Francis Ford Coppola, fresh off his historical success with his two GODFATHER films, loosely based his Vietnam flick on Joseph Conrad’s novel Heart of Darkness, which immediately gave it a classic feel. Martin Sheen plays a special-op soldier sent up-river on a secret mission to terminate one of his own; U.S. Col. Kurtz, as played by Marlon Brando. The film captures the spirit of Conrad’s novel of men going deeper into their own dark places, while also showing the madness of the war. Coppola and his crew went through hell to get the film made, and the weariness shows. It is gritty and dirty and mean, but at the same time there is an other-worldly vibe going on…almost like walking through a dream or a nightmare. Today, many of Brando and Sheen’s famous lines along with Robert Duvall’s even-more-famous “napalm in the morning” line are quoted in film-circles and in pop-culture. The battle scenes are tremendous (the helicopter attack to this day still takes the breath away), and the character work rich and layered. Sheen's character is given an assignment that no soldier should ever have to do; vital yet unspeakable. If war is hell, no film captures that better than APOCALYPSE NOW. 

 REEL SPEAK'S TOP 10 BEST WAR FILMS

1. APOCALYPSE NOW
2. SAVING PRIVATE RYAN
3. PLATOON
4. THE DEER HUNTER
5. PATTON
6. 1917
7. THE BRIDGE ON THE RIVER KWAI
8. DUNKIRK
9. PATHS OF GLORY
10. GLORY

A Reel Retro Review: THE MIRACLE WORKER (1962)

With no new films to review for the foreseeable future, Reel Speak’s new feature, Reel Retro Reviews, will randomly review a classic film from the TCM broadcast schedule every Monday. Not just for the sake of filling time, but to hopefully introduce some classic, overlooked, and perhaps forgotten screen gems to those of us who may be unfamiliar or unawares of their existence.  

It can be argued that no one in American history had more to overcome than Helen Keller. Born blind and deaf, she lived in a world of silence and darkness for the first seven years of her life, until she was introduced to Anne Sullivan, a teacher of the blind who would help her to communicate with the world; important steps that would lead Keller to be the first blind-deaf person to earn a Bachelor of Arts degree, and become an icon for those born into that silent and dark world. In 1962, director Arthur Penn brought the story of Anne and Helen to the big screen. 

Anne Sullivan (Anne Bancroft), a teacher of the blind with a sight-impairment of her own, is hired by the Keller family (Victory Roy and Inga Swenson), to assist their seven-year-old daughter Helen (Patty Duke), who was born deaf and blind and lives a life as an incorrigible child. 

Based on the 1959 play of the same name, and the 1902 autobiography The Story of My Life, THE MIRACLE WORKER pulls no punches in showing just how difficult it can be to raise a child with sight and hearing impairments in the late 1800’s, let alone teach one to communicate. When Anne arrives at the Keller plantation, Helen behaves just a shade under a wild animal; constantly dirty, attacking her family, and grabbing food off other people’s plates with her bare hands. The obstacles Anne has to overcome are many, just starting with getting Helen to sit still for a minute. A highlight of the film is a nearly ten-minute battle between the two in a dining room in which Anne exhausts herself trying to teach Helen table manners. 

Helen in the early goings is portrayed as a monster, but eventually, thanks to Anne, we see her as a little girl going through something no little girl should ever have to go through. Director Arthur Penn does great work to put us into Helen’s shoes, and despite how uncontrollable she is, we begin hoping that she finds her way. It’s a triumph in storytelling to turn her into a sympathetic character. Shot in glorious black-and-white, Penn puts together some creepy and harrowing scenes. 

Performances are excellent, with Anne Bancroft leading the way. She goes through a lot of physical work, and a backstory is hinted at which makes her need to help Helen all the more important. Patty Duke as Helen is excellent, and just watching her can be exhausting. Overall the acting feels a little over-the-top, as everyone seems to be yelling at the top rows…but it does work and never seems ridiculous. 

Despite being a film of triumph, THE MIRACLE WORKER doesn’t get too sappy or give us too much optimism, as even by movie’s end Helen still has a very long way to go. But the film shows us those necessary early steps she had to take before she would become one of the defining advocates for the handicapped in all history. 

BOTTOM LINE: See it 

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Reel Facts: THE MIRACLE WORKER was nominated for five Oscars and won two; Best Actress for Bancroft and Best Supporting Actress for Duke. Bancroft also played Anne in the Broadway production and won a Tony Award. Duke would play Anne in a 1979 television version. 

A Reel Opinion: The Top 10 Best STAR WARS Characters

For the past 43 years, the STAR WARS films have provided some of the most iconic, beloved, and hated characters in cinema history. The place-setting of a far, far away galaxy allowed series creator George Lucas, and everyone else who has followed in his footsteps, massive amounts of freedom in creating the population. From masked villains, to gunslinging and sword-swinging heroes, to cute droids, to mysterious bounty hunters and ruthless gangsters, to brave princesses and queens, to aliens ranging from adorable to grotesque. They are characters based on classic archetypes; wizards, pirates, farmers, outlaws, peacekeepers, and bad guys who wear black. Their characteristics reach back through film lore and even further to ancient times.

Each of the 11 films in the Saga has provided timeless characters that fans have latched onto. Even the films that struggled with critics still managed to generate a character or two that has resonated. Fans are passionate about it, and if we ask 10 different fans who the best character is, chances are we’ll get 10 different answers and one fistfight. With the month of May the official/un-official STAR WARS month, Reel Speak will take on the challenge of ranking the Top 10 Best Characters from the films. The criteria is cultural impact, the test of time, and the character’s overall development. 

So let’s punch it…

10. DARTH MAUL

When George Lucas set out to make his Prequel Trilogy (1999-2003), one of his goals was to show the heroic Jedi and the evil Sith in their prime. He accomplished this thanks in no small part to Darth Maul…as played by Ray Park. His spectacular debut in THE PHANTOM MENACE, as the horned, blood-red faced assassin with a dazzling double-bladed lightsaber, gave us some stunning sword and stunt work that still amazes today after countless viewings. The character’s eventual return in TV and eventually in a spin-off film gave him a depth and a reputation as one of the most tragic characters in STAR WARS, but even without that, his presence in PHANTOM is the instigator of the best lightsaber fight ever put to film and a highlight of the Prequels. 

9. KYLO REN / BEN SOLO

The Big Bad in the Sequel Trilogy (2015-2019). He was the son of Han Solo and Princess Leia who burned down his uncle Luke Skywalker’s new Jedi order and turned to the dark side…following in the footsteps of his grandfather Darth Vader. As Kylo Ren (Adam Driver), he was ruthless and fearsome, and as a tormented son he constantly seemed to be in pain. Similar to his father, he was conflicted internally and externally, making for some of the best character work for a STAR WARS baddie. 

8. OBI-WAN KENOBI

Played by the late great Alec Guinness in the Original Trilogy (1977-1983), and then by Ewan MacGregor in the Prequels. The first version we saw of him was a wise mentor, and the younger version a dashing war-time Jedi dealing with one crisis or another. Both versions represent the purest form of the Force, and both the burden of failure. 

7. C-3P0 and R2-D2

This may be a bit of a cheat, but we simply cannot talk about one without the other. The two droids, as played by Anthony Daniels in 10 of the 11 films, and the late Kenny Baker in two trilogies, were the very first characters we were introduced to in A NEW HOPE in 1977. They took on the persona of a Laurel and Hardy or Abbot and Costello with their bickering and mishaps, but their loyalty to the good guys could always be seen through their nuts and bolts. 

6. REY

As played by Daisy Ridley in the Sequel Trilogy, she had the best qualities of two of her predecessors; the humble beginnings of Luke Skywalker, and the fierce bravery of Princess Leia. She was a nobody on a junkyard of a planet, but the will of the Force would eventually lead her across the galaxy to find her destiny. Her trials and adventures of saving friends and battling evil, along with her will to mend a broken Luke Skywalker, gives her a rich character journey worthy of a STAR WARS character. Her unique hairstyle and wardrobe, and skills with a staff and eventually a Jedi’s weapon, instantly made her a hero to a new generation of young women. 

5. PRINCESS LEIA

The late great Carrie Fisher gave Princess Leia, the leader of the Rebellion against the Empire, the spitfire attitude needed to survive not only against the evil of Darth Vader, but a galaxy mostly populated by men. Leia stood out over her six films, not only as a strong leader but a loyal friend…and maintained a balance of strength and beauty. Perhaps her defining moment came in A NEW HOPE, when the vertically-challenged Leia, being towered over by Darth Vader and his handler Moff Tarkin, never wavered and spat fire back at them. Never once intimidated and forever the vessel of hope. 

4. YODA

From his debut in THE EMPIRE STRIKES BACK (1980), to his leadership on the Jedi Council in the Prequels, the 900-year old, diminutive-yet-powerful master of the Force will always be a central figure in STAR WARS. His power was formidable but was never used unless he had to…driving home his philosophy that the Force should always be used for knowledge and defense and never for attack. His unique design and language style has been parodied and quoted for over 40 years, and he is instantly recognizable as a vital element of STAR WARS. 

3. LUKE SKYWALKER

When Lucas sat down to write STAR WARS, he was heavily inspired by the writings of Joseph Campbell, who had explored in-depth the necessary steps of the journey of the hero. This was a journey that Luke, as played by Mark Hamill for six films, would take on in a loyal path that goes back to ancient storytelling. Luke would come from nowhere, rise to be a galactic hero, and then lose it all before finding his way again. It’s a 40-year character arc that some fans can’t wrap their heads around. In the early days of the franchise he was the face and the name of STAR WARS, and the images we have of him, from swinging across a chasm to piloting an X-wing, are seared into our memories and instantly recalled when the name Skywalker is mentioned. 

2. HAN SOLO

Harrison Ford gave this cocky smuggler the perfect balance of arrogance and charm, and immediately endeared him to male and female fans. With his co-pilot Chewbacca and his famed ship the Millennium Falcon, Solo began his 40-year journey as a disbeliever who only took care of himself. He would turn from that to be a war hero and a father, and similar to his friend Luke, would turn away from that in the face of failure only to come back to the only fight worth fighting for; love and family. Solo lights up the screen every time he’s present; from flooring it while piloting the Falcon through an asteroid field, to yelling at everyone around him, to just saying “I know”.  

1. DARTH VADER

How complex is the overall story of Anakin Skywalker, the fallen Jedi who would become Darth Vader, Lord of the Sith? Over the course of 40 years it has taken six different actors to tell his story, starting with his first appearance in A NEW HOPE (David Prowse), his unmasking (Sebastian Shaw), his early days (Jake Lloyd and Hayden Christiansen), his cameo in ROGUE ONE (Spencer Wilding, Daniel Naprous), and James Earl Jones providing the sinister voice. The character’s beginnings would be similar to his son Luke, coming from a nowhere planet only to have the will of the Force intervene and send him far, far away to meet his fate as the most ruthless villain in the galaxy. His hate for himself and his former mentor Obi-Wan gave him power, and his anger led him to wipe-out not only the Jedi but his own troops who had failed him. More machine than man, his design called back to the samurai of old, and the sound of his mechanical breathing is recognized by everyone today…fans or not. He is the owner of the most-quoted lines in all of the Saga, including the whopper at the end of EMPIRE. The word “iconic” gets tossed around a lot, but this is the one case where it is needed.  STAR WARS was created to tell stories about the triumphs over evil, but somehow a bad guy became the face of the Saga. Only Darth Vader could be so bold.   

REEL SPEAK'S TOP 10 BEST Star Wars Characters

1. Darth Vader
2. Han Solo
3. Luke Skywalker
4. Yoda
5. Princess Leia
6. Rey
7. C-3PO and R2-D2
8. Obi-Wan Kenobi
9. Kylo Ren / Ben Solo
10. Darth Maul 

A Reel 25: BRAVEHEART

“Every man dies, not every man really lives.”

This month marks the 25th anniversary of Mel Gibson's BRAVEHEART.

Based upon the life and deeds of William Wallace, a 13th century Scottish warrior who led his countrymen in the First War of Scottish Independence against King Edward I of England, this cinematic version was loosely based on the epic 1488 poem written by Blind Harry, and was adapted for the screen by Randall Wallace...who was writing his first screenplay.

The ambitious project, which would involve six weeks of shooting on location in Scotland, was taken on by actor and director Mel Gibson...who would also star as William. Gibson, who was an international star thanks to his roles in the MAD MAX and LETHAL WEAPON franchises, had only directed one film prior; his 1993 intimate drama THE MAN WITHOUT A FACE. Inspired by the directors who had guided him in his early years such as George Miller and Richard Donner, Gibson set out to make a film which would echo back to the big screen epics he had grown up with; citing Stanley Kubrick's SPARTACUS (1960) and William Wyler's BIG COUNTRY (1958) as direct influences.

Armed with a strong cast which included Sophie Marceau, Patrick McGoohan, Angus Macfadyen, Brendan Gleeson, Brian Cox, Sean McGinley, David O' Hara, Alun Armstrong, James Cosmo, Catherine McCormack, Mhairi Calvey, and Tommy Flannagan...Gibson shot the major battle scenes in Ireland using members of the Irish Army Reserve; up to 1,600 at one time in certain scenes.

Although the film would be criticized as being historically inaccurate, no one outside of a classroom seemed to care. BRAVEHEART was the 13th highest grossing film of 1995 and earned praise from critics. At the 68th Academy Awards it would be nominated for ten Oscars, winning five; including Best Picture and Best Director for Gibson. Gibson would also win at the Golden Globes, and James Horner's soundtrack would also win big; taking home an Oscar, a Globe, Saturn, and BAFTA Award. His soundtrack would go on to become one of the most commercially successful soundtracks of all time. Long-term, BRAVEHEART would cause a boom in Scottish tourism, and authors and scholars have credited the film with playing a significant role in affecting the Scottish political landscape in the late 1990's.

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Throughout history, there have many films which have been more than happy to accept the label "epic”. Some of them are very much deserving of that label, some are not. While many films give the appearance of being epic by staging huge battles, they often forget about the people who are the center of it...let alone give them a story of their own. While BRAVEHEART certainly has more than its share of massive bloody battles, at its heart and soul is the story of one person, and while that character's narrative may be a classic archetype, in the case of Gibson's film it would serve as a nice balance after all the bloodshed. Gibson knew the dangers of "battle fatigue" in war films, and knew enough to slow things down to bring the human element back into the story (years later, director Peter Jackson would use the same technique in his adaptation of THE LORD OF THE RINGS), and that sort of dual-storytelling truly deserves the epic label. With that approach working for him, Gibson made a film which serves many purposes; a war film, a love story, a hero's journey, a tale of brotherhood and loss...along with a slice of history even though it does so in broad strokes.

BRAVEHEART is a film which was made at just the right time; it was put together just before the CG era would step in and replace thousands of extras on the battlefield with artificial soldiers, which not only made for a stunning spectacle on-screen, but would teach Gibson the lessons needed for him to eventually become a top-tier director in Hollywood. Gibson's classical influences are up-front and center in BRAVEHEART, and it may stand as one of the last great old-school Hollywood war films. This Blogger watches BRAVEHEART once a year...always during awards season; each time out savoring the journey of a hero and a rousing romantic film.

"They fought like warrior poets, they fought like Scotsmen...and won their freedom."

A Reel Retro Review: THE DEVIL AND DANIEL WEBSTER (1941)

With no new films to review for the foreseeable future, Reel Speak’s new feature, Reel Retro Reviews, will randomly review a classic film from the TCM broadcast schedule every Monday. Not just for the sake of filling time, but to hopefully introduce some classic, overlooked, and perhaps forgotten screen gems to those of us who may be unfamiliar or unawares of their existence.  

The tale of selling one’s soul to the devil is as old as the devil himself. William Dieterie’s 1941 film THE DEVIL AND DANIEL WEBSTER may not be the definitive screen version, but it is one of the most earnest…and ambitious for its time. 

Jabez Stone (James Craig), is a down-on-his-luck farmer struggling to provide for his family. After a very bad day, he proclaims that he would sell his soul to the devil for just two cents. He is then promptly visited by the devil (Walter Huston), who calls himself Mr. Scratch. A deal is made for his soul for seven years of good fortune. Years later, when Mr. Scratch comes to collect, Jabez calls on the assistance of Daniel Webster (Edward Arnold), a local politician who challenges Mr. Scratch to a trial by jury for Jabez’s soul. 

THE DEVIL AND DANIEL WEBSTER plays out like most sell-your-soul tales that cinema has been telling for a hundred years. To us they are very familiar, but this version could be considered to be ground zero. The film goes through the necessary steps, with Jabez struggling to make ends meet, striking the deal, and then losing his practical soul as he acquires riches and shuns his friends and own family. 

The film has the down-home American vibe, with Jabez portrayed as the aw-shucks type, and Webster as the flag-waving, super-patriotic Washington statesman. For 1941 the style is common, but where the film breaks ground for its time is when it dips its tail into the horror genre, with several scenes shot and cut to generate maximum creepiness that really works. For 1941 it is very daring. 

Director William Dieterie, who had just helmed the classic THE HUNCHBACK OF NOTRE DAME (1939), puts together a great looking film with some startling visual effects that are shockingly good for their age. The film clicks along nicely, and its tight 107-minute run-time goes by quickly. The sound mixing and editing were groundbreaking for its time, with the creepy effect heard whenever the devil is present a highlight. 

Performances are excellent. James Craig as Jabez carries the film, and his scenes with his wife, played by Anne Shirley, give the film an added emotional heft. Edward Arnold as Daniel Webster is like rolling thunder and is a dominant force on the screen. The show is stolen by Walter Huston as Mr. Scratch/the devil…who looks and sounds a lot like an older Daniel Day-Lewis. He is creepy, funny, and fascinating to watch as he whispers temptations into the ears of the townsfolk. Also stealing some screentime is the lovely Simone Simon, who comes in as Scratch’s assistant and does a fine job in seducing Jabez and the audience. 

The final showdown, in which Daniel Webster acts as a Jabez’s lawyer in a trial for his soul…attended by a jury of some of Hell’s most ruthless inmates, is a brilliant piece of writing with Webster’s closing argument dipping into Americana in a way that resonates today. It’s a battle against evil that is smartly done and makes THE DEVIL AND DANIEL WEBSTER worthy of the title of a classic. 

BOTTOM LINE: See it 

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Some Reel Facts: The film was released with the alternate titles ALL THAT MONEY CAN BUY, MR. SCRATCH, DANIEL AND THE DEVIL, and HERE IS A MAN. The film was edited by Robert Wise, who would later go on to direct WEST SIDE STORY (1961), THE SOUND OF MUSIC (1965), and STAR TREK: THE MOTION PICTURE (1979). 

A Reel 40: STAR WARS - THE EMPIRE STRIKES BACK

“I am your father.”

This month marks the 40^th anniversary of THE EMPIRE STRIKES BACK. 

After the phenomenal success of STAR WARS in 1977 (sub-titled A NEW HOPE), series creator George Lucas began work to realize his dream of a multi-film saga; reminiscent of the TV serials that had inspired him to create that far, far away galaxy. The new film would re-visit that galaxy three years after the events of A NEW HOPE, with the evil Galactic Empire, led by Darth Vader, relentlessly pursuing Luke Skywalker and the rest of the Rebel Alliance, led by Princess Leia and Han Solo. Where the first film had the energy of a roller-coaster, EMPIRE would slow down and dig into the characters; fleshing out their identities that they would be forever known for. 

Lucas began outlining the sequel in 1977, not long after STAR WARS had premiered. He hired screenwriter Leigh Brackett to pen the film, which would certainly have the Empire striking back. Our heroes would be on the run for the duration of the movie with nowhere to go or hide. At the same time, Lucas took the opportunity to explore the Force, the mystical energy field that gave the famed and extinct Jedi Knights their power. This balance gave the film a unique identity; packed with battles and chases, yet maintaining a spiritual quality. 

Leigh Brackett would pass away before production would begin, and Lawrence Kasdan would come on board to finish the script. The script revisited the beloved characters while adding more, including the wise Jedi master Yoda, the scoundrel Lando, and the fearsome bounty hunter Boba Fett. New planets were introduced, including the ice planet Hoth and the swamp world Dagobah. The film would strike a much darker tone than STAR WARS, and would introduce a whopper of a twist at the end that would have audiences staggering out of the theatre; the evil Darth Vader claiming to be Luke’s father. 

With Lucas wearing many hats, including writing and heading his visual effects company Industrial Light and Magic (ILM), Irvin Kershner was hired to direct. Filming began in Norway, which stood-in for Hoth, in 1979. The original cast of Mark Hamill, Harrison Ford, Carrie Fisher, David Prowse, Peter Mayhew, Kenny Baker, James Earl Jones, and Anthony Daniels were back. Frank Oz of the The Muppets fame brought Yoda to life, and Billy Dee Williams came on to play Lando. John Williams returned to provide the score, which included the iconic Imperial March and Yoda’s Theme; two pieces of music that would become STAR WARS pillars. The promotional poster, created by Roger Kastel, took inspiration from a classic film: 

The results were most impressive. EMPIRE was a hit with fans, critics, and at the box office. At the 53^rdAcademy Awards, it was nominated for three Oscars, winning for Best Sound Mixing and receiving a Special Achievement Award for visual effects. In 2010, the film was selected to be preserved by the Library of Congress as part of its National Film Registry. Fans and critics today consider it to be the best in the series. 

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In the spring of 1980, this Blogger was not yet seven years old…but was already a lifelong STAR WARS fan. Returning to that galaxy was a thrill and provided a wealth of emotions. I was creeped out by Yoda, thrilled at the stunts of the Millennium Falcon, fascinated by the Battle of Hoth and shocked at Vader’s claim of Luke’s father. For the next three years at school, every conversation at recess has one topic: was Vader really Luke’s father???

Over the years, this Blogger came to respect EMPIRE more and more. Beginning with its unique structure, the idea to split up the hero-trio of Luke, Han, and Leia gave EMPIRE the chance to isolate and explore the characters…with nearly everything that they did and experienced becoming their defining attributes and faults for the next four decades. The film also makes the bold decision to place the massive battle in the very beginning of the story, which clears the way for the strong emotional happenings at the end; Luke vs. Vader, and the unknown fate of Han Solo. 

STAR WARS was never the same after EMPIRE. The new franchise had overnight gone from a space adventure to a family drama; not quite a soap opera but with a new emotional layer that the following films would embrace. There was a maturity to it courtesy of Han and Leia's love story and Luke's passage from boy to man, and suddenly STAR WARS wasn't just for kids anymore.  Outside of its own galaxy, EMPIRE would change the way sequels would be made. Big-event sequels for X-MEN and PIRATES OF THE CARIBBEAN would follow the structure and cliffhanger-ending of EMPIRE. The film has also made its splash in our culture, with its quotes often recited in and outside of movie circles, and its images burned into our consciousness. Just like STAR WARS changed the world in 1977, EMPIRE altered the deal yet again in 1980. 

“Luminous beings are we, not this crude matter.”