Tag: biographical

Take 3: The Assassination of Jesse James by the Coward Robert Ford Review

On By 18cinemalane8 Comments

June’s theme for Genre Grandeur is “Movies With Genre Bending themes”. I spent a lot of time researching potential titles due to how specific this theme is. But with this month’s Genre Grandeur overlapping with the Legends of Western Cinema Week Blogathon, I chose the 2007 movie, The Assassination of Jesse James by the Coward Robert Ford. According to an article of The 10 Best Genre-Bending Movies Of All Time from the website, Taste of Cinema, “What makes the film [The Assassination of Jesse James by the Coward Robert Ford] one of the true genre-bending westerns is how it chooses to present it mythology of the west”. The author of the article, Mark Serravalle, explained how “The characters are more life-like and complicated than how they are made out in the stories that are told about them”. I will admit that, even though I’ve heard of him, I know very little about Jesse James. In fact, the titles I’ve selected for past Legends of Western Cinema Week Blogathons have revolved around either fictional or fictionalized stories. Therefore, reviewing The Assassination of Jesse James by the Coward Robert Ford is not only a learning opportunity for 18 Cinema Lane, it’s allowing my blog to travel newer paths within the realm of blogathons.

The Assassination of Jesse James by the Coward Robert Ford poster created by Warner Bros., Virtual Studios, Scott Free Productions, Plan B Entertainment, Alberta Film Entertainment, and Warner Bros. Pictures International

Things I liked about the film:

The acting: The Assassination of Jesse James by the Coward Robert Ford received two nominations at the 80th Academy Awards. One of those nominations was given to Casey Affleck for his portrayal of the titular Robert Ford. Looking back on the 2007 movie, I can agree with the Academy’s decision! What I liked about Casey’s performance is his ability to say so much without saying anything at all. A perfect example is when Robert is reflecting on the similarities he and Jesse share. Throughout this recollection, Robert appears disappointed and even defeated. His eyes and the slight frown his mouth adopts give these feelings away. But every now and then, a smile shows up on Robert’s face and his eyebrows even move upwards. This moment effectively illustrates how Robert has become disillusioned by the reality of who Jesse really is, yet fondly remembers his fabricated image of him.

If I had to be brutally honest, I think Brad Pitt should have been nominated for his portrayal of Jesse James. This is because, through his acting talents, Brad presented Jesse as the opposite of what one might expect. When it comes to legendary figures like Jesse James, presentations of being “larger than life” and a “showman” could give the impression Jesse was an untouchable, unstoppable force. But Brad’s portrayal of Jesse emphasizes the human he was; capable of feeling fear, making mistakes, and constantly looking over his shoulder. A perfect example of this point is when Jesse is interrogating Robert’s cousin, Albert. When Albert claims he doesn’t know Robert’s whereabouts, Jesse beats Albert up because he thinks Albert is lying. During the beating, the anger on Jesse’s face is very evident. But as he realizes Albert is, indeed, telling the truth, Jesse’s face quickly goes from angry to confused. He adopts a “thousand yard stare” as well as a look of disbelief, wondering how he could be so wrong. Several minutes later, as he’s preparing to leave on horseback, Jesse bursts into tears, realizing he just crossed a line.

The cast of The Assassination of Jesse James by the Coward Robert Ford gave performances that were well-done. However, I was pleasantly surprised to see Jeremy Renner star in the film as Wood Hite! Before reviewing the 2007 film, I had seen Jeremy’s portrayal of Clint Barton/Hawkeye throughout the Marvel Cinematic Universe (MCU) and his portrayal of Aaron Cross from The Bourne Legacy. But what was different about Jeremy’s portrayal of Wood is how he had to rely more on emotion in order to carry the character through the story. During an exchange between Wood and Robert, Wood shares how his mother is Jesse’s father’s sister. He tries to use his familial connection as leverage against Robert, smugly smiling and his tone of voice sounding very arrogant. When Robert questions this familial connection, Wood’s face quickly changes to a look of shock. His tone of voice becomes defensive and his eyes grow wide. This example shows how, even though Jeremy appeared in The Assassination of Jesse James by the Coward Robert Ford for a limited period of time, the versatility of his acting talents were on full display!

The cinematography: Remember when I said The Assassination of Jesse James by the Coward Robert Ford received two nominations at the 80th Academy Awards? Well, the other nomination was given to Roger Deakins for the Cinematography category. Once again, this is a decision I agree with the Academy on! Two of the best examples of the cinematography’s mastery in The Assassination of Jesse James by the Coward Robert Ford happens during a train robbery taking place toward the beginning of the movie. When the train stops right in front of Jesse, only the train’s front light is shining. White smoke forms around both the train and Jesse. Because of the minimal lighting, Jesse is presented as a silhouette. He’s presented as a silhouette again when he’s walking beside the train, emerging from the aforementioned white smoke. Only the light from the train’s window illuminates the scene, giving the scene itself a warm, orange glow. Through the cinematography, these two examples elaborate how Jesse was depicted by those who didn’t know him well; a mysterious myth who seized the attention of others.

More unique ideas brought to the Western genre’s table: It seems like the two most common settings in the Western genre are deserts and plains. But what if I told you a forest is where parts of The Assassination of Jesse James by the Coward Robert Ford take place? While there were plains in the 2007 film, I’d argue forests were featured in the story the most. Because forests are usually not known for being a Western genre location, The Assassination of Jesse James by the Coward Robert Ford brings something more unique to the genre’s table. In Western genre films revolving around legendary figures like Jesse James, the script typically focuses on the prime of the figure’s life, highlighting the most exciting, thrilling parts of their story. But The Assassination of Jesse James by the Coward Robert Ford showcases Jesse and his gang’s life after crime. Even the train robbery I referenced earlier was not presented as a thrilling, exciting event. Instead, that train robbery is shown as a scary event full of uncertainty, fear, and even violence. These screenwriting choices gave the 2007 movie a sense of honesty that isn’t always found in the Western genre.

Legends of Western Cinema Week banner created by Hamlette from Hamlette’s Soliloquy and Heidi from Along the Brandywine

What I didn’t like about the film:

The run-time: As listed on IMDB, The Assassination of Jesse James by the Coward Robert Ford’s run-time is two-hours and forty-minutes. Similar to my thoughts about Gods and Generals’s run-time, the 2007 film’s run-time can definitely be felt. The story of Jesse James and his gang’s life after crime is told at a slower pace. That paired with the aforementioned run-time causes The Assassination of Jesse James by the Coward Robert Ford to feel unnecessarily stretched out. I found myself zoning in and out while watching the movie, concerned I’d fall asleep during my movie-viewing experience. One solution to this flaw would have been to trim scenes that linger, such as a scene where Jesse stares at his brother, Frank, for what seems like a minute.

A somewhat misleading title: When I recently reviewed The Naked Jungle, I criticized the movie for its somewhat misleading title. Even though the titular jungle played a role in the story, it didn’t appear until about the last forty minutes of the hour and thirty-five minute film. The Assassination of Jesse James by the Coward Robert Ford possesses the same flaw. Based on the title alone, one would believe the titular event would serve as the story’s primary focus. But that event doesn’t end up happening until the film’s last twenty-seven minutes. This means during The Assassination of Jesse James by the Coward Robert Ford’s two-hour and forty-minute run-time, most of that time is spent leading up to the event itself. The audience is forced to wait over two hours for Jesse’s other shoe to drop.

The dialect: The Assassination of Jesse James by the Coward Robert Ford takes place during the late 1800s. This setting in time encouraged the film’s creative team to adopt historical accuracy. While that aspect of filmmaking was achieved visually, it was also achieved vocally, as the cast spoke with the dialect (as well as the dialogue) of the story’s time. Despite these historically accurate achievements, there were times I found it difficult to understand what the characters were saying. Because I don’t hear that dialect (and dialogue) consistently, I was forced to actively pay attention to what was being said. Otherwise, there’s a good chance I would have missed important context.

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My overall impression:

The more I think about The Assassination of Jesse James by the Coward Robert Ford, the more it reminds me of Gods and Generals and The Naked Jungle. Not only does the 2007 movie possess a run-time that is, in my opinion, too long (like Gods and Generals), its title is also somewhat misleading (like The Naked Jungle). While I appreciate the creative team’s efforts to make their film look and sound historically accurate, I sometimes found it difficult to understand what the characters were saying. But despite these flaws, it’s evident there was merit put toward the project. Besides the historically accurate appearance of The Assassination of Jesse James by the Coward Robert Ford, the cinematography made the film visually interesting. The train robbery scene proves how the movie’s creative team took advantage of film’s visual medium to present their intended ideas. The cast as a whole gave good performances, especially Casey Affleck, Brad Pitt, and Jeremy Renner. But what I appreciate the most about The Assassination of Jesse James by the Coward Robert Ford is how more unique ideas were brought to the table of the Western genre. From setting parts of the story in a forest to showcasing Jesse and his gang’s life after crime, these creative choices prevent the Western genre from becoming stagnant. It also illustrates how creatively diverse the Western genre can be.

Overall score: 6 out of 10

Have you seen The Assassination of Jesse James by the Coward Robert Ford? What creatively unique ideas from the Western genre have stood out to you? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen

Here’s the link to the article I referenced in this review if you’re interested in reading it: https://www.tasteofcinema.com/2023/the-10-best-genre-bending-movies-of-all-time/

Take 3: The Man Who Invented Christmas Review

On By 18cinemalane7 Comments

December’s theme for Genre Grandeur is “Movies about Legends we lost too soon (in any field)”. But since it is December, I wanted to write about a Christmas movie. This is why I selected the 2017 film, The Man Who Invented Christmas, for the blogathon, as it satisfies the best of both worlds. The movie revolves around how Charles Dickens created the iconic story, A Christmas Carol. With Charles living to the age of fifty-eight, one would think he lived a full life. However, there are celebrities who have outlived Charles. A few of them have even lived to the age of one hundred. Therefore, there’s an argument to be made about Charles being a “legend” the world lost too soon. About The Man Who Invented Christmas, it’s a movie I have heard of, but never saw. In fact, I have heard very few people talk about the 2017 film. So, as a Christmas present, here’s my review of The Man Who Invented Christmas!

The Man Who Invented Christmas poster created by The Mazur Kaplan Company, The Mob Film Company, Ingenious Media, Nelly Films, Parallel Films, Rhombus Media, and Bleecker Street Media

Things I liked about the film:

The acting: What can make or break a biopic is the lead performance. Depending on the quality of that performance, it can help the audience determine if the person that actor or actress is portraying is worth learning about. Dan Stevens’ portrayal of Charles Dickens in The Man Who Invented Christmas is, in my opinion, one of the best casting decisions in the history of biopics! Throughout the film, Dan was very expressive. He was even able to convey Charles’ thoughts without using dialogue. A great example happens toward the beginning of the movie. On-screen text reveals the film takes place after three of Charles’ books have been unsuccessful. The very next scene shows Charles in a state of panic. His eyes are wide and filled with fear and stress. A grimace is also present on Charles’ face, emphasizing how he feels under pressure. This one shot of Charles perfectly tells the audience how overwhelmed he is about his next creative choices.

While we’re still on the subject of acting, I want to talk about the interactions in The Man Who Invented Christmas. Charles’ interactions with various people consistently felt realistic. What works in the cast’s favor is the strength of their on-screen chemistry! Despite sharing only a few scenes together, the on-screen chemistry between Dan Stevens and Morfydd Clark (who portrayed Charles’ wife, Kate) allowed Charles and Kate’s relationship to appear as a believable marriage. In one scene, Kate wistfully reflects on all the things she wishes she could do. Throughout their conversation, however, both Kate’s and Charles’ expressions effortlessly adapt to what is being said to each other. Later in the movie, Kate tearfully explains how Charles’ personality has been unpredictable, especially since he started working on A Christmas Carol. As Kate’s explanation goes on, Charles’ frustrated demeanor softens as he realizes how his actions and choices have negatively impacted his wife. Performances like Morfydd’s and Dan’s allowed me to stay invested in the movie!

The humor: According to IMDB, The Man Who Invented Christmas is classified as a comedy. Despite the inconsistency of the comedic elements, they were well-written and executed effectively. When Charles and his friend, John, go to a restaurant, Charles tries to avoid an acquaintance named Thackeray by hiding his face behind a newspaper. As Charles is walking past Thackeray at the restaurant, however, the newspaper’s headline reads ‘Charles Dickens’, informing Thackeray Charles has arrived. Even though the execution of this scene was simple, I found it hilarious!

Charles’ creative process: As I said in my review’s introduction, The Man Who Invented Christmas revolves around how Charles Dickens created the iconic story, A Christmas Carol. Throughout the film, Charles looks for inspiration, (literally) brings characters to life, and uses parts of his past to craft the story. During this process, the audience can glimpse “Easter Eggs” related to Charles’ Christmas tale. From hearing a random passerby in a graveyard say “Bah Humbug” to Charles’ nephew, Henry, walking with a crutch like Tiny Tim, these “Easter Eggs” emphasize the attention to detail and collection of pieces it takes to create stories of any kind. Seeing Charles have conversations with Ebenezer Scrooge illustrates how a good writer should take the time to get to truly know their characters. Even learning about Charles’ past can help the audience (and even readers) understand why Charles is the writer he is. The way Charles’ creative process is incorporated into The Man Who Invented Christmas was creative, informative, and gave the film a memorable identity!

How Charles’ life story was told: Biopics typically present the story of a person’s life in chronological order. This creative decision gives the audience an introduction to that person, especially for those who are not familiar with the person in question. But the way The Man Who Invented Christmas presents Charles’ life story provides a breath of fresh air! The creation of A Christmas Carol is like the trunk of a tree, as the movie itself primarily focuses on that part of Charles’ life. However, the creation of A Christmas Carol provides opportunities to incorporate other parts of Charles’ life, such as his childhood and his relationship with his family. These parts of the script act as branches, connecting back to the tree trunk I referenced earlier. By telling Charles’ life story in this fashion, it gives the genre of biopics a more unique form of storytelling!

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What I didn’t like about the film:

Things that were left unexplained: While Charles is looking for inspiration for A Christmas Carol, he travels to a section of the city known for its poverty. During his time in that section, he spots two children that appear to be kidnapped. Concerned over the children’s wellbeing, Charles chases after their kidnapper in an attempt to rescue the children. But when Charles reaches a graveyard, he quickly abandons his mission. In fact, the kidnapped children aren’t seen or brought up again. Though there were only a few instances like the one I described in The Man Who Invented Christmas, I wish the script had taken the time to explain them.

A hypocritical author: Toward the beginning of The Man Who Invented Christmas, Charles mentions how Christmas is a time when people should be thoughtful of those less fortunate. But this sentiment is forgotten when he considers having Tiny Tim die in A Christmas Carol. Both John and his maid, Tara, insist Ebenezer Scrooge save Tiny Tim, suggesting people can change during Christmastime. Charles sticks with his creative choice until toward the end of the movie, when he chooses the ending A Christmas Carol is known for. Even though it was interesting to think about how different Charles’ iconic story could have been, the stubbornness over Charles’ creative choice made Charles look hypocritical.

Charles’ emotional crossroads: One of the tropes of biopics is the “emotional crossroads”. This is when the person in question reaches an emotional breaking point that will create a domino effect for other choices in their life. In The Man Who Invented Christmas, Charles experiences an “emotional crossroads” related to his father as well as his childhood. His interactions with characters from A Christmas Carol help him address this “emotional crossroads” in order to move forward with his life and his story. I’m not sure which parts of The Man Who Invented Christmas are based on fact or creative liberty. However, the inclusion of the “emotional crossroads” trope kind of felt clichéd, like that trope was incorporated into the movie just because the movie is a biopic.

Merry Christmas banner created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/merry-christmas-decorative-vintage-background_1359013.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

Biopics are not created equally. Even though film is subjective, there has been shared discourse over which biopics are better than others. Though I can only speak for myself, I think The Man Who Invented Christmas is one of the stronger biopics I’ve seen! The way Charles’ life story was told felt like a breath of fresh air. Using A Christmas Carol to connect parts of Charles’ world brought a unique element to the biopic genre. I liked watching Charles’ creative process unfold because it added a creative and memorable identity to the movie. The cast’s strong on-screen chemistry also works in the film’s favor. As I watched The Man Who Invented Christmas, I was reminded of another Christmas movie I reviewed last year; I Heard the Bells. This was a Christmas-related biopic I ended up liking. If you haven’t seen these films, I would actually recommend watching The Man Who Invented Christmas and I Heard the Bells as a double feature. But as I wrap up this review, I would like to wish everyone a Merry Christmas and a Happy Holidays!

Overall score: 8.2 out of 10

Have you seen The Man Who Invented Christmas? Are there any Christmas-related biopics you would recommend? Let me know in the comment section!

Merry Christmas and Happy Holidays!

Sally Silverscreen

Take 3: Million Dollar Mermaid Review

On By 18cinemalane4 Comments

From Esther Williams’ filmography, I’ve only seen (and reviewed) three of her pictures; Take Me Out to the Ball Game, Bathing Beauty, and Easy to Wed. When it comes to the aqua musical, one of Esther’s claims to fame, that component was far and few between in those movies. Wanting to see an Esther Williams production where the aqua musical was more center stage (no pun intended), I selected Million Dollar Mermaid to review for the We Love Musicals Week Blogathon! The 1952 presentation was recommended by The Classic Movie Muse. Before researching titles to write about for Hamlette’s (from Hamlette’s Soliloquy) event, I had no idea the movie was a biopic. As I made this discovery, I was reminded how much luck I had finding good biopics last year. On my list of the best movies I saw in 2024, three biopics earned a spot on my list, with two of those films ending up in my top five. Could Million Dollar Mermaid find a place on 2025’s best movies list? Read my review to find out!

Million Dollar Mermaid poster created by Metro-Goldwyn-Mayer (MGM)

Things I liked about the film:

The acting: As I said in this review’s introduction, I’ve seen (and reviewed) three of Esther Williams’ films; Easy to Wed, Take Me Out to the Ball Game, and Bathing Beauty. What these titles have in common is how Esther’s on-screen personality has been consistently friendly and warm. Her performance in Million Dollar Mermaid maintains that consistency in personality! Esther portrays Annette Kellerman, an Australian swimmer who defied the odds and created a successful career. Through the ups and downs of Annette’s life, Esther’s on-screen personality highlighted how Annette saw the glass half full. However, there were times when Annette became frustrated. In one scene, she is understandably upset because she was falsely accused of indecent exposure (due to the style of her swimsuit). At first, Annette tearfully refuses to speak with any newspaper reporter. But after receiving advice from her father and James Sullivan, courage rises in Annette’s voice as she not only agrees to be interviewed, she decides to be interviewed while wearing her swimsuit. With Esther adopting a variety of emotions and expressions throughout her performance, she brought humanity back to Annette’s name!

Speaking of Annette’s father, let’s talk about Walter Pidgeon’s character, Frederick Kellerman! Frederick was one of Annette’s biggest cheerleaders. Though he had his reasons for wanting to protect his daughter, Frederick led by example when it came to following dreams. But Annette’s father had his fair share of struggles. While waiting for Annette and James’ meeting to end, Frederick becomes exhausted. His eyelids continuously rise and fall as he sometimes slumps toward the ground. Visibly concerned, James’ associate, Doc (portrayed by Jesse White) suggests they return home. Scenes like this one showed how Walter brought believability to his role! Similar to Esther’s on-screen personality, Walter made the likability of his character consistent. This was achieved through a strong acting performance!

Victor Mature portrays James Sullivan in Million Dollar Mermaid. When he is first introduced on a boat ride to London, James’ showmanship is on full display. Quick witted and having a way with words, James knew an opportunity when he saw one. Though he had the charisma of a circus ring leader, James also had a caring side to him. In order to promote a new show, Annette agrees to swim through the Thames River. During the swim, James and Doc row alongside Annette. Toward the end of the swim, James notices how tired Annette appears. He’s also aware of an incoming current, which could push Annette back. A sharp tone in his voice, furrowed eyebrows, and an intense look in his eyes perfectly show how concerned James is for Annette’s wellbeing. These emotional elements emphasize James’ sense of urgency for protecting Annette as well. This scene is just one example of how Victor’s acting talents helped create a memorable portrayal of James Sullivan!

The dialogue: One of the challenges Annette had to overcome was polio. As a child, Annette wished she could dance with her peers inside of staying at home practicing the piano. To cheer his daughter up, Frederick says how music should be a source of joy. The way this line was written and spoken seemed so profound, it made me wonder if Frederick’s belief is the reason why some musicals are joyful in nature? Years later, Frederick accepts a job at a music conservatory. But once he and Annette move to London, they discover the conservatory is actually closed. Looking at the glass half full, Annette reminds her father how the conservatory’s gate is only one closed gate. While she was talking about the literal gate, she was also speaking figuratively, seeing it as yet another puzzle to solve. These are just two examples of how well-written the dialogue was in Million Dollar Mermaid!

The aqua musical numbers: I stated in the introduction of my Million Dollar Mermaid review how one of Esther’s claims to fame is the aqua musical. This type of unique musical presentation is another reason why I chose this film for the We Love Musicals Week Blogathon, as I wanted to bring something different to the event’s table. The aqua musical numbers in Million Dollar Mermaid were captivating! The blend of pyrotechnics, color, and aquatic choreography created musical spectacles that were close to perfection. In one number, Esther emerges from the water on a giant pillar covered with sparks. Another number shows Esther performing a ballet routine under water. My favorite number boasted a color scheme of red and yellow. A memorable part of that number was when swimmers jumped into the water from various swings. The aqua musical numbers were certainly one of the strengths of Million Dollar Mermaid!

We Love Musicals Week Blogathon banner created by Hamlette from Hamlette’s Soliloquy

What I didn’t like about the film:

Limited presence of aqua musicals: Like I mentioned in my review’s introduction, I wanted to watch an Esther Williams movie where the aqua musical was more center stage (again, no pun intended). This component received more inclusion in Million Dollar Mermaid than in Esther’s other three movies I’ve seen (and reviewed). However, the overall presence of aqua musicals seemed limited. In the 1952 film, there were three aqua musical numbers. Only one of them was shown in its entirety. It also doesn’t help how the first aqua musical number appears a little over an hour into an hour and fifty-five-minute movie. I recognize the film’s creative team tried their best to find a balance between providing musical spectacle and telling Annette’s story. But as someone who came to Million Dollar Mermaid for the aqua musical, I was, kind of, disappointed.

An open-ended finish: The intended purpose of a biopic is to tell the story of a historical or public figure. In the case of Million Dollar Mermaid, that figure is Annette Kellerman. Toward the end of a typical biopic, that story will either reach the conclusion of that figure’s life or explain what happened to the people involved in the story, through a voice-over or on-screen text. But Million Dollar Mermaid didn’t adopt any of these examples. Within the last ten minutes of the movie, a major conflict takes place. Because there’s not enough time to reach a resolution to this conflict, a resolution is not provided on screen. An explanation if a resolution was reached at all is not provided as well. These creative choices left some questions unanswered.

A confusing interaction: For this part of my review, I will spoil Million Dollar Mermaid. If you have not seen this movie and are planning on watching it, please skip ahead to the part of this review titled “my overall impression”.

James Sullivan becomes Annette’s manager in Million Dollar Mermaid. Over time, Annette and James develop romantic feelings for each other. But their relationship doesn’t last, as Annette ends up marrying a man named Alfred. Toward the end of the film, James visits Annette in the hospital after she experiences an accident on a movie set. He gives her the engagement ring he intended to give her years prior. Annette not only accepts the ring, she and James share a kiss. I was confused by this romantic exchange because Annette and Alfred already got married. I was also surprised Million Dollar Mermaid would include this romantic interaction, as it was released during the Breen Code era, where the reverence toward martial vows is upheld. But, like I said when talking about the film’s open-ended finish, some questions were left unanswered.

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My overall impression:

Biopics are not created equally. Some of them are solid productions, like 1984’s Amadeus. But there have been biopics that left me underwhelmed, such as I Dream of Jeanie from 1952. With Million Dollar Mermaid, I thought it was just fine. The aqua musical numbers were a highlight of this presentation! As I said in my review, the blend of pyrotechnics, color, and aquatic choreography created musical spectacles that were close to perfection. However, I didn’t like how these aqua musical numbers had such a limited presence in the movie. I will admit I had no idea who Annette Kellerman was before watching Million Dollar Mermaid. Through the acting performances, screenwriting, and the story itself, I was introduced to this incredible woman and the world according to her. I do wish the ending hadn’t been so open-ended. Though I guess that’s what Wikipedia is for, finding answers that weren’t provided in the film. Prior to participating in the We Love Musicals Week Blogathon, the last time I reviewed one of Esther Williams’ films was back in 2022. So, re-visiting her filmography was long overdue.

Overall score: 7.1-7.2 out of 10

Have you seen Million Dollar Mermaid? What are your thoughts on aqua musicals? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Shadowlands (1985) Review

On By 18cinemalane9 Comments

Films are a way to visually tell a story. The subjects can range from the fictional to the historical. With movies belonging in the non-fiction genre, that story can introduce viewers to a particular person, event, or time period. This is the case for the 1985 made-for-TV film, Shadowlands! I will admit I knew very little about C.S. Lewis prior to The Two Jacks Blogathon, hosted by Taking Up Room. While I was aware of his contribution to literature, creating the Chronicles of Narnia series, my knowledge of the author was surface-level. By participating in this blogathon and by choosing to review Shadowlands, I hoped to learn more about C.S. Lewis and the literary world he created! Now, it’s time to open the wardrobe door and step into this review!

For some reason, Shadowlands has two titles: Shadowlands and C.S. Lewis Through the Shadowlands. Because the movie doesn’t have an offical poster on IMDB, I chose this poster for my review. Shadowlands (1985) poster created by British Broadcasting Corporation (BBC) and BBC Enterprises.

Things I liked about the film:

The acting: In past reviews, when I talked about a movie’s acting performances, I’ve mentioned the believability of those portrayals. This believability comes from the actors displaying an understanding for their roles, as well as for the talents of their co-stars. As I watched Shadowlands, I could sense the believability from the cast. This element was so strong, it allowed the interactions to come across as realistic. Whenever C.S. Lewis and Joy Gresham shared conversations with one another, it seemed like they shared a mutual connection, being on the same page and even on the same paragraph. The combination of Joss Ackland and Claire Bloom’s talents allowed these performances to compliment each other! There were other interactions that appeared realistic in Shadowlands. When a medical situation takes place in the family, Douglas, portrayed by Rupert Baderman, asks C.S. Lewis about the situation itself. Douglas’ eyes display a longing look, desperate for things to get better. As C.S. Lewis reveals the answer, he has a serious expression on his face. These emotional expressions from both actors brought a sense of honesty to the interaction.

C.S. Lewis’ perspective: Because Shadowlands is based on a part of C.S. Lewis’ life, some of his perspectives are included in the script. The delivery of these perspectives and how they were incorporated into the story was insightful and thought-provoking. In a letter to Joy, C.S. Lewis explains how Narnia is a part of something bigger. From how I interpreted this statement, C.S. Lewis is pointing out how Narnia is a key component of the overarching story. It was interesting to hear Narnia referenced this way, as that world plays such a large role in its series, it seems like the star of the show. Amongst a group of colleagues during Christmastime, C.S. Lewis acknowledges how the birth of Jesus is considered a miracle. But he also points out how Springtime is a miracle, when plants are reborn and the world around the characters comes alive. Looking back on C.S. Lewis’ statement, it can be easy to take Springtime for granted, as it is a natural occurrence that happens on its own.

Historical accuracy: The historical accuracy in a historical/period drama can be found in the visual details. These details can also provide clues for the specific time a story takes place. Several scenes of Shadowlands show a rotary dial phone on a desk or on a table. The phones in the film are black, even though these types of phones can boast any colorful hue. In a scene where one of the characters is in the hospital, the bed is built with a silver metal frame. Even the knobs on a medical machine feature a simplistic design and make a loud, clicking sound. With these observations in mind, it appears that Shadowlands takes place in the 1950s or 1960s.

The Two Jacks Blogathon banner created by Rebecca from Taking Up Room

What I didn’t like about the film:

Sudden jumps in time: Shadowlands has a run-time of an hour and thirty-two minutes. This means progression of time is forced to be condensed for the sake of satisfying the run-time. Within the film’s first thirty minutes, however, the condensation of time was jarring, causing events to happen too quickly. After C.S. Lewis and Joy Gresham first become acquainted with each other, she tells him that she’ll return to England with her sons, in order for them to meet C.S. Lewis. In the very next scene, Joy has returned to England with her children. Several scenes later, Joy makes plans with C.S. Lewis about spending Christmas with him. A scene after that, Christmastime was already arrived.

An overshadowed brother: When I talked about this film’s sudden jumps in time, I mentioned Joy having two sons. These sons, David and Douglas, travel with their mother to England and eventually make England their permanent residence. Throughout the story, Douglas’ perspective is the one that is prioritized, as he is a fan of the Chronicles of Narnia series. The audience even sees how Douglas deals with a tragic situation. David’s thoughts about this tragic situation are referenced, but never showcased. I know there is only so much story to tell in an hour and thirty-two minutes. But I wish David’s perspective hadn’t been ignored.

Things left unexplained: In my review’s introduction, I said I hoped to learn more about C.S. Lewis by watching Shadowlands. While I did learn some things about the famous author, the story assumed the viewer already had basic knowledge about him. One example of this is how some things were left unexplained. There is a scene where C.S. Lewis is lecturing a group of students in a classroom. No explanations were provided for why he was lecturing these students or why he was teaching in the first place. It wasn’t until after I saw the movie that I learned C.S. Lewis was a professor at Oxford.

Sketch of London image created by Archjoe at freepik.com. <a href=’https://www.freepik.com/free-vector/hand-drawn-houses-of-parliament_1133950.htm’>Designed by Archjoe</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Archjoe – Freepik.com</a>. Image found at freepik.com.

My overall impression:

A person or event featured in a movie may be so fascinating, they deserve their own documentary. Some examples are the events that inspired Over the Edge and Evel Knievel. C.S. Lewis is one of these people that deserves a documentary, as he is an interesting literary figure. In fact, I think the story of Shadowlands should have been a documentary instead of a film. Even though I learned some information about the famous author, the movie assumed the audience already knew about him. This was the cause of things within the story not being explained. If the story of Shadowlands had been a documentary, important events could be discussed and prioritized without the program’s run-time being a concern. But reflecting on Shadowlands as a film, there are aspects of the project I can appreciate, such as the acting performances and hearing about C.S. Lewis’ perspective. With all that said, I thought the movie was just ok.

Overall score: 6 out of 10

Have you seen 1985’s Shadowlands? Would you like to see me talk about C.S. Lewis’ stories on my blog? Please tell me in the comment section!

Have fun in Narnia!

Sally Silverscreen

Take 3: Evel Knievel (1971) Review

On By 18cinemalaneLeave a comment

When it comes to movies from the 1970s, I haven’t had the best of luck, this year, finding a film I actually like. While I thought Days of Heaven and The White Buffalo were ok, I wasn’t impressed with The Last Child and Double Nickels. However, I was still determined to search for a movie from the ‘70s I enjoyed. During this search, I stumbled upon the 1971 film, Evel Knievel, a biopic about the stuntman of the same name. Since August’s theme of Genre Grandeur is ‘bikers, bikes, and motorcycles’, I had a great excuse to check this movie out! Choosing the 1971 title for Genre Grandeur also gave me an excuse to learn more about Evel Knievel. Before watching this film, I was familiar with who Evel is and why he was famous. But that basic information was all I knew. Besides broadening my cinematic horizons, I used my entry for Genre Grandeur to learn something new.

Evel Knievel (1971) poster created by The Fanfare Corporation, Fanfare Films, and American Broadcasting Company (ABC)

Things I liked about the film:

The acting: In my review of RKO 281, I talked about Liev Schreiber bringing humanity to his portrayal of Orson Welles, finding the heart of the “genius” and putting some genuine emotion behind it. This was successfully done to highlight Orson as more than just a legend. During his career, Evel Knievel became a celebrity, performing stunts that most people would never dream of attempting. Similar to Liev Schreiber, George Hamilton found the man behind the famous name and presented the human side of him. Toward the beginning of the film, Evel is at a local bar, talking to his friends how “something big” is going to happen in town. From furrowing his eyebrows to showing a good-hearted smirk, Evel talks about this upcoming, unknown event with ease and confidence. Through George’s performance, Evel is shown as more than just the famous stuntman, adding a sense of charm to his portrayal.

Throughout the film, Evel interacts with his wife, Linda. Portrayed by Sue Lyon, Linda and Evel’s encounters were pleasant to watch! This is because George and Sue had nice on-screen chemistry! Evel and Linda kind of reminded me of Abby and Bill from Days of Heaven. In the 1978 movie, it felt like Bill and Abby truly got along with one another, with a shared gentleness understood between them. The 1971 shows Linda and Evel respecting one another and, more often than not, being on the same page.

Despite appearing in the movie for a short period of time, Dub Taylor left a memorable impression as Turquoise Smith! The ring-master of a local rodeo, Turquoise had a larger-than-life personality. But this personality never felt over-the-top, thanks to the way Dub portrayed Turquoise. Even when there was a tragedy at the rodeo, Turquoise maintained professionalism and showmanship. Because of the quality of Dub’s acting talents, these components of the character remained consistent.

The stunt footage: During Evel Knievel, a montage of stunt footage is featured. This footage shows Evel performing various stunts throughout his career, with some stunts more successful than others. The montage is used as a bridge between his early years and “present day”, as the footage emphasizes the dedication and willpower Evel put into his stunts. Since the movie is a bio-pic about a real-life person that existed at one point in time, the montage added contextual depth to the story. It also provides a nice connection between the film and the actual Evel Knievel.

The messages and themes: As I said in this review’s introduction, I chose to write about Evel Knievel because I wanted to learn more about the titular man. However, I was surprised by the messages and themes that came out of this story. While reflecting on his relationship with Linda, Evel recalls a time when he visited Linda at her high school. During this encounter, Evel explains why he doesn’t play basketball. He feels that in basketball, you don’t have much to lose, as all the stakes are lower. He also confesses how he doesn’t want a lettermen sweater, as Evel doesn’t need to prove he’s a hero. With this, he tells Linda, “heroes know who they are”. Letterman sweaters/jackets have been known for being something high schoolers can earn through academic and athletic achievement. But until watching Evel Knievel, I’ve gained a newfound perspective on this subject.

Illustrated image of Arizona desert created by pikisuperstar at freepik.com. Background vector created by pikisuperstar – www.freepik.com

What I didn’t like about the film:

Transitions between past and “present”: The story of Evel Knievel is told through Evel’s recollections of his past as he’s preparing for an upcoming stunt. But the way the film jumped between past and “present” was confusing. During one of Evel’s recollections, he remembers a tragedy that took place toward the beginning of his career. As soon as the tragedy occurs, the story is brought back to the “present”, showing Evel nervous about the upcoming stunt and dealing with an injured leg. It took me a little while to realize the story had transitioned between the past and “present”, as the scene changed so abruptly. Personally, I think the story should have been told through a chronological order.

The past more interesting than the “present”: Like I mentioned in my previous point about the story’s transitions between past and “present”, Evel is preparing for an upcoming stunt in the “present”. But aside from seeing Linda and Evel interact and the aforementioned stunt, I didn’t find the “present” interesting. In fact, I found Evel’s recollections of his past more interesting, as it was an opportunity for me to learn more about Evel Knievel. Even though the stunt in the “present” is shown, it doesn’t take place until the story’s last ten minutes. So, the audience is forced to wait almost the entire movie for that moment.

An omission of a “where are they now” segment: In most biopics, there is a segment toward the end of the movie which explains what happened to the story’s key people after the events of the movie. But this segment was omitted from Evel Knievel. During the “present”, Evel talks about how he wants to perform a stunt in the Grand Canyon. I was hoping there would be a sense of closure about whether this stunt actually took place. Sadly, no explanation about the fruition of this stunt was provided. I don’t know where Evel’s career was at the time of the film’s release. However, I still think a “where are they now” segment should have been included.

Children holding American flags during a sunset image created by rawpixel.com at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/people”>People photo created by rawpixel.com – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

I’ve seen some movies where I felt the subject would have been better served through a documentary, as the subject itself is quite fascinating. This is how I felt while watching Evel Knievel. I was able to learn more about the “king of stuntmen” through his recollections of his past. In fact, I found the past more interesting than the “present”, as I was kind of bored by the weak conflict. Despite the confusing jumps between past and “present”, Evel Knievel provided an introduction to the titular man. As this is one of the reasons why I watched the film, the 1971 title does its job. When it comes to biopics, Evel Knievel doesn’t really reinvent the wheel, with the story being pretty straight-forward. The acting, stunt footage, and messages and themes prevent the movie from becoming unmemorable.

Overall score: 6.1 out of 10

Have you seen or heard of Evel Knievel? Which biopic do you think is well-made? Tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: I Dream of Jeanie (1952) Review

On By 18cinemalane12 Comments

I’m participating in two blogathons; the Musicals: With A Song And A Dance In My Heart Blogathon and The Biopic Blogathon. Because of this choice, I wanted to review a movie that was “the best of both worlds”. One day, while on Youtube, I came across the 1952 film, I Dream of Jeanie. After learning it was a musical biopic about the composer, Stephen Foster, I knew I had found the perfect entry! Prior to these events, I had never heard of I Dream of Jeanie. In fact, I was not familiar with Stephen Foster either. But I wanted to use my participation as an opportunity to learn more about him. I also wanted to be introduced to films that were newer to me. Did my plan work? Continue reading if you want to find out!

I Dream of Jeanie (1952) poster created by Republic Pictures

Things I liked about the film:

The acting: Bill Shirley is an actor I’m not familiar with. While I have seen Disney’s Sleeping Beauty, I have never seen any of his live-action films. Despite this, I did enjoy watching his acting performance! His mannerisms and line delivery reminded me of Jimmy Stewart. This is because of the tender-hearted nature Bill presented. His singing talents were amazing in this movie! One of his best performances was his solo, “Beautiful Dreamer”. With his deeper vocals and the heart-felt lyrics, there was emotion found in the song. He also sang beautifully with Eileen Christy, who portrayed Jeanie. Toward the beginning of the film, they sang a duet of “Oh! Susanna”. Bill and Eileen displayed good harmony during their performance. Having nice on-screen chemistry also worked in their favor.

While we’re on the subject of Jeanie, let’s talk about Eileen Christy’s performance. Throughout the film, she presented her character with a likable persona. Jeanie was sometimes the film’s “comic relief” as well. When a script adopts a “comic relief” character, that individual can either be goofy or be seen as dumber than the protagonist. With Jeanie, that was never the case. Even though she was silly, her intelligence never faltered. Another actress who gave a good performance is Muriel Lawrence. Portraying Jeanie’s sister, Inez, she provided an embodiment of a “diva”. Her strong will and determination to get her way made Inez one of the film’s more unlikable characters. But as an actress, Muriel had star qualities!  Whenever she appeared on screen, Muriel was able to garner the camera’s attention, even when her character wasn’t the focus of a scene. It also helps that she sang beautifully in this movie.

The musical numbers’ inclusion in the story: In some musicals, a musical number can make the story feel paused. With I Dream of Jeanie, the musical numbers pushed the story forward and made sense within the context of the story. A perfect example is Muriel’s solo, “Lo, Hear the Gentle Lark”. Toward the beginning of the movie, Inez and Stephen talk about an upcoming recital, where Stephen hopes Inez will agree to an engagement. When the event arrives, the performance is used to make Inez shine, showing how she craves attention. During the recital, unpublished songs by Stephen are introduced. The secret of Stephen’s involvement with “Oh! Susanna” is revealed at this event as well. Similar to “Lo, Hear the Gentle Lark”, the inclusion of these aforementioned songs also fit within the story.

A glimpse into the legal side of the music industry: One of the conflicts Stephen experiences is his lack of royalties from “Oh! Susanna’s” success. Whenever the song is performed, Stephen’s name is never mentioned. This surprises everyone in his life, including his brother. Stephen also faces legal threats due to the song’s copyright. This is because he presented the song to multiple publishers. Since I’m not well versed in the legalities of the music world, I found this brief exploration fascinating! That part of the story allowed me to learn something new. It also showed how different copyright laws and royalty agreements were in the 1840s.

The Musicals: With A Song And A Dance In My Heart Blogathon banner created by Neil from Thoughts From The Music(al) Man

What I didn’t like about the film:

Not really biographical: The purpose of a “biopic” is to provide some education to an audience about a particular individual. In the case of I Dream of Jeanie, this movie is meant to tell the story of Stephen Foster. But I ended up not learning much about the composer. While I discovered he wrote ‘Oh! Susanna’, I was expecting to learn more about Stephen. How did he become interested in music? Did he receive any professional training? This film doesn’t answer these questions. Instead, the script focuses more on other characters and events.

The characterization of Stephen Foster: No main individual in any “biopic” is meant to be seen as “perfect”. However, one of the staples of a “biopic” is to present the admirable aspects of a given individual. With I Dream of Jeanie, Stephen Foster, more often than not, came across as a desperate push-over. I don’t blame Bill Shirley for this, as he did a good job with the acting material he received. But I will put blame on the film’s screenwriter, Alan Le May. For the majority of the movie, Stephen loves a woman named Inez. She not only doesn’t like the type of music he makes, she also hates “Oh! Susanna”. In an attempt to win her love, Stephen announces how he’s trying to achieve a “redemption” by only playing classical music. He does this instead of standing up for himself or trying to compromise with Inez. This is, sadly, just one example of Stephen’s characterization.

The character of Edwin P. Christy: Not every character is meant to be likable. Sometimes, a character’s likability is based on personal preference. In my opinion, Edwin P. Christy was annoying. Once again, blame is given to Alan Le May. Edwin was a flamboyant and over-the-top showman. But what made him unlikable for me was how he used every opportunity to put the spotlight on himself. During Inez’s recital, Edwin disrupts the event by loudly playing one of Stephen’s songs at Stephen’s nearby stable. Edwin then crashes the recital and performs some of Stephen’s unpublished music, with no granted permission from Stephen. After some time, Edwin’s antics became unpleasant. It almost felt like Edwin tried to make the story about himself as well.

The Biopic Blogathon banner created by Annette from Hometowns to Hollywood

My overall impression:

In my introduction, I said I wanted to use my participation in these blogathons to learn more about Stephen Foster. Unfortunately, that’s not what happened. Don’t get me wrong, I did learn a few things about him and about some of the legalities of the music world’s early years. But it wasn’t enough to justify an hour and twenty-nine-minute movie. If anything, it almost seems like this film was about anything but Stephen. When characters like Edwin P. Christy try to take the spotlight for themselves, it makes the project look less biographical. As I mentioned in this review, some of the blame falls on the screenwriting. The quality of a project’s script is what makes or breaks it. If the script is weak, there’s only so much the other members of the creative team can do to salvage it. Now, as I wrap up this review, I must take a detour to Wikipedia.

Overall score: 5.6 out of 10

Have you seen any biopics? If so, which one is your favorite? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen