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Archive for the ‘ACTION/ADVENTURE’ Category

The Wedding Guest

23 Mar

The Wedding Guest—directed by Michael Winterbottom. Romantic/Crime. 94 minutes Color 2019.
★★★★
The Story: A contract kidnapper travels to a provincial wedding to do business and falls in love.
~
The Wedding Guest. How to begin to list its wonders?

Since there are only two wonders, let us begin with India. But since there is nothing to be said about India that cannot be said in less than sixteen volumes of 1,000 pages each, let us button our lips. For, if we begin to read of a subcontinent so crowded with subcontinents as India, we shall leave out other subcontinents and become lost in the crimson corridors of shame and the pied passages of confusion.

Seaside paradise, urban squalor, golden domes, landscapes of eternal desolation, colors within colors within colors—India has no end of photogenic worlds. Each shot here is framed as by an accidental intrusion of the rare vitality of all that lies about available to the blinded eye. We rush to see movies made there.

The second and final item on its list of Wedding Guest wonders is Dev Patel.

He has moved away from the irresistible ebullience of his wild-boy parts in the Marigold Hotel movies and Slumdog Millionaire. Lest he turn into Mickey Rooney, he had to. So we have Lion and Chappie and The Man Who Knew Infinity.

It is quite clear that Dev Patel can carry a movie in his left rear pocket. Of course, I keep waiting for him to break into his India-wide smile and dash toward some fresh recklessness. But here he plays a man with no visible past working towards no visible future, so his brow must be furrowed. For not only is escape from the law serious business, but he has in tow a young woman of uncertain character—is she a cat, is she a mouse—and a dirt bag for the man lusting after her.

At 28 and at the peak of his masculinity, Patel towers over everyone. At 6’1¼” he seems as tall as the great American actor Lee Pace, 6’4” whom he resembles in many regards. They both have abundant dark hair and startling eyebrows, and what audience could defy the magnet of their eyes. Both actors are lanky and strong and agile. They do just fine bare. As actors they are physically complete for stardom, by which I mean one wants to look at them no matter who else is around. We make what they are to do, say, feel, and know important. Expression ripples across their faces like water over brook stones. Their voices are rich.

As to the actors’ inner instruments, you feel each could play Hamlet. and ought to do so at once. You feel they could do musicals and, of course, they have.

Patel is constrained somewhat by the role he plays here, because he goes from one momentous matter to the next with no interlude. Will he break out of his stern intent to walk east toward safety or west toward romance?

He is given good cause in Radhika Apte, as the bride-not-to-be. She has something of the look of waywardness of Mackenzie Davis which keeps the audience both in their seats and off balance. Even when she does the expected you don’t expect it. Jim Sarbh is marvelous as the dog’s-breath boyfriend.

As to Patel, we never see him behind his determined eyes. It is as though there is a scene missing. A door of loneliness needs to open in him so we can see that no one lies behind it but the stencil of a loneliness. We need a vision of his insides so we can care with passionate illogic about him, and no such vision is given by the story, cutting, director, or actor.

I go to all of Dev Patel’s films. He is soon to open in a movie about the terrorist attack on the Mumbai Hotel. He is to appear in a version of David Copperfield. Such a wonderful actor, will he play Macawber, will he play Uriah Heep or Betsy Trotwood? He will probably play the evil stepfather Murdstone or, even better, the irresistibly fascinating Steerforth. He could play all of them at once. I’m a fan. I shall go to find out!

 
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Posted in ACTING STYLE: INTERNATIONAL REALISTIC, ACTION/ADVENTURE, CRIME DRAMA, Dev Patel

 

Beau Geste

13 Jun

Beau Geste – directed by William Wellman. Action adventure. 112 minutes Black And White 1939.

★★★★

The Story: Three orphan boys grow up together, join the French Foreign Legion together, and act nobly together.

~

In a neck-and-neck race with George Steven’s Gunga Din at RKO, Beau Geste is a scene by scene adaptation of the 1926 silent film starring Ronald Colman. As such it is slow going. Until it isn’t.

For nothing happens until the last scenes, in which Brian Donlevy, the nasty sergeant in charge of the garrison, literally mans the battlements by stuffing its crenellations with the corpses the marauding Arabs have made of his men – which scares the Arabs off.

This is a super-duper and justly famous battle scene, worth waiting for. It inspires the star of the picture, Gary Cooper, who hates the sergeant, to admit Donlevy is a great soldier. Donlevy, however, is perhaps ill-cast, for he does not have a mean streak, which is needed, but a wicked sense of humor, which is not. He plays the part well, nonetheless.

It’s all well directed by William Wellman, who made sure not to leave out his favorite, a rain-scene, even though everyone is indoors. Those indoors enclose the three adopted boys of the lady bountiful of the house, who possesses the famous infamous “blue water” sapphire which figures into a plot that frames the action of the boys once they join the French Foreign Legion. Is that clear?

I hope not, because to distract us from this plot, we have various young to-be stars trickling through the desert sands, Broderick Crawford, for one. Alfred Dekker, J. Carrol Naish for two more. And for another, Susan Hayward, the most strictured of all actresses, who is the fond focus of Ray Milland.

Milland is the only one of the three English boys to have an English accent. Gary Cooper, who was schooled in England, does not assume one. Wonder why. Nor does Robert Preston as the third of the boys. Preston with his Dennis Quaid grin and zest is the most welcome of energies always, and who could be more convincing than he to save the day at last?

The story is a long-winded set-up for the final scene. You keep wondering when something is going to happen as we lumber through the boyhoods of these boys.

Gary Cooper as a child is played by Donald O’Connor, of all people: O’Connor the most spritely, Cooper the least spritely of actors? Is this because Cooper looked older than he was and O’Connor’s youth was supposed to correct it? Here Cooper is 38, too old for the part of a runaway youth in 1939, the miracle year of American Film. Robert Preston is 21, which is more like it.

Cooper had written into his contracts that he never play a character who dies. Perhaps because as an actor he is already dead, so if he did die how could you tell? He used his inertia to act. He is never one to pick up cues before sucking attention towards himself. Sloth and sluggishness stole whole scenes.

His stardom has always annoyed me. In real life he was shy, elegant of dress, and had an enormous penis – an infallible combination for female appeal – but on the screen, I don’t get it. I suppose people felt that a taciturn male must be more profound than a talkative one and more attractive and more masculine, which, with Robert Preston on the screen is proved pure baloney. I knew that when I was six years old and saw this movie when it first came out.

If you can wait for the finale when it comes it’s an entertaining show. And you won’t have wasted your quarter. Or your 17 cents, which is what a matinee cost me in 1939.

 

Beau Geste

03 May

Beau Geste – directed by William Wellman. Action adventure. 112 minutes Black And White 1939.

★★★★

The Story: Three orphan boys grow up together, join the French Foreign Legion together, and act nobly together.

~

In a neck-and-neck race with George Steven’s Gunga Din at RKO, Beau Geste is a-scene-by-scene adaptation of the 1926 silent film starring Ronald Colman. As such it is slow going. Until it isn’t.

For nothing happens in the film until the last scenes, in which Brian Donlevy, the nasty sergeant in charge of the garrison, literally mans the battlements by stuffing its crenellations with the corpses the marauding Arabs have made of his men, which scares the Arabs off.

This is a super-duper and justly famous battle scene, worth waiting for. It inspires the star of the picture, Gary Cooper, who hates the sergeant, to admit Donlevy is a great soldier. Donlevy is perhaps ill-cast, for he does not have a mean streak, which is needed, but a wicked sense of humor, which is not. He plays the part well, nonetheless.

It’s all, of course, well directed by William Wellman, who made sure not to leave out his favorite, a rain-scene, even though everyone is indoors. Those indoors enclose the three adopted boys of the lady bountiful of the house, who possesses the famous infamous “blue water” sapphire which figures into a plot that frames the action of the boys once they join the French Foreign Legion. Is that clear?

I hope not, because to distract us we have various young to-be stars trickling through the desert sands, Broderick Crawford, for one. Alfred Dekker, J. Carrol Naish for two. And for yet another, Susan Hayward, the most strictured of all actresses, who is the fond focus of Ray Milland.

Milland is the only one of the three English boys to have an English accent. Gary Cooper, who of course was schooled in England, does not assume one. Wonder why. Nor does Robert Preston as the third of the boys. Preston with his Dennis Quaid grin and zest is the most welcome of energies always, and who could be more convincing than he to save the day at last?

The story is a long-winded set-up for this final scene. You keep wondering when something is going to happen as we lumber through the boyhoods of these boys.

Gary Cooper when little is played by Donald O’Connor, if you can figure: O’Connor the most spritely, Cooper the least spritely of actors. Is this because Cooper was an actor who looked older than he was and O’Connor’s youth was supposed to correct it? Here Cooper is 38, too old for the part of a runaway youth in 1939, the miracle year of American Film. Robert Preston is 21, which is more like it.

Cooper had written into his contracts that he never play a character who dies. Perhaps because as an actor he is already rather dead. If he did die how could you tell? Cooper is an actor who used his inertia to act. He is never one to pick up cues before sucking attention towards him. Cooper’s sluggishness stole scenes.

His stardom has always annoyed me. In real life he was shy and had an enormous penis – an infallible combination for female appeal – but on the screen, I don’t get it. I suppose people felt that a taciturn male must be more profound than a talkative one and more attractive.

I knew, when I was six years old and saw this movie when it first came out, it wasn’t necessarily so.

Still, it’s an entertaining show. And you won’t have wasted your 17 cents, which is what a 1939 matinee cost me.

 

Mission Impossible: Rogue Nation

02 Aug

Mission Impossible – Rogue Nation directed by Christopher McQuarrie. Action-Adventure. 131 minutes Color 2015.

★★★★★

The Story: In this 5th of the series, the indestructible Ethan Hunt and his cronies take on a terrorist syndicate who kill world leaders.

~

Tom Cruise always gives good value. Starting out – Taps – he evinced a love of acting, a devotion to it, a reveling in it. Intensity was the result of this passion, and a release of vitality admirable to beholders. He is never lazy.

In the new Mission Impossible, intensity is somewhat taken over by the intensity of the perils which cascade all around him. And Cruise Vitality, like a star superseded by the understudy, has been supplanted by the Vitality Of The Special Effects.

But in the few “acting” scenes he has Cruise hits his targets. Of course, in films of high action, it is a general rule that the acting has to be quieter in order to let the action carry the excitement, fear, and focus. Action films require a great deal of standing still while the next catastrophe is being born and the audience acts it out for themselves.

Here the credibility of the action is also compromised by feats in which he is shown doing what could neither be done nor filmed as it is filmed if it could be done – Cruise hanging on to the outside door of an aircraft taking off, to start with. It may have been filmed in a wind tunnel, but one does not lend it credence in mid air. Once this abuse to our credulity is passed, though, tricks and trials zip before us before we even are us enough to catch them. Clever they are, perhaps, and they continue to the clever end.

All this is made palatable by the supporting cast of Jeremy Renner, Ving Rhames, Alec Baldwin, Simon Pegg, Sean Harris, and Rebecca Ferguson. They are delightful foils for him and for one another.

As to what they face, it is comparable to a cartoon in which the bulldog is flattened into a pancake by a steamroller. Every one leaps up into survival afterwards. Drownings, bullets, bombs, falls from altitudes – none of this leaves an impression on one because we know they have to survive it until the last reel is reached. Besides, they’re Special Effects: Movie Impossible. In the old Silents, the damsel on the railroad tracks was going to be rescued in the nick. The difference is that then, the oncoming engine was real.

Still we don’t mind. Our pleasure is lowered in each new version of these impossible escapes because each new version is numbed by the previous version. Cruise has physical strength, a certain wit, and good looks enough to outlast anything – just as we all want him to. He’s a good actor, here as elsewhere, and, as elsewhere, he knows the genre in which he works and plays well within its decorums.

 
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Posted in ACTING STYLE: AMERICAN REALISTIC, ACTION/ADVENTURE, Alec Baldwin, FOREIGN LANDS, Jeremy Renner, Tom Cruise

 
 
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