When I was a kid there was this series on called Moviedrome on BBC2, as I remember it was on late on sunday nights, presented by someone (I NOW know to be Alex Cox) who spoke about films the way I felt about them - with passion, like they were friends that he was introducing/showing off to you. The series always aired the sort of films that you just wouldn't see anywhere else and were presented in a way that made them even more special. When I first saw Brazil I must have been around thirteen and my life wasn't going too great - the film's metaphors seemed to resonate incredibly with things that were happening to me at the time. As I've grown up watching it, it's layers seem to reveal more and more about the human condition and our will to break free from a seemingly (although never truly defined in the film) autocratic state, something which (perhaps a little melodramatically) I've sought to do my entire life. In between my scores of viewings of the film, I have read and seen many other books/films following a similar theme (1984 being the most obvious) but none seem to capture the innocence of Sam Lowry's dreams of a life outside the confines of his grey totalitarian existence. In his films since Brazil, I think only The Fisher King holds such a pure and wholesome desire line for the protaganist (perhaps this is a product of the blurring between right and wrong in the worlds of his later works) and I think that this is what struck a chord with me as a kid. Despite feeling as though I was becoming a man, like Lowry I was still naive and childlike inside, and felt that only real true love could help me escape my trouble.
The broader understanding of film I've gained over the years has helped me enjoy this film all the more, but every time I see it, I'm still carried away with Sam as he soars toward Jill and freedom, only to be met with dread as the prison builds itself around him once again, while the ending carries easily as much resonance as that of 1984. I couldn't imagine not having this film in my life, and would recommend it to anyone who genuinely feels that they're trapped in a life over which they have (and have never REALLY had) any control, and I feel that with the world advancing in the way it is, it carries more weight as the years pass. If you're able to get the Criterion edition of the film, I'd recommend seeing all of the versions of the film, starting with the "Hollywood" version, as each one reveals a little more of Gilliam's genius, (ironically) illustrating the nature of the system that stifles HIS dreams and their route to us.
Many people compare this film to the works of Frank Capra, and I have to agree - to a point. The thing that seperates Shawshank from Capra's best works and puts it SO high on my list is the depth of character study in the supporting cast. Morgan Freeman (who, in the novella was actually a ginger irishman!) is absolutely superb, bringing real gravitas as the narrator, I can't think of another actor who could have played his role with such finesse. Bob Gunton is superb as the egomaniacal Warden, providing the spearhead of the trident of evil that seeks to crush Andy Dufresne's spirit, together with prisoner Bogs and Captain Hadley, who each have their own agenda, but quickly find themselves no match for Andy's guile.
Where Shawshank transcends Capra's work, and indeed every other film in this genre is the depth and intensity of the hero's opponents - it is their actions which crystalise our will for Andy to overcome them and for justice to prevail.
Perhaps the most poignant subplot is that of Brooks, who, after spending his entire life within the confines of Shawshank finds himself thrust out into a world he neilther can or will comprehend. This foreshadowing bodes ill for Red's eventual release, but on the off-chance that you haven't seen this wonderful film, I'll stop there. The spine of the picture is hope and, well, redemption, depicting a man determined not to be broken, despite overwhelming odds. Given that Darabont had precious little experience of dealing with anything of this size or scope before, it is all the more impressive that the film holds such resonance.
There are precious few Stephen King stories that have been translated to the screen with anything approaching this level of elegance and dexterity and it is truly a credit to Frank Darabont that he has managed to capture this author's genius so succinctly. In any other year, I think this film would have made more of an impact at the Academy Awards, but despite this, I believe The Shawshank Redemption will continue to be shared as an intelligent, compassionate, sometimes harrowing personal story for genereations to come.
One of the best movies ever - it's inconceivable that you could NOT like this film....Almost ten whole YEARS before Toy Story and Shrek wowwed the world with the revolutionary idea of making a grown-up kids movie, Rob Reiner made The Princess Bride. In my humble opinion, this film succeeds on every level (having been written by one of the world's leading script-doctors, it really should) - a perfectly balanced cast and beautifully subtle direction make this an all-time classic - a film that will NEVER date, and one that no-one, if they're really, really REALLY honest and truthful could ever say they dislike.... Next time you're feeling ill and have a day off, and you're sure that no-one is watching, try putting on this movie and remembering what it's like to be a kid again...
Cowboys in spaceships?...Epic sprawling space-opera...I've heard thsi film described a number of ways over the years, but however you try and dress it up, the film industry just would not work the way it does it today without this film and the way it made a whole generation think and feel. If you haven't seen it, you're an idiot...
This is precisely the sort of role that justifies Sellers' transcension from comic genius to quite simply one of the finest actors in cinema history. His portrayal of Chauncy (The) Gardener is a masterclass in understatement and timing, and were it not for Dustin Hoffman's performance in Kramer vs Kramer that year, I feel that Sellers would have surely won the Oscar for this role.
Comparisons are rarely drawn between Sellers' role in this film and that of Forrest Gump, but it is impossible to imagine that this was not one of Hanks' major inspirations for his Oscar winning performance fifteen years later.
As with many of the films I love, I wasn't around to see them when they were first released, and always wonder if there was controversy surrounding Being There when it was released. During the seventies there seems to have been quite a heavy backlash against films deemed to be sacriligious, and Chauncy walking on water at the end of the film (as well as his pure actions throughout the film) would seem to me to imply he was a re-incarnation of Jesus Christ.
At times, the film is a little sluggish, and (I suspect as a result of Sellers' unusual acting style) some of the performances seem a little strained, but the tones and metaphors of the piece make up for any shortcomings, it seems a great travesty that Hal Ashby was not nominated for his direction.
In short, Being There is an outstanding example of childlike innocence and deep-seated goodness beating out the corruption and stupidity of modern society - it takes gently (but accurate) swipes at a variety of social and political idiosyncracies, not least of all the President, with Chauncy being taken into the heart of everyone he comes into contact with. This film is a masterpiece and I'd recommend the film to anyone with a love of subtle comedy.
One of the few teen comedies to stand shoulder to shoulder with John Hughes' back-catalogue, Better Off Dead is a weird hybrid of the teen genre, pulling in strange fantasy elements that were (unfortunately) reined in/diluted for the director's later movies. This is one of the truly original teen comedies in a decade awash with dull carbon-copies - using darker, more adult themes than many of it's peers to paint a broader, rounder picture of the times than one would first imagine. Lane's suicide attempts (I've always thought to be an homage to Harold and Maude), although played for laughs, strike a serious chord for such a "zany" comedy, and the drug references of the uber-cool Charles De Mar kinda outstrip the weed in Johnson's shorts (although I am in NOOO way rating Better Off Dead above The Breakfast Club) make this movie the logical step between the candy floss teen movie and their grown up counter-parts (St.Elmo's Fire, Bright Lights Big City etc.) Cusack shines (as always) bringing that little bit extra to the movie that, along with an incredibly quotable script, intelligent stereotype pastiches amongst an incredibly strong supporting character roster (I defy you to find a speaking character in the movie that you wouldn't want to know more about- even Taylor Negron's two lines as the postman are cool) and a cute love spine make this a real treat - if it suffers from anything, it's perhaps a little time-lag (you'll KNOW you're in 1985), but despite this, I'd recommend this over "big-boy smut" any day of the week...
The words "High Concept" have been thrown around for years, filtering down from the industry, through lecturers in Film School/Magazines and directly into our squishy li'l minds...I don't believe that Ridley Scott EVER pitched Alien as "Jaws in space" or that Bruckheimer ever got funding from Paramount for "Top Gun with cars" when setting up Days of Thunder....I'm sure there are many films (many of them bad) that HAVE been green-lighted on such weak one sentence pitches, but few are memorable... Speed however is one of the rare examples of a movie that CAN be summed up in a couple of sentences and still be incredibly enjoyable..great pace (obviously), witty dialogue, amazing action sequences, a truly believable bad-guy and anice love story make this one of the true greats of modern action films...
When this originally came out, the hype surrounding meant it HAD to be hated by some people, and Jar-Jar was the object of their scorn. Now I'll admit that he ain't the LEAST annoying character in motion picture history, but does that have to detract from the rest of the film/....I personally found little Anakin's performance to be FAR more annoying than Jar-Jar, but I got over it, and still find Ep 1 a great opening chapter to one of the greatest adventures ever told...
Along with The Incredibles, Shrek shows us what can now be achieved pure CGI - posing the question - how much longer does live-action really have left?
It's never mentioned on the same league as Jason And The Argonauts or King Kong, but if you want to see an impressive amount of stop-motion in a movie without any real semblance of coherant narrative or character development, then this is the one for you!!