The year of 1984 was the true galvanization of the decade. It defined exactly what we remember the decade to be. It was the year where the pop culture identity of the 1980’s exploded with stuff like Michael Jackson’s Thriller breaking album record sales, television series like Miami Vice premiering, and films like Beverly Hills Cop, The Karate Kid, Ghostbusters, and The Terminator debuting. Then, there was the solidification of Prince becoming a monster success as both an electrifying musician, but also, at the box office with a film that, at one time, I watched once a week, every week for months. Purple Rain can be a surprising film if all you are expecting is just an entertaining rock music motion picture. There is a compelling, emotionally striking story within that was likely taken from Prince’s own life and embellished on screen.
Prince make his movie debut as The Kid, a Minneapolis club musician as alienated as he is talented. He struggles with a tumultuous home life with a failed musician father and The Kid’s own smoldering anger while taking refuge in his music and his steamy love for sexy Apollonia Kotero. He is opposed by rival band The Time, lead by the smooth talking and charismatic Morris Day who attempts to force The Kid out of the limelight and steal Apollonia away from him. The Kid’s life goes into a down spiral as everything falls apart even within his own band, the Revolution, forcing him down a turbulent road of survival and triumph.
Surely, this is one of the best movie soundtracks ever created. Beyond just all being contenders for smash hit singles, and having won Grammys and Academy Awards, these songs strongly serve the plot. Whether it’s lyrically or emotionally, they reflect the progression of these characters through this narrative. The film opens up on a high energy number of “Let’s Go Crazy” that would be perfect for jump starting a concert, of course. The music in the first act is very upbeat and lively as things are on an upswing for The Kid. He’s rocking the stage and falling in love with Apollonia, but the second act features more aggressive or introspective tracks such as the classic hit “When Doves Cry.” The final act gives us the emotional swelling of pain and resolution into a rousing celebration. This is one of those films where it’s stellar soundtrack will always ignite your desire to watch the film again, but there’s so much more to Purple Rain than just its incredible music.
The love story is wonderfully handled and progressed. There’s plenty of light-hearted wit and charm early on especially with the “purifying yourself in the waters of Lake Minnetonka” bit. Then, when The Kid is up on stage belting out “The Beautiful Ones,” staring directly at Apollonia with her eyes welling up, that’s an intense proclamation of passion which is beautifully executed. The romance then moves forward into more intimate, seductive territory before it all falls apart due to The Kid’s ego and him repeating his father’s self-destructive behavior, but it proves to not be the end of them. Prince and Kotero really have an endearing and charming chemistry that lights up the screen. It’s really the core narrative element of the film. Everything really centers around and reflects off of that.
The reversal is the volatile relationship between The Kid’s parents. What Clarence Williams III does in this film is on a whole other plane of riveting, powerful drama. He’s heartbreaking and tragic as Francis L., this man who has seen all of his dreams die because no one understood his music, and is just trying to keep his fractured self and marriage together. Yet, he grips on so tightly that he’s falling apart on every emotional level. The culmination of this is powerful and world shattering. Williams’ performance is mind blowing creating a sobering gravity and weight that no one expected going into this movie. There is nothing but pain magnified and compounded within every fiber of his performance. He is shockingly incredible to the point that I feel he deserved major awards for this performance, but he got no such recognition for it. Whenever I see him in anything now, he has my undivided attention because of this one performance.
Purple Rain is also a great encapsulation of the problems a band faces, internally. Clashing egos, mismatched personalities, and creative differences cause turbulence in even the best, most successful bands. We see Wendy and Lisa trying to make their own music, but The Kid just won’t take his own ego out of it to allow it. Apparently, this friction wasn’t far off from the reality in the band, and so, part of the effectiveness of these performances was likely due to that. Regardless, it adds further baggage to The Kid as he struggles with all of these passionate forces in his life, and something is bound to break.
On the lighter side of the film’s tone, you’ve gotta love the humorous antics of Morris Day and Jerome Benton. Their “who’s on first” style conversation about having a “password” for when Apollonia shows up is priceless and hilarious. Morris and Jerome lighten up the movie at key times without going over the top with it. Before I even knew Day was a musician, I saw him in The Adventures of Ford Fairlane, and found him sharp and funny there as well. I even first saw Morris Day & The Time in Jay & Silent Bob Strike Back, clearly motivating my interest in Purple Rain. Both Day and Benton have charisma to spare, and make for good foils for The Kid to contend with. Still, it’s great that they’re not relegated to being only comedy relief. Benton gets a serious moment that further digs at The Kid’s screwed up situation. We get some dimension to Morris with a few honest moments, and we see he has a genuine human factor. My favorite moment of Day’s is his moment of regret after saying a truly horrible thing about The Kid’s family after Francis has attempted suicide. In a single moment, he goes from being a cruel, cold hearted jerk to being a real human being with a conscience.
Under the direction of Albert Magnoli, Prince proves to be a very solid actor. Of course, his amazing work on stage comes naturally to him, but even then, there’s the added emotional context of his character interwoven with that. He incorporates the character’s mindset into the intensity of his on-stage performance. The most evident examples are the “Darling Nikki” and “Purple Rain” performances showing the different kinds of pain The Kid is feeling at those times. The first being of scorn, and the second being heartbreaking despair and sorrow. Off stage, Prince is damn good handling all of the heavy emotional weight of this story stunningly. This character is shown to be one with serious faults that he has to confront and overcome by the end, and it is all executed an honest realism. If Prince wasn’t that good of an actor, the film would not have worked, and would have been viewed as a lop-sided vanity project where the music was full of spectacle but the story and acting faltered. He was clearly fully committed to the quality and integrity of this picture, and put forth his all in every aspect to make it this great.
Yet, it is Albert Magnoli who put everything on track to be so great overall. The film does have style to spare in its stage performance visuals, and some of the sharp MTV style editing at times. However, Magnoli balances the sleek style and energy with a grounded, dramatic gravity. The characters are all well fleshed out, and have their passionate and conflicted qualities. The attempted suicide scene crashes down like a ton of bricks, and erupts the raw emotional intensity of this film. It is handled, along with the entire final act, with such weight and sincerity that it is what makes Purple Rain more than just a fun rock and roll movie experience. It gives a meaning to the story and the characters, giving this film a real touching, tender artistry that I cannot admire and praise enough. It really reflects the integrity and poignant detail that Prince puts into his music. He hardly ever does anything in his music without a full fledged commitment to quality.
The final musical performances are beautifully executed. “Purple Rain” is the culmination of everything The Kid has gone through, and he pours out every ounce of pain and sorrow in one epic, soaring song. The aftermath of the performance can still choke me up a little, especially when The Kid and Apollonia lock eyes in that hallway. Magnoli also does such the right thing with the editing in that performance because, aside from a few perfectly timed and well chosen shots of the audience, he keeps the focus on The Kid. It’s not until the song crescendos with the guitar solo that the shots open up and allow for everything to flourish on screen. “I Would Die 4 U” then comes as a breath of fresh air, and the correlating clips of The Kid visiting his sleeping parents in the hospital, organizing his father’s music sheets, and reconnecting with Apollonia earlier that day, bring a heart warming quality to the track. All of the music in this movie is excellent on its own, but when adding it into the emotional context of this film, these songs transcend into another level of touching impact.
I certainly do have to take Purple Rain in a sensationalized way. I have been close friends with a number of independent, small time local bands for the last decade, and these are people who aren’t making it rich on their music. So, if this film was entirely realistic, none of these bands would be wearing all of these flashy designer outfits that likely cost thousands of dollars. They would still put a great show, but what we see is an accurate representation of these acts as they were, on stage, in real life. I wholly understand stylistic choice that I’m sure no one really gave much thought to. Even then, despite owning a custom designed motorcycle and all of these flashy outfits, The Kid lives in his parents’ basement. Most wouldn’t pick up on those oddities, but with the perspective I have, yeah, it pops into my head. Yet, I don’t hold any of this against the film whatsoever because I understand where all of it is coming from, and clearly, Prince wasn’t concerned about blurring the lines between his reality and the film’s fiction. It all ultimately works towards the film’s stylish benefit.
To me, Purple Rain is a magnificent film. If you love the 1980’s in all its fashion, style, music, and movies, this is a movie that will excite and probably surprise you. Surely, Prince’s music isn’t for everyone, but this is undoubtedly a collection of some of his finest mainstream work. It is definitely one of the best soundtrack albums ever conceived and released. Even songs by The Time, Apollonia 6, and Dez Dickerson are solid pieces that give a little different flavor here and there. Yet, beyond all of that pop music excellence, you will find a film filled with love, heartache, tragic quality, dramatic weight, and artistic merit that is all perfectly blended together. It had been a long time since I watched Purple Rain before this review, and seeing it again reminded me why I so love this movie. It also reminded me why, nine years ago, I made this an imperative weekly watch for so long. Prince’s subsequent feature film outings would, reportedly, not be so good as he chose to direct and star in both Under The Cherry Moon and Graffiti Bridge, the sequel to Purple Rain. You need not pay attention to those films because Purple Rain is fully entertaining and satisfying in so many abundant ways. This is an exciting, rock fueled picture with an admirable depth of substance and emotion. This film was 1984 through and through, but still holds up perfectly nearly three decades later. It is one of my favorite films of all time.
The Living Daylights was the debut of Timothy Dalton as James Bond on the twenty-fifth anniversary of the franchise. It also marked a distinct shift in tone from Roger Moore’s more light-hearted approach, and brought Bond back closer to the core of Ian Fleming’s character. With Dalton came a more dangerous Bond who carried more weight and urgency with him, and it is a portrayal that I very much enjoy. While this first outing was generally well received, I believe Dalton’s two film run with the character was unjustly maligned, and I hope this review and that of the following film will detail why.
After James Bond (Timothy Dalton) helps Russian officer Georgi Koskov (Jeroen Krabbé) make a daring defection to the West, the intelligence community is shocked when Koskov is abducted from his remote hiding place. Bond leaps into action, following a trail that leads to the gorgeous Kara (Maryam d’Abo), who plays Bond as easily as she plays her Stradivari cello. As they unravel a complex weapons scheme with global implications, linking up with arms dealer Brad Whitaker (Joe Don Baker) and Russian General Pushkin (John Rhys-Davies), James and Kara escape first to Vienna, then to Morocco, finally ending up in a prison in Soviet occupied Afghanistan as they track down the elements in this mystery.
The opening action sequence is very smart and exciting. M sends three Agents to test the security of a military installation on Gibraltar, but are ambushed by an assassin. I’ve always liked the touch by the filmmakers to cast two other actors who resemble previous Bond actors George Lazenby and Roger Moore before revealing Dalton himself. Obviously, with marketing of the film and all, the trick loses its intended impact, but it’s a clever idea to keep an uninitiated audience guessing as these other agents fall by the wayside. Regardless, this sequence sets the tone for this more action packed and daring approach of this new Bond. It’s really a perfect start to a very promising film that does deliver in many satisfying ways.
The opening credits sequence for The Living Daylights is nothing special or distinct. Watery images and silhouettes really don’t have much to do with the title song from Norwegian pop group A-ha. It’s not particularly bad, just very uninspired. While this musical track doesn’t have as much punch as Duran Duran’s had for the previous film, the high pitched vocals and melodic quality are still catchy and appropriately Bond-esque. I like it quite a lot.
Timothy Dalton injects a seriousness into the role of Bond that I find very compelling. He carries himself with sophistication and integrity creating a strong screen presence. He firmly grounds Bond while still giving him charisma, wit, and a subtle depth of emotion. He can be humorous and charming while never betraying the dramatic intent of the portrayal. Dalton’s Bond is one that grasps the seriousness of situations, and acts with due intelligence and action. There’s definitely a gritty vigor he brings into Bond that makes the film instantly more energetic and exciting. It’s a dimensional performance that is thoroughly enjoyable, and creates a James Bond that can smartly weave in and out of the world espionage. Beyond everything else, Dalton makes 007 a character that can be taken seriously, and allow for serious stakes to be highlighted in his films. While there is room for fun, it is ultimately a better film when there’s real tension and risk at hand. I think Dalton did an excellent job stepping into this role bringing realism back into the fold. Timothy Dalton likely did many of his own stunts, and it really shows through, benefitting the quality of the action immensely.
The action of the film is excellent. The chase sequence through the snowy landscape with the Aston Martin showing many of its “optional extras” is very thrilling and fun. Plenty of explosive moments and clever twists and turns make it a memorable highlight of the film. The foot chase across the rooftops of Tangier was very well done, also. All of the action sequences are very fun and inventive using the unique locations, from the snow to the desert, to great effect. The climactic action scene where Bond hangs off the back of a cargo plane, set to explode in a matter of minutes, while battling the Russian mercenary Necros is very tense and exhilarating. Yet, it doesn’t end there as we get further explosions and a dangerous mid-air escape. Then, Bond still has to finish off Whitaker in a great firefight. It’s an immensely satisfying conclusion that does not hold back on the thrills.
Maryam d’Abo is probably not as alluring or sexy as most other Bond girls, but she is definitely a good actress that had a lot to bring to Kara Milovy. She’s very likable and relatable as an innocent and talented young woman deceived by her deceitful boyfriend Koskov. Maryam brings a strong will to the role, but also finds the vulnerability in Kara. Kara and James share some moments of strong emotion that d’Abo conveys remarkably well. She was a very good fit for this initial outing for Dalton as she satisfies on stronger levels than mere sex appeal.
I feel the only downside to the film are the villains. Joe Don Baker is decently charismatic, but never really develops into a serious threat. Opposite a more formidable acting talent in John Rhys-Davies, whose character is implicated as the true villain by Whitaker and Koskov, it’s even harder to perceive Whitaker as someone to contend with. He’s portrayed as a man who doesn’t take anything too seriously, but any hint of arrogance or ego that could have been there, simply is traded off for a character that’s lacking in formidable competence. Thankfully, he’s not a forefront villain. Jeroen Krabbé’s General Koskov does definitely go down the path of arrogance, but it takes quite a while before he becomes intimidating at all. He’s certainly the better quality villain of the two, ultimately, and at least has more of a detestable element to him due to how he eventually treats Kara. Yet, he still could’ve used a lot more work. I feel it’s more the near insurmountable odds that Bond faces which make the film tense and exciting than the villains he faces. They are nothing major to contend with. It’s just the forces they command are what create the danger the film needs.
I really like that the plot features a tangled web of deceit for Bond to unravel. He has to tread cautiously amongst those he encounters before he can determine who he can trust, if anyone at all. He works his way through a deceptive abduction, a faked assassination, opium trade, arms deals, and rebel fighters in the Middle Eastern desert to uncover the depth of this plot, and to stop it dead in its tracks. It’s an excellently crafted story that never falls into a lull. There’s a consistent development and progression of plot while never leaving our main characters of James and Kara in the dust. Their motivations remain clear, and their relationship develops very solidly. Despite James having to lie to her while attempting to determine her role in Koskov’s plan, Kara is able to eventually trust him, and they forge a convincing romantic relationship. Everything is smartly wrapped together in a very satisfying package making for an entertaining ride.
I was very pleased by John Barry’s score for this franchise entry. He gave a little more edge to the traditional Bond theme in a few of the action scenes, and nicely incorporated the melody of the opening title track into the score during the third act. It’s a very tight, very good piece of orchestration that complemented the film’s tone and pace strongly. It was a very fine and respectable final bow for Barry as this was the last James Bond film he worked on.
Ultimately, The Living Daylights is a very good film in this franchise. There is more than enough action to spare while still delivering a very smart and well plotted story. It brings espionage more skillfully back into Bond’s world, and the film is better off for it. The real cog of success was Timothy Dalton who made the character honest and real, again. Between his presence and beautifully deeper voice, you get that sense of dramatic tone from him throughout the film. He simply made the film more exciting and interesting. While there is a more gritty, dark style to this film, it still has plenty of fun moments to smile at that do not betray the tone veteran Bond director John Glen was going for. If the film had strong villains, or simply stronger performances from the villains, I could really give this a very strong endorsement. They just lack that edge of intimidating and formidability to push them over as a major threat on their own. The excitement and engaging narrative is due to the twisting and turning mystery Bond has to weave through, and it’s all done with expert quality and precision. The Living Daylights is definitely a big step up from A View To A Kill, and for those desiring a more traditional Bond film from Dalton, this is definitely the one to check out. I do very highly recommend the film despite any shortcomings it has with the villains. It’s a fun, thrilling ride that will entertain you. Next up, James Bond will return in Licence to Kill.
I have a tendency to miss out on great films in the theatre due to an uncertainty about them. I can get so used to how mainstream films are marketed that when I see something distinctly different, it’s hard to be sold on it. Thankfully, better late than never, some trusted word of mouth finally got me to check out Drive. To my sensibilities, this is an astonishing, flat out amazing film. This feels like if Michael Mann made a movie between Thief and Manhunter, and was scored by Tangerine Dream. This is fully evocative of a 1980s neo noir crime thriller with its sense of tone and atmosphere and using a magnificent soundtrack to envelop an audience into its emotion. Beyond that, I feel Drive is also brilliant.
Ryan Gosling stars as a Hollywood stunt driver by day that moonlights as a wheelman for criminals by night. He’s employed and aided by Shannon (Bryan Cranston), a former stuntman who is propositioning the shady Bernard Rose (Albert Brooks) to invest in a race car venture with this “Driver” as their star. Though a loner by nature, the Driver can’t help falling in love with his beautiful neighbor Irene (Carey Mulligan), a young mother dragged into a dangerous underworld by the return of her ex-convict husband. After a heist goes wrong, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals including Rose himself and the bull-headed Nino (Ron Perlman). Soon he realizes the gangsters are after more than the bag of cash, and is forced to shift gears into a brutal, unrelenting head-on collision.
I will grant that the film is not heavy on plot. It’s fairly simple and straight forward keeping itself contained to a small collection of characters. Some might find that a letdown. However, the substance of this film is in the presentation. Ryan Gosling’s character is very minimal on dialogue allowing his presence and the atmosphere of the film to carry the Driver’s weight. The performance alone is very understated and low key, but not skimping on intensity or humanity. His carefully chosen words hold purpose, and Gosling’s soft spoken delivery forces an audience to focus their attention closely. Sometimes, a lack of dialogue can bring a mystique and an intriguing quality to a character, and Gosling sparks that magic. His performance allows you to read more into the man instead of him telling you about who he is, and that’s not an easy thing to pull off. The scenes where the Driver and Irene are together bring a subtle charm and heart to the surface. You see the brightness in the soul of this character that contrasts, and later, compliments his grittier, darker side. When he has to become that more intimidating, brutal person later on, Gosling has no problem being convincing. You can feel his visceral intensity permeating the screen. I was impacted hard by those razor sharp moments, and this all comes together in a rock solid piece of work by Ryan Gosling. This is my first exposure to his talent, and I couldn’t be more blown away. Also, wrapping him in that Scorpion jacket is just wickedly cool.
Carey Mulligan puts in a gracefully beautiful performance. She and Gosling have a fine chemistry that gives the film its warmth and purpose. Their performances reflect nicely off of one another with heart and subtlety. She never has to say a word to reflect Irene’s emotional conflict over her feelings between her husband and the Driver. Mulligan touchingly shows that in her eyes and expressions, and how she gravitates to this new charming, under spoken man in her life. It’s an engaging and inviting piece of work.
Albert Brooks is a shocking powerhouse heavy here. He’s intimidating as all hell while still having his light hearted, humorous moments. Still, I never stopped getting that shady feeling from him that he was a mob boss that could slash your wrist or stab you in the eye with a fork without batting an eyelash. There’s such a fine line the character treads that Brooks walks with ease. Even when he’s being friendly, there’s still that sense of unease behind everything he says, and even before you know he’s a mob boss, you get the feeling that there’s something not entirely straight about Bernie Rose. For me, he ranks amongst the best like Christopher Walken in True Romance or Robert Prosky in Thief. He can turn from being your best friend to your absolute worst enemy in half a heartbeat without even seeing a shift in the character’s manner. It’s all rather matter of fact with him, and Brooks carries the appropriate weight to achieve these character traits throughout the picture. I love Albert Brooks’ performance supremely.
The supporting cast is also finely textured. Bryan Cranston has a broken down heartfelt sympathy as Shannon, the mechanic and former stuntman that aids and endorses Gosling’s character. He’s a good natured person who gets in too heavy with the wrong people, and you can’t help but feel for him when things turn worse. Ron Perlman’s gangster character of Nino is interesting. He’s a Jewish man trying to make himself out to be an Italian mobster. It’s not an overt part of his performance, but it ties into Nino’s motivations for being a “belligerent asshole,” as Bernie Rose puts it. Nino has plenty of bravado and ego, but not a lot of good sense. Perlman nicely inhabits those qualities with plenty of enthusiasm. Oscar Isaac does well as Irene’s husband Standard. The character clearly stands out as a person stuck in a number of unwanted situations. These criminals are violently pressuring him to do this job for him to pay back his debt, and it’s subtlety obvious that his wife does not want to be with him, anymore. Isaac shows the character’s regret well, and comes off more of a sorry man than a sympathetic one. He’s a guy that’s made a mess of things, and knows nothing will ever be okay ever again. The damage is done, and he’s just trying to sweep it under the rug as neatly as possible. However, he’s endangered the lives of his wife and son, and the Driver has no sympathy for the man. He only helps him out for the benefit of Irene and Benicio. These actors all add a strong array of emotion to the film which heightens the tone and atmosphere.
Now, speaking of atmosphere, the score constantly hit me as something very akin to Tangerine Dream’s score for Risky Business. It has that very light, dreamy quality to it most times, but does delve into very dark, heavy territories. There are foreboding, tense moments in this score that are just mesmerizing. Cliff Martinez crafts a deeply enveloping auditory experience which soaks into nearly every fiber of the film, but the filmmakers pick key moments where silence holds more weight than a soundtrack. The collection of songs in this film retain that 1980s ambient synth-pop quality, but have a modern quality that is beyond my ability to articulate. From my own independent filmmaking experiences, I know how insanely difficult it is to find modern original music that sounds like it came from the 1980s. So, the fact that music supervisors Eric Craig and Brian McNeils discovered and assembled music of this amazing style and quality impresses me to no end. I purchased the CD soundtrack, and it now ranks as one of my absolute favorites of all time.
The chase scenes of Drive are masterful. The first one is exceptionally smart being tactical in evading the police instead of going for outright action. That aspect come later after the botched robbery. It’s short and to the point being very slam bang intense, and not over indulging in itself. The opening sequence is exceptionally refreshing by being intelligent. On top of being realistic and smart, it is an excellent introduction to our main character showing his precision as a getaway driver. These scenes are expertly shot accentuating the distinct tones and tensions of both sequences.
When this film gets brutal, it holds nothing back, and hardly goes in predictable directions. The Driver never relies on a gun, and instead, goes with blunt force trauma to inflict violence upon people. The scene where he goes into the strip club wouldn’t be nearly as effective if he just brandished a gun the guy’s face. When you see the Driver pull out a hammer, you know this is going to be dead serious business, and it’s not going to be pretty. It’s a startling, powerful sequence which further propels the character’s threat level. He’s not just some cool headed amazing driver, he’s a dangerous man not worth crossing. The violence overall is graphic and gory, and shockingly unsettling. Emotion just pours through these scenes.
I am further floored by the cinematography talents of Newton Thomas Sigel. I’ve previously reviewed his work on The Usual Suspects and Fallen – both gorgeous films with their own identities. Drive is no different. No shot is ever wasted, and every composition is chosen with purpose. How the film is shot reflects the artistic vision realized with the music, acting, and editing. The film has inspired moments of absolute cinematic beauty due to Sigel’s artistic brilliance. The elevator scene late in the film is a magnificent example of this. The lighting and color tones used throughout create rich visuals which enhance the film’s atmosphere further.
This is a film where every element is cohesively used to create a powerfully enveloping experience. The conservative editing style of Matthew Newman allows Sigel’s shots to hold their weight, and establish a somber or rich tone that draws an audience into every moment. The music enhances those moments to create a wonderfully vibrant sonic quality for even the most still or fluid sequences. I haven’t seen a film like this since Manhunter. The music plays such a prominent role in creating a rich atmosphere that is as in the forefront of the picture as the actors. Each aspect is integral towards what is a wonderfully engrossing motion picture.
Drive is something which shows what independent film can do. It takes chances. It goes for a filmmaking style that has not really been around in more than twenty years. It takes an immensely effective way of crafting and presenting a film that a major studio would likely not embrace. It’s an intelligent, fresh, and creative film that feeds the senses. It gives you white knuckle action, a heartfelt romantic storyline, strong character drama, graphic brutality, gorgeous cinematic moments, intelligent writing, amazing performances, and a beautiful, exciting soundtrack. It’s hard to imagine all of these phenomenal visual and auditory elements coming across in a screenplay, but Hossein Amini clearly wrote something truly inspiring on those script pages to inspire the amazing film we ultimately got. I know nothing of the James Sallis novel this was based on, but clearly, the written word captured the vibrant imagination of these filmmakers. I will admit that Drive is not a mass audience movie as it requires an appreciation for a certain filmmaking style, but for those that love a slick 1980s style crime thriller that utilizes strong atmosphere and a prominent synth-pop soundtrack to wrap you up in its story and characters, this is absolutely for you. In my view, Drive is a meticulously crafted masterpiece of cinema born out of a bold vision from director Nicolas Winding Refn. I love this film thoroughly, and I cannot give it a higher recommendation than that.
By happenstance, it seems that I prefer the even numbered Paramount Pictures’ Friday The 13th films over the odd numbered ones, and this is no exception. I won’t deny there are large flaws with this film, but it basically comes to whether or not I have an enjoyable time watching the film. For Jason Takes Manhattan, I find a great deal of enjoyment from this, and tend to find myself watching this one most often when I just need a fun, easy slasher to watch.
The graduating class of Lakeview High is setting out on a cruise to New York, but after a late night diversion by two students out on Crystal Lake, Jason is electrified back to life for an unexpected journey. Rennie Wickham (Jensen Daggett) is among the classmates with her uncle and biology teacher Charles McCullough (Peter Mark Richman), her caring literature teacher Colleen Van Deusen (Barbara Bingham), and boyfriend Sean Robertson (Scott Reeves). Unfortunate for everyone on board is that Jason has hitched a ride on this ship which is sailing straight into a storm. Jason stalks through the ominous, closed quarters of the S.S. Lazarus until the survivors are forced to abandon ship, but even the harbor of Manhattan, New York is not safe for them. Jason Voorhees continues his muderous rampage through the streets of New York as Rennie continually gets chilling flashes of a young Jason which will lead to a personal revelation from her past.
The reason why I like this entry while so many trash it is because it’s quite fun. There plenty of enjoyable characters portrayed by actors who do seem like they were having a fun time making this film. I also truly like the idea of trying out some new ideas and breaking free of the old environments. Unfortunately, there was vast potential wasted due to the film’s budgetary constraints. Writer / director Rob Hedden explains in the film’s DVD commentary track that his original script had sequences taking place at numerous New York landmarks including Madison Square Garden and the Empire State Building, and the New York part of the story would dominate the film, leaving a much abridged section on board the S.S. Lazarus. Regardless of what might’ve been, the film we are left with has definite problems which have to be addressed.
The lack of gore is obvious. Too many off-screen kills make for a more bland slasher movie, but at the time, the MPAA were being very unrelenting with horror films. Filmmakers had to hack n’ slash the gore from their films so badly, the entire genre suffered. Granted, these slashers becoming more campy and less scary attributed to their lack of effectiveness, but the low gore levels didn’t help matters. Still, this film has a few memorable kills with both the electric guitar and boxing decapitation kills. It really is more in their inventiveness that make them memorable than any use of blood or gore. Of course, the entire toxic waste flood taking out Jason with the intent of this being last Friday The 13th movie, ever, is very cringe inducing. Some of the greatly more horrid footage from this scene was very thankfully discarded. New Line Cinema does have to be thanked for not allowing this to be the ultimate cinematic demise of Jason Voorhees.
I will surely admit there is some bad acting in this film, but I feel it’s limited to a few minor roles. Our main array of characters are very lively and amusing. I highly enjoy spending time with someone like Julius who has some bravado and charisma, even if the performance can be a little over the top at times, but I don’t view that as a negative in this film. Saffron Henderson’s J.J is a vibrant 1980s hot rocker who I felt departed the film far, far too early. Wayne, the aspiring filmmaker, is also nicely geeky without becoming stupid or obnoxious. These are characters that just add charm and a little bit of heart to the film. Peter Richman’s stern, uptight McCullough is a great foil in the film that you can love to hate, and his veteran acting skills really benefit the role nicely. Barbara Bingham brings some heartfelt motherly concern to Ms. Van Duesen as she tries to be an emotional counsel to Rennie. Scott Reeves meshes decently well with the film’s female lead in Jensen Daggett. Of the whole main cast, he’s probably the least noticable likely due to not having as much on the page to work with.
I do strongly feel that Jensen Daggett is among the best heroins of the series. Rob Hedden gives her a very nice psychological storyline to deal with that ties into her own personal history, and links it up with Jason at the same time. This gives her a sense of personal determination later on to defeat Jason. Daggett gives Rennie a nice breadth of innocence and likability without losing her strength. At the time of this film, she felt like a fresh faced young woman with a lot of potential and warmth. There’s a fine range of emotions built into the character of Rennie, and Jensen Daggett proved to be a nicely talented choice to handle those demands. I’ve always enjoyed what she had to offer in this role, and I feel she carries the forefront of the film very well.
Kane Hodder steps into the Jason role for the second time, and does what he does. He surely looks more into the performance than in his later outing where he would over-accentuate certain character traits. The only thing I think makes this return performance a little inferior to the debut one is just the trappings. The violence is not as hard edged, the tone is not as heavy, and the appearance of Jason is scaled back a great deal. So, it is a consistent Hodder performance, and a rather effective one, regardless. I do have to say that the “teleporting Jason” style of editing does not strike me very well. It simply succumbs to no logic. The dance floor scene could be explained by an artistic license to reflect the disorientation of Kelly Hu’s character amongst the blaring music and flashing lights, but Jason consistently shows up in places ahead of other characters were he should be lagging far behind. It does tend to bother me when watching the film, but only in those brief instances.
Regardless of such facts, I do feel Rob Hedden did an admirable job directing this film. He had the imagination and initiative to try something new with transplanting Jason into new locations, and it feels refreshing. Eight films in, and you need some new ideas to keep it interesting. Of course, you can take it into really bad territory, such as with Jason X, but I digress. I know Hedden could’ve made the film one thousand times better if he had the budget to realize his original script and ideas. Not to mention, a chance to retain more of the blood and gore in the final cut. Unfortunately, what’s done is done, and you’ve gotta live with it. The suspense in the film is decent, but is compensated for by a nice array of exciting or startling sequences. Instead of the usual third act chase through the woods, we get Jason stalking Rennie and Sean through the urban landscape of Manhattan on the streets, in the subway, and ultimately, through the sewers. That money shot of Jason standing in the middle of Times Square is just priceless. Even though most of the film was shot Vancouver, British Columbia, this moment in the film truly adds a sense of credibility and scope to the film.
Fred Mollin takes full reins as composer for this film, and like his work in The New Blood, I find it very good with a heavier, more haunting and relentless style than Manfredini’s work. Both Mollin and Rob Hedden worked together on television’s Friday The 13th: The Series, and I think that helped their creativity to jibe well together. The tone of the film is definitely enhanced by the score, offering one of the better works of the series. Manfredini’s work has never really impressed me. It tended to feel very one-dimensional, ringing the same bell over and over again. There would be beautiful moments on rare occasion, but Mollin’s work seems to have a bit more depth, accentuating different styles of tension, suspense, and horror with more effectiveness. Mollin also co-wrote the two songs that J.J. jams on early in the film, but it’s been revealed by his collaborator Stan Meissner that pretty much everything that was recorded for those tracks appear in the film. That’s a bit of a shame since they are very stellar hard rocking tunes with a great 1980s pop sensibility. They really have “hit song” written all over them, and I would buy them up in an instant if they were released as complete songs. Mollin would reuse one of these tracks when he scored the pilot episode of Forever Knight a few years later. The track “The Darkest Side of the Night” by Metropolis is one that I really love, and sets a good, yet different tone for the opening and closing of this film. It is commercially available from their “Power of the Night” album, but not widely or easily so.
While there are instances of a lighter tone sort of playing up Jason’s iconic status, much of the film has a rather haunting and unsettling tone due to the psychological and hallucinatory aspects of the story. Rennie’s visions of the young, deformed Jason are creepy, and give the film some dramatic weight. Rennie herself doesn’t know what’s happening, and the audience has to learn the reasons why alongside her. I just find the tone fresh and inviting along with much of the ideas Rob Hedden mixes into the old Friday The 13th formula.
All in all, the film really is entertaining and enjoyable. It offers some good brutality, but lacks the proper gore level for a Friday The 13th film. By today’s standards, these severely cut down slasher flicks are rather tame. They could almost pass for a PG-13 rating these days, but there are enough creepy and unsettling moments to sway it otherwise. In any case, despite the poorly conceived ending for Jason, I do find this to be a good, worthwhile way to spend a fun, laid back 90 minutes. With the consistently shrinking box office takes for the franchise, Paramount Pictures decided that this would be the end of Jason for them. I’m sure anyone anticipating a glorious swan song for the character would’ve been grossly disappointed even more than the failure to widely deliver on the film’s New York-based premise.
I fondly remember catching Jason Takes Manhattan late night on the USA Network in the early 90s, and it was always great when there would be a Joe Bob Briggs MonsterVision marathon of the films in the late 90s. Despite all the ups and downs, strengths and weaknesses throughout the Friday The 13th films to this point, they are all classics of the genre, and sparked the whole 1980s slasher film trend that it rode out to the very end of the decade. By 1989, it was hard to call any franchise the reigning king of the genre, but Friday The 13th surely was the juggernaut and iron man of the bunch. While Jason Takes Manhattan is not the strongest film one could’ve hoped for, it’s a decent entry with a few flaws that I can generally overlook. Kane Hodder maintained Jason as a force to be reckoned with, and unlike a character like Freddy Krueger, the integrity of the character can never be damaged by humorous or off-beat approaches. Jason will always be as bad ass as he ever was no matter what type of film you put him in. Of course, it’s still hard to get over Jason X, but thankfully, I have one more favorite in the franchise to spotlight before confronting that film, again.
I grew up on Star Wars. Being born a matter of months before the theatrical release of The Empire Strikes Back made that inevitable. The first of the films I saw theatrically was Return of the Jedi, and I have vague recollections of the experience with loud noises and the unsettling image of the unmasked Darth Vader (for a three year old, it was like A Nightmare on Elm Street to me). These films have been part of who I am for as long as I can remember, and I feel it’s about time I share my thorough thoughts on the entire saga. With the 3D theatrical re-releases on the horizon, it seems timely. I don’t plan on seeing them in 3D, and I do not own the Blu Rays at this point. When reviewing the prequels, it will be their original DVD versions. When reviewing the original trilogy, it will be the original theatrical versions. I have many editions of the original trilogy on VHS & DVD, but this is about what I grew up on.
For The Phantom Menace, I was part of the madness in 1999. I stood in line with a lawn chair, a brand new CD Walkman, and a sunburn to get advance tickets for opening night. I ended up sitting next to a guy dressed as Darth Maul that first night, and I did see the film multiple times in theatres. However, with time comes perspective and maturity. I know everything that needs to be said about this film has been said, but this is a forum to share my thoughts. It also an opportunity to express what these films mean to me. So, this is not me trying to add to a worn out battle cry against this film. I’m just here to offer my point of view. All eight pages worth.
Two ambassadors from the Jedi Order, Qui-Gon Jinn (Liam Nesson) and his apprentice Obi-Wan Kenobi (Ewan McGregor), are sent to the planet of Naboo to resolve a trade taxation dispute. The politically powerful Trade Federation has setup a blockade of battleships around the planet to force their position, but they are actually working with someone of ulterior motives named Darth Sidious. Viceroy Nute Gunray works on his behalf to manipulate the young Queen Amidala (Natalie Portman) to give into their treaty, but the Jedi soon learn of the Federation’s invasion army. After surviving a battle droid attack, Qui-Gon & Obi-Wan escape to the planet’s surface where they are joined by the bumbling Gungan outcast Jar Jar Binks (Ahmed Best), and rescue the Queen and her contingent to escape the planet. With their ship damaged, they land on the outer rim desert planet of Tatoonie where they try to barter for replacement parts, but they are soon hunted by Sidious’ apprentice Darth Maul. On this planet, Qui-Gon discovers Anakin Skywalker (Jake Lloyd), a young slave of the junk dealer Watto who has unusually strong Force abilities. Qui-Gon believes Anakin could be the one prophesized to “bring balance to the Force,” and later champions him to be trained as a Jedi. However, the Jedi Council is apprehensive about the boy’s future sensing danger and fear in him. Meanwhile, Naboo Senator Palpatine (Ian McDiarmid) tries to coach the young Queen in the political matters of the Senate, and manipulates her into forcing Supreme Chancellor Valorum (Terence Stamp) from the head of the Galactic Senate. Eventually, all things converge back on Naboo where Queen Padmé Amidala attempts an assault to end the invasion and captivity of her people, and for the Jedi to learn the truth of whether or not the Dark Lords of the Sith have returned from a millennia of extinction.
What really strikes me about this story, beyond plot holes born out of illogical actions, is that there is no central main character. With the original Star Wars, it was crystal clear that Luke Skywalker was our hero that would guide us on this journey through a galaxy far, far away. It was his arc that was mainly at play as he goes through emotional trials that would forge him into a heroic figure. I have never seen any character arcs in The Phantom Menace. No one ends up any differently from when the film began to when it ended. They don’t evolve and grow into something more than they were before. The film has no prominent focus on any one character. Looking at the saga as a whole, perhaps it should have been Obi-Wan Kenobi’s arc. The film would show an eager, young Padawan who matures from student to mentor, truly earning his stature as a Jedi by the end by facing the breadth of this adventure alone. Unfortunately, he’s left out of the meat of the story and action so much that he ultimately has little to say for himself. Ewan McGregor is an exceptional actor with a wide range of talent who could’ve carried this film quite well, as he demonstrated in the following two films. He does have flourishes of endearing charm that create some bright moments, but his potential is sadly suppressed to a minor supporting character. Earlier drafts had it where Obi-Wan actually was the one mainly involved in the story on Tatoonie, and he forms a bond with Anakin championing his path to becoming trained. That would actually follow what was stated in Return of the Jedi¸ but for whatever reason, George Lucas decided to overhaul continuity in the prequels. It is clear that the way Lucas potentially envisioned the prequels in the early 1980s was very different from how he saw them in the late 1990s.
Anakin is an even less likely main character since he doesn’t enter the story until forty minutes in, and once they’ve left Tatoonie, he becomes mostly a background character. Jake Lloyd certainly didn’t have the spark of great talent that Lucas’ friend Steven Spielberg is usually able to find in his child actors. Lloyd makes Anakin almost a nuisance in the film. He can become quite annoying acting like some kid on a rollercoaster ride instead of someone of mythic potential. I would’ve anticipated a slightly more matured Anakin, despite his youth. Someone that showed not just strength with the Force, but someone with the character traits to be the “great Jedi” Obi-Wan speaks of in the original trilogy. Ultimately, Anakin never stops being the whiny annoyance he started out as until he is voiced by James Earl Jones as Darth Vader. Here, not having Obi-Wan or Anakin as a main character works to the detriment of the prequels since their relationship is the linchpin of the saga.
This leads us over to Qui-Gon Jinn. I really have a generous amount of respect for Liam Neeson. He always does admirable work, and I have enjoyed his wave of action thriller successes in recent years. With Qui-Gon, it’s hard to say much about him. He’s stoic and little else. There are brief, light touches of heart, but they lack substantial depth to be impactful. Knowing Lucas’ direction style, I would definitely have to say that Neeson wasn’t given the proper direction to breathe appropriate life into the character. Given the right context and perspective on Qui-Gon, I believe Neeson could have brought more depth to him. Qui-Gon is the mentor, and I suppose he is meant to act as some form of main protagonist, but there’s not enough bold dimension in the characterization for him to standout amongst the blandness of the film.
Another amazing actor that occasionally comes off like a dull wooden board is Natalie Portman. Anyone who has seen Léon (aka The Professional) knows that Natalie has had a wealth of stunning acting ability from an early age, and that talent has continued to flourish to this day. She is one of the finest actresses around, and has been so for a long time. She could’ve done so many impressive things with Amidala had she just been given something of substance to work with. Instead, it’s all dry political ramblings that never give Portman an opportunity to break out and show some character depth. There’s a little of that in her scenes with Anakin where the humanity of the character surfaces, but that’s not in the forefront of the picture. It’s definitely there to lay the groundwork for the following two films where Anakin and Padmé develop a relationship, but outside of that, she seems almost robotic. As the Queen, her line deliveries are entirely monotone, reflecting no humanity, concern, worry, or urgency. I believe some of her dialogue was overdubbed by another actress due to Lucas’ intention to maintain the ruse of the bodyguard decoy scenario. As Padmé, Portman does have more natural warmth, but I know she’s capable of much more than what I saw here.
George Lucas is not an actor’s director, and that tends to be his biggest failing. I think he’s a great producer. He manages all aspects of production with confidence, decisiveness, and skill, but he just doesn’t know how to bring greatness out his actors. An actor brings their own talent to the table, but it is the director’s job to focus and filter that talent into a unique performance. Without that, an actor has no guidance to know what to put into their character. George’s writing also leaves something to be desired. Sometimes, you get a Harrison Ford who just gets it right from the start because the character practically wrote itself, but for potentially more complex roles, it needs more on the page. You can’t expect every actor to simply see more than what’s written. It requires the director’s input to make it more than that, but Lucas simply doesn’t know how to approach those interactions.
However, the one actor who really shows something of substance and nuance is Ian McDiarmid. While the story follows no reason or logic with the schemes of Palpatine / Sidious, McDiarmid captures a subtle subversive quality that makes him intriguing. While the film never blatantly states it, the two are one in the same, and McDiarmid clearly integrates that into how he plays Palpatine. He’s a man with sinister motives playing out in the back of his mind while keeping up the friendly personae of Senator, observing and manipulating people and events to achieve his goals. McDiarmid brings Palpatine’s ominous perspective into his performance adding the right touches of restraint and foreboding malevolence to draw in an audience’s attention. You can see in McDiarmid’s subtle expressions the moments where Palpatine’s plan is coming together, and he relishes it with silent restraint. Conversely, as Darth Sidious, McDiarmid captures a straight up villainous and intelligent performance that is quite unsettling. As the prequels went on, Ian surely delved wholly into the character playing up the feigned sincerity nicely, and having a broader canvas to work with than others were given latitude to do.
Now, the original trilogy were groundbreaking films in special effects that revolutionized the industry. That’s a big reputation to live up to, and the success here is a little mixed. This was 1999, the same year The Matrix was released, and while I’m no major fan of that film, it’s achievements in digital effects were more consistent and eye opening than The Phantom Menace. It’s difficult to be entirely fair since the DVD transfer of Episode I is not the best. The film comes off a little too grainy to grasp the clarity of the visual effects, and it has this odd pinkish hue. Generally, the visual effects are quite good for 1999, but the leaps and bounds taken in CGI evolution would allow the following two prequels to be vastly superior in that area. So, in comparison, The Phantom Menace looks a little undercooked in the visual effects realm. It’s not a constant, but as I said, it is a mixed bag. Most stuff is great, but some things just lack detail and depth. Many of the hover tanks in the Gungan-Droid battle often look like an animatic or something from an old video game. I would hope that these issues would be resolved with the Blu Ray and 3D releases, but Lucas doesn’t always fix what you think he will. On the positive side, many of the computer generated characters are impressively detailed, creating very finely textured creations. While Jar Jar is an insufferable character that grates on my nerves incessantly, visually, he is an amazing achievement. If he had been as good of a character as Gollum from The Lord of the Rings, maybe people could give more credit to the CGI work put into him.
Production design here is quite impressive. Naboo is certainly a world with a lot of culture and sophistication, and that comes out in the architecture and their design of technology. The capital city of Theed is exceptionally picturesque partly due to the location shooting in Caserta, Italy. Coruscant entirely captures the intended scope and scale that Lucas always wanted for Star Wars. There is an inevitable Blade Runner influence here, but instead of smog, rain, and industrialism bearing down upon the environment, Coruscant is a perfectly wondrous planet that stands as a beacon for the entire Republic. However, I can’t say I care much for anything surrounding the Gungans. Every element of them just seems to pander to the child audience. It is sufficiently alien, but there’s just too much of a cartoonish element to all of it to accept it as anything but child oriented. There is nothing about them that I can take seriously in their culture, characterizations, or dialogue.
Focusing more on the story itself, I find it quite dull and illogical. I could probably write, at least, ten pages worth of criticism about the plot holes in this film, but let me dig into what’s most annoying to my intellect. The actions that different characters take have no sense to them. Darth Sidious orders his minions along a certain course of action that should lead to the opposite outcome for himself, but because all the characters apparently just read the script so that they can follow along an illogical course of action, it all works out right in the end. Sidious wants the Trade Federation to force Queen Amidala to sign a treaty making their blockade legal to the point of invading the planet, but if they had succeeded in doing so, Palpatine could not have achieved placing himself as the head of the Galactic Senate. Palpatine could not have foreseen all these plans going awry where the Jedi Ambassadors survive the Federation’s assassination attempt, escape to the planet, run into Jar Jar, make a deal with the Gungans for passage through the planet core to arrive in Theed just in time to rescue the Queen, and escape the planet through the blockade of battleships so that Amidala could reach Coruscant to ask for a vote of no confidence in Chancellor Valorum. That is an impossible series of events to foresee or predict when your plan is clearly setup to kill the Jedi and keep Amidala locked up in a prison camp while keeping the Senate blind to what’s really happening on Naboo. My only conclusion that allows this to make any sense is that Palpatine and Sidious are split personalities with conflicting motives intent on screwing each other over like a pair of warring siblings. Obviously, that’s not the truth of the matter, but I can’t find a rational stream of consciousness to resolve this issue. If Palpatine was playing both sides, pretending to help the Trade Federation as Sidious while actually focusing his success on Queen Amidala’s side so that he can ultimately seize control of the Senate, that would’ve worked brilliantly. He would really use the Trade Federation as ignorant pawns who were always meant to fail for Palpatine’s further success. He would get them to setup the blockade, but then, sabotage their plans from the inside out so that Amidala can easily escape to Coruscant and set the political stage for Palpatine to ascend to Supreme Chancellor. Instead, every action Palpatine initiates is towards the ends of supporting the success of the blockade. Sending Darth Maul to hunt down and attempt to kill the Jedi and drag the Queen back to Naboo to get the treaty signed is entirely counteractive to Palpatine’s endgame. And this is the entire plot of the movie!
Other plot holes arise from the need of Lucas to make the characters dumb as a post so they make moronic decisions that move the so-called plot forward. A single vote of no confidence from one representative of one planet out of thousands of governments, star systems, and planets immediately usurps Chancellor Valorum from office, and forces a new Supreme Chancellor to be voted into service. I always say that the system works, it’s just the people within it that make it suck. Here, the system sucks, and the people within it are stupid. I can’t imagine how a government body like this could actually function if all it takes is for one person to voice their loss of confidence in its leadership. You’d be voting in a new Chancellor every week. Worse yet, this is not the last time this ridiculous plot device will rear its ugly head.
Further ridiculousness comes on Tatoonie as Qui-Gon goes to one dealer to find the parts they need, and then, since that dealer, Watto, won’t accept Republic currency, Qui-Gon simply gives up trying to locate the parts elsewhere. Just because Watto says no one else would have these parts doesn’t make it true. I wouldn’t trust Watto to be an honest businessman for a nanosecond, especially when he has a young boy and his mother as slaves with explosive devices implanted in them. He’s clearly not moral or ethical. So, why trust him to be an altruistic salesman? Qui-Gon could’ve attempted to charter passage off Tatoonie like the elder Obi-Wan and Luke did in the original Star Wars, but again, the script requires the characters to be intellectually stunted so that the incoherent plotline can be furthered. Because of this, all cunning and ingenuity that could’ve been injected into these characters to make them smart and innovative in tight situations is discarded. These brain dead moments happen again and again and again in nearly every scene. I have seen hundreds of films, and many bad, horrible piles of cinematic trash. However, I can’t recall experiencing a film with such a shoddy script with dozens upon dozens of plot holes that mutilate all common sense from its pages. It’s not like the plot is that interesting to really sacrifice intelligence for it.
I also have to say that Anakin Skywalker being the creator of C-3PO was ridiculous. It adds nothing to anything in the saga, and is a pure fan service addition that, again, has no intelligent thought behind it. A protocol droid is good for language translation and little else. Shmi Skywalker has no practical use for such a droid, and I don’t know how anyone could believe otherwise. And the fact that he builds the exact same droid that is mass produced throughout the galaxy seems stupid. A real world allegory is that when people build their own custom personal computers, they don’t go constructing exact replicas of something they could’ve bought at Best Buy. They customize it to their needs so it is a optimal tool for the work they need to do. If Anakin had any ingenuity, he would’ve built something entirely original that could assist his mother with daily chores. A protocol droid is not designed for manual labor.
Of course, I also have to address the sad attempt at humor in this film. You see, in the original trilogy, the humor really arose from conflicting personalities and witty banter in heightened situations. It could be a little immature, but Han Solo was a little immature at times and Luke was on a journey to maturity. So, it fit the personalities of the characters. Here, the supposed humor is so blatant and in your face, it’s not funny. It’s like a bad stand-up comic trying too hard for a laugh through cheap physical comedy. Jar Jar is here only for stupid comedic antics. Yes, he is a conduit for certain plot developments, but this film already demonstrated that logic holds no substance here, so, I’m a little surprised he has any plot related function at all. Everything he does is clumsy slapstick humor which couldn’t be more out of place for this saga. Star Wars was originally created with the idea of bringing mythology into the modern era as adventurous films for the whole family. I’m sure poop and fart jokes were not part of Joseph Campbell’s The Hero With A Thousand Faces, a book of mythological archetypes that heavily inspired Lucas. It really is sad how far George had degraded his standards for entertainment here. He went from creating a fantastical world of colorful, iconic characters and thematic mythology-inspired stories to a world of flat, dull, lifeless characters that are devoid of intelligence and humanity in ass-backwards stories that follow no reason or logic.
Despite all this, people still thought there was something cool and awesome to be had in this movie in the form of Darth Maul. I respect Ray Park’s athletic talents immensely, but it is only that mixed with a very stunning character design that makes Maul cool. He has no character. He’s a plot device to make a few action sequences dynamic. He’s a henchmen with nothing to say for himself, and nothing of substance to add to the story. Maul exists because Sidious needs a competent ally to go out into the field and do his dirty work him. Yes, he makes himself intriguing through an air of mystique, but frankly, as soon as he departs the film, none of it matters. He’s a disposable villain whose loss makes no impact on the story because he never added anything to it. This is different from Boba Fett who had a cunning role in The Empire Strikes Back by outsmarting Captain Solo’s escape plan, and actually had something to say for himself that reflected a sense of character, personality, and attitude.
The action sequences are a little mixed, but mostly excellent. All the lightsaber battles are amazing! The choreography of these segments show what fully trained Jedi could do, and what a fully capable Dark Lord of the Sith could accomplish. They are dynamic and exciting, but they can seem a little too choreographed at times. I see many behind the scenes featurettes on action movies where they strive to maintain a spontaneity to their fight choreography. While it is all well rehearsed, the choreographers, stunt performers, and actors focus on keeping it real in the moment. They inject character and emotion into those moments so it never looks to be so ‘by the numbers.’ The lightsaber battles can tend to come off like a dance instead of a physically intense series of actions and counteractions where a single error could cause doom. It lacks emotion and danger. It also lacks a psychological aspect due to the absence of dialogue. Before, there would be Darth Vader or later Dooku trying to play mind games through cunning dialogue and strategic intimidation. They would try to put their Jedi opponents off-guard this way, and it made for a more multi-dimensional fight.
Meanwhile, the space battles are okay. There are very few of them, and none of them really capture that urgent speed and suspense that most others in the saga have offered. The climax ultimately gets sliced up too thin between four interconnected action sequences to really give enough coherent importance to more than one. That being the Jedi versus Sith lightsaber duel, and it’s the least consequential fight of the film since there’s nothing at stake between Qui-Gon, Obi-Wan, and Maul. Regardless, its speed and physical intensity give it the rousing action sensation that was needed in more abundance here. The film starts so slowly and flatly laying out plot elements and briefly introducing a few characters while pouring out redundant dialogue that there’s not enough momentum to keep the film going. It has a consistent pace, but that pace is a bit too sluggish here without anything of importance happening. A methodical pace is workable when, like in The Empire Strikes Back, you are getting character development. The Phantom Menace has no substantive character development. Anything you learn of them is really surface stuff, very one dimensional insights.
The Gungan-Droid battle is uninteresting to me since I don’t care about the Gungans or the Droid Army. It also comes off highly cartoonish and pathetically unfunny. I wish like hell there was a way to excise this from the film, but Lucas himself realized that plot elements were too interwoven to do such a thing. Another frivolous action sequence is the pod race. It’s gratuitous in my eyes. Theatrical or DVD cut, it’s far too long for such a minor element in the story. This is not some sports movie where the entire film builds up to this critical sequence where everything is laid on the line, and all character, story, and emotional threads tie into it to make it pivotal and crucial. Yes, it determines whether Anakin goes free or not, but Qui-Gon had already well demonstrated how much he was willing to cheat and manipulate events to get what he wanted. I have no doubt that he would’ve done something unethical to free Anakin even if he had lost the race. Simply said, the pod race overstays its welcome, and once it is done, it has no further relevance to the film. Never has such a fast paced sequence slowed down a film so much.
On the brighter side, as is always a highlight that elevates the quality of any movie is John Williams’ score. “Duel of the Fates” still is a brilliant, operatic piece that gives the climax a sweeping, epic majesty. It was a perfect composition that has always marked what I call, “where the movie really begins.” The only thing the score lacks is due to the lack of it in the picture is rousing adventure. The action sequences are few and far between, and so, it requires the score to be more in the background instead of crashing into the surround sound with heart soaring excitement. Regardless, I own two versions of the CD soundtrack including the two disc ultimate edition, and it is a fantastic listen. So, I give it high marks all around.
The only other thing to address are the midichlorians. You see, the Force used to be something entirely spiritual where it required great commitment and discipline to master. It’s a power anyone can tap into it if they are willing to open their minds and trust in it fully. Yoda spoke to this perfectly in The Empire Strikes Back in that the Force doesn’t rely on the physical. It’s all about the character of the person which determines how great of a Jedi they could become. Now, George Lucas tells us that everyone’s ability to use the Force is based on how many of these microscopic organisms are present in your bloodstream. This means you are biologically limited to how potent of a Force user you can be, and you can never become anything greater than that. No amount of spiritual strength or Jedi training you go through will make you as good as someone with more midichlorians in their body. That entirely crushes the sensibility the Force was originally built upon, and that is another terrible idea injected into a film already ripe with terrible ideas. Before, it was an inspiring idea and philosophy that added a fantastical quality to Star Wars that captured and enthralled peoples’ imaginations. Now, it’s cold science. Just like how I don’t need to know where immortals came from in Highlander, I don’t need to know the clinical origins of the Force. Magic is magic, and that’s all I need to know. And the fact that Lucas uses these midichlorians to say that Anakin Skywalker is the result of a virgin birth created by the midichlorians themselves is just a smack in the face to me. There was never any need to inject such an idea into the saga, and it has extremely little relevance to anything. It is only ever mentioned again in Revenge of the Sith by Palpatine, and it’s practically glossed over entirely by Anakin in that same scene. I suppose it’s meant to give Anakin a more mythic or prophetic aura around him that neither Jake Lloyd or Hayden Christiansen ever remotely live up to. While I’ve never had an overt issue with the whole “prophecy” aspect, it is another idea that Lucas developed exclusively for the prequels. This revisionist mentality is no surprise to anyone now, but frankly, it gets to being a bit aggravating in the prequels as George keeps altering the original trilogy to accommodate it.
That’s really the perils of making prequels. How do you introduce something new to the story that hasn’t already been said without betraying what has already been established? It is not impossible, especially considering Ben Kenobi’s line about “a certain point of view.” There are many things Lucas could’ve altered that could still be true if looked at from a different perspective, but nothing about prophecies, midichlorians, Qui-Gon (not Obi-Wan) discovering Anakin, or anything else can be taken in that way.
As I said, I could go on and on about the flaws and failures of this film that bother me, but this has already been an obscenely long review as it is. Still, it feels like I’ve only barely scratched the surface of it all. There are people who think we just don’t “get” the prequels as if we’re unable to accept them for what they are, and that’s why we rag on them. The truth is that we are fans who just expect a product with a little thought, care, and integrity be put into it. A plot that makes sense with smart, entertaining characters. Frankly, that is not difficult to deliver, but somehow, George Lucas failed on all fronts. Again, I enjoyed the film upon release in 1999 because I was just in awe of the spectacle, but as I have matured, I can see beyond that to focus on how poorly conceived this film was at its most base level. I’ve said for a while now that if this was the original first Star Wars movie, it would not have sparked the same phenomena that we have enjoyed for the last 35 years. It just doesn’t have the rousing adventure aspect or lively, iconic character qualities that made Star Wars so successful in the first place. I don’t enjoy watching this movie, and I don’t believe seeing it in 3D would give it any more actual dimension or entertainment value. My reviews on the entire saga will continue as the prequels do improve beyond this point, but flaws still exist. In one case, my fondness for one prequel film will allow for some forgiveness. In the least, I believe my following reviews will be no more than half as long as this one, thankfully.