AN INCONVENIENT TRUTH

"A Global Warning"

I just started reading Michael Crichton's novel "State of Fear", a complex tale about global warming. Although clearly a fictional tale, the novel does have evidential facts about climate change. Plus my sister had to write a whole supplement about the effects of climate change in the tourism industry. So I thought it would do me some good to watch this documentary presented by Al Gore. The film traces the former U.S. Vice President as he delivers his lecture on climate change to different colleges. His powerpoint presentation does present visual and graphic footage about the effects of this phenomenon. We are shown graphs, slides as well as real clips of natural disasters hitting different parts of the world like Hurricane Katrina and the tsunami which swept through parts of Asia. He does give a rather vivid and bleak picture about the future of our planet. It is a big problem that needs to be addressed immediately. Both by the industrialized countries, the huge corporations as well as every human being on earth.

So while Al Gore was effective in broadcasting this dire situation by presenting this documentary, it also served as some pat on the back tribute to himself. The documentary was interjected with clips/footage of his personal life. From black and white home movies of his childhood days in Texas to this campaign sorties when he ran for President and dismally lost to the current U.S President. It suddenly became the main focus of the film. This blatant self promotion to almost heroic proportions is what ruined the docufilm for me. He should have just stuck to the topic at hand - the ill effects of climate change to the environment! Perhaps (I am second guessing here) he wanted to highlight the campaign by making it more personal and less technical. Yet I got the distinct feeling he wanted us to applaud him for being brave enough to talk about a boring scientific topic. It was totally a shameless plug about his attributes. A pity because the scientific facts alone would have worked to convey his point across this widely distributed docufilm. Besides there I was watching this docufilm on a hot March afternoon. I was sitting in my room with beads of sweat running down my forehead and my back - that is all the proof I need that indeed global warming does exists!

THE WHITE COUNTESS

THE WHITE COUNTESS
Natasha Richardson, Ralph Fiennes, Lynn Redgrave, Vanessa Redgrave, Hiroyuki Sanada, Madeleine Daly, Madeleine Potter

This movie adaptation of the novel by Kazuo Ishiguro was the last collaboration between Ismail Merchant and James Ivory. The same author of "The Remains of the Day" regales us with a story set in Shanghai in the 1930s. A thriving yet chaotic period before the Japanese army invades Shanghai. The main characters are from very different spectrum of society. But all equally conflicted, flawed and fascinating bunch of characters in their own right.

Todd Jackson (Ralph Fiennes) is a blind American diplomat assigned in Shanghai. A troubled man prone to drinking in shady clubs. One day, he is 'saved' by a Russian countess, Sofia Belinskaya (Natasha Richardson) who has fallen on hard times. A single mother who also supports her aristocratic in laws by working as a bar girl in a dance bar/club. Jackson then decides to put up his own bar/club and calls it "the White Countess". He hired Sofia as the muse and the inspiration for his club. She acts as its hostess/receptionist. The diplomat and the Countess' relationship is pretty vague. They both try to keep it as professional as possible. Yet as the film progresses you can sense an underlying romantic factor developing between them. Set in such volatile times, Shanghai was a hotbed for a myriad of characters. You have the Communists, Taiwanese, foreign expats, diplomats as well as Japanese spies all mingling with each other. Jackson also strikes a deep friendship with a mysterious Japanese man named Matsuda (Hiroyuki Sanada from "The Last Samurai").

This love story takes some time to develop. In the first few sequences, we are introduced to the interesting mix of characters. James Ivory chose to reveal certain facts about the characters lives in installment. His technique was to use some flashbacks as well as in the dialogue of the film. The languages used were English, Chinese, French, some Russian and Japanese as well.

But the plot line itself is quite solid and flows effortlessly from one scene to another. It culminates in a gripping scene of intense action of people trying to escape as the invading Japanese army enters Shanghai.

The cast is a powerful ensemble of very talented British actors. Ralph Fiennes does well in his usual type of role - the anguished 'broken' man with a troubled past. His portrayal of the blind diplomat was forceful in a subtle way. Natasha Richardson was a luminous presence as the Countess Sofia. For a big woman she came across as quite sensual and feminine. They are ably supported by her own mother and her aunt, the indomitable Redgrave sisters, Vanessa and Lynn in small yet very relevant roles. Special mention goes to Hiroyuki Sanada as the mysterious Japanese spy Matsuda. He held his own against Ralph Fiennes in their scenes together. Their good repartee and healthy exchange of ideas gave the film some intellectual depth.

The White Countess is everything you would expect from a Merchant and Ivory production without the 'stuffy' factor. If you've seen their past movies, you'd know what I mean. It has well drawn characters, a solid plot and set in an era of uncertainty and despair. Yet despite and in spite of the tragedy, the film had depth and is very soulful, heartwarming rendition of the book.

BUTTERFLY ON A WHEEL

Pierce Brosnan, Gerard Butler, Maria Bello

"Lives will be broken"

It was released in the US with a different title "Shattered". But when I picked it up from the video store, it was marketed as "Butterfly on a Wheel".

I had no idea about this movie but its 3 main cast characters known for their good acting skills attracted me.

Abby (Maria Bello) and Neil (Gerard Butler) are a suburban couple whose lives are suddenly interrupted by a 'con artist' named Tom (Pierce Brosnan). He holds their little daughter hostage in their home as he demands the couple to do tasks on his bidding. He sits at the back seat of their car barking orders at them. Taking them all over town following his instructions. Most of the film is about these tasks they have to do. As the plot progresses you try to figure out what are the real motives of Tom. He is portrayed as this mysterious guy who suddenly shows up at their back seat one day when they head for town. Until the very last pivotal scene I have to admit I had no idea who, what, why Tom Ryan suddenly invaded Abby and Neil's seemingly perfect life. Then it is all suddenly revealed with not just one but two twists and ends just like the way it started. Gripping and shocking!

Shattered does truly best describe everything about the film. From the plot, the characters complicated lives, the dialogue even to the double twist in the end.
I mean that in a good way. The edgy plot was evolving at a good pace. The buildup to the climax was gripping and absorbingly clever. The characters true selves are revealed in ways you don't think possible. The cast gives credible performances. A movie that deals with trust issues, bitter conflicts, a betrayal, subtle vengeance and sweet redemption.

Not too complicated nor too easy to figure either. It makes for a good lazy weekend viewing within your comfort zone.

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MY LIFE WITHOUT ME

Sarah Polley, Mark Ruffalo, Scott Speedman, Amanda Plummer, Deborah Harry

The first time I came across the names Isabel Coixet and Sarah Polley was last year at the Spanish film festival. Their collaboration was for a film called "The Secret Life of Words". It was a deeply moving story presented in such a simple way. But the film still registers strong emotions within me several months after I saw it.

"My Life without Me" is an earlier film from the Spanish director and the Canadian actress which was released in 2003. It has the same simplistic approach in film technique with minimal sounds yet once again focuses on a heavy theme.

This time it deals with death. Ann (Sarah Polley) is a young mother of 2 daughters who lives in a trailer with her mostly unemployed husband. She works the night shift as a cleaning lady at one of the local universities. She is diagnosed with cancer yet hides her illness from her family. The story traces the measures she takes to live her life to the fullest while preparing for her impending death. Somehow despite such a gloomy subject matter, the film doesn't have a depressing tone. Instead it showcases Ann's efforts to put her life in order guided by a list of things she wants to do before she dies. Not worldly stuff like go traveling around the world, shopping sprees or feasting on gastronomic delights. Nope. Her list consists of trivial things like a new hair style, getting false nails, saying what you really want to say without worrying about hurting people's feelings among others. Naturally certain essentials like making voice tapes for her 2 daughters until their 18th birthdays and also finding a suitable partner for her husband. It is best you watch the film to see if she gets to do all the items on her bucket list.

The film is quite amateurish in some aspects. Certain shots are not properly framed. Sometimes I get the impression they used only one camera through out the entire film. But it doesn't diminish the fact that the story line is solid and concise. The plot never loses its focus.

There are steady acting performances from the cast. Notably Sarah Polley whose sad plain face can be quite expressive. You also have Mark Ruffalo, Debbie Harry (Ms Blondie herself) and Scott Speedman (from the TV show "Felicity") providing good supporting roles.

I figure sometimes it doesn't really take much technical or visual effects to have a moving, emotional (film) experience. Sometimes we rely on the jarring soundtrack or the fast paced action scenes to amuse our short attention span when it only takes a simple solid storyline to convey a message. In our own simple way we can live our life to the fullest without expecting too much or aiming too high for it.

THE KITE RUNNER

Khalid Abdalla, Atossa Leoni, Shaun Toub, Zekeria Ebrahimi, Ahmad Khan Mahmidzada, Homayoun Ershadi

Cinema 1, Robinsons Galleria

"There is a way to be good again" is the tag line of this film adaptation of Khaled Hosseini's bestseller novel. I figure it was alluding to Amir, the main character's chance at redemption after some disturbing pitfalls from his childhood. A period bound by a strong brotherly bond with his friend, Hassan a Hazara servant boy in his father's employ. But also a period marred with betrayals, distrust and failed misgivings. The tag line is contemplative and suits the gist of the story.

Unfortunately or fortunately as the case may be, I read Hosseini's gripping novel and I would say there is much to be desired with Amir's chance of redeeming his soul from his guilty past. I had nothing but contempt for Amir's weak nature when I read his story unfold page after page. Yet at the same time, I admire the author's narrative about Amir's life. You understand where this weakness stems from, why he has a very low self esteem. Everything Amir did was to become a better person in the eyes of his rather demanding father. Hassan was a vital part of his life yet at the same time Amir always felt inferior vis a vis Hassan's skills at kite running. Hassan in a manner of speaking had the "it" factor yet he also knew his humble position in society. Alright so I won't delve into a psychoanalysis of a flawed fictional character (Amir) and just go back to my impressions on the film.

I watched it with my fiance who didn't read the novel. He gave mostly positive feedback on the film. I do agree with his observations. It is a poignant tale of friendship during a period of great upheavals both for the characters and the troubled land they called home. It had endearing well developed characters especially the young Hassan. He is portrayed in the film by a young boy with such boyish charm you just want to reach out and give him a big hug. It was also interesting to watch Baba jan, Amir's father. His transition from a wealthy, respectable merchant in Afghanistan to a clerk in a convenience store in the US was a heartfelt performance. He was one of my favorite characters in the novel and in the movie too for that matter.

The fact that the dialogue is mostly in the native tongue of Afghanistan was a significant factor, giving it some local flavor. But mostly the film was a visceral testament to the turmoils that Afghanistan went through the years. From its heydays, followed by the Soviet invasion then the reign of the Taliban it is all historically accurate. A picturesque cinematography was visually appealing. Scenes of snow capped mountainous terrain to the war ravaged scenes of bare streets, the landscape was depicted, realistically. The film soared high during the kite flying competition. It was magical watching those vibrant colored kites fluttering in the clear blue kites You can almost feel the wind in your face. The opening credits in the beginning of the film graphically presented on the screen with beautiful Arabic/Persian calligraphy is a clever work of artistic talent. Giving the film yet again an ethnic tone.

So to answer my earlier pondering:
Is the movie a good adaptation of the novel?
Yes, Marc Forster's adaptation was concise. It was a neatly edited, well directed poignant film. The controversial scene about the disturbing incident (which for me is the main turning point in the novel) wasn't vulgar. No cringing awkward moment.

Or was it a big letdown like "Memoirs of a Geisha"?
Not at all. In fact I dare say it is better than the novel, which was a bit tedious to read. But of course a film adaptation won't or can't capture all the nitty gritty details in the book. Overall the main gist of the story was well conveyed without losing its key emotional elements. Naturally to get a better understanding of the characters' inner conflicts, it is advisable to read the book before you watch the movie. But if you have no intention of reading the book, the movie itself can stand on its own merit.

THERE WILL BE BLOOD

Daniel Day Lewis, Dillon Freasier, Paul Dano, Ciaran Hinds

My fiance asked me if this film which lasted almost 3 hours (2 hours and 40 minutes to be exact) was boring. My answer how can any film with Daniel Day Lewis be boring? OK well admittedly I am biased, I am a fan of the British actor who has the immeasurable ability to totally immersed himself in any role. He effortlessly becomes the character he is hired to portray.

In this film, he is Daniel Plainview. A man who with pure grit and willpower lifted himself from very dire circumstances to become a wealthy oilman. In turn, he is consumed with unquenchable greed, conflicted with his inner competitive self and hounded by religion. His wealth hardly masks his troubled life which brings about a disturbing change in his flawed personality.

The main bone of contention between me and my sister: whether Plainview was an evil man from the onset? or whether his ascent to power and wealth made him evil?. By evil I am loosely referring to his burst of cruelty, his obsessively ruthless demeanor and I'd say he definitely has anger management issues. The fact remains that Plainview has always been ambitious. His success didn't surface overnight, it was achieved through sheer hard work, driven by his gnawing need to be the first one to discover oil in seemingly barren lands. A man who doesn't possess much social skills but he can be quite charming in his quest to 'rob' innocent, simple minded folks of their oil filled properties. A man willing to use an innocent child to warm his way into the heart of the community. A person who can easily manipulate others but is too cunning to be manipulated himself.

The film is long indeed but it is a very interesting case study of a person you can't help but admire for his aggression yet at the same time you can't help but dislike for his overbearing mean nature. A love and hate relationship, I'd say. It also showcases strong father son bonding moments sans mushy sickening photographic scenes. It presents the relationship in all its complicated glory. Special mention goes to the young child, Dillon Freasier who portrays the endearing H.W. Plainview. His doe eyed face was a good contrast to the hardened chiseled facade of Daniel Day Lewis.

The first few minutes of the movie is stunningly silent. You merely see a scene of a man working himself to the bone. You wonder if you accidentally walked in to a silent film. Your senses are jarred back by the narration delivered in a deeP voice. A few seconds pass by when you suddenly realize it is indeed Daniel Day Lewis speaking as Plainview. From then on, his presence is in every single frame yet you don't get bored with his performance. You are riveted to the screen as if in a trance.

As opposed to the numbing silence in the beginning of the movie, some scenes are fraught with a piercing soundtrack of music that feels like it is drilling deep into your brain. It slices across a cinematography of oil rich filled land in the vast frontier of early turn of the century, extreme close ups of Plainview's anguished face to scenes of nameless gullible faces being swayed by the machinations of a intriguing false preacher. This movie is well crafted, cleverly directed by Paul Thomas Anderson and powerfully essayed on screen by the masterful artistry of Daniel Day Lewis.

As to my prognosis whether he was 'evil' or not. I maintain that he was a despicable character from the onset. He has always been that way, it is just unfortunate that his rise to success merely edged it out of him instead of turning him into a nurturing likable person. But it has to be said that in portraying such a complicated and conflicted character in his esteemed film career, Daniel Day Lewis truly deserved the accolade he got from winning the Best Actor Award in the recently concluded 80th Academy Awards (the Oscars). His eloquent speech said it all:

My deepest thanks to the members of the Academy for whacking me with the handsomest bludgeon in town. I'm looking at this gorgeous thing you've given me and I'm thinking back to the first devilish whisper of an idea that came to him and everything since and it seems to me that this sprang like a golden sapling out of the mad, beautiful head of Paul Thomas Anderson.

I wish my son and my partner H.W Plainview were up here with me, the mighty Dillon Freasier. So many people to thank. One amongst them would be Mrs. Plainview down there, the enchantingly optimistic, open-minded and beautiful Rebecca Miller.

I hope that all those to whom I owe and to whom I feel the deepest gratitude will forgive me if I say just simply, "Thank you, Paul."

I've been thinking a lot about fathers and sons in the course of this, and I'd like to accept this in the memory of my grandfather, Michael Balcon, my father, Cecil Day-Lewis, and my three fine boys, Gabriel, Ronan and Cashel. Thank you very much indeed. Thank you.

I thank you Daniel Day Lewis for yet another memorable character, we will cherish for years to come.

VANTAGE POINT

Dennis Quaid, Matthew Fox, William Hurt, Forest Whitaker, Sigourney Weaver, Eduardo Noriega, Edgar Ramirez, Said Taghmaoui

"8 Strangers. 8 Points of View. 1 Truth"

Cinema 4, Robinson's Galleria

This non linear film actually focuses on just one event. The assassination of the US President while he addresses a huge crowd in a plaza in Salamanca, Spain. We are shown the scene unfolding in 5 minute frames from the point of view of 8 different people. Each of them playing a major part in the situation. It is futile to discuss each of the portions at length, it needs to be seen on the big screen. I believe it is in the neatly executed presentation of these vantage points where the film somehow "succeeds."

The manner the director chose to narrate to the audience the main scene with its repetitive sequences is a different film technique. He does it with non stop action filled sequences of car chases, exploding bombs and a sense of terrifying panic. All vividly executed by a good ensemble cast of a bevy of international actors (US and Spanish) like Dennis Quaid, Forest Whitaker and Eduardo Noriego to name a few. The setting is in a sunny Spanish city/town with its tiny streets vibrantly teeming with huge throes of humanity.

The implausible story line does have some loopholes but the fast paced action scenes glosses over them. You really don't get a detailed explanation behind the assassination plot and its mastermind. You assume it is to prove a point. That we live in vicarious times. Or that not even the most protected head of state in the world is safe from terrorist attacks. Or that some people just want to make a statement by resorting to violent means.

By the 4th or 5th vantage point, you slowly piece the puzzles together to get the whole picture. You don't mind going through the repeated scenes of disturbing footage of an exploding plaza filled with people and the lapse in the Secret Service security, the very people assigned to protect "Potus". You get chills from the cunning ability of the terrorists to have a well organized plan to carry out their violent strategy.

It is no doubt deeply absorbing and makes for a thrilling cinematic moment while it lasts. Then you leave the theater and realize that these events can and do happen for real. The scary part is that the truth of the matter is never fully explained and their (the news spiel filtered to the media by the government) version of the truth will prevail simply because it was announced in the evening news. So it is probably best you leave your conspiracy theory tendencies at home and simply sit back to get an adrenaline rush from the film.

THE ILLUSIONIST

Edward Norton, Jessica Biel, Rufus Sewell, Paul Giamatti

"Nothing is what it seems"

Star Movies

For some reason, this film which was shown at roughly the same time as "The Prestige" never made it to the theaters in this part of the globe. So thank God for cable and Star Movies, I was able to see it and understand why it would surely be compared with the Christian Bale and Hugh Jackman starrer. But beyond the fact that both films dealt with magicians and their baffling tricks, they are different in so many ways. This review won't delve into a comparative analysis and aim to discern which of the two movies was better. I believe that every single film must be seen for its aim to tell us a story and should not suffer in comparison with other films in the same genre.

This film is based on a short story entitled "Eisenheim, the Illusionist" by Steven Millhauser. The fact that the writers were able to extend it into a film version is laudable. It is set in Vienna, one of the oldest cities in the world at the turn of the 1900s. The tone of the film was neatly depicted in the authentic art direction and cinematography. It tells the tale of Edward Abramovich, an enigmatic young boy who falls in love with Sophie, a fair maiden from the upper part of society. After they were separated by certain events, he returns to the city 15 years later as the newest sensation in town ... Eisenheim the Illusionist. It has to be stated that during those times, shows of such nature were the hit form of entertainment for an easily gullible crowd. True enough, the young lovers are reunited but conflict ensues. Sophie is now the Duchess Von Teschen and is bethroned to Leopold, the Crown Prince of Austria. Throw in an eager Police Inspector who is determined to learn the tricks of the trade and you have an ensemble cast set to beguile you in this film.

The cast has to be credited for churning out quite believable performances. Edward Norton complete with facial hair and genuine accent plays the illusionist with aplomb. According to some articles, he even performed some of the magic tricks himself after he was coached by some of the best known masters of illusion in the world today. Paul Giamatti as Inspector Uhl is in his elements. He completely takes over every role that you simply forget he is merely acting. Rufus Sewell as the protagonist was brilliant. So much so that despite being the 'villain' you still sympathize with his character. I mean for God's sake the Crown Prince was simply progressive in his views and ideas for the country. But alas during those times, such characteristic wasn't cool (for lack of a better word). The only one who didn't score well in my books is the below average acting of Jessica Biel. She is just a pretty face sans acting skills. I expected her to be more reactionary in her role as Sophie. I believe she was miscast. The lack of chemistry between her and Edward Norton was evident in some scenes.

This period piece was boosted primarily by a good cast and clever visual effects. Midway through the film, you can already more or less figure out how the story line would play out. But it still made for good entertainment viewing. If only to be mesmerized by the strong screen presence of Rufus Sewell as the brooding Count Prince Leopold. His character was loosely based on the real Crown Prince of Austria, a rather tragic historical figure.

I conclude by admitting I was much more intrigued by the plot line of "The Prestige" for what it's worth.

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD

Brad Pitt, Casey Affleck, Sam Rockwell

Cinema 4, Shang Cineplex

Some points about this film which captured my eye:

• The film is as long as its title. All 160 minutes of it.
• The buildup towards the main event (the assassination) was a bit slow. There were a few wasted footage of sequences.
• Stunning cinematography. Detail oriented shots of snow laden barren lands in the wide frontier. It made me shiver all the more as the theater itself was freezing. Yes unfortunately I once again forgot to bring some sweater or shawl to protect me. Some special technique of camera angles where the peripheral images are blurry but the central frame is crystal clear was used for some scenes. It was pleasing to the eye. There was a bleak bluish tone to the story line.
• Very strong character development of the lead characters - a vivid study of distinctly contrasting characters. Good performances by Brad Pitt as Jesse James. His portrayal of the outlaw was believable. His personal anguish, his menacing presence, his violent streak bursting forth one instance. In the next shot he is calm and collected in his subtle ways and sometimes he was even funny - very humane portrayal.
• I was also impressed by Sam Rockwell as Charlie Ford, the older brother of Tom Ford. His friendship with Jesse James was strong yet he also lived in fear and in awe of the larger than life public enemy. His petrified face near the end of the film was powerfully projected on screen.
• But kudos goes to Casey Affleck as the cunning, wily Robert Ford. Never mind that his voice is high pitch and comes across as someone who laments and whines constantly. Well alright, he did whine a lot. A steely gaze with squinting eyes as he cunningly mapped out his betrayal sent shivers down my spine. But the film gave us a better understanding of Robert Ford. A troubled and tortured soul whose obsession with Jesse James was quite creepy in nature.
• An authentic wardrobe from the era added to the Western genre.
• The film was ably guided by a poetic narration of the events by someone who was never identified clearly in the film. But it felt like you were watching an audio tape of the book unfolding before your eyes with stunning visual effects.
• The last 10 minutes or so of the film felt like a rushed afterthought. It could have been more neatly edited to fit the film. A bit disjointed but nonetheless essential to the plot.
• I did like the film in the sense that it presented a realistic portrayal of a larger than life public figure immortalized in countless movies and songs. It also gave us a glimpse in the personality of the man who fell into infamy as the coward killer of the famed outlaw.