“THE PACIFIC” (2010) Episode Four “Cape Gloucester & Pavuvu” Commentary

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I wrote this commentary on the fourth episode of “THE PACIFIC”:

“THE PACIFIC” (2010) EPISODE FOUR “Cape Gloucester & Pavuvu” Commentary

When I first saw the featurettes about “THE PACIFIC” on HBO, I noticed that the filmmakers and screenwriters had made a big deal about the miniseries’ ninth episode, which featured the battle on Okinawa. From what I had gathered, this particular episode might serve as the miniseries’ darkest. Then I saw Episode Four, which featured the U.S. Marines First Division’s experiences during the Battle of Cape Gloucester. And I realized that I had been wrong.

Very little combat played a role in Episode Four. One scene featured Robert Leckie’s brief confrontation with a Japanese scout patrol near the beginning of the episode. And another scene featured Company “H” repelling an intense banzai attack by the Japanese, a few minutes later. But as the documentary had hinted around the beginning of the episode, the Marines’ main conflict during the Cape Gloucester campaign seemed to be the environment – the thick jungle and the rain. And because of this environment, Leckie and his fellow Marines suffered a drop in morale.

Before watching this episode, I had no idea how depressing it would be. So much about this episode struck me as depressing . . . especially from Leckie’s point of view. One, both he and Sidney Phillips had the bad luck to witness Gibson’s murder of the Japanese soldier. Judging from the slightly demented expression on Gibson’s face, I suspect that neither Leckie nor Phillips was willing to interrupt the murder. But they both obviously found the experience disturbing. Eventually, the rain, the mud and the jungles of Cape Gloucester on New Britain got to Leckie and he eventually found himself begging for someone to shoot him after he lost his shoes in the mud and fell down a slope. It got worse. Leckie found his confiscated Japanese chest stolen by a Marine officer. And instead of dismissing the chest lost, he stubbornly tried to get his chest back during a hostile confrontation. Leckie never got the chest back. Instead, the Marine officer transferred him from his duties as an intelligence scout to kitchen and latrine duties. The Marine officer also humiliated Leckie for wetting his trousers. But that was nothing in compare to Leckie witnessing the suicide of a Canadian-born Marine.

Company “H” of the First Marines Division was eventually sent to the island of Pavuvu for some rest and relaxation. Only, the island proved to be nothing like Melbourne. The Marines had to deal with pests like rats and crabs. Leckie’s sense of humor became increasingly irritating to Hoosier. And his bedwetting (enuresis) became even worse. At one point, “Chuckler” Juergens found Leckie lying on his cot, pissing uncontrollably and staring into space. Leckie had finally reached the nadir of his existence. The company’s doctor shipped Leckie to a Naval hospital located on Banika. Leckie discovered that the wing he had been assigned to was for psychiatric patients. Fortunately for him, the Naval doctor assigned to him – a Dr. Grant – realized that Leckie was simply suffering from enuresis and a case of exhaustion. By the end of the episode, he allowed the Marine to return to his company. Before that happened, Leckie made another discovery . . . Ronnie Gibson was also a patient at the hospital. Leckie learned from Dr. Grant that Gibson tried to steal a plane and later commit suicide, while Company “H” were on Pavuvu.

I doubt very much that Episode Four will ever be considered a personal favorite of mine. I simply found it too depressing. But I must admit that I also found it fascinating. And it is a credit to screenwriters Robert Schenkkan and Graham Yost, along with Yost’s direction that I managed to remain fascinated by it all. While watching Episode Four, it occurred to me that in some ways, it reminded me of the 2005 movie, “JARHEAD”. The Marines in Sam Mendes’ movie were suffering psychological stress, due to their inability to relieve their built-up aggression via combat. The Marines in Episode Four were suffering from a number of factors – including no combat against the Japanese, who had decamped to Rabaul on the other side of New Britain.

For the umpteenth time, actor James Badge Dale managed to knock it out of the ballpark with his portrayal of Robert Leckie. In fact, I would say that this episode marked his best performance in the miniseries to date. He did a superb job in portraying Leckie’s emotional descent without any heavy-handed acting. I especially enjoyed his performance during a scene that featured Leckie’s confrontation with the officer who had stolen the Japanese chest. Badge Dale’s performance conveyed a delicious mixture of aggression, sarcasm and subtlety. I also have to give kudos to Tom Budge’s portrayal of the demented Gibson. Mind you, his performance was not as subtle as Badge Dale’s, but it was just as convincing. And I believe I will never forget that expression on his face, after his character had strangled that Japanese soldier. I also found Leckie’s stay at that Naval hospital equally depressing. It reminded me of a line that the Bill Guernere character had said about military hospitals in one of the episodes of ”BAND OF BROTHERS”. Thanks to this episode, I finally understand what he was trying to say. The Banika sequence also featured Matt Craven, who gave a wonderfully subtle performance as Leckie’s doctor, the slightly sarcastic Dr. Grant. Thinking about this episode, it occurred to me that the one character who managed to remain steady throughout the entire mess was Chuckler, thanks to Josh Helman’s solid performance. It is easy to see why Lieutenant Corrigan had promoted him to corporal following the Alligator Creek action on Guadalcanal in Episode One.

After watching Episode Four, I found myself dubbing it ”Heart of Darkness – Part One”, considering that the entire episode featured a little combat, a murder, a suicide, illness, rodents and crabs and a stay for Leckie at a Naval psych ward. And I had no idea I would be watching this before it aired. The reason I had dubbed it ”Part One” is that I suspect that the Okinawa episode will proved to be just as depressing . . . or perhaps a little more.

“THUNDERBALL” (1965) Review

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“THUNDERBALL” (1965) Review

I had just viewed the 1965 Bond movie, “THUNDERBALL” for the first time in several years. And I can see why this movie is considered to be one of my all time favorite Bond flicks. But I do not think I can state why in one or two sentences.

“THUNDERBALL” turned out to be director Terrence Young’s third and last Bond film. Most Bond fans consider it to be his least superior film, but I consider it to be his second best, following 1963’s “FROM RUSSIA WITH LOVE”. The story, based upon an unfinished script called “Warhead”, co-written by Ian Fleming, Kevin McClory and Jack Whittingham. The unfinished script eventually became Fleming’s 1961 novel, “Thunderball”. This resulted in a major lawsuit between McClory and Fleming and eventually, EON Productions became dragged into it. The story is about SPECTRE’s theft of NATO nuclear warheads and how they used it to blackmail the U.S. and British government for the sum of 100,000,000 pounds. Naturally, MI-6 sends all of their “00” agents to recover the warheads before SPECTRE can carry out its threat to detonate the weapons on U.S. and British soil. Many moviegoers found the movie’s plot a little hard to buy and viewed it as part of the realm of fantasy. But considering the current obsession of terrorism and the high illegal weapons market, “THUNDERBALL” is probably one of the more relevant plots of any Bond film.

Aside from the underwater sequences, “THUNDERBALL” turned out to be an elegant and exciting thriller with excellent drama, a solid plot that managed to avoid any major plotholes, a classy score by John Barry and a first-class cast. Sean Connery portrayed James Bond for the fourth time in this film. Thankfully, he seemed to be at his top game in this one. It is a vast improvement over his performance in 1964’s “GOLDFINGER”, in which he seemed to come off as an immature prat. And he is ably assisted by a first-class cast – Claudine Auger as Domino Duval, Adolfo Celi as villain Emile Largo (SPECTRE’s Number 2), Rik Van Nutter as CIA Agent Felix Leiter and especially Luciana Paluzzi as villainess Fiona Volpe.

Below is a list of positive and negative aspects of the film. I have decided to start with the negative, since there was little that I did not care about the movie:

Negative:

*Rik Van Nutter as Felix Leiter – Do not get me wrong. Van Nutter’s performance as Leiter was competent and very personable. My problem was that his role was written as a “less-than-bright” sidekick of Bond’s, instead of an ally. Bond has been assisted by Leiter in other movies, but they have never come off as some dumb sidekick . . . except for Cec Linder in “GOLDFINGER”.

*Theme Song – I will not deny that the movie’s theme song, performed by Tom Jones is slightly catchy. But I also found the lyrics to be slightly sexist and off-putting.

*Underwater Sequences – Yes, the underwater sequences had threatened to drag the movie a bit. Actually, I can point out two sequences that came close to boring me – the sequence that featured Largo’s acquisition of the warheads and the final battle between Largo’s men and U.S. Navy frogmen.

Blackmail of Patricia Fearing – James Bond’s attempt to seduce Shrublands Clinic nurse, Patricia Fearing, came off as disturbing and tacky. It was bad enough to watch him make attempts to kiss the very professional Ms. Fearing without her consent. But when he resorted to blackmail – willingness to conceal his near death experience with the physiotherapy machine aka “the rack” in exchange for sex – the whole situation became rather sordid.

Positive:

*Luciana Paluzzi – Let us be honest, folks. The red-haired Paluzzi came dangerously close to stealing the picture from Connery. Like Honor Blackman before her, she radiated sexiness and a strong on-screen presence. She seemed to be even more of a threat than Emile Largo and his men.

*Adolpo Celi – What I like about Celi’s performance is that he does not come off as an over-the-top villain. He was elegant, intelligent, ruthless and egotistical. Perfect villain.

*Nassau Setting – The setting in Nassau gave the movie an exotic, yet elegant feel that really added substance to the movie.

*Villain’s Goal – Many critics have claimed that the villain’s goal in the movie – nuclear blackmail for money – seemed unrealistic, due to a belief there was little chance that an organization like SPECTRE could get its hands on a nuclear bomb from a NATO strategic bomber. And yet, I have never considered such a scenario unrealistic. Especially in today’s world. In a way, this scenario seems much more possible than some of scenarios featured in other Bond movies from the same period.

*Dialogue – The dialogue in this movie was unusually sharp and witty. But what really appealed to me was that Connery’s puns did not come out of his mouth every other minute, as it did in his previous two movies. In fact, the movie featured what I consider to be one of Connery’s best lines during his tenure with the franchise.</i>

Speaking of dialogue, below is what I consider to be some of my favorite lines:

* Moneypenny: In the conference room. Something pretty big. Every double-o man in Europe has been rushed in. And the home secretary too!
Bond: His wife probably lost her dog.

*Bond: My dear, uncooperative Domino.
Domino: How do you know that? How do you know my friends call me Domino?
Bond: It’s on the bracelet on your ankle.
Domino: So… what sharp little eyes you’ve got.
Bond: Wait ’til you get to my teeth.

*Do you mind if my friend sits this one out? She’s just dead.

*M: I’ve assigned you to Station “C” Canada.
Bond: Sir, I’d respectfully request that you change my assignment to Nassau.
M:Is there any other reason, besides your enthusiasm for water sports?

*Pat Fearing: James, where are you going?
Bond: Oh, nowhere. I just thought I’d take a little, uh… exercise.
Pat Fearing: You must be joking.

*But of course, I forgot your ego, Mr. Bond. James Bond, the one where he has to make love to a woman, and she starts to hear heavenly choirs singing. She repents, and turns to the side of right and virtue…[she steps on Bond’s foot]… but not this one.

I would like to conclude with this little note. In 1983, Kevin McClory – one of the original authors of “Warhead” – produced his own movie version of the story, which starred Connery as Bond. The movie, “NEVER SAY NEVER AGAIN” was not exactly terrible, but it almost seemed like an overblown version of the 1965 movie.

“SHADOW OF THE MOON” (1957/1979) Book Review

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“SHADOW OF THE MOON” (1957/1979) Book Review

I first became aware of British author, M.M. Kaye back in the early 1980s, when I read her famous 1978 bestseller, “THE FAR PAVILIONS”. Intrigued by the author’s portrayal of the British and Indian societies in 19th century, I read another one of her novels – namely “SHADOW OF THE MOON”.

First published in 1957, “SHADOW OF THE MOON” was re-released 22 years later to cash in on the success of “THE FAR PAVILIONS”. Like the latter, the novel was set in 19th century India. “SHADOW OF THE MOON” told the story of Winter de Ballesteros, the only daughter of an aristocratic Spaniard whose family lived in India and the beloved granddaughter of an English earl. Orphaned at the age of six, Winter is forced to leave India and live with her mother’s family in England for the next eleven years. Betrothed at an early age to Conway Barton, the nephew-in-law of her great-aunt and an official of the East India Company, serving as Commissioner of the Lunjore District, Winter finally leaves England to return to India in order to marry him. Barton’s military aide, Captain Alex Randall of the British East India Company (aka “John Company”), is assigned to act as escort for Winter’s return journey to the East.

Unfortunately for Winter, she encounters two misfortunes upon her arrival in India – the discovery that her new husband is a debauched and overweight drunk who had married her for her fortune; and that she has fallen in love with Alex Randall. She is unaware that Alex has also fallen in love with her. While Winter struggles with her love for Alex and her unhappy marriage, events slowly come to a boil that lead to the outbreak of the Sepoy Rebellion in which Indian soldiers of the Bengal Army rise against the British between May 1857 and June 1858. The violent outbreak of sepoy troops against the rule of the British East India Company forces both Winter and Alex to experience the violence that explodes throughout most of India and acknowledge their feelings for one another.

For a novel that is supposed to be about the famous Sepoy Rebellion of 1857-58, most of it seemed to be set before the rebellion’s actual outbreak. The novel’s first six chapters focused upon Winter’s parents and her childhood in both India and England. The next thirty-four (34) chapters focused upon Winter and Alex’s journey to India, the introduction of Anglo society in India, Winter’s marriage to Conway Barton in Lunjore, the growing tensions between the British rulers and those who have much to resent them, Winter and Alex’s growing feelings for one another . . . well, you get the picture. By the time Winter, Alex and other British residents encounter the rebellion in Lunjore, Chapter 40 had arrived. Only Chapters 40 through 51 featured the actual rebellion.

Ironically, this does not bother me. I suspect that “SHADOW OF THE MOON” is basically a romantic drama with a historical backdrop. M.M. Kaye was born in India to a family that had served the British Raj for generations. She spent most of her childhood and early years of marriage in India, which made her a strong authority on the Anglo-Indian and Indian societies of the British Raj. “SHADOW OF THE MOON” is filled with strong historical facts about Great Britain during the first five decades in the 19th century, the East India Company, the Anglo-Indian and Indian cultures in the 1850s, and the politically charged atmosphere leading up to the Sepoy Rebellion and facts about the rebellion itself.

Reading the novel made it easy for me to see why M.M. Kaye had gained such fame as a historical novelist. Along with Alexandre Dumas, Susan Howatch, John Jakes, George MacDonald Fraser, James Michener, Ken Follet and Cecelia Holland, I consider her to be among the best historical novelists. Not only is “SHADOW OF THE MOON” filled with interesting facts about the British Raj in the 1850s, it is a well-written romantic drama about two people who managed to find love despite the obstacles of a loveless marriage and political turmoil. The two main characters – Winter and Alex – are well written characters that managed to avoid the usually clichés found in many inferior romantic paperback novels. Well . . . Winter and Alex’s characterizations managed to avoid most of the clichés. There are a few clichés about them that seem very familiar:

*Winter’s age spans between 17 and 19 in most of the novel. Most heroines of historical tend to be between the ages of 16 and 21.

*The age difference between Winter and Alex is 13 years – which is typical for the heroine and hero of most historical romances.

*The heroine, Winter, spends most of the novel stuck in an unhappy marriage with a much older man.

Despite these minor clichés, Winter and Alex turned out to be two very interesting and well-rounded characters. Surprisingly, I can say the same of the supporting characters, whether they be British or Indian. A few characters stood out for men – notably Alex’s cynical Indian orderly Niaz; a sharp-tongued British socialite named Louisa “Lou” Cottar; an intelligent and intensely political Indian nobleman who becomes a dangerous enemy of the British Raj by the name of Kishan Prisad; Lord Carylon, an arrogant and temperamental English aristocrat with a strong desire for Winter; and Conway Barton, the latter’s corrupt and narrow-minded husband, who lacks a talent for political administration.

Aside from a few clichés that are a part of Winter and Alex’s characterizations, I have a few other quibbles regarding the novel . . . or Kaye’s writing style. First of all, she had a tendency to describe a historical event or character in a slightly grandiose manner. One example featured the death of a famous military figure named John Nicholson. Kaye also had a bad habit of announcing an important sequence before it unveils . . . taking away any moment of surprise for the reader. This was apparent in the following passage:

“‘Two more days to go’, thought Alex that night, leaning against the wall and watching a quadrille danced at the Queen’s Birthday Ball.

But there were no more days. Only hours.”

In the following chapter, Winter, Alex and a host of other characters experience firsthand, the horror of the rebellion in Lunjore. I would have preferred if the beginning of the Lunjore rebellion had taken me by surprise.

Despite Kaye’s occasional forays into over-the-top prose, she created a sweeping and detailed novel filled with romance, adventure, historical accuracy and well-written characters. Although “THE FAR PAVILIONS” is considered her masterpiece, I must admit that “SHADOW OF THE MOON” remains my most favorite novel she has ever written.

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“THE PACIFIC” (2010) Episode Three “Melbourne’ Commentary

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I wrote this commentary on the third episode of “THE PACIFIC”:

“THE PACIFIC” (2010) EPISODE THREE “Melbourne” Commentary

Following their evacuation from Guadalcanal in January 1943, members of the U.S. Marines First Division enjoyed a respite in Melbourne, Australia. There, characters like Bob Leckie and Sidney Phillips enjoyed romances with local Australian girls. John Basilone enjoyed a period of heavy drinking and dodging the MPs before receiving his Medal of Honor for his late October actions on Guadalcanal.

Unlike 2001’s ”BAND OF BROTHERS”, this third episode featured the very first one that did not include any combat. Instead, the First Division Marines enjoyed a respite filled with booze, women, a medal ceremony and more training. This episode featured two of our major characters confronting their demons. But let me focus on the minor stuff first.

Some of the funniest romantic scenes featured Sidney Phillips romancing a young Australian girl, under the watchful eye of her grandfather. Ashton Holmes was a hoot portraying Phillips’ struggles to suppress his desires and somewhat more questionable actions (like leaving the “base” without a pass) in order to impress his new girlfriend’s Draconian grandfather and behave like a Southern gentleman. His funniest moment occurred in a scene inside a pub where Phillips was trying to assure the girl’s father that he intends to be the perfect gentleman, when the MPs appear. Although he assured both his girlfriend and her grandfather that he had a pass, he subtly suggested that they leave the pub through the back door.

Other funny moments featured Leckie’s friends, Hoosier and Chuckler. From the moment when the Marines are bivouacked at a cricket stadium, Hoosier and his government issued blanket are never apart. Never. He quickly fell asleep, while Leckie, Runner, Chuckler and other Marines left the stadium without permission – clinging to his blanket. And for several days, it never left his side. Another moment featured the Marines back in formation at the stadium, the day following their first night of liberty. Most of them looked as if they had spent a week of debauchery with no sleep . . . including Lieutenant Corrigan. One Marine could not even remain standing and in a moment of pure slapstick, fell flat on his face. Corrigan did not say a word. But the funniest moment – at least for me – featured a drunken Leckie coming upon poor Chuckler on guard duty at the stadium. Why did I call Chuckler “poor”? In a scene that brought back memories of my mad dashes to the bathroom, poor Chuckler was dancing his ass off, while trying to convince Leckie to stand guard in his place so he could relieve himself. I have to pause for a moment to keep my laughter in check. Excuse me.

This episode did not feature any scenes of Eugene Sledge. However, I suspect that viewers will be seeing him in the next episode. It did feature Basilone receiving his Medal of Honor. Like the other Guadalcanal veterans, Basilone and his friend, J.P., hit the streets of Melbourne for a night of heavy drinking and debauchery. The pair found a convenient bar where they indulged in a great deal of booze and a brief, yet violent encounter with Australian servicemen. Fortunately, their hostile encounter with the Australians became friendly. But when Basilone reported to Chesty Puller’s office the following day, Basilone was not so fortunate. One, he learned that he was to receive the Medal of Honor, which produced a delicious “WTF” expression in Jon Seda’s eyes. Then his expression became even stranger, as Puller chewed out Basilone for failing to set a good example in Melbourne . . . before eventually throwing up. Next to Chuckler’s “dancing” moment, I thought this was the funniest scene in the episode.

However, matters did not seem that funny when Basilone finally received his Medal of Honor in a formal ceremony at the cricket stadium. Poor bastard looked as if he wanted to flee for his life, instead of receiving that medal. I do wonder if something within him suspected that medal would separate him from J.P. and the rest of his men, as surely as death had separated Manny from him. The expression in his eyes seemed to hint it not only during the medal ceremony, but also when he bid good-bye to J.P. and on that flight to San Francisco near the end of the episode. And I have to give kudos to Seda for expressing this emotion without saying a word. In fact, he did a damn good job all around.

Finally, we come to Leckie. Man, I do not know what to say about him. Actually, I do. But I suspect that describing James Badge Dale’s interpretation of Leckie’s character would take a multi-page essay. It is that complicated. In fact, Robert Leckie seemed to be one of the most complicated characters I have come across in any biopic either in a movie or on television. I cannot recall any character in ”BAND OF BROTHERS” as complicated as him. Judging from his conversations with his Australian girlfriend Stella and her Greek-born mother, his demons had already been established before he saw combat or had joined the Marines. As much as he loved his family, Leckie apparently did not like being part of a big family – especially as the youngest member. He seemed to have felt crowded, yet at the same time, ignored. His description of his father made me revised the father-son good-bye scene in “Episode One. At first, I thought Leckie Sr. was simply reluctant to bid his son good-bye. I had no idea that the older man was also suffering from slight mental problems.

The episode started well for Leckie. He met Stella on a trolley car and managed to garner her interest, despite being drunk. The two seemed to take to one another like duck to water. And watching Badge Dale and Australian actress Claire van der Boom act together made me realize that they have a strong screen chemistry together. Although their loves scenes were slightly explicit, they were still very tasteful. Frankly, I saw nothing that anyone could complain about. Thanks to van der Boom’s excellent performance, Stella proved to be just as complicated as Leckie. Upon his return following a three-day hike for the Marines, she eventually dumped him. She claimed that her mother, who had taken a shine to him, would have great difficulty in dealing with his death. But Leckie had witnessed her reaction to the news of a friend’s death and immediately surmised that she was simply guarding herself from possible future heartache.

Needless to say, Leckie did not take the end of his romance very well. Not only did he get drunk, lost his temper with Lieutenant Corrigan after the latter confronted him for taking Chuckler’s place during guard duty, while the latter was taking a piss. Not only did Leckie ended up in the brig for a period of time with Chuckler, he was booted from the company and his friends, and assigned to become an intelligence scout. Poor Leckie. But I must say that the more I watch Badge Dale’s skillful portrayal of the complicated Leckie, the more I have become impressed by his talents as an actor.

Episode Three proved to be an entertaining episode. Viewers got a chance to see how some of the characters behaved away from the threat of combat. However, I rather doubt that it will ever become a favorite of mine. Aside from the personal conflicts of Leckie and Basilone, it lacked the edge that Episode One and Episode Two possessed. I suppose that is due to the lack of combat shown.

 

 

Top Ten Favorite HISTORY DOCUMENTARIES

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Below is a list of my favorite history documentaries:

 

TOP TEN FAVORITE HISTORY DOCUMENTARIES

1 - Ken Burns The Civil War

1. “The Civil War” (1990) – Ken Burns produced this award-winning documentary about the U.S. Civil War. Narrated by David McCullough, the documentary was shown in eleven episodes.

2 - Supersizers Go-Eat

2. “The Supersizers Go/Eat” (2008-2009) – Food critic Giles Coren and comedian-broadcaster Sue Perkins co-hosted two entertaining series about the culinary history of Britain (with side trips to late 18th century France and Imperial Rome).

3 - MGM - When the Lion Roared

3. “MGM: When the Lion Roared” (1992) – Patrick Stewart narrated and hosted this three-part look into the history of one of the most famous Hollywood studios – Metro-Goldwyn-Mayer (MGM).

4 - Africans in America

4. “Africans in America: America’s Journey Through Slavery” (1998) – Angela Bassett narrated this four-part documentary on the history of slavery in the United States, from the Colonial era to Reconstruction.

5 - Queen Victoria Empire

5. “Queen Victoria’s Empire” (2001) – This PBS documentary is a two-part look at the British Empire during the reign of Queen Victoria. Donald Sutherland narrated.

6 - Motown 40 - The Music Is Forever

6. “Motown 40: The Music Is Forever” (1998) – Diana Ross hosted and narrated this look into the history of Motown, from its inception in 1958 to the 1990s.

7 - Ken Burns The War

7. “The War” (2007) – Ken Burns created another critically acclaimed documentary for PBS. Narrated by Keith David, this seven-part documentary focused upon the United States’ participation in World War II.

8 - Manor House

8. “The Edwardian Manor House” (2002) – This five-episode documentary is also a reality television series in which a British family assume the identity of Edwardian aristocrats and live in an opulent Scottish manor with fifteen (15) people from all walks of life participating as their servants.

9 - Elegance and Decadence - The Age of Regency

9. “Elegance and Decadence: The Age of Regency” (2011) – Historian Dr. Lucy Worsley presented and hosted this three-part documentary about Britain’s Regency era between 1810 and 1820.

10 - Ken Burns The West

10. “The West” (1996) – Directed by Steven Ives and produced by Ken Burns, this eight-part documentary chronicled the history of the trans-Appalachian West in the United States. Peter Coyote narrated.

HM - Fahrenheit 9-11

Honorable Mention: “Fahrenheit 9/11” (2004) – Michael Moore co-produced and directed this Oscar winning documentary that took a critical look at the presidency of George W. Bush, the War on Terror, and its coverage in the news media.

“THE WOMAN HE LOVED” (1988) Review

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“THE WOMAN HE LOVED” (1988) Review

I have come to the conclusion that any movie producer willing to do a project on Wallis Warfield Simpson, later the Duchess of Windsor would eventually realize that said project is bound to generate a great deal of emotion – not only in Great Britain, but even in the United States. I have never come across a female historical figure who has polarized the public the way this 20th century American-born socialite has.

The first screen production about Wallis Simpson and her romance with Edward, Prince of Wales, later King Edward VIII and the Duke of Windsor I ever saw was the 1978 BBC miniseries, “EDWARD AND MRS. SIMPSON”. But I have seen screen portrayals of both Mrs. Simpson and Edward VIII in other productions, including this television movie called “THE WOMAN HE LOVED”. The television movie aired on CBS in 1988. I wish I could say this movie was the best on-screen interpretation of the infamous romance that rocked the British monarchy back in the mid-1930s. However, I would be lying if I did. But I certainly do not believe it is the worst.

“THE WOMAN HE LOVED” told the story of the famous romance mainly from Mrs. Simpson’s point-of-view, via flashbacks. The movie began in 1972 with her arrival in Britain for the first time in years to attend the funeral of her third and final husband, the Duke of Windsor. While the recently widowed Duchess seeks solitude inside Buckingham Palace as a guest of the Royal Family, she reminisces about about her marriage to American-born businessman Ernest Simpson in 1928 led to her entry into British high society and her relationship with Edward Windsor. Aside from the 1972 flashback, most of the movie began with Wallis’ marriage to Simpson and ended with her marriage to the newly created Duke of Windsor in May 1937. It also covered Wallis and Edward’s affair, which began when he was Prince of Wales and continued after he became King Edward VIII. Also, Wallis’ marital problems with Simpson, along with their divorce and the Abdication Crisis, which occurred during the fall of 1936 were also covered in this film. This is not surprising, considering this is the narrative formula that is used in most productions about the Duke and Duchess of Windsor.

How did I feel about the movie? Well . . . I did not hate it. But I did not exactly love it. I must admit that its production values were top notch for a television film with a foreign setting. One has to give Kenneth Sharp credit for a detailed re-creation of London and Great Britain between 1928 and 1936. If there is one thing I can say about “THE WOMAN HE LOVED” is that it is a beautiful looking period drama. Sharp’s work was ably assisted by Brian Morgan’s sharp and colorful cinematography. Hell, his work looked better than many period dramas I have seen on both the small and large screen. Although I found Allyn Ferguson’s score not particularly memorable, I thought he and director Charles Jarrott did an excellent in selecting certain tunes that added to the movie’s 1930s setting. But one aspect of the movie’s technical aspect that really blew my mind was Robin Fraser-Paye’s costume designs. Can I say . . . WOW? Or better yet, below are images of Fraser-Paye’s work:

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On the other hand, William Luce’s screenplay did not have the same effect upon me. As I had hinted earlier, the screenplay for “THE WOMAN HE LOVED” was the basic narrative used for most productions about the historic couple. I would go even further to say that Luce’s work was a paint-by-the-numbers job. There were moments that did impress me. Most of those moments featured conversations between Wallis and Simpson – especially when their marriage was breaking apart. I was especially amused by one particular quarrel between them that ended with Wallis sharply ordering their dog from her bed. Some of the biggest problems I had with “THE WOMAN HE LOVED” is that Wallis and Edward’s story is treated solely as a movie adaptation of a romance novel. And I am not a fan of romance novels. I did not expect the movie to be some Charles Higham-style trashy revelation about the Windsor couple. I have seen plenty of recent productions – “UPSTAIRS DOWNSTAIRS (Season One)” and “THE KING’S SPEECH” – that portray Wallis as some kind of gauche, gold digging whore. Unfortunately, “THE WOMAN HE LOVED” went to another extreme – painting Wallis as some kind of American-born Cinderella and Edward as this poor, misunderstood prince who had been denied some sliver of happiness due to royal tradition. The movie did offer crumbs of the couple’s ambiguity – Wallis’ affair with Edward and the latter’s determination to steal another man’s wife. But despite these moments of ambiguity, “THE WOMAN HE LOVED” was simply an exercise in romantic gloss.

“THE WOMAN HE LOVED” featured the screen reunion of Jane Seymour and Anthony Andrews, who first co-starred with each other in the 1982 television costume movie, “THE SCARLET PIMPERNEL”. Both were outstanding in that film. I wish I could say the same about their performances in “THE WOMAN HE LOVED” . . . but I cannot. I am not saying they gave bad performances. Both Seymour and Andrews offered some examples of their talent in a few scenes. Most of Seymour’s best scenes were with actor Tom Wilkinson, who portrayed Ernest Simpson. Perhaps her performances in these scenes led to her Emmy nomination. Perhaps. However, I find it easy to question this nomination, due to Seymour being forced to portray Mrs. Simpson as an occasionally star-struck adolescent. I could blame her questionable Upper South accent (the American socialite came from an old Baltimore family), but I never believed that a bad or questionable accent could really harm a performance. Andrews had a particularly effective scene in which his Edward angrily expressed his frustration with the British Establishment, who refused to accept Wallis as his future wife. I found this scene to be a breath of fresh air, considering most of his consisted of dialogue that struck me as wooden. But in the end, both actors were simply hampered by Luce’s romantically one-note screenplay.

Olivia De Havilland also received an Emmy nomination – a Best Supporting Actress nod for her portrayal of Wallis’ aunt, Bessie Merryman. And if I must be honest, I find this puzzling. I am not criticizing De Havilland. I thought she gave a solid performance, considering the slight amount of screen time given to her. But there was nothing about it that dazzled me. Lucy Gutteridge portrayed Edward’s previous mistress, the American-born Thelma, Viscountess Furness. By some ironic twist, Gutteridge portrayed Furness’ twin sister, Gloria Morgan Vanderbilt, in the 1982 television movie, “LITTLE GLORIA, HAPPY AT LAST” and earned an Emmy nomination. As for her portrayal of Thelma, it was pretty solid, but not particularly mind dazzling. In fact, none of the other supporting performances in the movie – Julie Harris, Robert Hardy, Phyllis Calvert and David Waller – did not strike me as particularly memorable. I must admit I was surprised to see Waller reprise his role as Prime Minister Stanley Baldwin, which he had originated in “EDWARD AND MRS. SIMPSON”. Only Tom Wilkinson’s wry and cynical portrayal of the cuckolded Ernest Simpson came close to really impressing me. While everyone else seemed to be a bit too theatrical or simply going through the motions, Wilkinson made the low-key Simpson a rather interesting personality.

I really do not know what else to say about “THE WOMAN HE LOVED”. I cannot deny that visually, it is a very beautiful looking movie that did an excellent job of re-creating Great Britain during the two decades between the two world wars. But instead of providing a balanced and ambiguous portrait of Wallis Simpson and her third husband, King Edward VIII; director Charles Jarrott and screenwriter William Luce decided to portray their relationship as some kind of cinematic romance novel. And I believe their work may have hampered the performances of the cast led by the usually talented Jane Seymour and Anthony Andrews. If you want a realistic feel of the Wallis Simpson/Edward VIII affair, this may not be your movie. But if it is a onscreen fairy tale romance you are looking for, this might be your flick.

“THE FOUR FEATHERS” (1939) Review

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“THE FOUR FEATHERS” (1939) Review

There have been seven versions of A.E.W. Mason’s 1902 novel, “The Four Feathers”. At least three of them were silent films. In 1939, British producer Alexander Korda released the first sound adaptation of the novel. This version was also the first one to be filmed in color. Directed by Korda’s brother, Zoltan Korda, “THE FOUR FEATHERS” starred John Clements, June Duprez, Ralph Richardson and C. Aubrey Smith.

Not only was this version of “THE FOUR FEATHERS” the first to feature both sound and color, it is regarded by many as the best adaptation of Mason’s novel. Fifteen years has passed since I last saw this movie. When I first saw it back in the mid-1990s, I was very impressed by this film. After seeing it fifteen years later (or more), I am still impressed. Somewhat. Granted, my admiration for the movie has dimmed slightly, but I still believe that it is a first-class movie.

Unlike Mason’s novel or the recent 2002 version, this version of “THE FOUR FEATHERS” is not set right after General Charles Gordon’s death in 1885. Instead, the movie is set in 1895. Harry Faversham is an officer in the British Army and his regiment has been ordered to the Sudan to avenge the death of Charles “Chinese” Gordon from ten years ago. On the eve of its departure, British officer Harry Faversham (Clements) resigns his commission. As a result, his three friends and fellow officers, Captain John Durrance (Richardson) and Lieutenants Burroughs (Donald Grey) and Willoughby (Jack Allen), express their contempt of his supposed cowardice by each sending him a white feather attached to a calling card. When his fiancée, Ethne Burroughs (Duprez), says nothing in his defense, he bitterly demands one more from her. She refuses, but he plucks one from her fan and leaves. While the officers go off to war, he admits to his old acquaintance Dr. Sutton (Frederick Culley) that he is a coward and must make amends. He departs for Egypt. There, he adopts the disguise of a native with the help of Dr. Harraz (Henry Oscar), choosing to play a despised mute Sangali to hide his lack of knowledge of the language.

What can I saw about “THE FOUR FEATHERS”? For one, it is a beautiful looking film. I understand that it had been filmed in both Great Britain and in Sudan. And photographers Georges Périnal and Osmond Borradaile did a beautiful job in capturing the scope and color (via Technicolor) of both countries. It was not surprising for me to learn that the film had received an Academy Award nomination for Best Cinematography. I also found Miklos Rozsa’s score, Vincent Korda’s uncredited production design, W. Percy Day’s matte paintings, along with Godfrey Brennan and René Hubert’s costume designs impressive, as well.

But I am merely procrastinating. I have not discussed the meat of the movie – namely the story and the acting. Well, I might as well start with the first. R.C. Sherriff, Lajos Biro and Arthur Wimperis created a solid adaptation of Mason’s novel. They made a few changes. As I had stated before, they set the movie in the 1890s, enabling them to incorporate the British victory at the Battle of Omdurman in September 1898 into the plot. The novel was set around the mid 1880s. The character of Abou Fatma (featured in both the novel and in other versions, including the 2002 movie) is not this film. But these changes did not hurt the plot. “THE FOUR FEATHERS” still turned out to be a rousing action-adventure film. When I first saw the movie back in the early 1990s, the patriotic jingoism surrounding the British Empire did not bother me at all. Fifteen years later, it did. Somewhat. I have seen plenty of old films from the 1930s and 1940s that painted the British Empire in a positive light. Unfortunately, this version of “THE FOUR FEATHERS” did so at a level that sometimes came off as a little too heavy-handed for my taste. I suspect that the reason behind the three screenwriters’ decision to set the movie in the mid-to-late 1890s in order to allow the movie to feature an actual British imperialist victory – Omdurman – and a chance to wave the flag. The movie did question the idea of what constituted bravery or cowardice. But once Harry arrived in the Sudan, the topic never reared its ugly head again. Hmmm. Too bad.

The movie featured a solid, first-rate cast. John Clements gave an excellent performance as Harry Faversham, who is emotionally torn between his aversion to the idea of serving as a British officer and continuing his family’s military tradition. My only quibble with his performance was that I found his . . . ‘portrayal’ of a mute Sangali exaggerated. The other first-rate performance featured in this movie came from Ralph Richardson, who portrayed Faversham’s best friend and romantic rival, Jack Durrance. I was especially impressed by how Richardson conveyed Jack’s desperation to hide his blindness from his command and his hopeless infatuation with Harry’s fiancée, Ethne Burroughs. Who, by the way, was portrayed by June Duprez. Ms. Duprez gave a charming performance. But aside from two scenes – one that featured her discovery of Harry’s resignation from the Army and her regret for pushing him away – Miss Duprez’s Ethne seemed to lack depth. Well known British character actor, C. Aubrey Smith gave a sprightly and funny performance as Ethne’s father, the irascible General Burroughs who continues to live in the past glories of his service during the Crimean War. In fact, the movie’s running joke turned out to be the General’s embellishments of his favorite war story – the Battle of Balaclava.

When one comes down to it, the 1939 version of “THE FOUR FEATHERS” is a rousing and entertaining tale about a disgraced British Army officer who finds redemption through his private heroic acts to protect his former colleagues and friends during the last year of the Mahdist War. My main quibble with the movie centered around the script written by R.C. Sherriff, Lajos Biro and Arthur Wimperis. Granted, they did a first-rate job of adapting Mason’s novel. But aside from the first third of the movie in which the script briefly questioned society’s idea of bravery, the story seemed lack depth and in the end, came off as a propaganda film for the British Empire. However, Georges Périnal and Osmond Borradaile’s Technicolor photography of both England and the Sudan are absolutely breathtaking and deserving of an Oscar nomination. The movie featured a solid cast that included excellent performances by John Clements and Ralph Richardson. And Zoltan Korda kept it all together with his skillful direction that featured some excellent dramatic moments and great action.

I realize that many consider Korda’s version of “THE FOUR FEATHERS” to be the best of the seven already made. This is an opinion that I cannot honestly share. It is also an opinion I have not harbored in the past decade. It is a little too jingoistic for my taste. And aside from the Harry Faversham and Jack Durrance characters, most of the other characters do not strike me as possessing enough depth. But it is a first-rate action-adventure film. And it is easy to see why so many fans still love it after seventy-three years.