“PERSUASION” (1971) Review

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“PERSUASION” (1971) Review

This adaptation of Jane Austen’s 1818 novel turned out to be the first of the old Jane Austen television adaptations that the BBC aired during the 1970s and 80s. Produced and directed by Howard Baker, and adapted by Julian Mitchell; this two-part miniseries starred Ann Firbanks and Bryan Marshall.

As many fans of Austen’s novel would know, ”PERSUASION” told the story of Anne Elliot, the middle daughter of a vain and spendthrift baronet, who finds herself reunited with her former finance, a Naval officer of lesser birth named Frederick Wentworth. Eight years before the beginning of the story, Anne’s godmother, Lady Russell, had persuaded her to reject Wentworth’s marriage proposal, citing the Naval officer’s lack of family connections and fortune. She reunites with Wentworth, during a prolonged family visit to her younger sister and brother-in-law, Mary and Charles Musgrove. And the Naval officer has managed to acquire a fortune during the Napoleonic Wars. Anne is forced to watch Wentworth woo Mary’s sister-in-law, Louisa Musgrove, while he ignores his earlier attraction to her.

Many diehard Austen fans have expressed the opinion that this adaptation of her last novel has a running time that allows for the characters to be expressed with more depth than they were in the 1995 and 2007 versions. I must admit that the miniseries’ running time of 210 minutes allowed a greater depth into Austen’s plot than the two later movies. Yet, despite the longer running time, ”PERSUASION” managed to be only a little more faithful than the other two versions. One of the plotlines that Mitchell failed to include featured the injury suffered by one of Charles Musgrove’s sons, following a fall from the tree. It was this injury that delayed Anne’s reunion with Wentworth near the beginning of the story. Fortunately, the changes or deletions that Mitchell made in his script did not bother me one whit. Especially since ”PERSUASION” turned out to be a pretty solid adaptation.

However, there were times when Mitchell was too faithful to Austen’s novel. I still have nightmares over the second scene between Anne and her old school friend, Mrs. Smith; in which the latter finally revealed the true nature of Anne’s cousin, William Elliot. That particular scene seemed to take forever. And I never understood Anne’s outrage over William’s comments about Sir Walter and Elizabeth in his old letters to Mrs. Smith’s husband. He had only expressed what Anne also felt about her father and older sister. And once again, an adaptation of ”Persuasion” failed to correct the problem surrounding the William Elliot character – namely his attempt to woo and marry Anne in order to prevent Sir Walter from marry Elizabeth’s companion, Mrs. Clay, or any other women . . . and guarantee his inheritance of the Elliot baronetcy. As I had stated in my reviews of the two other ”PERSUASION” movies, William’s efforts struck me as irreverent, since there was no way he could have full control over Sir Walter’s love life. Why was it necessary to show William sneaking away with Mrs. Clay in order to elope with her? Both were grown adults who had been previously married. They were not married or engaged to anyone else. I found their clandestine behavior unnecessary. And why on earth did Mitchell include Sir Walter spouting the names and birthdates of himself and his offspring in the script’s opening scene? I do not think so. In fact, this scene merely dragged the miniseries from the outset.

The production values for ”PERSUASION” struck me as top-rate . . . to a certain extent. I have to commend Peter Phillips for his colorful production designs and Mark Hall for the miniseries’ art work. ”PERSUASION” permeated with rich colors that I found eye catching. However, I have some qualms about Esther Dean’s costumes designs. How can I put it? I found some of the costumes rather garish. And the photography for the exterior scenes struck me as . . . hmmm, unimpressive. Dull. Flat. And I had some problems with the hairstyle for the leading lady, Ann Firbank. Her hairdo seemed like a uneasy mixture of an attempt at a Regency hairstyle and an early 1970s beehive. Think I am kidding? Take a gander:

My opinion of the cast is pretty mixed. There were performances that I found impressive. Marian Spencer gave a complex, yet intelligent portrayal of Anne Elliot’s godmother and mentor, Lady Russell. I was also impressed by Valerie Gearon’s subtle performance as Anne’s vain older sister, Elizabeth Elliot. And both Richard Vernon and Rowland Davies gave colorful performances as Admiral Croft and Charles Musgrove, respectively. On the other hand, Basil Dignam got on my last nerve as the vain Sir Walter Elliot. There was nothing really wrong with his performance, but many of his scenes dragged the miniseries, due to the number of unnecessary dialogue over topics that had very little to do with the main storyline. Quite frankly, a great deal of Sir Walter’s dialogue bore me senseless.

And what about the story’s two leads? Ann Firbank and Bryan Marshall gave very competent performances as the two former lovers, Anne Elliot and Frederick Wentworth. They competently expressed their characters’ intelligence and emotions. They also made the eventual reconciliation between Anne and Wentworth very believable. Unfortunately, Firbank and Marshall lacked the strong chemistry that Amanda Root and Ciarán Hinds possessed in the 1995 adaptation; or the strong chemistry that Sally Hawkins and Rupert Penry-Jones had in the 2007 film. I never got the feeling that Firbank’s Anne and Marshall’s Wentworth were struggling to contain their emotions toward each other in the first half of the miniseries. Every now and then, Firbank utilized sad and pensive expressions, reminding me of Evangeline Lilly’s early performances on ABC’s ”LOST”. And Marshall’s Wentworth seemed too friendly with the Musgrove sisters and polite toward Anne to hint any sense of remaining passion toward her. It was not until their encounter with William Elliot at Lyme Regis that I could detect any hint – at least on Wentworth’s part – of emotion toward Anne. And it was only from this point onward, in which Firbank and Marshall finally conveyed a strong screen chemistry.

In the end, I have to admit that this adaptation of ”PERSUASION” struck me as entertaining. I cannot deny it. Despite being the most faithful of the three known adaptations, I feel that it was probably more flawed than the later two versions. Screenwriter Julian Mitchell and director Howard Baker’s close adherence to Austen’s novel did not really help it in the long run. In doing so, the miniseries adapted some of the faults that could be found in the novel. And the miniseries’ close adaptation also dragged its pacing needlessly. But the solid performances by the cast, led by Ann Firbank and Bryan Marshall; along with the colorful production designs and the story’s intelligence allowed me to enjoy it in the end.

Notes and Observations of STAR WARS: “Episode V – The Empire Strikes Back”

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Notes and Observations of “STAR WARS: EPISODE V – THE EMPIRE STRIKES BACK”

The following is a list of minor notes and observations that came to me, during my recent viewing of “Episode V: The Empire Strikes Back”. I hope that you enjoy them:

*Exactly who was in command of the Rebel Alliance base on Hoth – Leia or General Rieekan?

*What was Leia doing on Hoth with the Rebel Alliance military personnel? Why wasn’t she with the other political Rebel leaders?

*Ah yes! The ”I’ just as soon kiss a Wookie!” dialogue between Leia and Han. Charming, although slightly . . . childish.

*How . . . or should I say when did Han and Leia reach the point in which they became attracted to one another?

*It was interesting to see how Obi-Wan’s ghost faded with the emergence of Han on a tauntaun.

*”Why, you stuck up,… half-witted… scruffy-looking …nerf-herder!” – Another charming, yet childish exchange between Leia and Han.

*Jealousy and ambition seem quite obvious within the Imperial command structure, if General Ozzel’s glare at Piett is anything to go by.

*I find it interesting that the exchange between Luke and Han before the commencement of the Battle of Hoth would be the last between them for at least a year.

*Vader’s ability to strangle Ozzel with the Force from such a large distance seemed very impressive for someone whose strength with the Force has been weakened.

*The pilots’ point of view of the Battle of Hoth seemed like another cliché of a World War II dogfight . . . like the Battle of Yavin.

*Luke was made commander of the Rebel pilots because he had destroyed the Death Star . . . with Han’s help? What about Wedge, who was also a competent pilot and more experienced?

*The Imperial AT-AT Walkers remind me of the Oliphaunts from the ”LORD OF THE RINGS” saga.

*Wasn’t Leia taking her duty just a bit too seriously by delaying her departure from Hoth?

*I noticed that Han never seemed to follow the ladies first rule. When he, Leia and Chewie and Threepio had escaped both from Hoth and the exogorth in the asteroid field, he made sure that he boarded the Millennium Falcon first. Not exactly a man of the Old Republic.

*Han really revealed how much of a hot shot pilot he was in this movie.

*”Into the belly of the beast” – This metaphor seemed to fit the Falcon’s entry into exogorth even more than Luke, Han and Leia’s brief adventures inside the Death Star’s trash compactor.

*The audience got a brief glimpse of the price Anakin paid for his past mistakes – namely his scalded head.

*”Feel like what?” – Yoda’s first words in any ”STAR WARS” movie.

*”Great warrior? Hmmm . . . wars do not make one great.” – Ironic words from the very being who led the first attack, during the first battle of the Clone Wars. His words also revealed the true Yoda behind the comic façade. I think Luke may have been too impatient or full of himself to notice.

*”You like me because I’m a scoundrel. There aren’t enough scoundrels in your life.” – One can only assume that Leia’s age – 22 years – and limited experience with men would explain why she bought that bilge pouring from Han’s mouth.

*”He’s just a boy. Obi-Wan can no longer help him.” – Surely these words must have hinted to Palpatine that Vader had been aware of Luke for some time?

*I see that Clive Revill has been replaced by Ian McDiarmid as the Emperor Palpatine in this version of the movie. Which makes sense, considering that McDiarmid is more identified with the role.

*”This one a long time have I watched. All his life has he looked away . . . to the future, to the horizon. Never his mind on where he was.” – I believe that Yoda had just described himself and many other Jedi Masters and Knights of the Old Republic, nearly a quarter of a century ago. If he and Obi-Wan could learn to overcome this distraction from the future, why not Luke? Why was Yoda so reluctant to teach Luke? Is it Luke he doubts? Or himself as a teacher?

*”If once you start down the dark path, forever will it dominate your destiny, consume you it will, as it did Obi-Wan’s apprentice.” – I hope that Yoda was trying to say that a person will always be affected by his or her earlier decision to take a dark path or commit dark acts. Because if he was trying to say that a person will always remain evil, after taking the dark path, I must say that I disagree.

*Han used a neat trick to evade the sensors of Captain Needa’s starship, after the Falcon left the asteroid field.

*”Luminous beings are we. Not this crude matter.” – A favorite line of mine.

*It was very clever of Han to attach the Falcon to an Imperial starship before disguising it as garbage to be disposed with the other. Unfortunately for him, Boba Fett had witnessed a similar trick pulled by Obi-Wan near Geonosis, some 25 years ago. Even worse, it is a shame that Han was so busy congratulating himself over his trick that he failed to realize that Fett was tracking him.

*”Through the Force, things you will see. Other places. The future… the past. Old friends long gone.” – I wonder if Yoda was thinking of Mace Windu.

*According to LucasFilm, it took the Falcon three months to reach Bespin without a hyperdrive. If only Lucas and the others had made this clear in the movie.

*The Falcon was practically escorted to one of the landing platforms on Cloud City. I wonder why.

*Great entrance for Billy Dee Williams as Lando Calrissian.

*Was CP-30 really that dense in that he would be so easily distracted from the group by the sound of an R2 unit?

*”Stopped they must be. On this all depends. Only a fully trained Jedi Knight with the Force as his ally will conquer Vader and his Emperor”. – Did that mean Yoda had never intended for Luke to help Anakin find redemption?

*Apparently, the original deal between Vader and Lando did not include Han being turned over to Boba Fett. And later, Vader broke his word and insisted that Leia and Chewie accompany him. Interesting. It is a miracle that the Sith Lord did not renege on the deal even further by destroying Bespin and its population.

*And why did Han and Leia fail to understand the situation that Vader had placed Lando? Were they too blinded by anger?

*I find it interesting that not once did Vader set eyes upon C3-P0, his own creation. Why? Because Chewbacca had the droid strapped to his back.

*How stupid were Leia and Chewbacca? It was obvious that Lando had released them from Vader’s stormtroopers. Yet, all they could do was lose their tempers. Chewbacca immediately began to strangle Lando and Leia encouraged the Wookie. Because their temper tantrums, they prevented Lando from rescuing Han from Boba Fett.

*I must admit that I found the dialogue during the Bespin duel rather irritating. The most important thing about the duel seemed to be Vader’s revelation as Anakin Skywalker . . . after the fighting stopped.

*Vader’s reaction to Luke and Leia’s escape from Bespin was an excellent moment of silent acting on David Prowse’s part. With his use of body language, he managed to express Vader’s regret over losing Luke . . . and the beginning of Anakin Skywalker’s resurgence.

“FROM RUSSIA WITH LOVE” (1963) Review

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“FROM RUSSIA WITH LOVE” (1963) Review

Have you ever heard the song, “What a Difference a Day Makes”? Well, the song’s title kept going through my head, while viewing 1963’s “FROM RUSSIA WITH LOVE”, which was based upon Ian Flemnig’s 1957 novel. It seemed such a difference from the very inferior “DR. NO” (and would prove to be quite a difference in my eyes to 1964’s “GOLDFINGER”).

Not only do I consider “FROM RUSSIA WITH LOVE” to be one of the finest Bond films in the franchise, I also view it as Connery’s best. In fact, as with 1965’s “THUNDERBALL”, his acting was superb in this film. James Bond not only seemed mature, but . . . [gasp] human. All one has to do is examine his interactions with leading lady Daniela Bianchi to notice this. Connery has never been so human as he was in this movie. And sadly, he was never this human again.

Connery was supported by a first-class supporting cast. Italian-born actress Daniela Bianchi portrayed the Soviet cipher clerk assigned to seduce him, Tatiana Romanova. What started as an assignment for Tania, ended up as full-blown love affair. Although, Bianchi had her dialogue dubbed by Zena Marshall (from “DR. NO”), she did an excellent job in projecting Tania’s wide range of emotions – including her disgust at ex-Soviet turned SPECTRE agent, Rosa Klebb (Lotte Lenya).

Speaking of Lenya . . . my goodness, I am speechless! What can I say? The woman was superb! I found her creepy in her scenes with Bianchi and Walter Gotell, yet fearful in the scenes featuring SPECTRE’s leader, Ernst Stavos Blofeld. In fact, she gave one of the best performances by any actor or actress portraying a Bond villain/villainess. And I must say the same for the highly revered Robert Shaw. Not only did his Donovan Grant turned out to be the template for many Bond henchmen to come (with only Andreas Wisniewski from “THE LIVING DAYLIGHTS” coming close), Shaw and Connery provided one of the best dramatic moments and fight sequences in the entire franchise.

Hollywood character actor, Pedro Armendariz, portrayed Bond’s Turkish contact, Kerim Bey. Sadly, the role of Bey would prove to be Armendariz’s last one. After finishing his scenes, he committed suicide, rather than suffer any longer from cancer. But fortunately for many Bond fans, Kerim Bey would prove to be his greatest role. Bernard Lee and Lois Maxwell were competent as usual. And the movie would serve as the debut of Desmond Llewellyn as MI-6’s Quartermaster.

The plot for “FROM RUSSIA WITH LOVE” centered around SPECTRE’s scheme to lure James Bond into stealing a valuable Soviet decoding machine, and unknowingly deliver it into their hands. In the process, Agent 007 is to suffer a disgraceful death, in revenge for the death of Dr. No. The movie not only had the good luck to be based upon one of Ian Fleming’s few well-written novels, the screenwriters Richard Maibaum and Johanna Harwood, did an excellent job of translating it to the screen. Rich with atmosphere and mystery, “FROM RUSSIA WITH LOVE” almost seemed like the perfect spy thriller – a far cry from the schizophrenic and inferior “DR. NO”. A few changes had been made, but overall they seemed to serve the story very well.

Did I find “FROM RUSSIA WITH LOVE” perfect? No. I have a few complaints. One of my complaints happened to be the Bond-Grant confrontation aboard the westbound Orient Express. From a dramatic viewpoint, it gave Connery and Shaw to exercise their acting chops. From a storytelling viewpoint, it made no sense. It just did not make any sense to me that Grant would take his time preparing to kill Bond, once he got the drop on the British agent. While Grant was busy searching through the unconscious Bond’s jacket and putting on his gloves, I found myself screaming at my TV screen – “What in the hell are you waiting for? Kill him!” I also found the two action sequences that preceded Bond and Tania’s arrival in Venice a bit too much. I had the feeling that the writers added an extra action sequence in order to fill in the movie’s running time. I could have done with either the helicopter sequence or the Adriatic Sea boat chase.

But you know what? Not even these flaws could deter my love for “FROM RUSSIA WITH LOVE”. It is one of the few James Bond films that do not adhere to the franchise’s rather silly formula. The movie also possessed a first-rate espionage thriller seeped in Cold War politics. And it featured excellent direction from Terence Young, memorable performances from a talented supporting cast and Sean Connery’s best performance as James Bond.