Some of you may be confused about the order of how I do each film of my Best Picture summary. It’s definitely not alphabetical. How I do it is in the order in which I saw the nominees. For example, I saw all the films in my first summary before Christmas. I saw La La Land on my father’s birthday, Fences the day after New Years, and Manchester By The Sea on the day of the Golden Globes. That explains why they’re the three films part of my next Best Picture summary.
LA LA LAND
We don’t see musicals on the big screen as often as we did back in the 60’s and 70’s. La La Land may not make the musical phenomenon come back but it is very entertaining.
We’re constantly reminded that bringing a musical to the big screen is a very tricky job. In the past 15 years, I’ve seen a lot of cases of musicals being put on the big screen– most of which are adaptations of Broadway musicals– and it’s always been a case of sink-or-swim. There have been those done successfully like Moulin Rouge, Chicago, Dreamgirls and Les Miserables. There have also been adaptations with bad results like Rent, Nine, The Phantom Of The Opera and Mamma Mia. It’s a very tricky job and it may explain why we don’t have musicals as frequent as in decades past.
Now try putting a fresh original musical on the big screen. That’s what writer/director Damien Chazelle does here in cooperation with composer Justin Hurwitz who was Chazelle’s Harvard classmate. The musical is a story we’re familiar with: boy meets girl, boy learns girl also has showbiz dreams, both boy and girl are supportive of each other’s dreams, boy and girl both have long bumpy roads to get to their successes, boy and girl both achieve their own successes but their love is put to the test. One could argue anyone could create a musical with that kind of premise. Whatever the situation, it would have to take a lot of hard work and a lot of brainstorming to make a very good musical out of this. In addition, it would have to have the right songs, the right singing moments and the right dancing moments to make it succeed.
Chazelle and Hurwitz succeed in pulling it off. The story is familiar but they deliver all the right moves in making the story and the songs of the musical work. It’s not just about making a common story work as a musical on screen but have it set in the modern times too. I’ll admit that opening in the movie where there’s a song-and-dance number on a jammed-up freeway was unexpected. It’s not just set in modern time but it also brings back a lot of the classic scenes of Hollywood; the Hollywood we’ve all come to know and love. I think that’s why La La Land comes off as a gem. Because it’s a reminder of the great musicals of the past and why we love them so much. It’s just that charm.
It’s not just up to Chazelle and Hurwitz to make this musical work but also the actors too. Both Ryan Gosling and Emma Stone had to make things work as well both as individuals and both as the couple Mia and Sebastian. They had to tell their own stories of love and passion for their crafts and the heartbreak they had to endure to achieve their dreams. They both also had to play a couple with the right chemistry to work. They pull it off excellently both as a couple and in their own individual moments too. The supporting actors/singers/dancers also had their parts to play too and add to the zest of the musical. Their own participation also added to the movie. Sure some of the bigger supporting performances from John Legend, J.K. Simmons and Tom Everett Scott lacked range–I mean Mia and Sebastian were the dominant focus of the musical– but they did very well too. The film did a very good job in terms of the use of sets both set up and various Los Angeles locations. The film even scouted out some ‘old L. A.’ locations to add the charm. That was not an easy find, I’m sure.
And now onto the songs. My father who likes musicals believes having a memorable song is what makes a musical a masterpiece. I have to agree. I’ll say I agree with him that there is no single song in La La Land destined to be a memorable classic. True, ‘City Of Stars’ is getting a ton of awards but I don’t think it will be a classic 20 years from now. Actually my favorite songs were the opener ‘Another Day Of Sun’ and ‘Audition (Here’s To The Ones Who Dream).’
It’s funny. Years ago, I jokes the unique thing about my father is that he’s straight and he likes musicals. He was quick to remind me that back when he was dating my mother, musicals were the ideal date movie. My how times have changed. What defines a date movie has changed as much over the decade as ‘real man’ standards.
La La Land may not have what it takes to bring the musical phenomenon back to the big screen but it’s winning in it’s own right. Anytime soon I’m expecting a stage adaptation of this.
Fences is a play by August Wilson that won raves when it first came out in the 1980’s. Denzel Washington brings Fences to the big screen at long last and the end result is something wonderful.
Fences is unique as a stage play. It’s a story about Troy Maxson: an African-American man in 1950’s Pittsburgh who makes like he has it together but he doesn’t. He thinks he could have been the next Jackie Robinson but feels racism kept him from moving out of the Negro League. He wants to mould his son the way he feels right and wants him to be better than him but doesn’t sense how harsh he is. He wants to be seen as a loving husband to his wife Rose but secrets of his infidelity are about to unfold. He gets an opportunity as a driver of a garbage truck–the first ever for a black man in Pittsburgh– but is reminded of his weaknesses when he accidentally signs for his brother to be admitted into a mental hospital. He has his own feelings about what should be right such as how he feels it’s better to raise his son right than like him only to see it backfire. I’ve heard some writers say that every African-American male has some aspect of Troy Maxson in them. Some people say that Troy Maxson is the African-American everyman. Some can even say Troy Maxson is the black Willy Loman. Whatever the situation, it was the toast of the 1987 Tony Awards and definitely made a legend out of scriptwriter August Wilson.
Now Wilson had always dreamed of bringing Fences to the big screen. I know one of the things he insisted on was that it be directed by an African-American. That may or may not have been the biggest obstacle but it was never realized in Wilson’s lifetime; he died in 2005. Hope was revived in 2013 when Denzel Washington expressed interest in bringing it to the big screen and star as Troy Maxson. Washington played Maxson in a Broadway revival in 2010. He’s even had experience as a director with 2002’s Antwone Fisher and 2007’s The Great Debaters. The production was realized early in 2016 when Washington was joined by producer Scott Rudin who also produced the 2010 revival. Viola Davis who was also part of the revival as Rose Maxson soon joined in along with other actors from the revival like Mykelti Williamson, Russell Hornsby and Stephen Henderson. One thing was that Washington wanted to remain true to Wilson’s own adaptation in respect to his work.
Now adapting a play to the big screen is as much a tricky challenge as bringing a musical to the big screen. It’s a matter of choices of what to include and what to keep as is. Theatre and film are two different formats of medium. Film scenes are numerous and can be set in an unlimited number of places in various amounts of time. Theatre scenes are often few, often quite lengthy, set in a limited number of places, and often consists of ‘moments of monologues.’ There’s even that 20-minute final scene in Fences where the family is getting ready for Troy’s funeral. Rarely in film do you have a scene after the death of the protagonist that’s even five minutes long. It’s a matter of making the adaptation work on the big screen. It’s also about what choices to add to the film adaptation and if they work. It was about choosing to add the scene of Troy and Jim Bono on the back of the garbage truck at the start. It was about including the scene without dialogue of Troy and Gabriel in the mental hospital. It was about keeping Alberta the mistress from being seen in the film in any which way.
Then there’s the acting. Of course it’s beneficial for most of the actors to have previous experience with the roles. However, it’s a known fact that stage acting and film acting have their differences. The biggest difference for film is that the audience expects a 100% believable performance, especially since it will be witnessed on a screen five-stories tall.
Overall I feel that Denzel Washington as a director/producer did a good job in adapting the play to the screen. It may not have the fast brief dialogues you get in your typical big screen fare but it was still done well and with the same truthfulness. The choices of what to add to the big screen adaptation were good choices, if not perfect. Denzel as an actor was definitely phenomenal in embodying the role of Troy in all of his triumphs and struggles. You could feel the pride and demons Troy was struggling with. Just as excellent is Viola Davis as Rose. The role of Rose was also a strong challenging role: a wife who appears happy and loving on the outside only to suddenly let out her hurt and inner wrath towards Troy and somehow come to peace with him upon his death. She does an excellent job of finally exposing Rose’s inner hurt and inner personal strength at the right times and even ending with believable delivery. The acting of the whole ensemble was very much there and as excellent as it can get. Of all the supporting performances, the one that stood out most was Stephen Henderson whose performance as Jim Bono came across as a common man at first but would soon come off as the man with a lot of wisdom and was able to see the good in Troy even while his terrible misdoings were being exposed. The ‘newcomers’ Jovan Adepo and Saniyya Sidney were also very good in their roles. Jovan especially did well as the son struggling to relate to Troy.
Fences is a triumph of a twelve year-old dream coming true. August Wilson dreamed it. Denzel achieved it. The end result is a masterpiece.
MANCHESTER BY THE SEA
Manchester By The Sea is a film that has been loaded with Oscar buzz ever since it made its debut at last year’s Sundance Film Festival. It’s easy to see why all the buzz.
The film presents a hurting person and showcases all the things that led to his hurt. It shows why he had to leave the town he always had as his home and why returning can’t be done. It shows why Lee Chandler comes across as a jerk in the present when he wasn’t like that at all years ago. The film is also about the relationship of Lee and Patrick. Rarely do we see a film about an uncle-nephew relationship. You think the relationship is something all of a sudden at first forced by something in his brother’s estate but it was always there even when the two were apart.
The film also presents a situation where healing or leaving the past behind is next-to-impossible. I’ve always believed people need to heal. It’s not right to hurt. I still believe it. However I can easily see how healing is very hard. You can see why it’s extremely hard for Lee to heal, especially upon returning to Manchester By The Sea, Massachusetts. His negligence that one night is why all three of his children were killed in that fire. The divorce from his wife Randi was bitter and she gave him hurtful words in the process. The town has not forgiven him for what he did: his name is still mud. Even moving to a suburb of Boston has not ended his hurt as he’s rude during his job and starts bar fights over the simplest thing.
The film does showcase Lee’s attempt to assimilate into the town and try to become the guardian to Patrick he hopes to be. The story does not water down as it exposes Lee’s failings. It also exposes how complicated the situation is as Patrick’s mother is a recovering alcoholic and still under strict control by her husband. It also shows how hard it is for Lee to forgive himself. Even as Randi says she’s forgiven him, Lee still can’t heal.
The story does not water down the situation or try to aim for the type of happier ending you’d get in a film like Arrival. The story does not end the way you hope it does. Nevertheless it does end with a ray of hope. Patrick is the closest relative to Lee. His parents and brother are gone and his other brother lives with his own family in Minnesota. Patrick is the one person in Manchester By The Sea outside of family friend George who doesn’t see Lee as this terrible person or rubs into Lee the tragedy he caused.
The film was not just about Lee trying to heal for Patrick but about Patrick too. Patrick is a teen with a lot of common ‘teenage make jerk’ traits like starting fights in hockey and cheating on girls but you know he has a naïve, innocent and even sensitive side and it comes out in his relationship with Lee that starts uneasy at first. Patrick still wants to live a normal teenage life by dating around, playing with his band, and talking about Star Trek with his friends, but you know he has feelings of hurt and frustration on the inside and you know they’ll come out eventually. For all the teenage jerk traits Patrick has, his respect for Lee is his best quality. Patrick could have easily come across as a rebellious teen and gone as far as calling Lee a ‘child killer’ but he doesn’t. Possibly it’s being Joe’s son that may be why Patrick is the person most forgiving to Lee now that Joe is gone. Joe was the one person willing to help Lee live life again after the tragedy and Patrick accompanied Lee and Joe during that time. You can see how Patrick adopted his father’s sensitivity to Lee.
The story of this film is definitely not a crowd-winner. You can understand why a film like this would rely on the Film Festival circuit to get its exposure and its chances of making it to the box office. Nevertheless it is an excellent story about loss, grief, hurt and an attempt at healing. The film fest circuit was the best way for a story like this to get a box office release. It’s good because it is a story worth seeing.
Writer/director Kenneth Lonergan delivers an excellent original story. Lonergan has few works writing and/or directing to his credit but they have a lot of merit: like Analyze This, You Can Count On Me and The Gangs Of New York. This is his best work to date. He delivers a story that’s honest and even brutal at times and doesn’t water down but doesn’t try to rip at your heartstrings too often. He also gives characters that are three-dimensional and will remind you of people or situations you may know about.
Actor Casey Affleck fit the role of Lee excellently. He captured Lee’s inner demons excellently and played them very truthfully. He was able to make you hate Lee at first but come to understand him later, even feel for him, and make you want the best to work out for Lee in the end. Also excellent was Lucas Hedges. Hedges’ role of Patrick grows in its complexity over time and he does an excellent job of it. The two together had to have the right chemistry to make an uncle-nephew relationship like this work and they had it.
The only other significant supporting role in the film is Michelle Williams as Randi. The various scenes as the typical wife before the tragedy to being the remarried ex-wife who healed better than Lee and wants to make peace with him is also a complex role too and she does an excellent job of it too. Actually the whole cast did an excellent job of acting and they delivered one of the best ensemble performances of the year. It’s not just the basics that made this film great. There’s also the cinematography from Jody Lee Lipes where she’s able to get some of the most picturesque shots of the east coast. There’s the editing of the story shifting from the present to the past back to the present on a constant basis at the right times. There’s the inclusion of dialogue at the right moments and even moments of dialogue muted at the right times where you just know what they’re saying. The muted parts work to the story’s advantage. There’s also the arrangement of music–original, classical and choral– that add to the story.
Manchester By The Sea may come across as a film that’s unwatchable if you take its premise at face value. In the end, it turns out to be a great story that’s worth seeing.
And there you go. That’s the second of my review of the nominees. One’s an original musical, one’s an original story and one’s an adaptation of a renowned stage play. All three make it obvious why they were nominated for Best Picture as all three have what it takes to be among the Top 10 films of the year.
Final Best Picture summary is expected to be up by Tuesday.
Interstellar is one of those movies one would not expect to be too big of a success especially with a November release but it has really caught on. I had my chance to find out why just a short time ago.
Normally I would go into an analysis of the plot but I decided to skip it since it was so widely seen by now. Instead I will focus on how the film did as a film and as a sci-fi movie.
I will admit that this is not an original concept. A story of a civilization in danger requiring a trip to save it has been done before. I haven’t seen a movie where it required a space trip to do so but I’m sure it’s been done. In order for a movie like Interstellar to work those themes, it had to have a well-thought out story. Especially with the situation where saving civilization meant travelling to another planet or even another galaxy. Already at the beginning we see aspects of a hopeless world with crop blight and dust storms. We see further chaos at the school as Murphy’s teachers teach liberal conspiracy theories as the truth and Tom’s grades are great for his career pursuit but not competitive enough to get into a university.
A story like this also would have to make the time delay between space and earth work rather than look stupid and schlocky. Even for a space mission that’s doomed from the start to succeed, it has to be well-written and thought out with precision. One element that was rightfully included was the human element of the film. Cooper was to go on a mission to preserve the human race from a future of doom. It’s a trip where he ages one month for every seven years humans on earth age. It’s Cooper’s connection with his family over the spans of time–especially with Murph– that keeps the focus on why this mission has to be a success. It’s at the very end where Cooper who appears not to have aged a bit finally meets up with Murphy, elderly and on her deathbed surrounded by her family, that we see why this mission was so important. Even the images where Cooper talks with Tom and sees his grandson is an element that shows why this mission is necessary and why they have to succeed even when it seems all hope is lost.
The mission itself had to be smartly written from launch to activity to failures to battles and to returning to Earth in order for this film to be successful. The inclusion of TARS had to work. He can have his humorous moments but he can’t come off looking ridiculous as if he was trying to be a rip-off of C3P0 or Johnny Five. Also outer space and the terrain of the other planets had to look like a world unlike any other. That’s what makes a space movie: the ability to thrill as well as capture people’s imagination.
Overall, this is what Christopher Nolan had to do both as director and co-writer along with his brother Jonathan in order to make a film like this work. They not only had to show the hopeless state of the world but also make the mission work out even with its doomed failings and it had to keep Cooper’s connection with this family on earth while this aging gap was happening along the way. They had to deliver a film that was smart but also entertaining and mesmerizing like a film about space travel should be. They succeeded. Having a mission that was smartly planned out, making the staggered time lapsing happen and keeping Cooper connected with his family a galaxy away is what made this film not only work but win over audiences. It shouldn’t really be all that surprising that a smart sci-fi thriller should come from Christopher Nolan. He showed he can do a thriller that’s both intelligent and a box office winner with Inception. He does it again here.
The excellence of the film is not just that of Jonathan and Christopher Nolan. It also involved great acting from Matthew McConaughey, Anne Hathaway, Michael Caine, Jessica Chastain and even minor performances from Casey Affleck, John Lithgow and Matt Damon. I’ve seen better acting from all of them in the past but they all did very well here. Newcomer Mackenzie Foy was also very good in portraying the daughter with her love for her father and her anger for him.
Other standouts of the film were the top notch visual effects. A space movie is supposed to capture people’s imaginations and take the audience to a different world and it succeeded here. The cinematography from Hoyte van Hoytema delivered and the music from Hans Zimmer added to the feel and experience of the film.
Interstellar is a sci-fi movie that’s both imaginative and intelligent. It combines a smart story with a dazzling space mission and comes out a winner.
I’ll admit that I’m one of those people that went out to see Gone Girl later than the huge crowds. I will admit I was lax at it because of the tight times I was experiencing. I finally did see it just a while ago and I was impressed.
I usually do a run though the plot in my reviews. I have decided to skip it since most of you have already seen it. Instead I will focus on some of the unique elements and why this movie stands out.
One noticeable thing of the movie is that there is a big focus on the media, especially as it surrounds a murder story. There’s no doubt the message is about how the media takes on crime stories by being its own judge and jury, typing people and packaging them as good people and bad people. This was especially seen on how Nick is typed not only as the bad guy but as the murderer even though no body was found. This was also seen on the police as they eventually felt the pressure to make a move and arrest Nick for the murder. There was also the focus of the egos in the media behind it all and epitomized best by Ellen Abbott who mercilessly defames and slanders Nick as the murderer. Even before the interview of Nick and Amy after Amy’s arrival, you can tell Ellen shows no regrets about it all. Even as Nick confronts Ellen about how she dismissed him as a murderer, she simply says “I go where the story goes” without any noticeable remorse or apology. I guess it shows what it takes to be a talking head in the news.
Despite the exploitative judgmental ego-driven media being a major theme, it’s not the main focus of the film. The main focus is on Amy. Amy first comes across as a warm charismatic person with a lack of confidence but lives her confidence out through the character of Amazing Amy in her Amazing Amy books. As the story goes through the search for Amy day by day, the story flashes back to the first signs of their marriage falling apart. The marital troubles appear so much like millions of marriages before that hit rocky moments during hard times and even face ugly moments like infidelity and even physical abuse. That’s what the first half is all about.
It’s the second half that we see the twist in the story that Amy is not the sweet thing we think she is. She’s conniving, very clever and smart enough to make things work for her revenge plan to have Ben framed for her murder that never happened. Even faking things like her pregnancy, Ben’s alleged credit card debt and agreement to a huge life insurance payout was as clever as it was shallow. Her cleverness especially intriguing that she’s even able to make a calculating change of plans even after some neighbors of her getaway place rob her. She’s able to get Desi back into her life and appear to rekindle the romance only to have another thing up her sleeve after seeing Nick’s interview on the television. Her tricks are even crafty enough to get Nick trapped into the relationship without him being able to escape thanks to a pregnancy. Her tricks are even clever enough that there’s nothing Nick, Margo, Tanner Bolt or even Detective Boney can do to bring out the truth, even though they know it.
The funny thing is I’ve been watching a lot of crime shows like Forensic Files where they show of people committing murders and attempting to cover it up only to have advancing technology over time uncover the truth slowly but surely. They not only tell of people committing the crimes but what they do to get away from it all and even cop a new identity. Seeing Amy go about her charade not only reminds you of those diabolical minds but gets you intrigued in Amy’s own diabolical ways. Throughout the movie I was waiting for the moment for truths to be unraveled and Amy to get caught. Funny thing is that over time, it appears her new actions and tricks appear better executed than the ones Amy had planned on Nick from the start. It appeared Amy’s new plan to have Nick in a loveless marriage raising their child was a better form of torture on Nick than her original plan of having him convicted and executed for her fake murder. It’s like she told him after he hit her: “I’m the c*** you always wanted.”
I think that’s what makes this movie so winsome. Amy is a diabolical mind who’s not only that good but appears to get better and craftier over time. Funny thing is it’s one of those movies that had me leaving the theatre wondering how Amy gets away with it all? How Amy’s able to keep it all covered up even with all this modern technology and in control of everybody else involved including the law? That’s like the same wonder I had at the end of 1999’s Arlington Road of how a couple could pull off a terrorist explosion framing their neighbor and being a step ahead of everybody in every which way to get it done. That’s also like the same wonder I had in 1992’s Basic Instinct when Beth kills Gus with an ice pick and minutes later confronts a gun-wielding Nick with a normal pulse rate and no stress level at all. Then I remind myself it’s the movies where they can make anything happen and make us believe it at that moment.
Top kudos to Rosamund Pike. She delivered a character that made the movie. She gave a feel for the character right from the start and kept us intrigued right until the end. She had to be the top factor on why this movie is so winsome. Ben Affleck did well but he didn’t own the show the way Rosamund did. Carrie Coon was very good in the supporting role of the sister who knows the truth but is helpless to do anything. Tyler Perry was good as the lawyer. Missi Pyle came across as cartoonish as the Ellen Abbott but it fit well with the movie as I will reflect on later.
It seemed like the right thing for Gillian Flynn, the writer of the novel, to also write the screenplay too. It makes sense since she’s the one who knows Amy inside out. It’s also great to see her deliver an ending possibly unlike anyone would anticipate. David Fincher does an excellent job of directing the story. I know there were many times that the people in the murder scenario came off as cartoonish in the film but it seems fitting because all too often, people in the middle of a trial that involved heavy media attention often come off as cartoonish or like drama queens. Even as we read murder stories or murder dramas about real-life murders, it’s as much about personalities as it is about the people. David did a good job of making it the focus in the movie. You could say David delivers another winner. In addition kudos to the music of Trent Reznor and Atticus Ross that added to the feel of the film.
Gone Girl is a story that keeps you interested from start to finish. You think it will go one way but it goes the other way. Even after you leave the theatre, you’re left wondering how she was able to make it work. I guess that was the secret of the movie.
“So you want to come to Hollywood, act like a big shot without actually doing anything? You’ll fit right in.”
Argo is a story about an important moment in American History: The Iran Hostage Crisis. This focuses on the part that would be known as The Canadian Caper. What we get is more than just a reenactment of history.
The film starts in November of 1979. Iran has gone through its Islamic Revolution. The Shah had been dethroned. Ayatollah Khomeini was the figure of a revolution of Islam in the country and the people wanted justice. They wanted the Shah tried and hanged and were outraged he was housed in the United States, which was already denounced by Khomeini as ‘The Great Satan’. On November 4th, Iranians stormed the American embassy, captured at least 50 Americans and held them hostage. Some managed to escape and six were given refuge in the Canadian embassy under Ken Taylor.
More than ten weeks would pass and the Americans held hostage were still held captive facing an unknown fate with a kangaroo court of Iranian students. Those six in the Canadian embassy were still being sheltered with a future just as uncertain. Now it was a matter of finding them ways of getting them all out safe and sound. Some Americans thought military intervention and even a war was the thing to do but it would cause more bloodshed to the American and even could lead to the embassy being bombed. This was an embarrassment weighing heavily on the entire United States at the time. President Jimmy Carter made it clear he will not back down to terrorist demands. That left the CIA to decide what actions to pursue especially as time was running out and the fates of all were uncertain.
Enter CIA Tony Mendez. He hears about the six from people at the CIA table trying to devise rescue plans for the six. None come up as good ideas. It’s when he’s talking to his son from his failing marriage that his son’s talk of science fiction entertainment sparks an idea about a fake film production as the rescue mission. First: find the right Hollywood people for the idea. He finds it in makeup artist John Chambers and film producer Lester Siegel. Second: find the right movie title and subject line. Siegel finds it in a rejected script titled Argo. Third: give all those in refuge Canadian identities and a trial run through the local bazaar. Tony himself poses as the director. Fourth: know the ins and outs of how to make it out of Iran. One thing we’re reminded is there are guards at the airport who could arrest any American or even a citizen with an American name in their documents for possible connection to the Shah. It all sounds good but it’s not going to be easy. CIA may feel this mission is not as important as the main issues to deal with. Cooperation from the Canadian government would have to occur. President Carter giving the okay on the Swissair plane tickets to get them out would have to happen. The Hollywood people would have to be there whenever a guard questions Kevin, Tony’s guise. And this all has to be done before the Iranian people find out the secret of the hidden Americans and they eventually will. Will this mission succeed? History has already told us so. Nevertheless it’s all how it plays out in the film.
The best quality of the movie is not just its redirectioning of the events of the time but capturing the pressure of the moment. I was a child when the hostage crisis occurred and I knew that the six would all make it out alive. I knew the Shah would eventually be moved to Egypt where he’d spend his last months. I knew that all the other American hostages would be freed almost a full year after the six escaped. Nevertheless watching the movie made me forget all the facts I knew and made me wonder what will happen next? Will they succeed in their mission? Will something go wrong? It captures the sense of everything that was happening at the moment. It also captures the reasons why such an operation was necessary instead of an act of war. It captured the reasons why a war would only escalate the situation. This was not a simple political situation. This was a moment in history almost reminiscent to the French Revolution of 1789 where it was a revolution of the people consisting of a kangaroo court of trial, verdict and sentencing of even death. Anything more than the Canadian Caper would be disastrous and bloody. Anything less would be disastrous and humiliating.
Meanwhile it’s not just about a rescue mission. It’s also about people and what they mean to others. There’s Tony, a CIA agent who has the responsibility of these Americans in their hand. He’s also a father who values his time with his son even though it’s not often. There are the hostages who are fearing for their lives and nervous if this mission will fail. Especially the Lijeks, a married couple. There are all those involved in the mission–Tony, the six Americans, the film producers and the CIA–that feel the weight of this mission and know it’s can’t fail. Not with the eyes and hopes of all the USA watching. This was as much a human story as it was a thriller.
Often when a piece of history is reenacted on the big screen, it’s often a question if this moment is relevant today. I feel it is. Khomeini may have died in 1989 but anti-American sentiment is still present in many of the predominantly Muslim countries. The Iranian people have calmed down a lot since the Islamic Revolution of the late 70’s and have become somewhat more American-friendly, if imperfect. Nevertheless Mahmoud Ahmadinejad, the current President of Iran, is a man who idolizes Khomeini and his beliefs. We should keep in mind Ahmadinejad was 22 when the shah was overthrown and the Islamic Revolution began. Ahmadinejad has spoken narcissistically and even eccentrically about the ‘end of the American empire’ and has spoken openly about his nuclear ambitions. Most Iranians do not accept Ahmadinejad’s views but they’re either too afraid to speak or they’ve been punished criminally. This comes at a tense time as the US is trying to improve relations with the Muslim world. So I can see what happened in Argo quite possible to happen again now.
Ben Affleck did an excellent job in directing the movie. He took a smart script from Chris Terrio and directed an excellent movie out of it that was as much thought provoking as it was thrilling. He did a very good job of acting too. I liked how right during the very first scene I saw Ben play a role instead of coming across in typical Ben Affleck style. Mind you Ben was not the complete standout. Alan Arkin gave a great turn as Lester Siegel that stole the show many times. John Goodman was also a show stealer as John Chambers. Victor Garber also held his own as Canadian ambassador Ken Taylor.The script from Chris Terrio was also smart, funny at times, touching and thrilling. It also did a very good job of capturing the chaos of the times from the riots in the town to people being hanged from cranes. The inclusion of news footage added to the drama both before and after. Even hearing Jimmy carter speak during the credits added to the story and its significance in history. Other standout efforts are Rodrigo Prieto in cinematography and Alexandre Desplat in film scoring.
Argo is a movie about a piece of history that we often forget but is very relevant towards the poitical situation in the world now. Seeing it played out on screen does more than just retell history.