State of Play (2003)

 

I take a second to gush about this miniseries every time I review something that features any actor who was in it, as well as when I watch other news-media dramas like The Field of Blood and The Hour (both of which, incidentally, also feature State of Play alumni – all kowtow to the master.)  In light of all that, it’s high time I shine a little light on the series itself.

 

I saw State of Play years ago, when I was exploring James McAvoy’s work.  The six-part miniseries, with stellar acting, tight plotting, and twists that hit you like a train, introduced me to John Simm and David Morrissey and changed my appreciation for Kelly Macdonald and Billy Nighy into full-blown love.  It also showed off the impressive writing talents of Paul Abbott, a notion further confirmed when I moved on to Shameless, his other project featuring McAvoy.

 

It’s the story of a story – a news investigation that unearths deeper channels and darker secrets at every turn.  When the young researcher of British MP Stephen Collins falls onto a line in the London underground, it quickly becomes apparent to a small group of reporters that the woman didn’t die by accident.  Led by the dogged, sharp-witted Cal McCaffrey (Simm,) they follow a trail strewn with a mysterious stolen briefcase, high-profile infidelity, and shady dealings between Whitehall and its lobbyists.

 

As I said, the narrative is fantastic.  The show moves at breakneck speed where plot and intrigue are concerned, but it also knows when to ease up and deliver softer character moments.  It feels lived-in, like we’ve dropped in on characters who won’t cease to exist when the story concludes.  The first time around, it’s an adrenaline-fueled blast watching the tense scenes and trying to make deductive leaps along with Cal and his fellow newshounds.  It’s almost as much fun on see again, though, as you recognize the carefully-laid signs and hints that you missed on first watch.

 

I love the London newspaper culture displayed here.  The ins and outs of story-chasing, and the way the reporters’ any-means-necessary approach delicately toes the line of legality, is fascinating.  It’s gritty and smart, full of ingenuity, legwork, and just a little sleaziness.  I also like that the police department, with whom the newspaper is races to reach the right conclusions, isn’t a bunch of incompetent flatfoots or red-tape-toting bureaucrats standing in the way of the scoop.  Yes, that’s how Cal and company view them at first, much like DCI Bell thinks the reporters are nosey, disruptive flies in his investigative ointment, but we learn that both sides are truly trying to do their jobs, a task they accomplish better when they collaborate.

 

I can’t begin to cover all the superb acting here, so I’ll just hit my absolute favorites.  John Simm plays Cal with keen perceptiveness and a casual, offhand charm, a terrific lead who feels more like a person than a character.  Kelly Macdonald is excellent as his partner in crime Della, a smart young woman with good instincts and an interesting mix between hardness and softness.  And enough can’t be said about Bill Nighy’s performance as editor Cameron Foster; the offbeat long-suffering master of the newsroom, he’s by turns sly, commanding, and drily hilarious.

 

Warnings

 

Language, violence, sexual content (including sex scenes,) drinking, and thematic elements.

Best Moments: The Avengers

And here we are back at The Avengers, the movie with too much awesome for one review.  Granted, it also has too much awesome for two reviews, so I’m limiting myself – one great scene per Avenger.  It’s a hard job, but somebody’s gotta do it.  Spoilers ahead, obviously.
 

 

Tony Stark a.k.a. Iron Man:  Tony confronts Loki – Tony’s cockiness is no secret, and it’s been known to get him in trouble, but he puts it to good use in this scene.  He arrives at Stark Tower to threaten Loki (not stall – he’s very clear about that,) keeping his nerve as he gets up close and personal with the murderous trickster god.  He plays it cool and flippant, despite the obvious danger, and he’s also smart enough to have an admittedly-risky exit strategy planned.

 

 

(Couldn't find a picture from the scene I wanted, so here's one from earlier in the battle.)

Steve Rogers a.k.a. Captain America:  Cap saves a subway station full of people – Okay, so I adore the heck out of Cap, and he’s pretty amazing in this movie.  He’s smart, he’s funny, he’s BAMF, he’s humorously befuddled, he’s tactical...  If I can only pick one moment, though, props must go to the big save he pulls off during the final battle with the Chitauri.  He singlehandedly takes on a mess of Chitauri, calmly and capably facilitates of the rescue of countless civilians, and puts his shield to impressive use.  Cap for the win!

 

Thor:  Thor fights the Hulk – I’ve mentioned my love for this scene before, but it bears repeating.  Thor is just the man here; I love the way he engages the Hulk to keep him away from the human SHIELD agents like Black Widow, and I like that, though both parties are getting some serious knocks in, Thor is clearly just keeping the Hulk busy and tries to reach Bruce inside “the other guy.”  Oh, and Mjolnir busts through multiple walls to get to Thor when he needs it – the simple yet heartwarming story of a god and his hammer.

 

Dr. Bruce Banner a.k.a. The Hulk:  Bruce meets Black Widow in India – After hiding out as a doctor in Calcutta, Bruce is picked up by SHIELD following a heart-to-heart with Natasha.  It’s our first real look at Bruce, and he’s immediately fantastic.  He’s serious and soft-spoken, a naturally-gentle man who simultaneously lets it be known he’s not a pushover.  He regards Natasha cautiously and puts on a mask of rage to see how she reacts, apologizing afterwards on the grounds that the ruse was too “mean.”  This scene was all it took to convince me that we’d finally found the cinematic Hulk we’ve been waiting for.

 

Natasha Romanov a.k.a. Black Widow:  Black Widow fights Russian mobsters while tied to a chair – Oh, goodness gracious, how I love the chair fight.  This fast, brutal, stunningly-choreographed action scene makes it clear why a non-super-powered human like Natasha is one of the Avengers – she’s astounding.  And beyond the incredible fighting, she’s cool as a cucumber, taking phone calls in the middle of a prospective torture session and maintaining that the mobsters are “giving her everything” when she’s the one being interrogated.

 

Clint Barton a.k.a. Hawkeye:  Hawkeye keeps a lookout – This one is tough, since Hawkeye spends most of the film as one of Loki’s brainwashed slaves.  By the end, however, he’s rejoined the fold and takes to the rooftops for the final battle.  His eyes in the sky survey the entire chaotic scene, directing his fellow Avengers to crucial areas, offering advice, and using his bow to pick off Chitauri without even looking at them.  Not a bad comeback.

Smilla’s Sense of Snow (1997, R)

There’s something in the air – do you feel it?  Could it be…?  Why, yes, it’s… Capaldi Summer!  After an absurd number of months sitting at the top of my Netflix queue, Smilla’s Sense of Snow has finally made its way to me.  Just in time, too.  We’re getting our first proper Twelve story on the 23^rd, and it’s nice to be able to cross this PC project off my list, finally.

 

The eponymous Smilla is a Greenlander living in Denmark, a guarded woman with high walls and a sharp mouth.  However, she’s developed a hard-earned soft spot for her six-year-old neighbor Isaiah, and when the boy dies unexpectedly, her spidey sense starts tingling.  Despite what the authorities say, she can’t buy Isaiah’s death as an accident, and her ensuing investigation takes her down a dangerous road.

 

Smilla meets many people throughout her crusade, some helpful, some nefarious.  PC’s Birgo Lander is one of the few trustworthy souls who makes an effort to aid her.  Her queries take her to the coast, and Birgo, a wealthy club owner with plenty of seafaring connections, can hook her up with the transport she’s looking for.

 

All told, it’s a decent little role (“little” being an operative word, since PC is only in a few scenes.)  Birgo is suave and urbane, with a perceptive eye.  He’s also impressively bold; as rich as he is, he probably leads a fairly cushy life, but he takes a not-insignificant risk for Smilla’s sake.

 

The movie stars Julia Ormond, who starred in previous Capaldi Fall participant Captives.  Gabriel Byrne, who will always be Professor Bhaer to me, plays a major role, and Vanessa Redgrave, Jim Broadbent, and Tom Wilkinson are all featured.  (And, side note – after getting this film, I did a cursory check of my online PC sources, and a rare miniseries of his has surfaced, so expect a few more Capaldi Fall entries before the 23^rd.)

 

Accent Watch

 

A very posh-sounding RP.  Pretty decent, but some of those Rs are out of control.

 

Recommend?

 

In General – I would.  The story’s interesting and well-told, full of suspense.  The acting is excellent, and I really enjoyed seeing a film with a Greenlander slant; don’t think I’ve ever seen that in a movie before.

 

PC-wise – It’s a good performance, but very short.  Save it for later, after you’ve seen PC’s more prominent stuff.  But hey!  If you put it at the top of your Netflix queue now, you might get it by the time series 8 of Who wraps up.

 

Warnings

 

Dark subject matter, some violence, swearing, and sexual content.

A Little Night Music (1973)

 

More Sondheim – another regular contender for the top claim on my Sondheim affections.  Seriously, that man was in impeccable form all through the ‘70s and ‘80s.  This show mixes comedy and drama, exploring romantic and sexual relationships from all angles.

 

In some ways, A Little Night Music has elements of a bedroom farce.  Everyone is tangled in a veritable web of marriages, affairs, desires, and jealousies.  At the center of the confusion is Fredrik, a middle-aged lawyer married to a much younger woman, and Desiree, a famous, fading actress and Fredrik’s old flame.  When Fredrik brings his young virgin wife (it’s been 11 months – Fredrik is possibly growing the tiniest bit impatient) to the theatre, he reconnects with Desiree and jostles a domino-row of relationships.  Desiree has a homicidally-jealous lover with a bitter wife, and Fredrik’s adult son from a previous marriage has been receiving attentions from a frisky servant in between studying theology and trying to repress feelings for a stepmother a couple years younger than he is.

 

Needless to say, there’s a fine soup for trysts, deceptions, misunderstandings, arguments, and connections.  Much of the show is delightfully funny, especially when it comes to my favorite characters Carl-Magnus (Desiree’s lover) and his wife Charlotte.  He’s a vain, deluded philanderer, and even Desiree realizes that he’s good for little more than lovemaking.  Charlotte’s passive-aggressive sniping mixes hilariously well with his self-absorbed proclamations.  Then there’s Fredrik’s panicked son Henrik, utterly at a loss when it comes to his urges, and Fredrik’s wife Anne, who flits about nigh-oblivious to her husband’s frustration.  Fredrik himself has fantastic, contentious chemistry with Desiree.  They’re as likely to reminisce about old days as they are to laugh at one another’s present partners or quarrel over trifles.

 

Plenty of the songs provide major slices of humor.  I can’t say enough about “Now,” in which Fredrik logically works through his chances of seducing his wife.  At one point, having decided to take a direct approach to charming her, he ponders his options: “A, I could put on my nightshirt or sit / Disarmingly, B, in the nude. / That might be effective; / My body’s all right – / But not in perspective / And not in the light.”  Meanwhile, Carl-Magnus’s “In Praise of Women” is a mostly-losing attempt to convince himself that Desiree isn’t fooling around with Fredrik behind his back.  Fidelity, he insists, is “what a man expects from life. / Fidelity like mine to / Desiree / And Charlotte, my devoted wife.”

 

At the same time, though, some of music is remarkably dramatic.  The most notable is the gorgeous, heartbreaking “Send in the Clowns,” the show’s most well-known number.  However, it’s undeniably at its best within the context of the musical.  Desiree laments that she was too slow to reach out for love, noting, “Just when I’d stopped opening doors, / Finally knowing the one that I wanted was yours, / Making my entrance again with my usual flair, / Sure of my lines, / No one is there.” She looks at her life as a play and begs for the appearance of the clowns who show up to break the tension when the drama is too much to handle.

 

Warnings

 

Lots of sexual references and content, some swearing, and drinking.



Three Ages (1923)

 

This early Buster Keaton feature is remarkably fun.  The story’s fairly thin by design, but it gives you a great idea of Buster’s inventive comic sensibility and the fantastic films he’d make in the years to come.  This was actually the first feature film that he created; although he starred in The Saphead a few years earlier, he was in it strictly as an actor.  Here, he’s the lead actor, the director, and an uncredited writer, presumably cooking up the terrific gags and creative comedic bits.

 

The central conceit of the film is that love is the same through all of time, and to demonstrate this idea, the same love story is told in stages in three different eras:  the Stone Age, the Roman Age, and the Modern Age (in this case, of course, 1923.)  In all three sections, Buster plays slightly different variations of his intrepid “little fellow” character, and the same actors play the girl he loves, her parents, and his rival across the assorted periods.  This, by the way, is why the plot isn’t terribly substantial – it’s the same story multiplied by three, given time-appropriate twists, and separated into chunks.

 

It’s amusing to see how the different aspects of the love story are transposed for the different times.  A fight with clubs in the Stone Age becomes a chariot race in the Roman Age becomes a baseball game in the Modern Age, and so on.  There are all sorts of little comedic touches that reward your attention.  My personal favorite is Roman Age Buster’s chariot – it’s rather haphazardly pulled by four steeds of varying breeds and sizes, at least one of which is a donkey.  (Poor Buster always has an uphill battle.  His Stone Age ride, a brontosaurus, is a boat compared to his rival’s sleeker, trendier mammoth.)

 

Like in Our Hospitality, Buster provides plenty of gags at the expense of his period setting.  While there’s a little fun poked at their old-timey ways, however, the main attraction this time around is an amusing collection of anachronisms.  Stone Age’s Buster’s “card” when he goes a-callin’ is a small stone tablet with a stick figure rendition of him carved into it, and Roman Age Buster has a spare wheel on the back of his chariot.

 

One thing I always love about Buster’s work is his character’s clever and unexpected solutions to his problems, and that’s definitely evident here.  I think Roman Age Buster seems to be the most on top of things – he comes up with quite the fix for his jalopy of a chariot, and Aesop would’ve been surprised at his method of making friends with lions – but all three have their moments.

 

All in all, though it’s not on par with his best stuff, it makes for a good time, and there’s a lot to love.  Plus, the sight of Buster in a caveman costume and wig is enough to make me giggle.

 

Warnings

 

Slapstick violence, some drinking, a rather mean gag at the expense of a poor cat, and a little outdated racial humor.

The Avengers (2012, PG-13)

The Avengers pulls off such an impressive feat.  It juggles six heroes, many of whom carry their own adjacent franchises, and it gives each of them standout moments, memorable dialogue, and character-building scenes.  The film is covered in ties to Marvel’s previous movies, but the first time I saw it, I was living proof to the fact that it’s still remarkably comprehensible with only a cursory knowledge of its predecessors.  It’s exciting, slick, hilarious, emotional, and awesome as all get-out.  It’s my plan to review all the films sometime before Age of Ultron, and today, we’re going for the big group hurrah.

 

Snaps and kudos to writer/director Joss Whedon, of course.  Besides being a big ole nerd who gives all these characters their due, this franchise is right in his wheelhouse.  He’s never had a problem using eclectic ensembles without making them feel crowded, and he also has a talent for writing dialogue between characters with wildly different manners of speaking.  Here, it’s terrific fun to put the ostentatious Loki next to the terse Black Widow, or have V-for-victory-era Cap puzzling over snarky Tony Stark’s modern pop-culture references.

 

The nuts and bolts of the plot are largely window dressing.  There’s a cosmic cube, an alien army, and a trickster god with a vendetta, all of which are an excuse for the real point of the story:  bring the Avengers together as a team (a bit like Guardians of the Galaxy, actually, with heroes instead of outlaws.)  The friction is evident from the start.  SHIELD director Nick Fury has thrown together a lot of alpha types who like to be the one calling the shots.  Additionally, Thor’s involvement (and personal investment, since his brother is the one SHIELD is after) brings up the issue of human vs. Asgardian priorities, and Dr. Bruce Banner is a little edgy about being enclosed in a Helicarrier.  And Tony, naturally, is nearly as much of a wildcard in the proceedings as Loki is.

 

With all these complications, it’s fantastic to see them gradually begin respecting each other and come together.  Everyone starts to realize what the others can do and learns to defer to each other’s strengths.  From Bruce and Tony’s scientific knowhow to Cap’s tactical prowess to Thor’s ability to go head-to-head with the Hulk without getting smashed to jelly, everyone has a part to play, and it’s amazing.  I’ll get into specifics in another post, because I could literally fill an entire page with “Remember when XYZ?  That was awesome.”  For now, I’ll just applaud Whedon’s penchant for geeky fan service –he offers up an Iron Man vs. Thor fight and a Thor vs. Hulk fight, just ‘cuz.

 

Since again, most of these characters have their own franchises and I can sing the actors’ praises there, I’ll only mention this film’s new kid on the block, Mark Ruffalo as Bruce.  While I love Edward Norton and thought he did a fine job in The Incredible Hulk, Ruffalo is just wonderful.  Bruce is a perfect, utterly watchable mix of even-keeled, twitchy, and insightful, and Ruffalo’s performance here still makes me wish we could get a new Hulk movie with him.

 

Warnings

 

Heaps of comic book violence, some swearing, and a little drinking.

Relationship Spotlight: Floyd & Homer Collins (Floyd Collins)

 

I recently picked up the cast recording for this Adam Guettel musical, based on the true story of an amateur caver trapped in a Kentucky cave in 1925.  With his foot caught in a hole and wedged by a fallen rock, what initially seems like an easy rescue turns into a futile seventeen-day ordeal and an all-out media circus.  As I’ve been playing the lovely Americana/folk score over and over, I’ve noticed that all my favorite numbers have one thing in common:  Floyd’s relationship with his younger brother Homer.

 

(Note:  I haven’t seen Floyd Collins onstage or read the script, and while the cast recording and the synopsis give a good idea of the story, it isn’t comprehensive.  So, this post will mostly be focused on several songs from the musical.  Also, it might feel like it’s just about Homer, but that’s because he’s the one most in a position to demonstrate his love for his brother in this story.  Floyd loves Homer, of course, but he’s understandably concerned foremost with his dilemma.)

 

Naturally, Homer is at the head of the early rescue attempts.  He makes numerous treks into the cave to try and free Floyd.  And more than that – throughout the show, he does everything he can to keep Floyd’s spirits up.  In “Daybreak,” he spends the night in the cave with Floyd, keeping his brother company and recalling the first time Floyd brought him into a cave.  “From nightfall to daybreak, / From sundown to dawn, / I’m stayin’ here,” he promises, assuring Floyd that it will all be over soon.  You get the sense that Floyd, as the older brother, is usually the one looking out for Homer, but when the situation is bleak, Homer steps up to be the strong one.

 

Reminiscences are so important to Floyd and Homer.  It’s clear that they’re used to doing everything alongside one another, that they’ve been bold and adventurous together.  Act I ends with “The Riddle Song,” in which the two pass the time trading riddles while Homer digs.  Homer, though, ignores Floyd’s generic offering of “What’s pink an’ green an’ flies all over?” – he prefers riddles about childhood landmarks, places where they made memories on brilliant summer days.

 

The game is hugely beneficial.  It gives Floyd something other than his predicament to concentrate on, and remembered instances of sunshine and freedom offer hope for the same.  And when Floyd gets overwhelmed and starts to panic, Homer soothes him with a final riddle about their shared indomitable qualities:  “What’s strong as a bull an’ smart as a fox, / Quick as a hare an’ stubborn as a mule? / Kin make like a snake through the tiniest hole, / Get hung up fer days an’ turn out fine?”  Once again, he’s giving Floyd a lifetime to hope and reminding him, “It don’t matter none if it’s me or if it’s you; / There ain’t no hole that we can’t pull through!”   Soon, they’re both joking and upbeat, sure that they won’t be bested by this cave.

 

This is why it’s such a blow when Homer clashes with authorities over rescue methods and is pushed out of the operation.  Every time we’ve seen him up till now, he’s been an embodiment of hope and confidence, but in his Act II solo “Git Comfortable,” he’s broken and rudderless.  He doesn’t know what to do with himself if he’s not helping Floyd, and he can’t bear to put his brother’s life in the hands of someone else.  Seeing this self-assured man reduced to such anger and despair really hits home how grave the problem is, and you start to realize that Floyd might not make it out.