As I'm somewhat of a completest I couldn't finish this blog without reviewing the eight films that were nominated for Best Picture this year. All of these reviews were written before the ceremony itself so all of the predictions are what I felt at the time. The last of these four posts will also include who I think should and will win Best Picture at the 2015 ceremony.
We start with a film that I believe will be at the bottom of my list for 2015 nominees, that being American Sniper. Directed by Clint Eastwood, American Sniper tells the story of Chris Kyle; the most deadliest marksman in U.S. military History. The film is based on the memoirs of Kyle, a sniper who had 160 of his kills confirmed by the department of defence. Jason Hall's adaptation of Kyle's book, which has been nominated for a screenplay Oscar, is a nuts and bolts affair from the offset. Although the opening shot is of Kyle in Iraq it soon flashes back to his childhood in which his father instructed him to be a sheepdog; a man who protects those weaker than him when the wolves attack. This ethos is one he carries with him during his military training and then in Iraq when we see him at work. The film also looks at Kyle's relationship with his Taya; from their first meeting to their wedding and the birth of his two children. I personally felt that the best scenes were those which featured both Chris and Taya, with the latter feeling that her husband wasn't mentally with her anymore. The scenes which looked at the impact that the war had had on Chris were definitely my favourite as it added a little context to a character who otherwise was simply a flawless American hero. Whilst former soldiers being haunted by the war is nothing new, this part of the film at least gave it an edge which it lacked elsewhere. In fact, if it didn't had this, then it would've been even more of a flag-waving endeavour which basically promotes the bible-bashing American soldiers and berates anyone who stands in their way.
One of American Sniper's key strengths is Eastwood's simplistic direction which lends itself well to the scenes in which we follow Kyle's movements in Iraq. I'm not surprised that the film picked up nods in the editing and sound categories as the use of gunfire effects is made especially effective. In fact the sound is so good that gunfire almost becomes a character in and of itself especially when the Iraqi sniper is trying to hunt down Kyle. I personally would've like to have seen more of this Iraqi sniper as it would've added an ambiguity that the single-minded American Sniper was sorely missing. Instead the Iraqis are presented as either terrorists or, in Kyle's own words, savages. One thing that did impress me in American Sniper was Bradley Cooper's Oscar-nominated turn as Kyle, primarily as he dialled down his usual manic nature. Cooper's chisel-jawed look perfectly suited the character of Kyle but he also conveyed his character's inner turmoil excellently. Sienna Miller was similarly impressive as, in the past, I've found her to be quite an inconsistent performer but here she added some heart to the movie as Chris's wife Taya. My early prediction is that American Sniper doesn't do to well at the Oscar but may pick up one of the two sound-based awards it's nominated for. Ultimately I felt that American Sniper didn't have anything new to say in terms of the horrors of war that we hadn't already seen in Coming Home, Apocalypse Now or more recently The Hurt Locker. Whilst Cooper's performance and Eastwood's direction was solid, the flag-waving patriotism was too much for me to take and I can definitely say that American Sniper isn't a film that I'll be rushing to see again in the near future.
Proving how eclectic this year's Best Picture nominees are is Birdman the latest film from Alejandro González Iñárritu. In the past, Iñárritu's films have often featured a multi-person narrative with films such as Babel and 21 Grams featuring interlocking plots. Birdman is completely different from these movies as it instead focuses on the first few performances of an adaptation of Raymond Carver's 'What We Talk About When We Talk About Love.' The performance has been funded by Riggan Thomson; an actor best known for his role as titular superhero Birdman, and someone who in recent years has fallen on hard times. The play is meant to be his comeback but he's battling with several problems not least of which is the fact that the Birdman character keeps speaking to him throughout the film. Meanwhile, his daughter Sam has just come out of rehab and isn't dealing well in her new role as his assistant. Riggan also has to deal with the fact that his co-star and girlfriend Laura may be pregnant, something he can't even comprehend at times. Elsewhere a late addition to the cast, method actor Mike, causes problems when he launches into a tirade during a performance and constantly bemoans Riggan for the lack of realism in his play. What I enjoyed about Birdman is the way it plays around with the narrative and how we start to see Riggan's sanity slip away from him as opening night commences. One of Birdman's other positive qualities is Emmanuel Lubezki's cinematography especially considering the fact that the movie is almost filmed as one constant shot. This means that we don't always see things from the character's point-of-view and to me this adds to the narrative; especially during the film's final two scenes. For this reason I do believe that Birdman will most likely pick up the Cinematography award at the Oscars.
At time of writing Birdman had just won the top award at the Producer's Guild making it the firm favourite to clinch Best Picture. Although I don't think the race is as clear cut as it has been in previous years I wouldn't be opposed to Birdman winning Best Picture. The other award the film has a good chance of winning is that of Best Actor thanks to Michael Keaton's stunning portrayal of Riggan. Oscar does love a comeback performance and Keaton's turn as a faded actor best known for portraying a superhero almost correlates with his own career. Keaton's manic movements and weary facial expressions add to our understanding of the character and I felt he was equally impressive at playing the Birdman part of Riggan's personality. Keaton isn't the only member of the cast nominated for an acting award as Edward Norton and Emma Stone have been recognised in the supporting categories. Norton's turn as the shifty method-acting Mike proved what a gifted comic performer he is and his scenes opposite Keaton were a joy to watch. Meanwhile, as Sam, Stone brought a bit of soul to the film and she made you believe why her character went off the rails. I do feel that the reason that Birdman has been awarded nine nominations is due to the fact that in some respects it feels very old-fashioned. The behind-the-scenes at a theatre story has been done to death and I feel that the older Academy voters would've drawn similarities between it and 1984 nominee The Dresser. At the same time, Iñárritu has made Birdman seem awfully modern with it's commentary on the fickle nature of fame and how movie stars struggle to make the transition to the stage. Whist it didn't hold my attention throughout its too hour running time, I ultimately found Birdman to be an utterly charming film. Brilliantly acted and shot but with a rather old-fashioned story behind it, Birdman definitely deserves to be recognised by the Academy and I believe it's one of two films that can realistically win the top prize.
Next time the only two Oscar nominees I'd seen prior to writing these posts.
Showing posts with label Clint Eastwood. Show all posts
Showing posts with label Clint Eastwood. Show all posts
Monday, 25 May 2015
Tuesday, 31 March 2015
Matt's Big Oscar Challenge Days 413-415: A Few Days in Asia
As we're nearing the end of another decade's worth of films I thought it was time for a quick holiday so I decided for a three-movie long tour of Asia. Two of the films in this triple bill are historical pieces, shot in the country's native tongue and featuring subtitles for Western viewers such as myself. The third film, for the most part, is in the English Language although the scenes in other languages aren't subtitled, but then again that's kind of the point.
We start in China in the year 1779 for some high-flying martial arts courtesy of Ang Lee's Crouching Tiger, Hidden Dragon. The film tells the story of the sword 'The Green Destiny' and the way it unites all four of the movie's central characters. The sword initially belongs to retired warrior Li Mu Bai who gives it to his friend and fellow warrior Yu Shu Lien so that she may deliver it as a gift to their mutual acquaintance Sir Te. One of the threads running throughout Crouching Tiger is the unrequited romance between Mu Bai and Shu Lien, which is a classic cinematic love that will never speak its name. Just as Shu Lien is about to present the sword to Sir Te; it is stolen by a female warrior believed to be the elusive Jade Fox. Years before, Fox murdered Mu Bai's master and he's now out for revenge however it later transpires that his nemesis has a pupil in the form of noblewoman Jen. Jen is initially presented as the courteous daughter from a respected family but its later revealed that Fox was training her up to be another deadly warrior. Jen's other story involves desert warrior Lo, a man who she originally met after he stole her fan. The flashbacks, in which Jen and Lo's romance is detailed, signalled the moment where the film ground to a halt for me. I did feel that Lee and the three screenwriters took too long with this particular part of the story and to an extent the narrative never recovered. Thankfully Crouching Tiger's final act was full of action and emotion as the stage was set for Jen's wedding and the final showdown between Mu Bai and Jade Fox.
I remember watching Crouching Tiger, Hidden Dragon on VHS soon after it was released and at the time I think I rather enjoyed it. However, this time round, I did feel the film was a little patchy especially from a storytelling perspective. As I previously alluded to the pacing of the story varies throughout the film's two hour running time. Starting off at a brisk jog, things slow to a halt during the Jen/Lo flashbacks before kicking into full throttle towards the end. That being said there were several elements of the story I liked from the romance between Su Lien and Mu Bai; to Jen's attempts to get the upper hand on all the other characters. Indeed, one of the great things about Crouching Tiger is the fact that there are two strong central female characters who are well-rounded and can stand up for themselves even against the men. Whilst narratively the film may have a few issues, visually it's one of the most spectacular movies I've watched since I began. The martial arts scenes in particular are stunning especially those involving the high-flying Jen. Jen and Su Lien's final battle is especially breathtaking and I think that Lee is brilliant at capturing these battles on screen. I'm not surprised that cinematographer Peter Pau won an award for his brilliant camera work on the film whilst further honours went to Crouching Tiger's soaring score and its fantastic period art direction. Even though it didn't win the big prize, Lee's film did pick up the award for Foreign Language Feature, an honour that I'm sure it deserved. Although it did have its problems, I enjoyed the fact that Crouching Tiger, Hidden Dragon was even nominated for the Best Picture prize in the first place. Overall it was a stunningly gorgeous film to watch and one that I'm glad is soon to get a long-awaited sequel.
Moving across the continent and through time we find ourselves in modern day Japan for a film that follows two Americans who are stuck in Tokyo. The film is Sofia Coppola's Lost in Translation which focuses on a young photographer's wife and a washed-up actor who find themselves flummoxed by Japanese culture in general. It helps that actor Bob Harris, who is in Tokyo to film a whisky commercial, is played by the brilliant Bill Murray. Murray perfectly encapsulates a middle-aged man abroad especially when he tries to negotiate his way around a power shower or a piece of gym equipment. But Bob is also lost in a different way and that's what makes him navigate to Charlotte; a recent college graduate who is tagging along with her husband who has a work assignment in the city. Coppola builds up to Bob and Charlotte's first meeting by following their individual stories with the former shooting his ad whilst the latter wanders aimlessly around Tokyo's various landmarks. They eventually meet about half an hour into the film and then a very polite romance begins which includes a karaoke party and a trip to the hospital. Lost in Translation is very subtle in the way it deals with Bob and Charlotte's relationship as they are two disparate people who've found each other at the right time. One element I wasn't sure about was the conflict that Coppola creates between the pair when Bob has a one-night-stand with the hotel's cabaret singer. This moment is also only dwelt upon briefly before the iconic final scene in which our couple embrace in the centre of Tokyo and incoherently whisper in each other's ear.
I first went to see Lost in Translation at an early morning screening in January of 2004 and ever since then it's been one of my favourite films. As you can probably ascertain by now I love films that are based around characters rather than plot and that describes Lost in Translation in a nutshell. When I first watched it I identified with Charlotte, as I myself was about to graduate from university and was having one of those 'what does it all mean?' phases. Now I'm getting to the stage where I'm hoping I don't end up like Bob trapped in a marriage with a woman who is more concerned with carpet colours than she is the welfare of her husband. The film would be nothing without the performances from both Murray and Scarlett Johansson; the latter of whom was just eighteen when filming took place. I was utterly impressed how convincing Johansson was as a character who was five years older than her and she was able to carry off the extra life experience with no problem. Murray meanwhile balanced the slapstick he's been known for with a more measured, world-weary tone that he's employed in several films since. Murray and Johansson also share perfect chemistry as there's smiles and small looks at each other are the basis of what makes Bob and Charlotte's relationship work so well. Aside from Bob and Charlotte, the other big character in Lost in Translation is Tokyo itself which comes alive in several scenes in which the couple race across the city. Cinematographer Michael Accord brilliantly differentiates between the cold machine-like interior of the hotel with the exciting, bustling world outside. Sofia Coppola was nominated for both her direction and screenplay, rightfully scooping the latter award for her tender writing. However the biggest miscarriage of justice was that Bill Murray lost out on his deserved Best Actor award. Whilst the eventual winner Sean Penn did deliver a fine turn in Mystic River it wasn't nearly as good as Murray's subtle and humanistic portrayal of a man lost in himself and in a foreign country. Lost in Translation definitely hasn't lost any of its warmth or lightness of touch and I still love it as much as I did the first time I saw it over eleven years ago.
Staying in Japan now but moving back in time to the Second World War and a film that I've never seen before in Letters from Iwo Jima. This 2007 nominee also reunites us with Clint Eastwood although unusually for the director this is a film that has very few lines of dialogue that are in the English language. That's because Letters from Iwo Jima is in fact a companion piece to Eastwood's Flags of our Fathers; a film which tells the story of the battle of Iwo Jima from the point-of-view of the Americans. Whilst Flags of Our Fathers was meant to be the big event film it was Letters from Iwo Jima that actually garnered more acclaim and did slightly better at the Box Office. I feel the point of Letters from Iwo Jima is to tell the audience that there are two sides to every story and that those who fought on the Japanese side were equally as worthy of praise as the American soldiers. The film follows the fortunes of Private Saigo; a baker who is conscripted and leaves his heavily pregnant wife to fight on the island. Saigo often finds himself tortured by his superiors but on the day in which the U.S. Marines start to attack he is the only to keep a level-head. Evading being shot by those in charge several times, Saigo later earns the respect of General Kuribayashi and ultimately being the only one to survive the horrors of the battle. The most striking thing about Letters from Iwo Jima as a whole was the fact that many of the Japanese soldiers took their own lives when they thought that there was no way back. One of the scenes that will stick with me the most from Letters from Iwo Jima is the one in which the majority of Saigo's platoon blow themselves up with grenades. It's these moments that hit home the horrific conditions that the Japanese had to deal with and I do applaud Eastwood for trying to honour them in this way.
It did take me a while to truly lose myself in Letters from Iwo Jima and I felt the film only came alive in its latter scenes which was when the action really kicked off. The cast of the movie were all utterly believable in their roles with Kazunari Ninomiya being particularly effective as Saigo. The only familiar face amongst the cast, Ken Watanabe, was perfectly believable as the sensitive Kuribayashi; who at times was the only level-headed member of the military left on the island. Similarly to Flags of Our Fathers, Letters from Iwo Jima is shot in a faded manner which at times makes it look almost like documentary footage. Although I've not seen Flags of Our Fathers it was interesting to spot the scenes in which the two nations intersected and I'm assuming there are moments that appear in both films. I felt it was particularly brave of Eastwood to portray the Americans as the antagonists particularly in one heart-wrenching scene when a brutish soldier executes two Japanese soldiers who have surrendered. Letters from Iwo Jima was in fact a surprise entrant in the 2007 Best Picture field with many expecting the fifth nominee to be the musical Dreamgirls. However, I think it was good that the academy honoured a subtitled film which actually bucked the trend for war films by focusing on the foreign army. While I can't say I was a compelled by the film as I possibly should have been there are certain moments of it that will stick with me for years to come.
Next time we'll travel back to the States for the final film in the noughties section of the blog.
We start in China in the year 1779 for some high-flying martial arts courtesy of Ang Lee's Crouching Tiger, Hidden Dragon. The film tells the story of the sword 'The Green Destiny' and the way it unites all four of the movie's central characters. The sword initially belongs to retired warrior Li Mu Bai who gives it to his friend and fellow warrior Yu Shu Lien so that she may deliver it as a gift to their mutual acquaintance Sir Te. One of the threads running throughout Crouching Tiger is the unrequited romance between Mu Bai and Shu Lien, which is a classic cinematic love that will never speak its name. Just as Shu Lien is about to present the sword to Sir Te; it is stolen by a female warrior believed to be the elusive Jade Fox. Years before, Fox murdered Mu Bai's master and he's now out for revenge however it later transpires that his nemesis has a pupil in the form of noblewoman Jen. Jen is initially presented as the courteous daughter from a respected family but its later revealed that Fox was training her up to be another deadly warrior. Jen's other story involves desert warrior Lo, a man who she originally met after he stole her fan. The flashbacks, in which Jen and Lo's romance is detailed, signalled the moment where the film ground to a halt for me. I did feel that Lee and the three screenwriters took too long with this particular part of the story and to an extent the narrative never recovered. Thankfully Crouching Tiger's final act was full of action and emotion as the stage was set for Jen's wedding and the final showdown between Mu Bai and Jade Fox.
I remember watching Crouching Tiger, Hidden Dragon on VHS soon after it was released and at the time I think I rather enjoyed it. However, this time round, I did feel the film was a little patchy especially from a storytelling perspective. As I previously alluded to the pacing of the story varies throughout the film's two hour running time. Starting off at a brisk jog, things slow to a halt during the Jen/Lo flashbacks before kicking into full throttle towards the end. That being said there were several elements of the story I liked from the romance between Su Lien and Mu Bai; to Jen's attempts to get the upper hand on all the other characters. Indeed, one of the great things about Crouching Tiger is the fact that there are two strong central female characters who are well-rounded and can stand up for themselves even against the men. Whilst narratively the film may have a few issues, visually it's one of the most spectacular movies I've watched since I began. The martial arts scenes in particular are stunning especially those involving the high-flying Jen. Jen and Su Lien's final battle is especially breathtaking and I think that Lee is brilliant at capturing these battles on screen. I'm not surprised that cinematographer Peter Pau won an award for his brilliant camera work on the film whilst further honours went to Crouching Tiger's soaring score and its fantastic period art direction. Even though it didn't win the big prize, Lee's film did pick up the award for Foreign Language Feature, an honour that I'm sure it deserved. Although it did have its problems, I enjoyed the fact that Crouching Tiger, Hidden Dragon was even nominated for the Best Picture prize in the first place. Overall it was a stunningly gorgeous film to watch and one that I'm glad is soon to get a long-awaited sequel.
Moving across the continent and through time we find ourselves in modern day Japan for a film that follows two Americans who are stuck in Tokyo. The film is Sofia Coppola's Lost in Translation which focuses on a young photographer's wife and a washed-up actor who find themselves flummoxed by Japanese culture in general. It helps that actor Bob Harris, who is in Tokyo to film a whisky commercial, is played by the brilliant Bill Murray. Murray perfectly encapsulates a middle-aged man abroad especially when he tries to negotiate his way around a power shower or a piece of gym equipment. But Bob is also lost in a different way and that's what makes him navigate to Charlotte; a recent college graduate who is tagging along with her husband who has a work assignment in the city. Coppola builds up to Bob and Charlotte's first meeting by following their individual stories with the former shooting his ad whilst the latter wanders aimlessly around Tokyo's various landmarks. They eventually meet about half an hour into the film and then a very polite romance begins which includes a karaoke party and a trip to the hospital. Lost in Translation is very subtle in the way it deals with Bob and Charlotte's relationship as they are two disparate people who've found each other at the right time. One element I wasn't sure about was the conflict that Coppola creates between the pair when Bob has a one-night-stand with the hotel's cabaret singer. This moment is also only dwelt upon briefly before the iconic final scene in which our couple embrace in the centre of Tokyo and incoherently whisper in each other's ear.
I first went to see Lost in Translation at an early morning screening in January of 2004 and ever since then it's been one of my favourite films. As you can probably ascertain by now I love films that are based around characters rather than plot and that describes Lost in Translation in a nutshell. When I first watched it I identified with Charlotte, as I myself was about to graduate from university and was having one of those 'what does it all mean?' phases. Now I'm getting to the stage where I'm hoping I don't end up like Bob trapped in a marriage with a woman who is more concerned with carpet colours than she is the welfare of her husband. The film would be nothing without the performances from both Murray and Scarlett Johansson; the latter of whom was just eighteen when filming took place. I was utterly impressed how convincing Johansson was as a character who was five years older than her and she was able to carry off the extra life experience with no problem. Murray meanwhile balanced the slapstick he's been known for with a more measured, world-weary tone that he's employed in several films since. Murray and Johansson also share perfect chemistry as there's smiles and small looks at each other are the basis of what makes Bob and Charlotte's relationship work so well. Aside from Bob and Charlotte, the other big character in Lost in Translation is Tokyo itself which comes alive in several scenes in which the couple race across the city. Cinematographer Michael Accord brilliantly differentiates between the cold machine-like interior of the hotel with the exciting, bustling world outside. Sofia Coppola was nominated for both her direction and screenplay, rightfully scooping the latter award for her tender writing. However the biggest miscarriage of justice was that Bill Murray lost out on his deserved Best Actor award. Whilst the eventual winner Sean Penn did deliver a fine turn in Mystic River it wasn't nearly as good as Murray's subtle and humanistic portrayal of a man lost in himself and in a foreign country. Lost in Translation definitely hasn't lost any of its warmth or lightness of touch and I still love it as much as I did the first time I saw it over eleven years ago.
Staying in Japan now but moving back in time to the Second World War and a film that I've never seen before in Letters from Iwo Jima. This 2007 nominee also reunites us with Clint Eastwood although unusually for the director this is a film that has very few lines of dialogue that are in the English language. That's because Letters from Iwo Jima is in fact a companion piece to Eastwood's Flags of our Fathers; a film which tells the story of the battle of Iwo Jima from the point-of-view of the Americans. Whilst Flags of Our Fathers was meant to be the big event film it was Letters from Iwo Jima that actually garnered more acclaim and did slightly better at the Box Office. I feel the point of Letters from Iwo Jima is to tell the audience that there are two sides to every story and that those who fought on the Japanese side were equally as worthy of praise as the American soldiers. The film follows the fortunes of Private Saigo; a baker who is conscripted and leaves his heavily pregnant wife to fight on the island. Saigo often finds himself tortured by his superiors but on the day in which the U.S. Marines start to attack he is the only to keep a level-head. Evading being shot by those in charge several times, Saigo later earns the respect of General Kuribayashi and ultimately being the only one to survive the horrors of the battle. The most striking thing about Letters from Iwo Jima as a whole was the fact that many of the Japanese soldiers took their own lives when they thought that there was no way back. One of the scenes that will stick with me the most from Letters from Iwo Jima is the one in which the majority of Saigo's platoon blow themselves up with grenades. It's these moments that hit home the horrific conditions that the Japanese had to deal with and I do applaud Eastwood for trying to honour them in this way.
It did take me a while to truly lose myself in Letters from Iwo Jima and I felt the film only came alive in its latter scenes which was when the action really kicked off. The cast of the movie were all utterly believable in their roles with Kazunari Ninomiya being particularly effective as Saigo. The only familiar face amongst the cast, Ken Watanabe, was perfectly believable as the sensitive Kuribayashi; who at times was the only level-headed member of the military left on the island. Similarly to Flags of Our Fathers, Letters from Iwo Jima is shot in a faded manner which at times makes it look almost like documentary footage. Although I've not seen Flags of Our Fathers it was interesting to spot the scenes in which the two nations intersected and I'm assuming there are moments that appear in both films. I felt it was particularly brave of Eastwood to portray the Americans as the antagonists particularly in one heart-wrenching scene when a brutish soldier executes two Japanese soldiers who have surrendered. Letters from Iwo Jima was in fact a surprise entrant in the 2007 Best Picture field with many expecting the fifth nominee to be the musical Dreamgirls. However, I think it was good that the academy honoured a subtitled film which actually bucked the trend for war films by focusing on the foreign army. While I can't say I was a compelled by the film as I possibly should have been there are certain moments of it that will stick with me for years to come.
Next time we'll travel back to the States for the final film in the noughties section of the blog.
Saturday, 28 March 2015
Matt's Big Oscar Challenge Days 410-411: A Couple of Clint's
Back on Day 309, I mentioned how Clint Eastwood had gone unrecognised by Oscar until winning the Best Picture prize in 1993 for Unforgiven. Oscar's love affair with Eastwood carried into the next decade with three of his films being nominated for Best Picture during the ten year stretch. This post will look at two of those three movies with the third to be covered at a later date.
We kick off with a film that Clint directed but never appeared however fact fans may want to know that Mystic River was the first movie that Eastwood scored himself. Eastwood's score is just one of the many positive elements of Mystic River; a film that I enjoyed immensely on this second viewing. This Boston-set crime thriller revolves around three childhood friends; Jimmy, Sean and Dave all of whom are effected by an event from their past. The event itself is played out in the film's first three minutes in which Dave is abducted by two men that three boys believe to be cops. Flash forward twenty-eight years later and Dave's abduction and subsequent abuse have caused him to become quite a slow-witted man. Although it's clear he loves his son and wife, he's prone to moments of absence and comes home one night covered in blood. That night happens to be the same one on which Jimmy's nineteen-year-old daughter goes missing and is eventually found murdered. Jimmy, who is now one of the town's most respected citizens, uses underhanded tactics to try and discover who the perpetrator was. This annoys Sean who just happens to be the investigating officer on the case and who isn't willing to believe his partner when he suggests Dave might be the killer. Screenwriter Brian Helgeland's adaptation of Dennis Lehane's novel perfectly ups the tension as the audience have to wait till the end of the film to learn who the murderer actually is. Therefore Eastwood and Helgeland create a sense of unease which I believe help to make us sympathise with the characters who aren't quite sure who to trust. This also means that Mystic River's final twenty minutes are incredibly emotional as revelation after revelation pours out and by the end I was personally left with my heart broken.
As I previously mentioned this is my second time watching Mystic River but, just like a lot of films in this decade, it's not one that I particularly remember. I'm not quite sure why that is as everything about Mystic River is perfectly delivered from Eastwood's aforementioned score to Tom Stern's cinematography which allows the small town to become a character itself. Helegland does a good job of getting through the history between the three characters quite quickly to the extent that we understand why they are how they are. The more sympathetic character is definitely Dave, who has remained almost in a childlike state since his trauma at a young age. Tim Robbins is absolutely great as Dave, capturing the essence of the character beautifully and delivering a particularly stunning turn towards the end of the film. Sean Penn meanwhile gives Jimmy a terrifying demeanour but couples this with a softer side which is on view in the scene where his character learns of the death of his daughter. This scene is particularly iconic thanks to Stern's framing of the piece and the image of Penn being held back by numerous cops. Both Penn and Robbins won Oscars for their roles in the film but I feel a little sorry for Kevin Bacon who had the job of playing the less flashy role of Sean. I felt that Bacon deserved to at least be recognised for playing an intelligent police officer who occasionally let his heart get in the way of doing his job. Also nominated at the ceremony was Marcia Gay Harden who delivered a memorable supporting performance as Dave's frightened wife. I also personally liked Laura Linney as Jimmy's wife who becomes almost like a Lady Macbeth figure in the film's final ten minutes. Absorbing from beginning to end; Mystic River works as a thriller, a character study and a mystery all at the same time.
One year later Eastwood found himself in the same position as he did twelve years earlier as he picked up Best Director and Best Picture for his boxing movie Million Dollar Baby. Here Clint was back in front of the camera as grizzled boxing trainer Frankie Dunn, a man who was living with many regrets. Frankie was presented as the kind of man who put in all the work on a fighter only to be left behind when the boxer wanted to go for the title. His only true friends were the local pastor and Eddie 'Scrap-Iron' Dupris; a former fighter who now lives and works at Frankie's gym. In an Unforgiven reunion, Eddie is played by Morgan Freeman who seems to have been hired purely to give a Shawshank Redemption-like voiceover to the film. However, if you're going to get somebody to provide a thoughtful voiceover to a film then Freeman's your man and I felt he gave Million Dollar Baby that special quality. The bulk of the film is devoted to Frankie's training of Hilary Swank's Maggie Fitzgerald; an older female boxer that he was reluctant to take on as he doesn't coach girls. However, as the film goes on the pair develop an interesting working relationship which allows Maggie to thrive in the ring. I found that Paul Haggis' script made Million Dollar Baby feel classier than your average sporting film and Maggie's fights were split up with plenty of emotional scenes between Frankie and Maggie. One brilliant set piece sees Maggie return home to surprise her mother with a new house only to find her lovely gesture spat back in her face. The element of Million Dollar Baby that I remember the most is the film's final act in which Maggie finds herself paralysed after an accident in a title match. Here I felt that Haggis over-egged the pudding a little bit as Million Dollar Baby became a different film altogether especially after Maggie asks Frankie to help her end her own life. Although I knew the ending was coming, I still found it shocking to watch and I think this sensitive storyline helped Million Dollar Baby to win Best Picture.
Alongside Eastwood's awards for Directing and Best Picture both Swank and Freeman picked up awards for their performances. Swank gave a good portrayal of an every woman who was fighting to achieve her goal however for the most part I found it to be rather unremarkable. I think that the reason she was given the award was due to the final act as Maggie finds herself unable to fight the inevitable. Freeman's wise narration was coupled with a number of fine scenes in which he finally got to have the one fight that had been eluding him all these years. Whilst Freeman did a good job in this film I feel he's been better elsewhere especially in The Shawshank Redemption and Seven. If anybody should have won an Oscar for acting in the film I believe it should have been Eastwood himself as he perfectly conveyed the evolution in the character of Frankie. Clint played to his strengths for the most part but he still conveyed Frankie's growing fatherly feelings towards Maggie. As he had done in Mystic River, Clint also provided a suitable score for Million Dollar Baby which again enhanced the overall mood of the film. I personally felt that Million Dollar Baby took a while to get going and it was only when Frankie took Maggie under his wing that the pace of the film picked up. A subplot involving the simple fighter Danger didn't do anything for me and instead proved that Paul Haggis sometimes adds too many elements to his story as he did the year later with his script for Crash. Although a solid drama, I think it's Million Dollar Baby's mawkish third act that lets it down, although I'm sure this is why the academy ultimately gave it the Best Picture award. Ultimately there's a lot to like about Million Dollar Baby, especially the performances and Eastwood's assured direction, but it just doesn't have that extra special something that a Best Picture winner truly needs.
Next time I take a magical trip down death row.
We kick off with a film that Clint directed but never appeared however fact fans may want to know that Mystic River was the first movie that Eastwood scored himself. Eastwood's score is just one of the many positive elements of Mystic River; a film that I enjoyed immensely on this second viewing. This Boston-set crime thriller revolves around three childhood friends; Jimmy, Sean and Dave all of whom are effected by an event from their past. The event itself is played out in the film's first three minutes in which Dave is abducted by two men that three boys believe to be cops. Flash forward twenty-eight years later and Dave's abduction and subsequent abuse have caused him to become quite a slow-witted man. Although it's clear he loves his son and wife, he's prone to moments of absence and comes home one night covered in blood. That night happens to be the same one on which Jimmy's nineteen-year-old daughter goes missing and is eventually found murdered. Jimmy, who is now one of the town's most respected citizens, uses underhanded tactics to try and discover who the perpetrator was. This annoys Sean who just happens to be the investigating officer on the case and who isn't willing to believe his partner when he suggests Dave might be the killer. Screenwriter Brian Helgeland's adaptation of Dennis Lehane's novel perfectly ups the tension as the audience have to wait till the end of the film to learn who the murderer actually is. Therefore Eastwood and Helgeland create a sense of unease which I believe help to make us sympathise with the characters who aren't quite sure who to trust. This also means that Mystic River's final twenty minutes are incredibly emotional as revelation after revelation pours out and by the end I was personally left with my heart broken.
As I previously mentioned this is my second time watching Mystic River but, just like a lot of films in this decade, it's not one that I particularly remember. I'm not quite sure why that is as everything about Mystic River is perfectly delivered from Eastwood's aforementioned score to Tom Stern's cinematography which allows the small town to become a character itself. Helegland does a good job of getting through the history between the three characters quite quickly to the extent that we understand why they are how they are. The more sympathetic character is definitely Dave, who has remained almost in a childlike state since his trauma at a young age. Tim Robbins is absolutely great as Dave, capturing the essence of the character beautifully and delivering a particularly stunning turn towards the end of the film. Sean Penn meanwhile gives Jimmy a terrifying demeanour but couples this with a softer side which is on view in the scene where his character learns of the death of his daughter. This scene is particularly iconic thanks to Stern's framing of the piece and the image of Penn being held back by numerous cops. Both Penn and Robbins won Oscars for their roles in the film but I feel a little sorry for Kevin Bacon who had the job of playing the less flashy role of Sean. I felt that Bacon deserved to at least be recognised for playing an intelligent police officer who occasionally let his heart get in the way of doing his job. Also nominated at the ceremony was Marcia Gay Harden who delivered a memorable supporting performance as Dave's frightened wife. I also personally liked Laura Linney as Jimmy's wife who becomes almost like a Lady Macbeth figure in the film's final ten minutes. Absorbing from beginning to end; Mystic River works as a thriller, a character study and a mystery all at the same time.
One year later Eastwood found himself in the same position as he did twelve years earlier as he picked up Best Director and Best Picture for his boxing movie Million Dollar Baby. Here Clint was back in front of the camera as grizzled boxing trainer Frankie Dunn, a man who was living with many regrets. Frankie was presented as the kind of man who put in all the work on a fighter only to be left behind when the boxer wanted to go for the title. His only true friends were the local pastor and Eddie 'Scrap-Iron' Dupris; a former fighter who now lives and works at Frankie's gym. In an Unforgiven reunion, Eddie is played by Morgan Freeman who seems to have been hired purely to give a Shawshank Redemption-like voiceover to the film. However, if you're going to get somebody to provide a thoughtful voiceover to a film then Freeman's your man and I felt he gave Million Dollar Baby that special quality. The bulk of the film is devoted to Frankie's training of Hilary Swank's Maggie Fitzgerald; an older female boxer that he was reluctant to take on as he doesn't coach girls. However, as the film goes on the pair develop an interesting working relationship which allows Maggie to thrive in the ring. I found that Paul Haggis' script made Million Dollar Baby feel classier than your average sporting film and Maggie's fights were split up with plenty of emotional scenes between Frankie and Maggie. One brilliant set piece sees Maggie return home to surprise her mother with a new house only to find her lovely gesture spat back in her face. The element of Million Dollar Baby that I remember the most is the film's final act in which Maggie finds herself paralysed after an accident in a title match. Here I felt that Haggis over-egged the pudding a little bit as Million Dollar Baby became a different film altogether especially after Maggie asks Frankie to help her end her own life. Although I knew the ending was coming, I still found it shocking to watch and I think this sensitive storyline helped Million Dollar Baby to win Best Picture.
Alongside Eastwood's awards for Directing and Best Picture both Swank and Freeman picked up awards for their performances. Swank gave a good portrayal of an every woman who was fighting to achieve her goal however for the most part I found it to be rather unremarkable. I think that the reason she was given the award was due to the final act as Maggie finds herself unable to fight the inevitable. Freeman's wise narration was coupled with a number of fine scenes in which he finally got to have the one fight that had been eluding him all these years. Whilst Freeman did a good job in this film I feel he's been better elsewhere especially in The Shawshank Redemption and Seven. If anybody should have won an Oscar for acting in the film I believe it should have been Eastwood himself as he perfectly conveyed the evolution in the character of Frankie. Clint played to his strengths for the most part but he still conveyed Frankie's growing fatherly feelings towards Maggie. As he had done in Mystic River, Clint also provided a suitable score for Million Dollar Baby which again enhanced the overall mood of the film. I personally felt that Million Dollar Baby took a while to get going and it was only when Frankie took Maggie under his wing that the pace of the film picked up. A subplot involving the simple fighter Danger didn't do anything for me and instead proved that Paul Haggis sometimes adds too many elements to his story as he did the year later with his script for Crash. Although a solid drama, I think it's Million Dollar Baby's mawkish third act that lets it down, although I'm sure this is why the academy ultimately gave it the Best Picture award. Ultimately there's a lot to like about Million Dollar Baby, especially the performances and Eastwood's assured direction, but it just doesn't have that extra special something that a Best Picture winner truly needs.
Next time I take a magical trip down death row.
Thursday, 29 May 2014
Matt's Big Oscar Challenge Days 308-310: Chronicles of a Freeman
I honestly didn't think I'd get this far this quickly but we're already here in the 1990s. This for me was the decade that I first started going to the cinema on a regular basis and a result I've seen some of these nominees a fair few times before. This allows me to pepper some of these reviews with anecdotes and hopeful will give a more personal insight into some of my early viewing experiences. In term of the Oscars this was the time in which the awards really started getting political with certain dirty tricks campaigns being fought out between certain nominees.
Freeman's good luck would continue three years later when he again starred in an Best Picture winning film. Freeman's role in Clint Eastwood's Unforgiven was as Ned, the trusted ally of Eastwood's William Munny. Interestingly, despite acting and directing in films for over thirty years, Oscar didn't recognise Eastwood till the early 1990s. Eastwood garnered fame in the Western genre firstly as an actor and later as a director but Unforgiven was to be his last foray into the genre. Even if I hadn't known that going in, Unforgiven definitely had the feel of a final film as it demonstrated how killing for money doesn't get easier as you get older. Both Will and Ned are retired gunslingers who have settled down for a life with their respective families only to be tempted out of retirement for one last job. The job in question involves them killing the two men responsibly for the facial mutation of a prostitute in Big Whiskey, Wyoming. Standing in their way is the town's sheriff Little Bill, a man who has a stringent no guns policy although he lets his men use theirs on a regular basis. The middle part of the film demonstrated just what Bill would do to anyone who attempted to collect the ransom that the prostitutes put up. This particular sequence sees the introduction of debonair western legend English Bob whose plans are thwarted by Bill and deputies. Eventually Will's party, which also includes the kid who told him of the job in the first place, arrive in the town. Things aren't easy for them though as Will is taken down by Bill while Ned is later beaten to death after refusing to give up his allies. Although the film has a somewhat happy ending, in so far as the prostitutes have been avenged, nobody really gets out of Unforgiven unscathed.
This was my second time watching Unforgiven as I'd previously watched it as part of my film studies degree about twelve years ago. Unsurprisingly I remember very little about but I really enjoyed it this second time around partly because it felt like a very realistic western film. The deaths are few and far between and when they happen Eastwood makes sure that we see the consequences. Ned and Will are extremely shocked to find that they don't have the heart for killing any more whilst the Kid has a similar reaction to his only kill during the film. In addition the characters feel a lot more well-rounded than the majority of players you'd seen in your standard western. Will is essentially the hero of the piece but in the past he has killed purely for money and he's only recently turned his life round. Similarly the villain, in this case Little Bill, isn't purely evil and the motivation for most of his actions is to keep the peace in his town. The town itself is beautifully constructed and, as Eastwood is a legend in the genre, every scene is expertly directed. Cinematographer Jack N Green really takes us into the centre of the action and makes the town of Big Whiskey come alive. As well as proving to be an expert director, Eastwood's strong and silent persona is perfect for the role of the ageing cowboy Will. Richard Harris puts in a memorable extended cameo as the aforementioned English Bob as he is able to lend his theatrical nature to the Western genre. Unforgiven's best performance though comes from Gene Hackman who earned a Best Supporting Actor Oscar for his role as Little Bill. Hackman makes you believe Little Bill as a major threat to our protagonists but at the same time makes you understand why he's doing what he's doing. As for Freeman, his role was generally to act as Eastwood's second but he did the best he could with his role as the sidekick Ned, who later became Will's motivation for his final revenge attack.
Freeman fared much better, and earned a Best Actor nomination, for his role in Best Picture nominee The Shawshank Redemption. Of the three films in this post, I believe that The Shawshank Redemption is the best so it's interesting that it is the only one that didn't win the big prize. It's also the only film in this post that I've watched multiple times and have even included it in one of my essays. The film sees Freeman star as Red, a long term inmate at Shawshank Prison who is continually up for parole throughout the course of the film. Red acts as the narrator of the film which is a role that Freeman would take on throughout the rest of his career partly due to his dulcet tones. Despite being recognised as the film's lead actor, The Shawshank Redemption is co-headlined by Freeman and Tim Robbins as banker Andy Dufrense. Dufrense enters Shawshank convicted of the murder of his wife and her lover and indeed experiences a tough time inside the jail. But through his friendship with Red, his endurance of sexual attacks at the hands of the 'sisters' and is persistance at kitting the prison library out with new reading material, Andy finds a way to survive. However The Shawshank Redemption will probably be best-remembered for the final scenes in which Andy breaks out of the prison. Upon his release Red joins him but interestingly the film was meant to end with Freeman's voiceover talking about hope. But it appears as if audiences weren't happy with this and wanted the solid conclusion that Andy and Red would be reunited in Mexico. This was the first time watched The Shawshank Redemption with this knowledge and I'll be the first to admit that the ambiguous ending probably would've worked better. That being said I don't begrudge people a happy to a film that is incredibly tough to watch at times.
The very first time I watched The Shawshank Redemption was when somebody lent me a VHS copy of it and I enjoyed it that much that I didn't want to give it back. I think the film is just perfectly paced and has a character at the heart of it that you want to root for. Director Frank Darabont really makes Shawshank one of the main characters of the piece and demonstrates how the institution has affected the prisoners in different way. There are a plenty of emotional moments for me throughout the film and I always can't help but shed a tear when the prison librarian Brooks commits suicide after being released. Similarly I always smile when Andy plays The Marriage of Figaro over the prison's PA system and every inmate is completely transfixed by the music. Tim Robbins is perfectly cast as the mild-mannered bank manager who is forced to spend his lifetime locked up for a crime that he didn't commit. Robbins portrays Andy as a smart character but also one who isn't cut out for a life on the inside. More than anything else Robbins makes you sympathise with Andy so you're cheering when he finally makes his escape from Shawshank. But I'd agree with Oscar in saying that this is Freeman's film, especially as Red acts as the movie's narrator. When we first enter Shawshank, Red's is the first face we see and his expression of joy at being reunited with Andy is our lasting memory of the film. Freeman portrays Red as a worldly-wise character but someone whose view is changed significantly thanks to his relationship with Andy. But it's Freeman's voice that really dominates the film and I bet that if you're thinking about The Shawshank Redemption then it's his voice you'll hear. I do feel that's the biggest testament to both Freeman's performance and the character of Red as a whole.
Next time our trip around the 1990s takes a rather dubious step as we look at two films which focus on characters operating outside of the law.
We start, as we often do, by analysing a trio of films from one actor who appeared in multiple movies during the decade. Our star under the spotlight in the first 1990s post is Morgan Freeman who starred in three nominated films, two of which went on to win Best Picture. Freeman is an interesting actor mainly because he only struck it big in his early 50s due to his roles in Glory as well as in the first film of this trio, Driving Miss Daisy. In the film, which was the first Best Picture winner of the 1990s, Freeman starred as Hoke a wise man hired as a chauffeur for the prickly elderly woman of the title. The film begins with Jessica Tandy's Daisy crashing her car, leading her son to hire Hoke as her driver. The relationship between the pair starts off incredibly frostily as Jessica feels that Hoke is mocking her and refuses to get him to do anything. Eventually a friendship blossoms between the pair as Daisy begins to trust Hoke more. This friendship is chronicled throughout the film which includes an undercurrent about racial tensions during the 1950s and 1960s. Along the way Daisy teaches Hoke to read and repays her by helping her out around the house once her maid passes away. Eventually the ageing process starts to creep up on Daisy and she's eventually put into a home after she starts to display signs of dementia. But the film ends with the friends still enjoying each other's company at the ripe old ages of 81 and 97 respectively.
Part of the reason that Freeman was cast as Hoke is that he played the same role in the stage version of Driving Miss Daisy. It's pretty clear from the start that the film is based on a play as most of the action takes place in the same locations, most notably Daisy's house and car. In fact very little has been done to make the piece feel cinematic, aside from letting us see the various locations that Daisy and Hoke travel to during the course of the movie. The only really memorable attribute from this screen adaptation of the play is Hans Zimmer's lively score which perfectly complements the film's awkward central relationship. In my opinion, Driving Miss Daisy's strongest element is the performances from both Freeman and Tandy. Tandy rightfully won a Best Actress award for playing the prickly Daisy, whose life is changed thanks to Hoke's influence. Tandy made me complete believe in Daisy and also later made me sympathise for a woman who wasn't always that gracious to everyone around her. Meanwhile, Morgan Freeman's joyous portrayal of Hoke was effortless and he and Tandy shared a surprising amount of chemistry. Together they portrayed the relationship between Hoke and Daisy with ease and allowed the audience to really invest in their adventures over the course of the twenty-five years that the film focuses on. Most known for his comedy work, Dan Aykroyd put in a memorable supporting turn as Daisy's son Boolie. Aykroyd portrays Boolie as somewhat of a doormat who often caves into the demands of both his mother and wife. Despite the fine performances, Driving Miss Daisy isn't a particularly spectacular film and it doesn't really feel like a Best Picture winner. The film itself is often regarded as one of the most surprising Best Picture winners, primarily as director Bruce Beresford wasn't even nominated for helming the feature. It'll be interesting to see how worthy the other films nominated against Driving Miss Daisy were, but I'm predicting that there will be at least one strong candidate which deserved the accolade more than this well-acted but unremarkable film.
Freeman's good luck would continue three years later when he again starred in an Best Picture winning film. Freeman's role in Clint Eastwood's Unforgiven was as Ned, the trusted ally of Eastwood's William Munny. Interestingly, despite acting and directing in films for over thirty years, Oscar didn't recognise Eastwood till the early 1990s. Eastwood garnered fame in the Western genre firstly as an actor and later as a director but Unforgiven was to be his last foray into the genre. Even if I hadn't known that going in, Unforgiven definitely had the feel of a final film as it demonstrated how killing for money doesn't get easier as you get older. Both Will and Ned are retired gunslingers who have settled down for a life with their respective families only to be tempted out of retirement for one last job. The job in question involves them killing the two men responsibly for the facial mutation of a prostitute in Big Whiskey, Wyoming. Standing in their way is the town's sheriff Little Bill, a man who has a stringent no guns policy although he lets his men use theirs on a regular basis. The middle part of the film demonstrated just what Bill would do to anyone who attempted to collect the ransom that the prostitutes put up. This particular sequence sees the introduction of debonair western legend English Bob whose plans are thwarted by Bill and deputies. Eventually Will's party, which also includes the kid who told him of the job in the first place, arrive in the town. Things aren't easy for them though as Will is taken down by Bill while Ned is later beaten to death after refusing to give up his allies. Although the film has a somewhat happy ending, in so far as the prostitutes have been avenged, nobody really gets out of Unforgiven unscathed.
This was my second time watching Unforgiven as I'd previously watched it as part of my film studies degree about twelve years ago. Unsurprisingly I remember very little about but I really enjoyed it this second time around partly because it felt like a very realistic western film. The deaths are few and far between and when they happen Eastwood makes sure that we see the consequences. Ned and Will are extremely shocked to find that they don't have the heart for killing any more whilst the Kid has a similar reaction to his only kill during the film. In addition the characters feel a lot more well-rounded than the majority of players you'd seen in your standard western. Will is essentially the hero of the piece but in the past he has killed purely for money and he's only recently turned his life round. Similarly the villain, in this case Little Bill, isn't purely evil and the motivation for most of his actions is to keep the peace in his town. The town itself is beautifully constructed and, as Eastwood is a legend in the genre, every scene is expertly directed. Cinematographer Jack N Green really takes us into the centre of the action and makes the town of Big Whiskey come alive. As well as proving to be an expert director, Eastwood's strong and silent persona is perfect for the role of the ageing cowboy Will. Richard Harris puts in a memorable extended cameo as the aforementioned English Bob as he is able to lend his theatrical nature to the Western genre. Unforgiven's best performance though comes from Gene Hackman who earned a Best Supporting Actor Oscar for his role as Little Bill. Hackman makes you believe Little Bill as a major threat to our protagonists but at the same time makes you understand why he's doing what he's doing. As for Freeman, his role was generally to act as Eastwood's second but he did the best he could with his role as the sidekick Ned, who later became Will's motivation for his final revenge attack.
Freeman fared much better, and earned a Best Actor nomination, for his role in Best Picture nominee The Shawshank Redemption. Of the three films in this post, I believe that The Shawshank Redemption is the best so it's interesting that it is the only one that didn't win the big prize. It's also the only film in this post that I've watched multiple times and have even included it in one of my essays. The film sees Freeman star as Red, a long term inmate at Shawshank Prison who is continually up for parole throughout the course of the film. Red acts as the narrator of the film which is a role that Freeman would take on throughout the rest of his career partly due to his dulcet tones. Despite being recognised as the film's lead actor, The Shawshank Redemption is co-headlined by Freeman and Tim Robbins as banker Andy Dufrense. Dufrense enters Shawshank convicted of the murder of his wife and her lover and indeed experiences a tough time inside the jail. But through his friendship with Red, his endurance of sexual attacks at the hands of the 'sisters' and is persistance at kitting the prison library out with new reading material, Andy finds a way to survive. However The Shawshank Redemption will probably be best-remembered for the final scenes in which Andy breaks out of the prison. Upon his release Red joins him but interestingly the film was meant to end with Freeman's voiceover talking about hope. But it appears as if audiences weren't happy with this and wanted the solid conclusion that Andy and Red would be reunited in Mexico. This was the first time watched The Shawshank Redemption with this knowledge and I'll be the first to admit that the ambiguous ending probably would've worked better. That being said I don't begrudge people a happy to a film that is incredibly tough to watch at times.
The very first time I watched The Shawshank Redemption was when somebody lent me a VHS copy of it and I enjoyed it that much that I didn't want to give it back. I think the film is just perfectly paced and has a character at the heart of it that you want to root for. Director Frank Darabont really makes Shawshank one of the main characters of the piece and demonstrates how the institution has affected the prisoners in different way. There are a plenty of emotional moments for me throughout the film and I always can't help but shed a tear when the prison librarian Brooks commits suicide after being released. Similarly I always smile when Andy plays The Marriage of Figaro over the prison's PA system and every inmate is completely transfixed by the music. Tim Robbins is perfectly cast as the mild-mannered bank manager who is forced to spend his lifetime locked up for a crime that he didn't commit. Robbins portrays Andy as a smart character but also one who isn't cut out for a life on the inside. More than anything else Robbins makes you sympathise with Andy so you're cheering when he finally makes his escape from Shawshank. But I'd agree with Oscar in saying that this is Freeman's film, especially as Red acts as the movie's narrator. When we first enter Shawshank, Red's is the first face we see and his expression of joy at being reunited with Andy is our lasting memory of the film. Freeman portrays Red as a worldly-wise character but someone whose view is changed significantly thanks to his relationship with Andy. But it's Freeman's voice that really dominates the film and I bet that if you're thinking about The Shawshank Redemption then it's his voice you'll hear. I do feel that's the biggest testament to both Freeman's performance and the character of Red as a whole.
Next time our trip around the 1990s takes a rather dubious step as we look at two films which focus on characters operating outside of the law.
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