The Father

There are a good number of Oscar nominated movies throughout the years about the elderly and dementia, but The Father has a unique way of portraying these ideas. While the audience is not explicitly told, we quickly figure out that we are experiencing the story from the point of view of an elderly man spiraling into dementia. Characters sometimes change actors from one scene to the next. The timeline takes a sudden jump backward or forward, sometimes creating a sense of deja vu. And while the layout stays the same, details within the apartment that the majority of the film takes place in are suddenly completely different from one scene to the next. This makes the film much more immersive and the audience more sympathetic to the day to day hardships of living with dementia. 

In The Father, Anthony Hopkins portrays Anthony, an elderly man who does not want any assistance in his day to day life. His daughter, Anne (Olivia Colman) tries to help him, but she cannot be there for him constantly. Anthony has scared off at least three previous nurses, and meeting the newest one she’s found may be the last straw before Anne decides to put her father in an assisted living home. 

Anthony Hopkins’ performance is so compelling, heartbreaking and sadly authentic to what one may expect from a man whose mind is devolving from age. The visible confusion often on his face feels genuine. The moment when he’s trying to gently ask of Paul stole his watch is a sad and awkward dance that so many have unfortunately had with loved ones. One of his best moments is the scene where he meets his new nurse, Laura. At first, he’s charming, witty and even a bit eccentric, claiming to have been a dancer. Just when the characters and audience are at ease, he takes a sudden turn in his tone, becoming hateful and angry, leaving Anne in embarrassed tears with the new nurse. And by the end of the film, I was crying along with poor, scared Anthony. 

The Father is currently nominated for six Academy Awards, including Best Picture. Anthony Hopkins received his sixth Oscar nomination, his fourth as lead actor. Olivia Colman is nominated for supporting actress for the first time, her second Oscar nomination. The film is also nominated for film editing, production design and adapted screenplay. 

The Father is a compelling and intelligently written film that helps us understand the cruel reality many elderly live in, often where they can’t even trust their own sense of reality. While I don’t recall the words dementia or Alzheimer’s ever vocalized in the film, it brings these conditions to light in a new, sympathetic way that many may have never considered. At times, I found myself remembering moments from my grandfather’s final years that suddenly made more sense. And for that alone, I feel forever connected to and grateful for this film, I’m sure others will feel the same. 

“I feel as if I’m losing all my leaves… The branches and the wind and the rain. I don’t know what’s happening anymore. Do you know what’s happening?”

Hitchcock (2012)

Movies about the makings of other movies seem to be a growing trend.  Among these is Hitchcock, a story behind the master of suspense’s struggles while making his (in my humble opinion) greatest film.  In addition to the usual conflicts with studios and Hitch’s (Anthony Hopkins) odd obsession with his actors, a growing conflict with his wife and creative partner in film making, Alma Reville (Helen Mirren), takes center stage and makes Alma Hitch’s most intriguing leading lady.

For a film fan, some of the best scenes depict the production of Psycho.  We see classic scenes come to life at a new angle and in color, with Hitch just off to the side observing quietly or shouting directions like a man obsessed.  Either response seems to hold the same intensity.  His direction of the infamous shower scene is especially fascinating and intense.  And there are some fun Hitchcockian moments, like the beginning and end monologue that mimics episodes of Alfred Hitchcock presents.

However, overshadowing Hitch and all his eccentricities is his real leading lady, Alma.  She is a supportive and ambitious woman who has been at Hitch’s side through his entire film career.  When Hitch is ill, she fills in for him on the set of Psycho and keeps production on track.  But she also has her own projects in the film industry, and writes a screenplay with Whitfield Cook (Danny Huston).  The secluded beach house they write at makes Hitch suspicious of an affair and the idea does not seem to be vacant from Alma’s mind either.  Thing is, with Alma always seeing Hitch spellbound by his leading ladies, we can’t blame her too much for her own temptations.

At the Oscars, Hitchcock only received one nomination and came home with no statuettes. It was was for  for makeup and hairstyling, I assume for making Anthony Hopkins look like Hitch in such an uncanny way.  There were moments where Hopkins seemed to have melted away entirely into Hitchcock.  Amazing! However, at the Golden Globes, Helen Mirren was nominated for her leading performance as Alma.  A deserved nomination, shedding such brilliant light on an important, but often overlooked part of Hitchcock’s life.  How unfortunate that she did not make it to the Oscars.

While I personally love the idea of this film and quite enjoyed it, I feel like it fell short and a bit flat.  It felt as though Hitch and Alma were not balanced, both onscreen and in the story.  The moments in Hitch’s mind, trying to connect with his latest villain, felt out of place, though they had the best of intentions.  Though Hitchcock was not much of an Oscar worthy film, it’s an enjoyable and fun watch, especially for any Hitchcock fan.

“You may call me Hitch.  Hold the Cock.”

Spartacus

1960’s Spartacus was a laborious film for all involved.  After one week of filming under Anthony Mann’s direction, Stanley Kubrick took over as director.  Working with a script by blacklisted Dalton Trumbo that feels pulled between political views of the time and a main character paralleling Moses, Kubrick nonetheless created a beautiful and stirring epic that has stood the test of time and has become an iconic classic.

Kirk Douglas plays Spartacus, a rebellious slave in ancient Rome.  He is recruited by Batiatus (Peter Ustinov) to become a gladiator.  While this is presented as an opportunity, it is just another form of slavery, where the men are treated like thoroughbred horses and trained until it is time to fight to the death.  During this time, Spartacus meets Varina (Jean Simmons).  Rather she is sent to his room, as gladiators are rewarded with slave women.  With the famous line, “I am not an animal!” Spartacus’s and Varina’s relationship begins as one of quiet, restrained emotion and respect.  When a visit from Marcus Glabrus (John Dall) leaves Spartacus lucky to be alive, a riot soon follows.  Once the gladiators escape, Spartacus brings them together as an ever growing army of former slaves with hopes of ending slavery and overthrowing Rome.  Of course, this makes Spartacus a threat and enemy to all of Rome.

Spartacus was nominated for six Academy Awards and won four.  The film was nominated for, but did not win the awards for best film editing and music.  It did win the awards for art direction and costume design for a film in color.  Russell Metty received the Oscar for cinematography, though it’s rumored that most of the work was done by Kubrick himself.  And Peter Ustinov won the award for best supporting actor, the only actor to win under Kubrick’s direction.

Most films by Stanley Kubrick have a very distinct intangible feel to them, something that is not very present in Spartacus.  Instead, it feels more like the biblical epics of the period: Ben Hur, The Ten Commandments, The Robe for example.  This may be credited to the fact that this was the last film Kubrick directed that he did not have total artistic control over.

One of the most famous scenes from Spartacus was not in the original theatrical release.  In the scene, Crassus (Laurence Olivier) coyly attempts to seduce young Antonious (Tony Curtis).  It includes a conversation on whether a man prefers “oysters or snails” as euphemism for homosexuality.  Both The Production Code Administration and the Legion of Decency rejected the scene and it was cut until the restoration of the film in 1991.  However, the audio for the scene had been lost, and Olivier deceased.  Therefore, Anthony Hopkins is heard in the recording, in his best Olivier voice.

Spartacus is a marathon of a film (over 3 hours) that like other epics of its time, can feel like a real commitment.  However, it is a smart, engaging film as well as an exciting ride with a good amount of action.  It boasts a diverse list of great actors, all of whom give great performances, especially Douglas and Ustinov.  Art geeks might want to seek it out for Saul Bass’ contributions, both in the credits and a few key scenes.  And though it doesn’t have that unmistakably Kubrick atmosphere, it is still an important film for anyone wanting to broaden their views on his work.

“I am Spartacus!”

The Lion in Winter

I watched A Lion in Winter with my mom and sister, while I spent a little time at home.  Supportive of my blogging mission, they were excited to watch a best picture nomination with me.  Shortly into the film, they both had their questions and comments.  “Which Henry is he again?  John looks like such a slob.  Is that Katharine Hepburn?”  I always enjoy a little banter while watching these films.  However, about an hour into the movie, mom had fallen asleep and my sister spent most of the time looking at her phone.  I warned them that A Lion in Winter may not be their taste in movies, but I think they were curious as to what a “British costume drama” actually was.

After the film ended and my mom woke up, I gave her the gist of what happened.  I could tell they both lost interest because of the historical time period, rather than the dramatic family based plot.  King Henry II (Peter O’Toole) has allowed his wife, Queen Eleanor of Aquitaine (Katharine Hepburn) to leave the Tower of London over the winter holiday so they may all visit with their three sons, who all want to be named successor to the throne.  Henry also has his mistress, Alais (Jane Merrow) around, whom he wants to marry, and her brother, King Philip of France (Timothy Dalton), who starts to make deals with each of the possible future kings behind Henry’s back.

The pull over which brother will be named the future king of England is the main source of family tension.  Richard (Anthony Hopkins in his debut role) is the strongest and most handsome of the brothers, but has a quiet and meek side as well.  While Eleanor is pushing for Richard, Henry would rather give the throne to the youngest son, John (Nigel Terry).  Just by his appearance we see what a mistake this would be, John is a messy-haired slob who can’t stand up straight.  Plus, he just whines and expects the throne because daddy promised it to him.  Then there is poor Geoffrey (John Castle), the crafty but forgotten middle son who just is not satisfied with being a duke.

The character chemistry is what works best in this film.  With Eleanor trying to manipulate Richard with guilt, Geoffrey trying to lead John, and all three sons scheming with Philip, all these alliances flow and intertwine flawlessly.  Best of all are the scenes between Henry and Eleanor.  O’Toole and Hepburn make their characters interact with the most fluid mix of love and loathing that makes this film a shear joy to watch.  At one point, I made some natural chuckle of delight watching these two in an argument, to which my sister looked up and asked what was so funny.

When I asked my sister what she thought about the movie, she said, “It was good, but all they did was talk.”  For your casual, twenty-first century movie goer who generally doesn’t watch movies more than twenty years old, that seems like a normal reaction.  No harm, no foul.  Yes, most of the action comes in the form of dialogue and long eloquent speeches, but they’re so telling and beautifully delivered. The part that made me smile though, is that my sister did recognize that it was good.  There’s no hiding that.  And Katharine Hepburn simply should not have shared that Oscar, it was all hers.

“I could peel you like a pear, and God, himself, would call it justice.”

Silence of the Lambs

Sometimes it is hard to put Silence of the Lambs into the Horror film category.  It’s more of s suspenseful psychological mystery/thriller, but deep down there are some classic elements of horror.  You will get some delicious blood and gore, but it’s classy and magnificent.  Most horror movies are too flashy.  All about the blood and screams.  But in this film, everything is calmer.  The killers are methodical.  The psychopaths are professionals.  And for those just in training, that is truly terrifying.

Young Clarise Starling (Jodie Foster) is still in training at the FBI, but her superior, Jack Crawford (Scott Glenn), asks her to help him work on the Buffalo Bill case.  Bill is a serial killer, where his victims are large women that he starves for a while and then he removes pieces of their flesh.  Cunning, but captured killer, Dr. Hannibal Lecter (Anthony Hopkins), known as Hannibal the Cannibal for eating his victims, may be able to give some crucial information about Bill, so Starling is sent to talk to him.  Lecter is brilliantly manipulative and may know who and where Bill is, perhaps he was an old patient of his.  But when a congresswoman’s daughter, Catherine Martin (Brooke Smith), is kidnapped by Bill, and time to save her is running out, Lecter uses his cunning and his valuable information to barter and move himself closer to freedom.

Now, there are many theories on the relationship between Hannibal Lecter and Clarice Starling.  The performance between Hopkins and Foster is so amazing that they both won Oscars in their lead actor categories.  They have been studied by every film nut and they’ve been ranked as the sixth top hero and number one villain in AFI’s Heroes and Villains.  There are so many takes on their relationship (father-daughter, patient-client, lovers) it seems too much to give another text book look at them.  What seems to be going on the most between Lecter and Starling is a power struggle.  Being free and on the outside should give Starling more control, but Lecter knows just where to strike to make her become the vulnerable one and she is in need of what he knows.  Yet he does not despise her, he could have kept quiet and gave her nothing to help the case.  We get the sense that he wants to help her on this case, which will be a big boost in her career, but she has to earn it, share some juicy information and figure out all his riddles.

Hannibal Lecter is the perfect monster.  The Blob and Godzilla are goofy and dismissive.  Freddy Cruger and Jason are trying too hard.  Lecter simply stands upright, greets you like a gentleman to bring you a bit closer and tears out every weakness you thought you had finally hidden away for good.  It’s amazing really, I have seen this movie dozens times and I get chills knowing how easily I’m still enthralled by every word between Lecter and Starling.  I don’t know how he does it, maybe it’s an old psychologist trick, but Lecter has some power over people to make them volunteer very private information.  Can you even imagine what you might reveal if you met Hannibal Lecter?

The greatest thing about this movie is how realistic serial killers are portrayed.  In other horror movies, the killer just goes running around with a knife or chainsaw like a raving lunatic while teenagers flee in their underwear.  Like anyone over fourteen can believe that.  But Buffalo Bill looks like someone we might run into at Wal-Mart.  He might stare at the cheese for a while and mumble to himself.  It’s not too much to imagine him just across the street, concealing a cellar where he raises moths, erotically films himself and keeps his next victim at the bottom of a pit.

When we watch how easily Buffalo Bill kidnaps Catherine Martin, just outside her apartment, it is realistically chilling.  In my teens, my dad and I would watch this movie, and as Catherine was so trustingly climbing into the van, he’d find it the perfect time to reinforce that whole ‘don’t talk to strangers or get in their car’ rule.  Thanks for the advice, but I think the movie was a lot more convincing to me.  Seeing the pit, the bloody scratches and bloated washed up corpses scares a kid more than just a wag of the finger.  Truth is, we’re still more likely to be kidnapped by the creepy guy at Wal-Mart than to ever be chased in our underwear by someone with a chainsaw.

The greatest circumstances I can imagine watching Silence of the Lambs under is in the dark, after local news breaks of an escaped psychopath, with people who become paranoid easily for maximum entertainment.  Or sit your older kids down for family trauma night to keep them away from that creepy guy down the street.

“A census taker once tried to test me.  I ate his liver with some fava beans and a nice chianti.”  That slurping sound is legendary.

The Remains of the Day

Think about the role of a good butler for a moment.  They are nearly silent, emotionless, promptly serving and constantly moving about but trying not to draw any attention.  You would hardly notice a good butler.  Mr. Stevens takes that a step further and focuses on his work so much, that he hardly notices what is going on around him.

In the early 1930’s Mr. James Stevens (Anthony Hopkins) is the head butler of an English mansion owned by Lord Darlington (James Fox).  At the beginning of the film, Stevens is looking for good servants to work with him, he writes to seeks out his old friend and colleague Miss Kenton (Emma Thompson).  He also hires his own father and makes sure Kenton distinguishes him as Mr. Steven’s Sr. (Peter Vaughan).  As the house prepares to hold an important international conference, Mr. Stevens must deal with his father’s deteriorating health by giving him less important duties.  When the conference has Lord Darlington sympathizing with the Nazi party, Kenton realizes the moral implications that her job could have and wishes for something more than a servant’s life.  Stevens, on the other hand, only blindly serves his employer, never really listening to the historical and political conversations around him, never cultivating his own ideas and never seeking anything further in life than to serve.

Would you believe that this is a love story?  Though I’m not much for romance, I was rather moved at how these emotions can come about in such a restrained manner.  The lazy viewer more used to flashy, overtly romantic films may not notice a bit of it.  It’s never spoken in plain words nor expressed in any embrace.  However, the mutual respect and tension between Miss Kenton and Mr. Stevens is impossible to dismiss.

The most intimate scene between Miss Kenton and Mr. Stevens is when she happens to walk in on him reading one  evening.  She asks what he is reading and he becomes defensive trying to hide the book, “This is my private time, you’re invading it.”  This peaks her curiosity, perhaps he’s reading something racy or romantic, she follows him until he is cornered by the window.  She’s pursued him in so many previous scenes only to have him flee in quiet terror of intimacy.  They are finally within inches of each other, the light is dim but perfectly shows their faces.  Stevens can’t keep his eyes off Keaton, his words politely say leave, but his eyes beg her to stay.  But in the end, Kenton’s dreams that he may be reading something interesting for pleasure are crushed when he simply says, “I read to further my education.”  This scene clearly represents why both Hopkins and Thompson were nominated for lead acting awards.

That is the main conflict in their relationship.  Kenton is able to dream, cultivate ideas and think for herself, while Stevens has only the ambition to serve.  She can never quite accept that about him and he doesn’t realize what his friendship with Kenton has meant until it is too late, but even then he doesn’t know how to change.  At that point in life, it may be too frightening.

Of all the quietly thoughtful films having to do with stuffy British etiquette, The Remains of the Day is the best I’ve seen yet.  Hopkins and Thompson put on amazing performances, the whole film has elegant beauty and the story is both historically and emotionally investing.  If you find yourself a little reluctant to this sort of restrained emotional film, I would suggest trying The Remains of the Day.  You may be surprised.

“Do you know what I am doing, Miss Kenton? I am placing my mind elsewhere while you chatter away.”

Howard’s End

Based on the novel by E.M. Forster, set in turn of the century London there are three families, each representing a different rank within social classes.  The film mainly concerns the Schlegel family, consisting of sisters Margaret (Emma Thompson), Helen (Helena Bonham Carter) and brother Tibby (Adrian Ross Magenty).  They’re middle class and quite liberal, dabbling in a bit of philanthropy and enjoying arts and literature.  One summer, Helen was visiting the Wilcox’s estate and had an embarrassing fling with one of their sons.  After quickly snuffing it out, hoping everyone could just forget about it, the Schlegel family go on damage control, trying to avoid the high class Wilcoxes.

But to no avail, when the Wilcox family rents a flat just across from the Schlegel home.  Concerned that the close proximity could cause some tensions, Margaret visits Ruth Wilcox (Vanessa Redgrave) and befriends her as her health declines.  Their conversations turn to the fact that the Schlegel house will soon be demolished to build yet another apartment building.  Margaret is very calm about the subject, but Ruth is saddened for her.  Ruth’s dying wish is to leave her family’s home, Howard’s End, to Margaret.

Unfortunately, with that wish only in pencil and not legally binding, Ruth’s husband Henry (Anthony Hopkins) and their children decide to ignore it.  Yet, Margaret has worked her way into the Wilcox family and soon Henry asks her to marry him.

While Margaret is getting closer to the high class Wilcoxes, Helen has taken an interest in a poor working class man and his fiancé.  She first meets Leonard Bast (Samuel West) at a lecture on Beethoven and is immediately excited to find someone else who enjoys the arts.  Helen tries to encourage Leonard’s romantic ideas and hobbies, like astronomy, but in the end some bad advice causes him to lose everything and Helen feels responsible.

Thompson’s performance as Margaret is astounding.  As the central character  in the story, she’s pulled in all directions, from high class with Henry and Ruth, down to the low with Helen and poor Leonard.  But with such poise and charisma, she’s always the level headed one, even when things are crumbling around her.  It’s this strong, versatile role that Thompson executes with ease that earned her the Oscar for Best Actress.

I have not read the novel, but I’ve heard that the film does it justice, so if you are interested in a film adaptation, I would recommend Howard’s End.  If you enjoy Emma Thompson, Helena Bonham Carter or Anthony Hopkins, their performances are a treat and would also recommend this film for you.  But if social class dramas in turn of the century England sounds boring to you, you’ll probably be a little bored.

“The poor are the poor, and one’s sorry for them – but there it is.”

The Elephant Man

In the seedy carnival of London, a horrible and fascinating creature is discovered.  The story goes that his mother was trampled by wild elephants while pregnant with him.  Most don’t care about the story; they just want the curtain to lift so they can gawk at The Elephant Man.

Dr. Frederick Treves (Anthony Hopkins) stumbles upon the carnival one day, and becomes curious about The Elephant Man (John Hurt), whose booth has just been shut down.  He combs the alleys looking for him and meets Bytes, the man who seems to own the creature.  Bytes allows Treves to study The Elephant Man (after paying to see him).  At first, Treves sees The Elephant Man as just a specimen and exhibits him to his fellow doctors, as a rare find and educational tool.  When Treves learns how harshly Bytes treats the man, Treves arranges for the man to stay at the hospital.  What follows is a fascinating journey where Treves helps the man discover his humanity and dignity.  But there’s always the barrier that makes him no more than a sideshow to gawk at.

This film can be considered a biography.  Yes, John Merrick (aka The Elephant Man) was a real man, who had a rare condition to make him look this way.  A good portion of the story is based off of Dr. Treves’ notes, which is also where the name John came from.  Merrick’s real name was Joseph, but enough fun fact history, this is a film!

And what a film indeed.  I’ll admit, there is a lot of allure here because the viewer simply wants to see The Elephant Man.  How horrible is he?  Is it true he’s got feet like an elephant?  For the first half hour of the film, we only get shadowy glimpses and silhouettes of him, making that first clear look even more worth it.  It’s only after we get over the initial shock that we can see John for more than a freak.

Once Dr. Treves tries to see John as more than a new chapter in a textbook, he’s able to break through barriers and find a real person under all that…elephantness.  John is surprisingly smart, polite and always very gracious.  He’s sweet and very soft spoken so we instantly love him and want him to have a wonderful life overcoming the obstacles and abandoning his sideshow life.  When the seedy bastards from the dark alleys come to gawk and make him a spectacle for their amusement again, we’re heartbroken and horrified.  I’ll admit, I was nearly in tears during his worst moment with a mob.

That is what makes this film so amazing.  Not the daring black and white or the amazing makeup, but the amount of heart and sympathy it can pull from you.  For anyone who was ever mocked as a child or felt like a deformed outcast, this film shows the most extreme case ever known.  Some may identify, but none can ever imagine the hardships John faced.  It’s hard to imagine such a sensitive human soul residing in such a terrifying body.

I want to recommend this film to everyone, but I know that’s not quite right.  Not everyone can stand to see someone that deformed.  It will disturb your kids.  And the brutality John is treated with isn’t for the faint of heart.  But it’s just an amazing film, daring, beautiful and heartfelt no matter how ugly.

“People are frightened by what they don’t understand.”

***Yes, this is my pick for 1980.  It has just as much emotional weight, but it’s more amazing than Ordinary People, sorry Academy.  Also, the achievement in makeup (one that has yet to be matched) was enough to create the award for best makeup.  It is available on hulu.com right now…the whole film…for free…seriously, you’ve obviously got internet, why aren’t you watching it yet?!***