June 18, 2011
Action, Film, Sci-Fi
Basic Instinct, Basil Poledouris, Casper Van Dien, Clancy Brown, Conan the Barbarian, Denise Richards, Dennis Muren, Film, film music, ILM, Jake Busey, Jerry Goldsmith, Jurassic Park, Klaus Kinski, Klendathu, Michael Ironside, movies, Neil Patrick Harris, Oscars, Patrick Muldoon, Paul Verhoeven, Phil Tippett, picture, poster, review, Robert Heinlein, Robocop, score, soundtrack, Star Wars, Starship Troopers, Titanic, Werner Herzog, Wyoming
“Starship Troopers” is extremely difficult to judge and depending on your social and political views, or your ability to tolerate gratuitous violence and kitsch dialogue, it may well be judged as a masterpiece or alternatively as one of the greatest jokes Hollywood has ever afforded itself. Polarising audiences and critics upon release, it remains divisive and for director Paul Verhoeven (who was already on his way down his career ladder throughout the 90s) it effectively marked the demise of a career. Those expecting a space opera in a grand, Lucasian style will be alienated by the jarring socio-satyrical elements and while Verhoeven fans will find his flowing narration correct and present, even they cannot eschew the film’s very rough edges. Consider yourself warned.
Loosely adapted from Robert Heinlein’s sci-fi novel of the same name, “Starship Troopers” takes place in a futuristic world where human civilisation continually ventures into space, colonising solar system after solar system. Threatened by arachnid-type aliens from the planet of Klendathu, the humans declare war on the primitive bugs, intent on wiping them out in a final-solution style operation. Entire action sequences as well as punctuations of recruitment videos play like fast-food military propaganda to appeal to the masses of youths who can sign up to become “citizens,” a more privileged class of people than the ordinary civilians. Joining up for entirely different reasons is Johnny Rico (Casper Van Dien), namely to follow his girlfriend Carmen (Denise Richards). Also joining up are Dizzy (Dina Meyer) and Zander (Patrick Muldoon) who have the hots for one member of the couple, as well as Carl (Neil Patrick Harris) who joins an intelligence division. After an intense training boot-camp the troupe are dropped on Klendathu, in the middle of the inter-galactic conflict. Naturally, E.T. turns out to be far more intelligent and far less friendly than originally thought and the military mission quickly turns into a desperate struggle for survival. Jake Busey, Clancy Brown and Michael Ironside also star.
There is no one moment in the entirety of the film’s running time that escapes controversy. We are made acutely aware of the parallels humanity’s expansion into space as a superpower and similar enterprises on our home soil. On the one hand, such a vision of the future may be terrifyingly realistic (cynics in particular will have a field day here) and takes on a rather frightening form when applied to the American dream of liberty, on the other hand Verhoeven’s depiction of humans as Third Reich emissaries is painful and irritatingly crude. What will ultimately sink the film for many viewers is the duality created out of these satyrical undercurrents. Verhoeven can’t decide if he’s making a straight action picture or something with more far-reaching implications is clumsy, leaving the end product tangled and confusing. This latter point is certainly strengthened by the extremely clunky dialogue and wooden acting by the entire ensemble that all point to cheap, B-movie rather than something with a serious message, regardless of any satyrical statement. Often, the film veers dangerously close to farcical and laughable, understandably going over the edge for some viewers.
It’s quite possible that your relationship with “Starship Troopers” bears resemblance to that of Werner Herzog and Klaus Kinski. Be that as it may, looking past the plot or its message and focusing purely on the technical side of things, viewers will find much more to universally enjoy. Verhoeven’s sense for flowing narration within individual scenes remains second to none, even if the dialogue is tosh, harking back to the days of “Basic Instinct” and “Robocop.” All the action is clearly and consistently choreographed, avoiding the confused “shake” that permeates so many post-Private-Ryan action. And finally, the visual effects are absolutely top-drawer, quite rightly nominated for an Academy Award though its loss to “Titanic” is hard to dispute. Nevertheless the bugs, including the climatic “brain-bug” are excellently rendered by Phil Tippett (ironically nominated against his “Jurassic Park” collaborator Dennis Muren) and Co. at ILM. The actual planet is rooted in reality, shot in Wyoming, but the bugs fit in almost flawlessly. As far as alien world’s go, the look is not unlike the original “Star Wars” and equally realistic.
Paul Verhoeven regularly collaborated with both masters Basil Poledouris and Jerry Goldsmith but for “Starship Troopers,” the former was first choice. Poldouris’ score plays mainly to the über-patriotic elements of the story with muscular brass and percussion, explored primarily in the heroic “Klendathu Drop” for the troop deployment and “Fed Net March” which plays to the propaganda video sequences. Amidst the frenetic action, there is little room for respite but Poledouris finds a beautiful lament in “Dizzy’s Funeral.” The rest of a disappointingly short album presentation is ballsy and militaristic but in the end, Poledouris can’t quite return to the brutal form of his “Conan the Barbarian” masterpiece. In retrospect, Poledouris probably fulfilled Verhoeven’s brief but it would nevertheless have been interesting to see what Goldsmith might have conjured for the project.
As was originally the concept behind “Star Trek,” sci-fi can be a great platform for socio-political comment. Undoubtedly, Verhoeven both succeeds and fails at this task. “Starship Troopers” will make a mark on you but if that be scarring or insightful will depend largely on the individual viewer. A middle-of-the-road rating tries to take account both sides of the story but realistically, any rating from one through five could be successfully be argued for.
Do you consider Paul Verhoeven’s film a masterpiece or trash? Why not leave a comment with your opinion – all feedback is appreciated! Also please follow me on Twitter. Shanx!
January 24, 2011
Crime, Drama, Film
Berlin State Opera, Bob Gunton, Clancy Brown, Coen brothers, Film, film music, Forrest Gump, Frank Darabont, Gil Bellows, Hank Williams, IMDb, James Whitmore, Marriage of Figaro, Morgan Freeman, movies, Mozart, Oscars, picture, poster, Pulp Fiction, review, Rita Hayworth, Roger Deakins, score, Shawshank Redemption, soundtrack, Stephen King, The Green Mile, Thomas Newman, Tim Robbins, Titanic, William Sadler, Wolfgang Amadeus Mozart
What began as a Stephen King short story outside of his usual horror genre, completely passed over at the box-office and by the Academy, “The Shawshank Redemption” is one of film history’s most improbable success stories. Eventually finding audiences on the home-video market, the film has since continually climbed up the ranks on the lists of both viewers and critics and, sitting on top of IMDb’s top 250, it continues to enthral and inspire the world over. Yet despite its almost supernatural and untouchable status Frank Darabont’s picture remains a very humble masterpiece, proving like “Titanic” did again three years later, that interest in old-fashioned stories will never wane.
Given two life-sentences for the murder of his wife and her lover, banker Andy Dufresne (Tim Robbins) arrives at Shawshank state prison in 1947. Over the space of twenty years he befriends Ellis Boyd “Red” Redding, one of the prison’s “getters” who for a small price can smuggle anything, including a rock-hammer and even Rita Hayworth in through the bars. Life on the inside isn’t always kind to Andy who attracts both assault from a prison gang and the attention of cruel guard Hadley (Clancy Brown) and the warden Norton (Bob Gunton). The latter use his financial skills as the accounting end of money laundering deals that would see them becoming millionaires. The arrival of young convict Tommy Williams (Gil Bellows) with proof of Andy’s possible innocence complicates events further, driving Andy towards the edge. The watershed we always expect yet it sleeps below the movie’s surface and still manages to surprise us when it bursts onto the scene. Far more than a classic prison movie however, the eventual redemption makes Shawshank a touching statement about dreams, hope, freedom and humanity. Its genius in this regard rests largely with Darabont’s masterful screenplay and superior directorial style, creating expansive brush strokes of plot and character development that only few others have matched.
In Morgan Freeman Darabont has found the film’s perfect anchor-point. Providing the calming and witty narration, the part of Red has proven the main source of the actor’s godlike standing that continues to the present day. Tim Robbins in the main role meanwhile is quietly brilliant, Andy remains to the last mysterious yet incredibly likeable as he unites the prison inmates with beers on the roof, expands the prison library and, in one of cinema’s most memorable and moving musical scenes plays Mozart through the speaker system, leaving every condemned man speechless in wonder and flashing light into even the darkest corners. They are roles that have defined the careers of both actors. Every other aspect of “The Shawshank Redemption’s” production are equally noteworthy, from the period-correct production and costume design to the wonderful cinematography by Roger Deakins (who regularly works with the Coen brothers) and the no less impressive supporting cast including the great James Whitmore as the ageing Brooks, and William Sadler as Heywood. The film’s extended denouement could well be accused of being overly sentimental, however to Darabont’s credit he leaves (literally) no stone unturned when setting out to tell the tale of endurance and hope to the very end. Thus the sense of fulfilment and satisfaction in a true ending is all the greater for the audience who have patiently waited for it.
Composer Thomas Newman who was enjoying a high time in his career throughout the early 90s, approaches the scoring of “The Shawshank Redemption” like most of his other scores. That is with extended piano meandering and string plucking that bores many listeners. The difference between Shawshank and his later scores for “The Green Mile” and others is Newman’s writing of a gorgeously haunting and beautiful main theme that encompasses the spirit of the tale perfectly. Heard in “Stoic Theme,” and “Suds on the Roof” the theme is based on sweeping strings and the signature piano. The penultimate cue “So was Red” sums up the idea with an oboe performance and leading into “End Title” that mirrors a sense of accomplishment. And then of course there’s the Mozart: The duet from “The Marriage of Figaro” performed by members of the Berlin State Opera is rightly placed on the album as it is in the film. Similarly, several period songs including Hank Williams strewn across the album do not detract from the listening experience but complete the period setting musically. The score is Newman’s crowning achievement of that period and earned the composer his first Oscar nomination, an award he has yet to win.
Perhaps it was unfortunate that it was released almost concurrently with both “Pulp Fiction” and “Forrest Gump” in 1994, two films that captured audience imagination and the prison epic was ignored, but “The Shawshank Redemption” is one of the few films that has the power to move viewers to tears no matter how many times they have watched it. Its place near or even at the very top of great films is well deserved and is unlikely to have its position challenged. Even for film illiterates, this is not something you can afford to miss. If six stars could be given, that’s what it would get.
Does Shawshank have its place on your top 10? Please leave a comment and tell me your reaction to the film. Also, if you liked the review, please share the link for your friends on Facebook and Twitter. Thanks and all the best to you!