Glory (1989) starring Matthew Broderick, Denzel Washington, Cary Elwes, Morgan Freeman, & Andre Braugher

I re-watched this Civil War drama on TCM recently; it’s one of my fave (and most-watched) films! The music is used very well; each scene is enhanced by it, incl. the battles. It was originally released in the Summer of 1989; Fathom Events will be having its 30th anniversary screening later this year in select cities/theaters. Kevin Jarre (a white man) was inspired to write the screenplay when he saw monument to Shaw on Boston Common (shown in the closing credits). Jarre’s inspiration came from two books: (1) One Gallant Rush: Robert Gould Shaw and His Brave Black Regiment (1989) by Peter Burchard, a novel that itself was based on letters written by Shaw and (2) Lay This Laurel (1973), a photographic tribute to the Civil War sculpture of Augustus Saint-Gaudens with text by American writer/arts patron Lincoln Kirstein. Jarre has a brief (yet notable) cameo as the white Union soldier who shouts “Give ’em hell, 54!”

Edward Zwick was initially apprehensive about how his African-American cast would feel about this telling of a crucial part of their history by a young Jewish director. To his delight and relief, he found his cast to be very affable and good-humored towards him, some of them even grateful that he was brave enough to tackle such an important subject. Zwick and Denzel Washington (here in his breakout role) would continue to work together on other (successful) movies. The director later commented (during a promo tour for Courage Under Fire) that “Denzel is always doing something interesting. I don’t want to take the camera off him.”

Several of the extracts from Shaw’s supposed letters to his mother (in voice-over narration) were taken from Army Life in a Black Regiment, an 1870 book by Thomas Wentworth Higginson (who commanded the 1st South Carolina Regiment). The historical figures in this movie are: 1) Francis George Shaw, Sarah Blake Sturgis Shaw, and Ellen Shaw (direct relatives of Robert Gould Shaw), 2) John Albion Andrew, the governor of Massachusetts, 3) Charles Garrison Harker and George Crockett Strong, Union generals, 4) Charlotte Forten Grimké, an antislavery activist, 5) James Montgomery, Union colonel, and (6) Frederick Douglas, former slave turned abolitionist, speaker/activist.

Any negro taken in arms against the Confederacy will immediately be returned to a state of slavery. Any negro taken in Federal uniform will be summarily put to death. Any white officer taken in command of negro troops shall be deemed as inciting servile insurrection and shall likewise be put to death.” Full discharges will be granted in the morning to all those who apply. Dismissed. -Shaw reads a proclamation sent from the Confederate Congress

Zwick explained that, for the flogging scene of Trip (Washington in his Best Supporting Actor Oscar winning role), the actor was lashed at full contact, with a special whip, that would not cut his back, but still stung. For the final take, Zwick hesitated calling “Cut!” to signal the flogging to stop, and the result was Washington’s spontaneous tear down his cheek. The deep scars on Trip’s back were Washington’s idea; they showed how Trip was already a survivor of many lashings (being a runaway slave w/ a willful nature).

That Col. Shaw- he a hard man! -Jupiter Sharts comments, tired after a tough day of drills

He’s a boy. A scared white boy. -Trip quickly retorts with disgust

At first, the regiment is only given manual labor; this was a fact w/ the “colored” soldiers. They were also given less pay; in real life, Shaw was the one who protested this matter. As my A.P. American Government teacher commented, Shaw used his class privilege (incl. his sense of entitlement and rank) to get what is needed for his men (shoes, uniforms, and rifles); we see this in the scene in the Quartermaster’s office. Shaw is surprised at how quickly his men learn (even under their tough, racist Irish drill sergeant). Broderick’s small, youthful face and micro-expressions (when Shaw was uncertain, nervous, or looked in over his head) were played so well. Andre Braugher (currently on the comedy series Brooklyn Nine-Nine) has perhaps the most interesting role; Thomas is an educated, free man who has never before had to fight for his survival. Trip takes an instant disliking to Thomas; they come from such different backgrounds, though both are young black men yearning to prove their worth. Thomas was partly based on a successful freedman who owned a shop in Boston.

I ain’t fightin’ this war for you, sir. -Trip quietly explains to Shaw (after being praised for his skill in battle)

Unfortunately, most of Elwes’ scenes were cut from the film. He and Broderick did not get along, according to Zwick; I think they also had differing acting styles and personalities. Many scenes/subplots were cut from both the theatrical version and DVD; these include Shaw and Forbes attending school together and fencing one another. Nearly all of the scenes of veteran actress Jane Alexander (Shaw’s mother) were cut. Freeman (who brings gravitas to this film, being older and more experienced than his co-stars) did his own stunts, as Zwick asked of all his actors. He used his own experience (Air Force) to inform how relationships would be formed in the unit.

At the end of the film, Shaw is thrown into the mass grave with the black soldiers. Normally, officers were given formal burials, but the Confederacy had such contempt for the black regiment, that the officers were thrown in with the regular soldiers (w/ no honors). After the war, Shaw’s parents visited the site where their son had died. When asked if they wished to have his body exhumed, so they could take it home to Boston for burial, they declined. “We would not have his body removed from where it lies, surrounded by his brave and devoted soldiers,” explained his father, Francis George Shaw. “We can imagine no holier place than that in which he lies, among his brave and devoted followers, nor wish for him better company. What a bodyguard he has!”

Related Links

Article by historian (a consultant on the film):

Fathom Events: Glory

 

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Die Hard (1988) starring Bruce Willis & Alan Rickman

I saw this (VERY well-known) action movie on Christmas Eve w/ a Meetup at AFI (I live across the street). I liked it a LOT more than I expected! And yes, it’s meant to be comedic and campy (esp. to young/modern viewers). Who wouldn’t love the dry “ho-ho-ho” spoken by Alan Rickman (as the villainous Hans Gruber)!? While the film was released in Summer 1988, it has since evolved into a Christmas movie (it takes place on Christmas Eve).

NYPD detective, John McClane (Bruce Willis), flies to LA to spend time w/ his estranged wife/business exec, Holly (Bonnie Bedelia), and their two young kids. The family has been separated for several mos; Holly took a job (promotion) w/ a Japanese company, Nakatomi Corp, and John stayed back to wrap up some outstanding cases. Unlike many action movies, we get some time to learn re: the hero; John is nervous re: flying, hasn’t ridden in a limo (which Holly sends to pick him up from LAX), and is worried re: where his marriage stands. He carries a (comically) large teddy bear wearing a red bow- a gift for his kids.

On the 32nd fl. of Nakatomi Towers, Holly fends off advances from her egotistical/lecherous colleague, Harry Ellis (Hart Bochner); this is the type of scene you wouldn’t see in 2018. When John arrives, he meets the president of the company, Mr. Takagi (James Shigeta), and Ellis (while he’s brushing away cocaine from his nose (yet another thing NOT seen today). Holly eventually comes in; she’s wearing a watch (Rolex) which was given to her by the company. Holly shows John the executive washroom, where they argue re: her moving to LA and using her maiden name- Gennero.

It’s scripted so that the two of them end up talking over each other about what McClane’s idea of their marriage is, and it’s such an honest depiction of estranged spouses that I find myself forgetting what movie I’m watching when I get to that part. -Excerpt from IMDB review

Holly gets called back to the party by her (VERY pregnant) secretary. While John takes off his shirt and shoes and washes up, a dozen men (incl. some speaking in German) armed w/ an assortment of weapons, infiltrate the building. What do these men want? Are they terrorists? Everyone is rounded up in one spot, except for John, who peeks out after hearing gunshots and screams. There is an “EXIT” sign across the hall above a door, BUT (of course) he doesn’t take it to escape. He’s a cop; he has to get help and save Holly (along w/ the others), w/o being discovered.

[1] One could claim that “Die Hard” is one of the most influential action movies ever made, because it basically revolutionized one of the most copied (but never matched, at least in terms of quality) formulas: a loner, by some unique twist of fate, battles it out with an “x” number of terrorists [villains] in an enclosed environment.

[2] I always love when McClane talks to himself whenever he was about to do something crazy. 

[3] Die Hard even succeeds as a knowing commentary on the action film genre, dropping references to other action heroes, and exemplifies Bruce Willis as a new type of hero. One that can get hurt, one that feels pain, and one that actually has ties to the world.

[4] Rickman was amazing and it is one of the best bad guys performances and the one scene when we snaps at John’s wife is priceless.

-Excerpts from IMDB reviews

It’s a great pleasure to me to work on film now as well as on the stage. But it is no soft option. It isn’t easier. It’s in many ways more difficult, and it’s a different kind of a challenge. You have to think a lot quicker and be a lot more immediate. -Alan Rickman

Some Trivia Behind the Film

In the spring of 1987, producer Joel Silver and director John McTiernan attended a performance of the play Dangerous Liaisons, in which Alan Rickman played Valmont. They realized they had found Hans Gruber.

According to his German co-stars, Rickman did an excellent accent after researching German speech. English is a second language in Germany; Rickman even got the dialect of German correct. When Hans tells Takagi that he enjoyed making models as a boy, he says: “I always enjoyed to make models when I was a boy” (the correct German way to say it in English).

The scene in which Gruber and McClane meet was inserted into the script after Rickman was found to be proficient at mimicking American accents. The filmmakers had been looking for a way to have the two characters meet before the climax. This scene was also unrehearsed.

Die Hard: Hans meets McClane

For the shot where Hans falls from the top of the building, Rickman was actually dropped by a stuntman from a 20-foot high model. The stuntman dropped the actor on the count of two, instead of 3, so that shocked look on his face is real.

Tom Clancy’s Jack Ryan (Amazon) starring John Krasinski

So you MAY have heard that this ain’t your dad’s (or grandpa’s) Jack Ryan! There are MANY negative reviews (bordering on Islamaphobic) to be found re: this new Amazon series. FYI: It has been renewed for S2. I saw the 8 eps over a 3-day weekend soon after its release; I thought it was meh (like some critics I follow). The writing is (mostly) predictable; I wanted to see a LOT more depth. You can check it out; it keeps your attention (w/ its editing/pacing, high production value, and a few unique characterizations). The action (if that’s your thing) is well-done; Michael Bay is one of the executive producers. Carlton Cuse (Lost) is one of the creators.

Jack Ryan (John Krasinksi) is a 30-something former soldier w/ a PhD working as an “analyst” (they don’t say “officer”) for the CIA. He rides his bike to work, dresses preppy (BUT has a V fit body underneath), and works in a (nice/modern) cubicle. One of his young co-workers is played by Mena Massoud (who will be star of the new live action Aladdin); he doesn’t have many scenes. Jack’s direct supervisor, James Greer (Wendell Pierce- one of my fave actors), has been aged down and is a Muslim convert divorced from his Arab-American wife. THIS is one of the points that that die-hard Clancy fans objected to in their reviews. There is a scene early in the series where we get to know a BIT re: Greer’s family life, incl. his conflicted relationship w/ Islam. He meets w/ an older immigrant man at a little cafe who says that he is missed at the mosque (masjid); I haven’t seen a scene like this on ANY (network) show!

In the Harrison Ford helmed movies, Jack is older and has two young kids w/ his eye doctor wife. Here, Jack’s future wife- Dr. Cathy Mueller- is an epidemiologist. Cathy (Aussie actress Abby Cornish) tells a work friend that Jack’s NOT like the guys she usually goes out w/; perhaps he’s more brainy, reserved, and unsure of himself (when in comes to romance). Their paths (work-wise) eventually cross; this is a staple in MANY network TV shows and movies. Some Clancy fans didn’t like this coincidence; I wouldn’t have cared IF Krasinski and Cornish had chemistry onscreen. I’m sure there are MANY other actresses who could’ve done better w/ this role.

The villains of this story are NOT cartoonish stereotypes; Suleiman (Ali Suliman), is a former banker who grew up partly in the ghettos of France w/ his artistic younger brother, Ali (Haaz Sleiman from The Visitor). As kids, they survived the bombing of their hometown in Libya. Suleiman has a young/beautiful/clever wife, Hanin (Dina Shihabi), as well as three children who live in a spacious compound in Syria. Shihabi grew up in Saudi Arabia and (quite naturally) portrays a woman who would do anything to protect her kids. I hope this actress gets more roles! There is great (familial) chemistry between the actors, making them believable as brothers. How did they become terrorists? We get to see the backstory (also unusual in a typical network show). As some viewers noted, these characters are MORE interesting than the Westerns who are on their trail.

Below are excerpts from some IMDB reviews:

The writing is far from great. This could’ve been an amazing series, but instead the writing is very TV. Also, I can’t with the love interest. Her acting is terrible and there is zero chemistry between them.

If you are new to Clancy, or the action spy drama all together, you will probably enjoy this. The acting, action, and production value will carry it a long way.

…it doesn’t break any new ground. But it provided a season of tense, tight entertainment, if this is a genre that you find appealing. There, of course, is lots of violence, some of it graphic… but I thought all of the particulars of good visual storytelling were present.

Red River (1948) starring John Wayne & Montgomery Clift

[1] The film is considered a Western take on The Mutiny on the Bounty. The relationship between Tom Dunson and Matt Garth is deeply complex. Although they’re prepared to kill each other, deep down they still respect for one another. This relationship is based on control, idealism, respect, and trust.

[2] Wayne and Clift play beautifully off against each other. Father and surrogate son, first working together and then having a big difference of opinion on the cattle drive. Clift started a film career in Red River playing sensitive people who you can only trod on just so long before they take action. 

[3] If anyone doubts John Wayne as an actor of note then they need look no further than his performance here as Dunson. Tough and durable in essence the character is, but Wayne manages to fuse those traits with a believable earthy determination that layers the character perfectly. With Wayne all the way, matching him stride for stride, is Montgomery Clift as Matthew Garth, sensitive without being overly so, it’s the perfect foil to Wayne’s machismo showing. Walter Brennan and John Ireland also shine bright in support, while a special mention has to go to a wonderful turn from Joanne Dru as Tess Millay…

-Excerpts from IMDB reviews

Fourteen years after starting his cattle ranch in Texas, Thomas Dunson (John Wayne) is ready to drive his 10,000 head of cattle to market (1,000 mi. away in Missouri). Back then Dunson, his sidekick Nadine Groot (veteran character actor Walter Brennan) and a teenage boy, Matthew Garth (an orphan/survivor of an Indian attack on a wagon train) started off with only two head of cattle. Dunson is a harsh task master, demanding a great deal from the men signed up for the drive. Matt is a grown man now (who fought in the Civil War); he has his own mind and soon runs up against Dunson who won’t listen to advice from anyone. One of the drovers, Cherry Valance (John Ireland), proposes that they head toward Abilene. When the cattle stampede, Dunson goes to “gun-whip” one of the hands, but Matt intervenes. The men start taking sides and Matt ends up in charge w/ Dunson vowing to kill him. In the scene where Clift tells him he’s taking over the drive, Wayne turned his back on him and said in a low voice, “I’m gonna kill you, Matt.” This went against director Howard Hawks’ idea to have Wayne cringe, but the actor refused to appear cowardly and played it his way. The improvised moment left Clift astonished, but Hawks liked it (and it was used in the final cut).

Bet I ate ten pounds in the last sixteen days. Before this shenanigan is over, I’ll probably eat enough land to incorporate me in the Union. The state of Groot. -Groot complains (re: traveling through dirt roads)

You’re fast with that gun, Matt. Awful fast. But your heart’s soft. Too soft. Might get you hurt some day. -Cherry comments / Could be. I wouldn’t count on it. -Matt replies

There are only two things more beautiful than a good gun: a Swiss watch or a woman from anywhere. Ever had a good… Swiss watch? Cherry jokes w/ Matt

This is the kind of Western for the classic movie fan who avoids (or doesn’t usually enjoy) the Western genre! After seeing Wayne’s performance, rival director John Ford commented to Hawks: “I never knew the big son of a bitch could act.” This led to Ford casting Wayne in more complex/multi-layered roles, incl. The Searchers (1956), and The Man Who Shot Liberty Valance (1962). Hawks originally offered the role of Dunson to Gary Cooper, but he declined it (b/c he didn’t believe the ruthless nature of the character would’ve suited his screen image). This was the debut of Clift (26 y.o. during filming and looking gorgeous), who was known as a talented theater actor. He learned to ride horses while at military prep school, but that was a different kind of riding than this role. Hawks always had high praise for how hard Clift worked (on his cowboy skills) for this picture. After seeing the final version of Red River, Clift found his performance mediocre, but recognized it as a star-making role. He later said: “I watched myself in Red River and knew I was going to be famous, so I decided I would get drunk anonymously one last time.” Burt Lancaster (a former acrobat) was first offered the role of Matt, but he had already signed on to star in the iconic film noir, The Killers (1946), which was his debut. 

There was concern that the leads (Wayne and Clift) would’t get along, since they were opposed on all political issues and both were outspoken on their views. The actors agreed not to discuss politics during shooting. Clift sometimes joined Wayne and Hawks in the nightly poker games they organized. Clift later said: “They tried to draw me into their circle, but I couldn’t go along with them. The machismo thing repelled me b/c it seemed so forced and unnecessary.” In Life Magazine, Wayne described Clift as “an arrogant little bastard.” 

Reviews of Recently Viewed Films

Terminal Station (1953) starring Jennifer Jones & Montgomery Clift

Last week, I saw this rare little gem of a movie one afternoon (on TCM); the David O. Selznick cut is titled Indiscretion of an American Wife. Then, I decided to check out the slightly longer version from the Italian director, Vittorio De Sica(Amazon Prime); it contains a a few more (ambiguous) lines/scenes. De Sica’s films are known for romantic neo-realism. My parents (fans of Sophia Loren) really enjoyed Yesterday, Today and Tomorrow (1963) and Marriage Italian Style (1964) which both won Oscars. 

If my art seems pessimistic, it is a consequence of my continuing optimism and its disillusion. At least I have enthusiasm. It is necessary to all professions to have enthusiasm in order to have success. -Vittorio De Sica

Why did you come with me? -Giovanni asks Mary

You didn’t look very wicked. I’m not an imaginative woman. It was you. It was Rome! And I’m a housewife from Philadelphia. -Mary replies

A married American woman, Mary Forbes (Jennifer Jones) has been involved for a month w/ a slightly younger Italian-American teacher, Giovanni Doria (Montgomery Clift), in Rome while visiting relatives. One rainy morning, Mary suddenly decides to return home to her husband and young daughter, but w/o telling anyone (aside from her nephew, played by a young Richard Beymer). She goes to the (newly built) train terminal, realizes that she is not at all sure about leaving, and agonizes over her decision. Giovanni joins her at the station, very confused and hurt, as she had just told him “I love you” the previous night.  

[1] This is such a contained, focused film, and demands so much of its two actors, every little nuance matters in a kind of exciting dramatic way. The closest thing this compares to, as two lovers or would be lovers talk in a train station, is Brief Encounter (1945), and that’s a masterpiece of acting and cinema both. Here, with Montgomery Clift and Jennifer Jones, it comes close.

[2] Jennifer Jones, beyond radiant in her prime-of-life womanhood, exudes a sensuality that both contrasts strikingly with her 1950s-prim exterior and celebrates the troubled woman within…

-Excerpts from IMDB reviews

There is plenty of drama behind this film! Producer Selznick (then married to Jones), wanted to have a slick romance depicted; De Sica wanted to show a ruined romance (which was fully supported by Clift). De Sica favored realism, so wasn’t interested in Hollywood-style close-ups; Selznick eventually hired cinematographer Oswald Morris to film some of these. Each day on the set, Selznick had critical letters for De Sica (who didn’t know English). The script was altered several times, as the two men had such different visions. Two scenes were written by Truman Capote, who gets screenplay credit. 

The Violent Men (1954) starring Glenn Ford, Barbara Stanwyck, & Edward G. Robinson

Never meet the enemy on his terms. -John says to his ranch hands

I’ll fight for the privilege of being left alone. -John explains to Lee 

A former Union Army officer, John Parrish (Glenn Ford), fully recovered from his war wounds, plans to sell his ranch to the wealthy owner of Anchor Ranch, Lew Wilkison (Edward G. Robinson) and move east w/ his fiancee, Caroline (May Wynn). However, the low price offered by Wilkison, and his hired mens’ bullying tactics, make Parrish think again. When one of his young ranch hands is murdered, he decides to stay and fight, using his battle know-how. At Anchor Ranch, Lew’s shrewd wife, Martha (Barbara Stanwyck), has been having an affair w/ his handsome younger brother, Cole (Brian Keith), who has a Mexican girlfriend, Elena (Lita Milan), that he supports in town. Lew and Martha’s 20-something daughter, Judith (Dianne Foster), has become distant and angry; she has suspected deception in her home.

I know what you’re thinking- whoa, there are a lot of ladies in this Western! I was watching this at my dad’s; even he noticed this fact. Well, not all of these women are well-developed. Caroline seems like she’d marry any guy to get out of her hometown. Elena loves Cole desperately, but we don’t know much about her; her sudden/violent action at the end is quite unexpected (bordering on soap opera). Judith, who’s very much a “daddy’s girl,” is intrigued by Parrish, yet also abhors the violence that ensues during the stampede. Some viewers commented that in order to get a big star like Stanwyck, the role of Martha must’ve been bulked up by the writers. Who doesn’t like Stanwyck!? But I was expecting this film to be more about Parrish. 

[1] The Fifties was the age of the adult western, themes were entering into horse operas that hadn’t been explored before. There’s enough traditional western stuff …and plenty for those who are addicted to soap operas as well.

[2] …the actors in question deserved a better story from which to work from, it is, when all is said and done, a plot that has been milked for all it’s worth, and then some. …still a very rewarding film regardless of the missed opportunities evident with the production.

I learned that this film was shot partly in Old Tucson; my dad noticed this before I did! The cinematography is well done, which is a must for a Western. The best action scene is the one between the unapologetic/violent cowboy, Matlock (one of Lew’s men), and Parrish in the saloon. Ford plays it so cool; he can handle himself w/ a gun man-to-man. This isn’t quite a hit, but worth a look.

The Candidate (1972) starring Robert Redford

…one of the many great movies about the world of politics. It holds up as well today as it did in 1972 (maybe even better). 

A sad commentary on the way things work. Very relevant. I recommend it for fans of Robert Redford or anybody interested in politics 

It’s fair to say that many Americans are fed up w/ politics these days- LOL! It’s refreshing to take a day (or even a few hours) avoiding the news, even if you’re a news junkie (like me). This film was recently shown on TCM; I’d heard much about it, but never watched it. Also, who doesn’t love Redford!? Peter Boyle plays the political expert who convinces Redford to run for Senate (Democratic side, of course). Look out for cameos from journo Mike Barnicle (currently seen on MSNBC’s Morning Joe) and Redford’s real-life pal, Natalie Wood (playing herself).