Tag: Romance

“Bull Durham” (1988) starring Kevin Costner, Susan Sarandon, & Tim Robbins

Emma4 Comments

A Major League Love Story in a Minor League Town. -Tag line for the movie

It’s the start of the baseball season, and Annie Savoy (Susan Sarandon), for whom baseball is a “religion,” is in the process of choosing one player on the Durham Bulls (her home team in the Carolina League) who she’ll take under her wing. This player has always gone on to have the best year of his career. She has narrowed her choices to Ebby Calvin LaLoosh (Tim Robbins)- the young/undisciplined pitcher- and veteran catcher- Crash Davis (Kevin Costner)- brought in to improve Ebby’s game. Ebby is V eager to “hook-up” w/ Annie when she offers, BUT Crash takes himself out of the running (b/c he doesn’t see “matters of the heart” as a game). It’s obvious that Annie and Crash are attracted to each other. First thing, Annie gives Ebby a nickname- Nuke- which helps boost his confidence. Thus begins Annie, Crash and Nuke’s complicated relationship!

Annie: Right, honey, let’s get down to it. How was Ebby Calvin LaLoosh?

Millie [younger friend/fellow baseball groupie]: Well, he f***s like he pitches – sorta all over the place.

The writer/director, Ron Shelton, was a former minor league baseball player; he played 5 seasons in the Baltimore Orioles farm system. The highest level Shelton reached was w/ the Rochester Red Wings in the Triple-A International League. Kurt Russell helped Shelton develop the script and was slated for to play Crash. After the film was made, Russell was so impressed, he wrote fan letters to Costner and Shelton! Orion Pictures gave Shelton a mere $9M budget (w/ cast members accepting lower salaries than usual b/c of the strong material), an 8-wk shooting schedule, and creative freedom. The film’s box-office success caused Hollywood to produce several more baseball-centered movies over the next few yrs. Though it is meant to be set over a hot/humid Summer, Bull Durham was actually filmed on location in North Carolina in October and November of 1987. The grass had to be touched up w/ green paint and the breath of the actors can be seen in many night scenes.

Crash [giving advice to Nuke during a game]: Relax, all right? Don’t try to strike everybody out. Strikeouts are boring! Besides that, they’re fascist. Throw some ground balls – it’s more democratic.

Producer Thom Mount (part owner of the real Durham Bulls) hired Pete Bock (former semi-pro baseball player) as a consultant. Bock recruited minor-league players, ran a tryout camp (to recruit an additional 40-50 players), hired several minor-league umpires and conducted two-a-day workouts/practice games w/ Robbins pitching and Costner catching. Bock made sure the actors looked/acted like ballplayers and that the real players acted convincingly in front of the cameras. Shelton decided to cast Costner b/c of the actor’s natural athleticism. The actor was a former HS baseball player and hit 2 home runs (while the cameras were rolling). According to Shelton, Costner insisted “on throwing runners out even when they [the cameras] weren’t rolling.” The actor is also “a switch hitter” (Crash is shown hitting both left and right-handed).

Annie [in voiceover re: Nuke]: The world is made for people who aren’t cursed with self awareness.

There are many LOL (or V amusing) moments in this movie. The cute/funny dance scene w/ Nuke and several actresses in the bar was choreographed by Paula Abdul. On my re-watch, I noticed that Annie’s first dress (black top, wide red belt, & black/white checkered skirt) is V similar to the one worn by dancer/actress Vera Allen in White Christmas. As Karina Longworth explained, the R-rating comes more from the profane language rather than the love scenes (NOT daring by today’s standards). These elements are rare for a mainstream/Hollywood film: Annie and Millie are never “slut-shamed” (as they go after what they want); the ballplayers (young/fit) are objectified perhaps more than the women.

This near pitch perfect movie (pun intended) has great dialogue and sparkling chemistry btwn its 3 co-leads. Now, you don’t have to be a fan of baseball or even Costner (who I don’t think has much range) to enjoy this movie. After I saw Costner opposite Sean Young in No Way Out (1987), I thought maybe he has some appeal. The role of Crash suits Costner (33 y.o.) V well; I’m assuming his acting is improved b/c he gets so many great lines. Jeff Bridges turned down the lead, BUT I think he’d have done a fine job. Costner plays well off both Sarandon (confident/mature at 42 y.o.) and Robbins (enthusiastic/boyish at just 30 y.o.) In their different ways, Annie and Crash both serve as mentors to Nuke (who has potential to go to “the big show”- major league). This is where Sarandon and Robbins first met and fell in love. I was surprised that I got a bit emotional in a scene (near the end)!

[1] This film is not only a great sports film, but it is one of the great all around films I have ever seen. This film has it all from romance to comedy to witty dialogue. Susan Sarandon, Kevin Costner and Tim Robbins all brought Ron Shelton’s script to life and the three of them displayed some of the greatest chemistry ever captured on film. This film is a timeless classic.

[2] It is nice to see a movie that attracts more than one kind of audience. This is a comedy, then again a love story. This can be placed in the baseball genre, as well as a coming of age drama. Most movies claim to be one or the other and sometimes fail to be. Then again, when a good movie hits a home run it can not only become a money maker and a box office smash, it can also become timeless. Before they became giants of Hollywood, Kevin Costner, Susan Sarandon and Tim Robbins stars in this great movie as some of the most interesting, yet simple characters. […] Together, the three introduce three different worlds upon the audience. Each are believable characters even though they are in a way, fantasy like. A great story with a perfect ending, Bull Durham is one of those hard to find movies that is a crowd pleaser with just about every audience out there.

-Excerpts from IMDB reviews

“The Unbearable Lightness of Being” (1988) starring Daniel Day-Lewis, Juliette Binoche, & Lena Olin

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Tereza: I know I’m supposed to help you, but I can’t. Instead of being your support I’m your weight. Life is very heavy to me, but it is so light to you. I can’t bear this lightness, this freedom… I’m not strong enough.

Tomas (Daniel Day-Lewis) is a young/apolitical/doctor in 1960s Czechoslovakia; he lives the life of a Casanova, working his charm on many women. He is involved w/ a sophisticated artist (“friends w/ benefits” would be the term today), Sabina (Lena Olin). On a trip to operate on a patient in a rural town, he meets/falls hard for a shy waitress, Tereza (Juliette Binoche). In time, Tomas asks Sabina to help find a job for Tereza. The two women (opposites in many ways) meet, share an interest in photography, and become close friends. These three characters are are caught up in the events of the Prague Spring of 1968, until Soviet tanks crush the (non-violent) rebels, and change their lives forever.

Tomas: Some people never change. Some people are always scoundrels.

This is the type of film to recommend to anyone who thinks they can’t be “wowed” by movies anymore! DDL was just 30 y.o. when this film was shot- wow! This is his 1st big movie; he played a quirky/supporting role in A Room with a View (1985). DDL at first turned down the role, feeling the script made Tomas too nice. The script was revised and things from the book (by Milan Kundera) were added, making the character less “perfect.” Speaking of perfection… Roger Ebert wrote that Binoche was “almost ethereal in her beauty and innocence” after watching 23 y.o. French woman’s performance. As the French say: Vive La Binoche! Swedish-born Olin (32 y.o.) has her American film debut; some of today’s single/childfree/independent-minded women may relate to her character. Speaking of Swedes… Stellan Skarsgard (mid-30s) has a small, BUT pivotal role in the 3rd act.

To me, thoughts are fun and art is fun. The strength of our society should not be idle entertainments, but the joy of pursuing ideas. -Philip Kaufman, director

If you want fame, and a beautiful statue made of yourself, don’t be a screenwriter. The writer disappears. He works in the shade. -Jean-Claude Carriere, screenwriter

I was surprised to learn that the director, Philip Kaufman, is an American (NOT European, as I’d assumed). The cinematographer (a respected veteran in his field) is Swedish; Sven Nykvist was know for giving the films he worked on the simplest and most natural look imaginable. Milos Forman personally offered Kaufman the opportunity to direct the movie. Forman had to pass the chance to direct b/c he still had family in Czechoslovakia; he feared for them in case of a negative reaction from the Soviet government (occupying the country at the time). The sequence depicting the 1968 Soviet invasion of Czechoslovakia incorporates real documentary footage of the era shot by students of Prague Film School.

[1] Romanticism originally doesn’t mean romance. The 19th century romantic hero was always a doomed one. The romantic characters long for something larger than life. The frailness, lightness of things is unbearable to those sensitive beings. This is why romantic stories typically end with the death of their heroes. Romanticism is the opposite of Hollywood, as there is no happy end. The epitome of a romantic story is for example “Romeo and Juliet”, where death is preferred to an impossible love story.

Because such intense feelings are a threat, some people try to escape them by taking nothing seriously.

[2] There has been many threesomes in cinematic history. The acting power in these three is one of best. Daniel is able to make the charismatic cad likable. Lena is sexual dynamite. Juliette is pure magic in this one. It is a great threesome against the backdrop of compelling political turmoil.

[3] Highlighting this impeccable picture are three sensational performances, a masterfully adapted screenplay full of beautiful and intriguing dialogue and quite possible the finest cinematography of the ’80s. Day-Lewis perfectly encompasses the charm of Tomas with a subtle charisma that keeps my eyes glued to him every time he appears on screen. The young Juliette Binoche is adorable, shy and emotionally powerful, but also plays it off very subtly. Lena Olin is overwhelmingly seductive and crafts a sense of freedom unlike any I’ve ever seen. These characters are all very human which means they have their fair share of flaws and the performances capture every essence of them so perfectly.

[4] …the film itself has stayed in my mind like few others. Yes, it’s very long, but the characters are so memorable that the length didn’t bother me at all – I loved the time spent in their company. In particular, Juliette Binoche and Lena Olin are each astonishing in their own way. Olin is ferociously sensual and mesmerizing, while Binoche is superlatively sympathetic and sensitive. Two of the best female performances I can remember. By the end of the film I was totally wrapped up in these people’s lives. This film is deeply erotic but in an intelligent and adult way…

-Excerpts from IMDB reviews

Spoiler-Free Review: “The Batman” (2022) starring Robert Pattinson, Zoe Kravitz, Jeffrey Wright, Colin Farrell, & Paul Dano

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…rather than make Bruce Wayne the playboy version we’ve seen before, there’s another version who had gone through a great tragedy and became a recluse. Kurt Cobain had a relationship w/ fame, where being famous was not his goal. He loved music, but the idea of being famous for music was a double edged sword for him. And that made me think of Rob Pattinson, actually. I felt that this rock-star vibe suited him well. After all, he became a pop-culture icon at a very young age and had to carry that burden too, and extricate himself from it to become the actor he is today. -Matt Reeves, writer/director

Bruce Wayne in this reimagining of Batman was partially inspired by Kurt Cobain. Reeves was listening to Nirvana when he wrote the 1st act. This is the 1st movie to directly address the black eye makeup under the cowl. In previous versions, the makeup just disappeared when Bruce took his mask off. Reeves explained: “I just loved the idea of taking off [the mask] and under that there’s the sweating and the dripping and the whole theatricality of becoming this character.” Robert Pattinson (whose acting I don’t yet know well) and Zoë Kravitz (who plays Selina Kyle AKA Catwoman) were friends for about 10 yrs before being cast in this film. Reeves commented that they already had great chemistry and a natural connection from the beginning of shooting. I thought almost ALL the scenes btwn Batman and Catwoman crackled w/ chemistry!

Bruce is obsessed in being Batman. He has no desire to be Bruce and he wants to just throw it away. He hasn’t gotten over being the 10-year-old boy who, in his mind, let his parents die. For him, being Batman is like a strange kind of therapy. He thinks this is the way he can save himself, by living in this kind of Zen state as Batman, where it’s just pure instinct and no emotional baggage. It feels like he has a death wish going out at night. I always get the impression that he wants to keep recreating the night when his parents died. In his mind, every single person he is fighting is the person who killed his parents. -Robert Pattinson

This Batman is a “detective” of sorts, as many critics/viewers noted; he works w/ the police to solve crime. He is a man of few words and doesn’t feel the needs to put on the persona of Bruce Wayne. At this point, he has been at the vigilante biz for 2yrs and Gotham doesn’t trust him. However, the respected Lt. James Gordon (Jeffrey Wright- always great in any role) brings him in on tough cases as he trusts Batman. Reeves’ version of the Riddler (Paul Dano- all grown up) was partly inspired by the Zodiac killer who operated in California in the late 1960s. I noticed that some Adam Driver fans also admire this character actor. Like Driver, Dano is V tall, doesn’t have a face typical of a Hollywood actor, and is able to project vulnerability. Andy Serkis takes on the (rare) good guy role; he plays Alfred, BUT doesn’t get too much to do. I thought he did fine w/ what he was given. Did some of you recognize Colin Farrell!? (I ONLY knew it was him b/c I listened to some movie podcasts before viewing!) John Turturro (a veteran character actor who I know from Spike Lee movies) has a pivotal role, BUT I don’t want to give too much away.

When my kid saw me for the first time, he was utterly horrified. I have it on iPhone. He was horrified.

-Colin Farrell re: his transformation to Oswald (AKA The Penguin)

I already have my fave Batman (Christian Bale), so wasn’t TOO eager to see this version. There is also charm (and nostalgia) when looking back at Michael Keaton’s take on Batman, many growing up in the ’80s have commented. Also, Keaton and Michelle Pfeiffer (who were exes) were hot as a romantic duo in Batman Returns! It got some decent reviews and was streaming on HBO Max, so I checked it out a few weeks ago. Yes, it’s a V long movie (as is the case nowadays w/ many movies)! The filmmakers create a realistic and noir-like environment; Gotham is usually gloomy, rainy, and dark. It (mostly) kept my attention, BUT I didn’t think much on it after a couple of days. If you want a diversion and enjoy this character, then give it a look.

Spoiler-Free Review: “House of Gucci” (2021) starring Lady Gaga, Adam Driver, Al Pacino, Jeremy Irons, & Jared Leto

Emma2 Comments

A name to die for. -A tag line for the film

This is inspired by the family empire behind the Italian fashion house of Gucci. When Patrizia Reggiani, an outsider from humble beginnings, marries into the Gucci family, her unbridled ambition begins to unravel the family legacy and triggers a reckless spiral of betrayal, decadence, revenge, and ultimately… murder. -Synopsis

While it’s based on factual events, the story told in House of Gucci has significant parallels to Nobel Prize winner Thomas Mann’s novel Buddenbrooks: Verfall einer Familie (1901). Mann’s chronicle of the decline of a wealthy German merchant family over 4 generations also deals w/ themes of decadence, social class, family image, the search for happiness, destructive relationships and disappointing children, the conflict between art and business and capitalist society at large. The acting style of the ensemble was in part inspired by the Commedia dell’arte, an Italian comedic theatre style popular in the 16th, 17th and 18th century. This style goes for comedic effect through exaggeration and sharply-drawn character types, also sometimes using colorful costumes and masks.

Paolo: You picked a real firecracker.

Maurizio: She’s a handful.

Angelina Jolie, Anne Hathaway, Marion Cotillard, Penélope Cruz, Margot Robbie, and Natalie Portman were all considered for the role of Patrizia. Christian Bale was considered for the role of Maurizio. While Scott wanted Driver for Maurizio, there were some scheduling issues at first. Chris Evans was considered as a back-up, in case Driver couldn’t free up his schedule. Robert De Niro was originally announced as being in talks to play Rodolfo Gucci, but Jeremy Irons was cast instead. Huston- who plays lawyer/advisor Domenico De Sole- was born and raised in England, and naturally speaks w/ an English accent. On his Hollywood (paternal) side, he’s the nephew of Angelica and Danny Huston and grandson of John Huston. Monica Bellucci was considered to play Pina, but turned down the part. Salma Hayek took on Pina; she’s married to François-Henri Pinault (founder/CEO of French multi-national company- Kering- which owns Gucci as of 2021).

Paolo: Never confuse sh*t with chocolate. They may look the same, but the taste is very different. Trust me I know.

Yes, the above are real lines written by an (experienced) screenwriter- LOL! To put it bluntly, this movie is a hot mess! I wasn’t shocked to see this, as I’d read much about it (on social media) long before viewing it. No amount of realistic wigs, glam clothes, or fancy sets/beautiful locations can ever make up for lackluster writing and uneven acting. Comedian Wanda Sykes referred to it during the Oscars as “House of Random Accents.” Many viewers commented that they enjoyed the 1st act, which is focused on the budding romance of Maurizio (a law student) and Patrizia (a secretary at her father’s trucking biz). Some critics noted that Driver gets the “boring” role; his acting is naturalistic (unlike several others here). Lady Gaga said she worked long and hard on her role; she shows the (unabashed) ambition of Patrizia. Her famous line: “Father, Son, and House of Gucci” was improvised. Irons (using his British accent) is the intimidating/snobby Gucci patriarch, Rodolfo. Uncle Aldo (Al Pacino) is the one who helps the young couple when Maurizio’s father disowns him (temporarily). Pacino looks V tame when compared to onscreen son, Paolo (Jared Leto). I don’t know where Leto got his accent and those mannerisms, BUT wow- is he annoying! Many felt that Paolo was a stereotype of an Italian man.

Aldo: Quality is remembered long after price is forgotten.

Music is a big part of this movie. Early in the film (1978), we see a big party w/ crowd dancing to Donna Summer’s On the Radio (which wasn’t released until 1980). Another song at this party- Bad Girls– wasn’t released until 1979. Patrizia is shown using a Sony Walkman cassette player (which didn’t come out until 1979). During the wedding, which in the timeline of movie happens before 1983, Faith by George Michael plays (but it wasn’t released until 1987). Some viewers wanted to hear the vows and see more of the actual wedding. In reality, Patrizia and Maurizio Gucci were married in 1972; they had 2 daughters- Alessandra (shown in the film) and Allegra (not shown).

[1] Adam Driver and Lady Gaga can leave with their reputations relatively unscathed, even if perhaps Gaga hones an accent that’s a bit more Transylvanian than Milanese. Al Pacino and Jared Leto though are in a different film, with broad comedic performances...

I could, perhaps, forgive their choices if the overall film hung together better, but alas it doesn’t. The story is glacial at some points, but at others either skips over or brushes through sections that are required to make the story make sense.

In lesser hands, this might be more forgivable, but this is Ridley Scott and we’ve come to expect more. This was, in no uncertain terms, a shambles.

[2] Ridley Scott’s filmography is hit and miss, brilliant at his best like with ‘Alien’ and ‘Blade Runner’ though some of his films, such as GI Jane and Robin Hood (Legend is underrated in my view), are not too great.

As far as Scott’s films go, it’s a middling effort. Neither one of his best or worst.

House of Gucci has a lot that is good in my view. Have very little to complain about when it comes to how it looks, apart from some editing being in need of a tightening in the final act. The Italian scenery and the costumes are truly stunning though and the camerawork is similarly sumptuous. Scott’s direction is uneven dramatically, but is very impressive on a technical level, especially in his use of multiple cameras (which must make it easy for actors to know where to look).

[3] For me, this is all about the accent. Everybody is speaking English but in an overt Italian accent. It’s distracting. […] Maybe this needs to be a limited series on a streaming service. The acting seems to be getting accolades. I don’t mind that. They’re doing good work. The accent is just not my preference. All in all, this is a functional biopic with interesting actors doing a specific choice.

-Excerpts from IMDB reviews

Spoiler-Free Review: “The Man Who Killed Don Quixote” (2018) starring Adam Driver & Jonathan Pryce

Emma5 Comments

Toby (Adam Driver- looking tan and toned), a cynical commercial director, is in Spain shooting an insurance commercial that has a take on Don Quixote. At dinner, a Gypsy peddler has a copy of his student film for sale, a B&W adaptation of Don Quixote. Toby is fascinated by the journey back in time and decides that, since he’s staying so close to where he’d filmed this student project, he’s going to go go back for a visit. The town feels depressing; the girl (who played Dulcinea) has left, and her father is angry at Toby for it. The old cobbler (played by veteran actor Jonathan Pryce) he’d hired to play the lead has gone mad- thinking himself to be Quixote! Through a series of accidents and bits of craziness, Toby finds himself as Sancho Panza, a role he takes up reluctantly. The supporting cast include: veteran character actor Stellan Skarsgard, former Bond girl Olga Kurylenko, Spanish actor Jordi Molla, and a beautiful ingenue from Portugal- Joana Ribeiro.

Fantasy and reality begin to mix (which I learned is a common theme for director Terry Gilliam). He has also directed Time Bandits (1981), Brazil (1985- starring Pryce), The Fisher King (1991), 12 Monkeys (1995), and Fear and Loathing in Las Vegas (1998). I haven’t yet see any of these movies. Gilliam (raised in US, but later became a British citizen) may be best known as member of “Monty Python” along w/ John Cleese, Michael Palin, Terry Jones, Eric Idle and Graham Chapman. I watched this movie (once- so far) b/c t was on the list of Driver’s work. Fans know that Driver chooses his projects based on the director and the script. I thought the acting was (mostly) well-done, though I was confused by the presence of some minor characters and the purposed of a few scenes. Critics/viewers either loved or hated it, from what I’ve read (so far). I’ll try to watch it again and see if I can figure out more- LOL! This isn’t a movie for a wide audience. I think some of you’d enjoy the music from the musical- Man of La Mancha.

The film is dedicated to the memory of John Hurt and Jean Rochefort. Gilliam had chosen both to play Don Quixote in past versions, and both died before the film was completed. After eight attempts since 1989, production finally wrapped in June 2017; it has been called the most cursed film in cinema history! Gilliam started working on the film in 1989, but was unable to secure funding until 1998, when it entered full pre-production with a budget of $32.1M (w/o American financing), w/ Rochefort as Quixote, Johnny Depp as Toby, and French actress Vanessa Paradis (Depp’s ex-wife) as the female lead. Shooting began in 2000 in Navarre (the Basque region of Spain), but a significant number of difficulties, such as floods destroying sets and equipment, Rochefort leaving due to illness, and problems obtaining insurance for the production led to a sudden suspension of the production, and then cancellation. The original production was the subject of the documentary Lost in La Mancha (2002).

If you’re going to play with Quixote you really got to play with Quixote. And those were windmills that came along. Those were giants, they killed us once but we’re going to come back. Everybody says ‘Oh, forget about it, put it in the past. Move on.’ No, I won’t because that all sounds so reasonable and I don’t think films should be reasonable. The business we’re in is about exciting people, stimulating people, doing things, changing them, outraging them — it’s not a reasonable business. Especially when you’re spending the gross national product of a country to make a silly movie — this is not reasonable.

-Gilliam, on finishing this movie

[1] This movie is weird and wonderful. Adam Driver is absolutely hilarious. The scenery is fantastic. It’s like a story within a story within a commercial within a movie. It’s creative and wacky and fun.

[2] A metaphor. An analogy. An intricate story that blends fantasy and real, history and present, fact and fiction. […] It is similar to films such as Holy Motors (2012), The Imaginarium of Doctor Parnassus (2009), Birdman or (The Unexpected Virtue of Ignorance) (2014), so if these ring a bell, please give this film a chance.

[3] As visual art, the film is superb. But as a story, it is confusing. With all its bizarre references self-reflexivity, the central story becomes a side plot. It was visually beautiful, well-acted, great costumes and music, but thoroughly disjointed and confusing for much of the time. It had me thinking “this movie wasn’t made for an audience.”

[4] I can’t shake the feeling that the movie wants to be much more that how it ultimately gets on the road. It’s treading water and not making any progress. Does the movie simply want to be funny or does it also want to depict a kind of self-discovering process? Maybe both. But here you can already see the main problem. The movie can’t decide what it wants and as a result can’t transport it to the viewer.

-Excerpts from IMDB reviews