Tag: War

“The Holdovers” (2023) starring Paul Giamatti, Da’Vine Joy Randolph, & Dominic Sessa

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from The Holdovers (now available for streaming).

Discomfort and Joy. -Tagline for the movie

At Barton Academy in a small town of New England, nobody likes the history teacher, Paul Hunham (Paul Giamatti). The staff and students find his pomposity and rigidity exasperating. With nowhere to go over Christmas break of 1970, Paul remains to supervise a few boys unable to travel home. After a few days, only one student remains- Angus Tully (Dominic Sessa)- a V smart senior w/ a bad attitude. Joining these men is the school’s head cook, Mary Lamb (Da’Vine Joy Randolph), a Black woman whose son was recently killed in the Vietnam War. These three lonely people form an unlikely/family-like bond for 2 snowy wks.

Paul Hunham [remembering her son]: He was a great kid. I had him one semester. Very insightful.

Mary Lamb: Mm-hmm. He hated you. He said you were a real asshole.

Paul Hunham: Well, uh, like I said… sharp kid, insightful.

A star is born! And how lucky are we to discover his talent from this early stage? Sessa (then 17 y.o.) was encouraged by his theater teacher at Deerfield Academy (a private HS) to audition for this indie (directed by Alexander Payne). A team was scouting locations at several high schools; the casting agent also met w/ boys for possible roles. Sessa assumed that it wasn’t a big movie; after all, they were considering his school. As Giamatti noted, Sessa has the kind of face out of the ’70s; he is also tall, V slim, w/ naturally curly hair. The respected/veteran character actor (lead in Sideways, directed by Payne) commented that the newbie actor “reminded me of my own son.”

He was a pretty grounded, level-headed person. And I also think his generation is comfortable around cameras, which is a big sort of leg up they have. I felt an affection for him that mimicked the movie in a way. I came to really like him even more, and more, and more, as we went on. -Paul Giamatti (actor) when asked about working w/ his young/newcomer co-star Dominic Sessa

It’s a bit weird in some ways. Maybe it gets easier as you keep coming back. For me, I have no expectations about it. There’s something a little wrong with you if this feels normal! -Dominic Sessa (actor, age 21) when asked re: his opinion of award shows on the EE BAFTA red carpet

Authenticity is the word that 1st comes to mind here (the snow is real); the film looks and sounds like it was made in the ’70s. Issues of class, race, privilege, loneliness/disconnection, and grief are explored, though NOT in a heavy-handed manner. As we’d expect from an actor at Giamatti’s level, the acting is seamless (as he becomes the character). Giamatti said he attended an all-boys school IRL, though didn’t live in the dorms (as his family lived in town). Both he and Randolph (who has won many supporting actress awards this season) are graduates of Yale. Sessa (nominated for Best Supporting Actor at the EE BAFTAs) said that his co-stars were V helpful, as they’d had formal acting education and a LOT of experience.

Randolph (who loves to research her roles) modeled Mary’s look on her aunts and grandmother. She studied the Boston accent historically accurate for a woman of Mary’s generation/background. Mary is the character who grounds the story; she has the lived experience of someone outside the privileged bubble of these (mostly white) students and teachers. We learn that her son joined the military hoping that it’d help pay for college, BUT he didn’t even make it past age 20! One of the holdovers is rude/disrespectful to Mary, BUT Angus and Paul don’t let him get away w/ it. Though she is plagued by grief, she still has to do her job of feeding the school community. Notice that her son is the only one killed in this current war, as otherwise “Barton men don’t go to Vietnam” (Paul and Angus discuss after they leave the local diner).

Paul Hunham: I guess I thought I could make a difference. I mean, I used to think I could prepare them for the world even a little. Provide standards and grounding like Dr. Greene always drilled into us. But, uh, the world doesn’t make sense anymore. I mean, it’s on fire. The rich don’t give a shit. Poor kids are cannon fodder. Integrity is a punch line. Trust is just a name on a bank.

Paul Giamatti is our real-life Brad Pitt. We can’t all be Brad Pitt, and I mean that in the most positive way. Paul is a man of a certain age that men can relate to. That’s why I think Paul is our real-life Brad Pitt- [he’s] a champion of reality. What is real? An everyday man. -Da’Vine Joy Randolph (actress) in Variety magazine

I have to admit that this film made me cry (yup, even more than Past Lives and American Fiction). It’s a unique blend of drama and comedy w/ well-developed characters. The themes in this movie are universal, though we get a slice of life story. At the center of the story is empathy, as Payne and the lead actors all noted. I esp. enjoyed the 2 scenes where Paul and Angus convince others they’re family– father-son (at the hospital) and uncle-nephew (in Boston upon running into a Barton alumnus). The revelation re: Angus’ father was a BIT of a shock; when they meet, Sessa is transformed into a vulnerable boy desperate for approval!

Two Films Directed by Christopher Nolan: “Inception” (2010) & “Dunkirk” (2017)

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Inception (2010) starring Leonardo DiCaprio, Joseph Gordon-Levitt, Elliot Page, Ken Watanabe, Tom Hardy & Cillian Murphy

Your mind is the scene of the crime. -Tagline

Dom Cobb (DiCaprio) is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep w/in the subconscious during the dream state, when the mind is at its most vulnerable. Cobb’s rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back, but only if he can accomplish the impossible, inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea, but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming. -Synopsis (Warner Bros.)

What to say about this movie!? Did y’all understand what was going on (w/o a re-watch)? I felt nothing- to keep it short! OK, that’s NOT quite true; I did enjoy seeing ’80s star Tom Berenger (Browning), Tom Hardy (Eames), and Cillian Murphy (Robert Fischer). Hardy gets to be funny/quirky; he has good banter w/ Joseph Gordon-Levitt. As the uber-rich businessman who the gang kidnap, Murphy speaks w/ an American accent (which is flawless). Marion Cottilard doesn’t have much to do in the (undercooked) role of Dom’s wife. Maybe she wanted more (international) exposure? A LOT of media critics commented that Nolan is NOT good at writing female characters. The CGI was somewhat interesting, though since I saw it last month on Max (on TV), it didn’t make a huge impression. I’m sure many viewers (back in 2010) were more impressed. This is a prime case of style over substance, sad to say!

Dunkirk (2017) starring Fionn Whitehead, Barry Keoghan, Mark Rylance, Harry Styles, Tom Glynn-Carney, Jack Lowden, Tom Hardy, & Cillian Murphy

When 400,000 men couldn’t get home, home came for them. -Tagline

Allied soldiers from Belgium, the British Commonwealth and Empire, and France are surrounded by the German Army and evacuated during a fierce battle in World War II. -Synopsis

The Mole [beach]: One Week, The Sea: One Day, and The Air: One Hour. -The 3 timelines of the film

Thank goodness- this movie (shot on the actual beach at Dunkirk) was a LOT better than Inception! There were camera operators floating in the water w/ actors. For many of the cockpit shots, Nolan had a two-seat plane rigged, so that the front canopy and cockpit looked like a real Spitfire (BUT w/ non-functioning flying controls). The actual pilot was flying the plane from the rear cockpit, so that the actor could play the pilot (as the plane actually flew). Nolan mounted front and rear-facing cameras on a reconditioned Spitfire. This movie is focused on the experience of battle (incl. its sounds and sights). The individual characters don’t have many lines. Germans are heard/talked about, BUT never seen; this story is NOT about them. The ticking sounds in the score were recorded by Hans Zimmer from one of Nolan‘s own pocket watches; the composer then put the sounds into synthesizers and altered them for the soundtrack.

This is an essential moment in the history of World War II. If this evacuation had not been a success, Great Britain would have been obliged to capitulate, and the whole world would have been lost, or would have known a different fate. The Germans would undoubtedly have conquered Europe, the U.S. would not have returned to war. It is a true point of rupture in war and in history of the world. A decisive moment. And the success of the evacuation allowed (Sir Winston Churchill) to impose the idea of a moral victory, which allowed him to galvanize his troops like civilians and to impose a spirit of resistance while the logic of this sequence should have been that of surrender. Militarily, it is a defeat. On the human plane, it is a colossal victory. -Christopher Nolan (director) re: importance of this battle

While scouting locations, Nolan found a button from an English soldier’s uniform in the sand. After first-hand accounts of this evacuation revealed how young/inexperienced the soldiers were, Nolan decided to cast young/unknowns (aside from pop star Harry Styles- of course). Tommy (Fionn Whitehead) and a French deserter in the uniform of a dead Englishman- Gibson (Aneurin Barnard)- are among the many young soldiers trapped on the beach (The Mole). Styles does a good job in his small role; he should stick to those. Mr. Dawson (veteran character actor Mark Rylance), his son Peter (Tom Glynn Carney- before House of the Dragon), and his 17 y.o. pal George (Barry Keoghan- before fame) are the civilians on the sea. They rescue Cillian Murphy, an (unnamed) soldier shaken by the cold and PTSD; he was the most interesting character. Farrier (Tom Hardy) is the RAF pilot in the air in his Spitfire plane; he liked working w/ Nolan (so took this small role). As w/ Bane (in the Batman movies), he wears a mask most of the time- LOL!

Who are the heroes of Dunkirk? Tommy and Gibson (scared/hungry) try to hide/preserve their lives however they can. George jumps aboard the boat b/c he wants to contribute. We learn that the sub the survivor was on got destroyed by German bombs; also the boat he was escaping in was also destroyed. Murphy’s character has reached his limit; he attacks Mr. Dawson (who was empathetic toward him). George quickly stops him, BUT is grievously injured in a fall! If (eager/naive) George hadn’t sacrificed himself, a LOT of men could’ve died (3rd act). Tommy doesn’t tell the survivor that he caused the death of George. Mr. Dawson remains even-keeled and stoic; we eventually learn that he lost his (older) son in war. Though Farrier’s plane runs out of gas, he continues to protect the beach from attack. In the last scene, he’s forced to land on a small strip of land, then captured by Germans. I almost cried at the end; it was (quietly) emotional. This is unlike what I experienced in 1917.

“Outlaw King” (2018) starring Chris Pine, Stephen Dillane, Billy Howle, Aaron Taylor-Johnson, & Florence Pugh

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A true David vs. Goliath story of how the 14th C. Scottish “Outlaw King” Robert the Bruce used cunning and bravery to defeat the much larger and better equipped occupying English army. -Synopsis

Are you a fan of the epic movie Braveheart (1995), like me? To recap that story: A commoner, William Wallace (Mel Gibson), led a rebellion against Longshanks, AKA King Edward I of England (Patrick McGoohan), who wished to inherit the crown of Scotland for himself. When he was a boy, William’s father, brother, and many men of his village lost their lives trying to free Scotland. Once his wife, Murron (Catherine McCormack), is killed by a British soldier, William begins his quest to make his country free once and for all. He seeks to make an alliance w/ a young nobleman, Robert the Bruce (Angus Macfadyen), who yearns for the love/respect of his people (which William has). This recent Netflix movie is the (unofficial) sequel to Braveheart.

Robert the Bruce: It is our feudal duty to provide fighting men for our overlord, King Edward.
Villager: You assured us these obligations would be over!
Robert: I’d hoped they were.

I always wanted to know what happened to Robert; he was a complicated character. His father grew up partly in the English court w/ King Edward I; they fought in “the holy lands” as young men. I enjoyed this movie (for the most part); I learned that some of it is NOT historically accurate. Hey, the filmmakers of Braveheart changed a LOT of that story! The look is simply beautiful; some viewers felt that it was TOO “nice-looking” for the subject matter. I don’t agree w/ that; I’m tired of the modern trend of gray-ish/blue-tinted historical pieces! This film was shot on location in Scotland. Director David Mackenzie is known for small budget/indies; he does a good job here. However, I felt some scenes were a BIT too long or too short; I learned that the original version was quite a BIT longer (40 more mins.) As for those of you who’re sensitive to blood/gore, this is NOT the movie for you!

King Edward: It was my hope to grow old and not die on the battlefield, but I see now that the great danger in a death from natural causes is that one may be lying in one’s bed chamber thinking of all the things that have been left undone.

I was surprised to discover that the love story btwn Robert and his young/2nd wife, Elizabeth Burgh (Florence Pugh), was more interesting than the war (action) elements. Yeah, they have an arranged marriage and are separated by more than a decade, BUT slowly fall in love over several mos. However, it is NOT probable that ppl lived chastely for long, as a marriage wasn’t considered “real” until it was consummated. I’m sure the “slow burn” romance was written to appeal to modern audiences. Pine (w/ a NOT so glam haircut) does a fine job; he gets to show his range as an actor. As you may’ve heard, there is one scene where (pun intended) we glimpse the full Pine. Pugh is always FAB, no matter what material she is given! Now y’all understand why Pine and Pugh had such great chemistry in their scenes together in Don’t Worry Darling (2022).

James Douglas: Thinking about revenge? It tears on the soul, but it can also be a weapon.

When it comes to the (baddie) Brits- whoa boy- they’re ALL evil! Did you expect subtlety from a Netflix production? Edward, Prince of Wales (Billy Howle) has some serious “daddy issues” (as we saw in Braveheart); however, here he is violent and desperate to prove himself. King Edward I (Stephane Dillane) is cold/power-hungry; he can still fight at his (advanced) age. One of the allies of Bruce is James Douglas, Lord of Douglas (Aaron Taylor-Johnson), a wild-eyed/bushy bearded Scotsman bent on revenge. When I see this actor’s name, I have to cringe a little. Though James is a tough warrior w/ some cool sword skills, he doesn’t get much characterization. Taylor-Johnson will star in a superhero movie soon (no shocker). If you’re a fan of dramas like Game of Thrones, then you should check it out. I want to learn more re: Scotland’s history.

[1] …everything is crammed together quickly, if they had made a mini series they could have showed more of the story. […]

The action scenes are brilliant in the Outlaw King, and you can tell that most of it was inspired by Braveheart, from the gore, to the realism. However, I feel the movie put style over story and characters. I would watch it just for its visuals alone.

[2] A great story, impressive fight and battle scenes, care for details and a powerful, convincing lesson about fundamental values. In the age of blockbusters, it is a “must see.”

[3] The film does take certain liberties with historical accuracy, namely certain events either merged together or moved around on the timeline – all in aid of dramatic effect. Nonetheless, this does not shadow the realism that does exist, especially in terms of the savagery of warfare and intrigue, as well as the superb set pieces and costume designs that accompany the productions heavy attention to detail.

-Excerpts from IMDb reviews

Two Movies from Noir City DC (OCT 13th-26th, 2023)

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Introduction

Hey y’all, how is your Fall season going? Thanks for reading! As local noir-istas may know, Noir City DC film fest is going on (OCT 13th–26th) at AFI Theatre here in my area (downtown Silver Spring, MD). Eddie Muller (TCM host; founder of the Film Noir Foundation) helped to curate the movies for this event. Muller introduced screenings on the opening weekend (OCT 13th–15th); I saw 2 movies (for the 1st time).

The Big Clock (1948) starring Ray Milland, Maureen O’Sullivan, Charles Laughton, George Macready, Pauline York, & Elsa Lanchester

The Strangest and most Savage Manhunt in History! -A tagline for the film

When a publishing tycoon, Earl Janoth (Charles Laughton), commits murder in a heat of passion, he begins to cover his tracks. Janoth frames an innocent man he doesn’t know, BUT who knew the victim, Rita Johnson (Pauline York). That man, George Stroud (Ray Milland), works for one of Janoth’s magazines and is enlisted to trap the “killer.” George must “help” his boss, elude the police, and find proof of his innocence and Janoth’s guilt!

Rita Johnson: You know, Earl has a passion for obscurity. He won’t even have his biography in ‘Who’s Who.”
George Stroud: Sure. He doesn’t want to let his left hand know whose pocket the right one is picking.

Kenneth Fearing’s 1946 novel and this film adaptation bear many similarities to Samuel Fuller’s novel Dark Page (1944) and its screen adaptation Scandal Sheet (1952). Janoth’s right-hand man/lawyer, Steve Hagen (George MacCready), does his dirty work; they’re close (though- b/c of censorship- we don’t see how much). Neo-noir fans will find similarities btwn this movie and (the 2nd adaptation of The Big Clock) No Way Out (1987) dir. by Roger Donaldson. In that movie, Sen. Brice (Hackman) has a V clever/loyal aide, Scott (Will Patton), who cleans up his messes (and is obviously in love w/ the politician).

Don Klausmeyer: Our organization, the Janoth Publications, is trying to find someone, possibly a collector of your pictures.
Louise Patterson: So have I- for fifteen years.

Milland got the roles that Cary Grant turned down, Muller noted; he’s best known for The Lost Weekend (1945) and Hitchcock’s Dial M for Murder (1954). Like Michael Douglas, he has the air of a man who could be a “regular” guy, yet w/ a “shady” side. According to Muller, Louise Patterson (Elsa Lanchester) is based on (IRL American artist) Alice Neel. Laughton and Lanchester were married at this time, though we later learned that he was gay. Director John Farrow and Maureen O’Sullivan (who plays Georgette Stroud) were also married. Unlike what you’d expect from a “typical” noir, there are some of funny moments; Lanchester made my audience LOL during a few scenes.

Act of Violence (1948) starring Van Heflin, Robert Ryan, Janet Leigh, Mary Astor, & Phyllis Thaxter

The Manhunt No Woman Could Stop! -A tagline for the film

Robert Ryan is like one of my top 2 or 3 actors in noir. -Eddie Muller, in intro to the film

WWII veteran Frank Enley (Van Heflin- age 40) is a family man/builder in SoCal. He has a modest house, a beautiful/young wife, Edith (Janet Leigh- just 21 y.o.) and toddler son; he’s respected as a “war hero” in his small town community. One day, he learns that Joe Parkson (Robert Ryan- age 39) is searching for him; he is out for revenge, b/c of something which occurred while they were POWs. Joe drags his right leg as he walks; he carries a handgun. Ann (Phyllis Thaxter- age 29) is the woman following Joe, in the hopes of stopping him from doing something drastic. When Frank has to leave for a builders convention in LA, Joe is close behind! When Frank happens upon a bar, he meets Pat (Mary Astor- in a daring/unglamorous role at age 40).

Joe [to Edith]: Sure, I was in the hospital, but I didn’t go crazy. I kept myself sane. You know how? I kept saying to myself: Joe, you’re the only one alive that knows what he did. You’re the one that’s got to find him, Joe. I kept remembering. I kept thinking back to that prison camp. One of them lasted to the morning. By then, you couldn’t tell his voice belonged to a man. He sounded like a dog that got hit by a truck and left in the street.

No one wore makeup on this movie. Zinnemann wanted somewhat of a documentary look. -Cheyney Ryan (son of Robert Ryan) on the podcast Robert Bellissimo At The Movies (10/12/22)

Some viewers were surprised to see issues tackled so soon after the end of WWII. At the forefront is the question: How does an individual adjust to “normal” life after surviving war? I was excited to watch this movie; it’s currently NOT on any streaming platform. This is a tense noir that’s unpredictable both in its character development and plotting. It’s V well-paced (at only 82 mins), has great dialogue, and important themes. Director Fred Zinnemann (an Austrian Jew who fled Europe before WWII) went on to work on some big movies: High Noon (1952) and From Here to Eternity (1953). As Muller said, Zinnemann learned that both parents were killed in a Nazi concentration camp. The writers of the screenplay are Robert L. Richards and Collier Young (husband of actress/director Ida Lupino).

Edith: Suppose there is a grain of truth to it. Suppose you did have some kind of trouble with him. I can understand how something like that could happen in a prison camp.
Frank: No. You don’t know what happened.
Edith: What was it Frank? Whatever you did you must have had reasons.
Frank: You can always find reasons. Even the Nazis had reasons.

Ryan (who Scorsese called “one of the greatest actors in American film”) and Lupino later starred together in 2 unique noirs- On Dangerous Ground (1951) and Beware, My Lovely (1952). Ryan and Leigh were co-stars in the Western The Naked Spur (1953). Ryan (nearly 6’4″) towers over almost all the others; his simmering rage adds to the intimidating effect. When he talks w/ Edith, his voice is NOT loud/frightening, BUT holds pain/regret. I wanted to see more of Joe’s relationship w/ Ann; they discussed re: what happened in wartime (unlike Frank and Edith). The two leads are opposites in looks: Ryan is brown-haired w/ small/dark eyes, while Heflin is blonde/wide-eyed. Heflin (almost 6″ tall) gets to stretch himself, showing more depth (and emotion) than is usually required of his “Everyman” roles. Leigh does a fine job w/ her role (opposite these experienced men) at such a young age (early in her career). I really liked the cinematography; light, dark, and shadow are used quite effectively.

[1] One of the most daring elements of the film is its suggestion that Heflin is deserving of forgiveness, because the codes of conduct that govern men in the theater of war are different from those that govern us in our day-to-day lives. That maybe doesn’t seem like a daring thing to say now, but at the time it would have been.

Heflin and Ryan are both terrific; Ryan is one of my favorite film noir actors. But the women in the film make quite an impression… If the mens’ world- both at war and at home- is one of violence and revenge, it’s the women who act as the voice of reason and sanity, trying to impose a sense of stability amid the chaos.

[2] This grim look at a couple of de-mobbed soldiers continuing their private war at home rarely get mentioned in lists of essential noirs; maybe, upon release in 1949, it was just a little too close for comfort- hinting a truths the victorious American public were unwilling to acknowledge. If so, the film has yet to be rediscovered- or reappraised. […]

Though the script opts for a strange and bitter “redemptive” ending, the acrid taste of Act of Violence lingers long.

-Excerpts from IMDb reviews

Hitchcock’s “Foreign Correspondent” (1940) starring Joel McCrea, Laraine Day, Herbert Marshall, & George Sanders

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The Thrill Spectacle of the Year! -Tagline for the film

Johnny Jones (Joel McCrea) is a crime reporter at a NYC newspaper- The Globe. The editor suddenly appoints him as an European correspondent; he wants a man who’s a clean slate (doesn’t know much re: world affairs). Jones’ 1st assignment is to get the inside story on a secret treaty agreed btwn 2 European countries by a famous Dutch diplomat- Mr. Van Meer (Albert Bassermann). Things don’t go according to plan; Jones enlists an idealistic young woman, Carol Fischer (Laraine Day), help to track down a group of spies. This is Hitchcock’s 2nd American movie; he has a big budget (and it shows in the impressive sets). Rebecca (a huge hit) was also released in 1940. You can watch this movie on Max (new name for HBO Max).

Scott ffolliott: One of my ancestors was beheaded by Henry VIII. His wife dropped the capital letter to commemorate it. There it is.
John Jones: How do you say it, like a stutter?
Scott ffolliott: No, just a straight “fuh.”

To modern eyes, this is a lesser-known Hitchcock film; we find a LOT of his trademarks (which he improved upon later). It’s a BIT long for a classic at 2 hrs; the pacing was slow in some scenes (which is NOT unexpected). It’s an unique blend of comedy and drama; the lighthearted tone in one scene is followed by a more serious (darker) one. The word “Nazi” is never used, BUT we know where the threat is coming from. The 1st choice for the lead was Gary Cooper, BUT he turned it down; he later admitted to Hitchcock that he regretted that decision. Thrillers didn’t have the best reputation at that time. McCrea plays it easy/understated (as he often did in his roles); he has good banter w/ Day. In one action scene, he scales the outside of a hotel in a robe (flashing a LOT of leg). Stephen Fischer (Herbert Marshall) is the most interesting character; he’s clever, witty, charming, yet mysterious. George Sanders gets to play a good guy (which is rare for him); I got a kick out of that. Robert Benchley (also one of the scriptwriters) is V funny as the (experienced) London correspondent who’d rather be drinking.

[1] Though lacking the star power of some of the great director’s more famous movies, the cast is very good, the settings are wonderfully conceived, and the story and writing keep the viewer’s attention at all times. It has everything we hope for from Hitchcock: action, suspense, and a good dose of humor.

[2] …a film which coincidentally carries Hitchcock’s boldest political statement: That neutrality doesn’t work when others are bent on war. […]

Some back in Great Britain complained Hitchcock’s leaving his native country as it faced Hitler all alone was desertion, but Hitchcock was doing all he could for King and Country, as “Foreign Correspondent” pulls all the stops to shake American viewers from their neutrality.

Hitchcock is very careful in presenting the bad guys. He never says they’re Germans, though the implication is obvious. The chief baddie is ruthless but not without decent impulses…

[3] Notice especially the excellence of the exterior set—the sky, the windmills— these visuals are exceptional for a sound stage creation.

-Excerpts from IMDb reviews