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Halifax f.p.: Afraid of the Dark (1997)
The pointlessness of Jackman's naked butt
This film is from the Australian TV film series, 'Halifax FP' where Rebecca Gibney plays a forensic psychologist (FP). 'Afraid of the Dark' was released in 1998 and obviously takes its cue from Australia's worst mass murder case which occurred in 1996. That is, the tragedy of the Port Arthur Massacre in which Martin Bryant killed 35 people. This is not to suggest that this film is an adaptation of that event.
Here, workers of a countryside diner/garage are killed. One worker, Ray (Shane Feeney-Connor of 'Neighbours') and a dining family are not killed. Typically, being a mystery - the film's primary concern is to find the killer but this is only the surface. The film's true focal depth is concerned with Ray's ability to cope with the tragic loss of his friends. In parallelism, Halifax works through paternal issues. That is, the loss of her father who died some years before. So, as Australians mourned the tragic deaths of the Port Arthur victims - this film is largely centred on denial, mourning, and letting go of loved ones.
Ironically, this being the strength of the film also amounts to one of its weaknesses. Since so much time is spent focusing on Ray and Gibney's aligned relationship, the motivation behind the killings are left simplified and the viewer is forced to accept them with a sense of disbelief. While, this idea of senseless killing may be deliberate - it would have been equally interesting to reveal more of the murderer's character. But as I said, Australia was a nation in mourning and the empathic tone existing within the film sets out to do the same.
The greatest weakness is the score. The score in the opening sequence is captivating but fails to measure up to the rest of the film and at times seems wholly inappropriate and thematically disarrayed.
Overall, the quality of the acting is superb and Feeney-Connor steals the limelight away from Gibney and Hugh Jackman. Jackman plays the prime investigator but since the mystery is downplayed somewhat - his character takes a backseat. There is a one-way love interest between Gibney and Jackman left under-developed and so sex scenes and Jackman's naked butt seems quite pointless. All the same, this doesn't prevent me from pushing pause on his butt for a few seconds but I am only human afterall. However, that's not the fundamental reason why this film is enjoyable.
American Beauty (1999)
Beauty?? Where, what, and whom?
Having seen 'American Beauty' only hours ago - I am left wondering what all the fuss is about. The film is pleasant in a passable glory but too much more cannot be said about the quality of the film.
Films are about stories and this film is constructed on a predictable and shallow script. The social issues concerned lack any psychological depth and it that way could easily pass for an NBC Today news item.
I like Kevin Spacey (although less so from his arrogant interview on 60 minutes) but at times his portrayal of Lester was irritating.
Annette Benning is wonderful but her character never really explored the depths of her psyche. In this sense, she is essentially seen as the cause of Lester's problems and not the other way around (except for the last 10 minutes).
If you really want to see a social commentary on suburban life I suggest you see: 'The Ice Storm' or 'All that Heaven Allows'. As for the 'Melrose factor' of bitchiness - go see 'War of the Roses'. Otherwise you could turn to a seven-year old for whatever 'American Beauty' has to offer.
Too much hype and a weak script. Overall rating = pleasant.
The Talented Mr. Ripley (1999)
I really wanted to like this film more but.....
I admire Anthony Minghella's work - especially 'The English Patient' and 'Truly Madly Deeply'. There is something about this man who understands the capacity behind human desire. However, this film left me with a sense of disappointment.
To begin with the good aspects - many of the performances were superb. These tended to come from those actors with minor parts such as Cate Blanchett as the airy Meredith and Philip Hoffman as the sly Freddie. One could work wonders with these characters in major roles.
Jude Law was great as ever and now seems to be typecast as the opulent bourgeois playboy (see him as - Bosie in 'Wilde' or as Jerome in 'Gattaca').
The lighting, editing (Walter Murch), cinematography (John Seale), score (Gabriel Yared), costumes (Ann Roth) and art/set decoration were wonderful. How wrong can you go with a team like that?
The backdrop of Italian piazzas always makes for more than entertaining viewing but somehow not enough to fill the void created by Matt Damon.
Now don't get me wrong - I think Damon is a talented actor. However, he has a long way to go before filling Ripley's shoes. Having said that, I think that he was largely miscast as Ripley. For me, I don't believe he was able to characterize the vulnerability (at a post screening Q & A - Minghella said he wanted to express the vulnerability behind the need for acceptance) required in Ripley.
As a consequence - if the vulnerability is lost then so too, is the desire to transcend it. In this way, I was never really convinced of Ripley's dark side.
Ripley is a complex character and cannot be simplified in terms of 'pure evil' and 'pure good' and this film plays with the viewer who tries unsuccessfully to catergorize Ripley into one or the other. Herein, lies the importance of Ripley's dark side.
But how well does this intention work? Sure - I felt sorry for Ripley but never felt repulsed by his murderous actions (media desensitization?). The complexity was achieved on a surface level but had little psychological depth. This cannot be overlooked since this complexity and alienation essentially drive the film.
I applaud Damon for taking on an ambitious role but when the fruit isn't ripe - you just don't pick it. Sorry Anthony - I know you could be reading this but I have come to expect exceptional things from you. Look forward to your next film with eager anticipation as always. Overall rating: 7
Snow Falling on Cedars (1999)
HEADS FALLING ON HEELS FOR ART FOR ART'S SAKE
One thing I have come to cherish in today's entertainment industry is someone who takes a risk. When Fleetwood Mac were asked by Warner Brothers to make the follow-up to the ultra -successful 'Rumours' - Lindsey denied them 'Rumours II'. While 'Tusk' was not a commercial success - retrospectively it is being hailed as a masterpiece. Your time will come with this film Scott.
Hicks has created a cinematic tour de force with 'Snow Falling on Cedars'. Offering a non-linear narrative with multiple flashback, the viewer must watch attentively to schematize the action within the plot. In many ways, 'Snow' echoes the work of the mighty Ozu Yasujiro - a Japanese director who demanded excellence per frame subordinated to plot linearity. Similarly, Ishmael's (Ethan Hawke) movement and non-emotive expression could be seen as a variant of Ozu's characters.
Love and desire is overwhelmingly present within the film but never overt and and existing on the surface. The device allows it to become lyrical through beautiful images accompanied with a spell-binding hybrid score from James Newton Howard.
I would counter any arguments that find Hatsue (Youki Kudoh) cold and unfeeling. Japanese culture and behaviour need to be understood here - without a Western sense of romance being imposed upon the film. This is World War II Japanese behaviour folks - not post WWII.
Again, I would counter any arguments that Ishmael lacks emotive depth. I think he has yet to live - always murdering his future because his past is not dead.
At the same time - and also needing to be in context is the interracial relationship. Hatsue and Ishmael's love finds solace in discretion and hideaway spaces.
If love and truth (the murder trial) underlies the construct of this film's thematic concern - then so is the idea of letting go of the past. It's not as simple as Ishmael getting over Hatsue - it's also Ishmael's transcedence of his father's eclipsing shadow. This is finally realized at the point of closure when Hatsue's family bow to Ishmael in court - an acknowledgement of appreciation. Later - Hatsue tells Ishmael that he is just like his Father. Funny that. Ozu loved the whole father/daughter, father/son thing as well. Bravo Scott Hicks! Overall rating: 9