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chriseldridge
Reviews
Ballet Shoes (2007)
A Shocking, Horrific Debacle - A Disgrace to the Medium
I tuned in with anticipation to what had been billed as the all-star centrepiece to BBC England's Christmas schedule. Listings names such as Emilia Fox and Richard Griffiths as well as British stage stalwarts, the programme instantly glared of lazy and pretentious direction. The start was tenuous, almost ridiculous, and descended into the depths with wooden acting - the cameo from Victoria Wood must go down as one of the worst performances in living memory. I read about six months ago that Emma Watson had turned down handfuls of roles for the chance to perform in this tripe, and did herself no favours with a supposed sympathetic role of burdened orphan that came across as nothing more than an arrogant, sycophantic spoilt brat. Just when you thought the film was building up to a resurrecting finale, it just faded out - perhaps reflecting the team equally saw how horrific this was and just gave up. This wasn't bad, it was a disgrace.
Dances with Wolves (1990)
Beautiful, Endearing, Timeless Classic
From the opening scene, we are shown Lt. John Dunbar (Kevin Costner), shattered and sensually dumbed by the hardships and horrors of the Civil War. His mind has also suffered under the brutality, shown by his suicidal ride along the enemy entrenchment; Costner noting in his superb commentary that the 'soldiers were rotting' physically, mentally and aesthetically.
However, it is this act by Dunbar that leads to his reposition to Fort Sedgwick, where he can begin his rebuilding and eventually rebirth as "Dances with Wolves". For me, it is most important to see Dunbar's initial fears a)of being alone amongst the grass, and b)sleeping with the light on, cradling his gun. His fears of isolation showing him to be broken down to the primal fear of a child, but ultimately, and contrasting to the fellow soldiers we see, still civil and humane.
Dunbar describes war's effect on nature as 'abruise to the landscape , that will be slowly healed'. But for me, it is his recognition and empathises for nature that brings him closer to Two Socks and later the Sioux tribe. It is Dunbar's detest of man, brought on by the unreasoned horrors of the war, that allow him to reassess the nature of the savage wolf and the supposedly savage, native Sioux. Dunbar, scarred by the war, sees past the necessary brutalities of their lifestyle, and is compelled by their mutual respect and humanity; as he learns to socialise and love again.
Directorly, Costner is both bold and dynamic, and it is a credit to him and producer Jim Brown that the film was made for just $15m. Central to this was the bold castings of Mary McDonnell (Stands With a Fist), who perfectly performs a role that could have easily come across as comically or even absurd, and Rodney Grant (Wind In His Hair) who takes the generic 'noble savage' role, and eloquently builds on it, growing to a multi-layered performance from naive racist to capable and humane potential leader. Alongside these are highly competent performances from the familiar Graham Greene and Tantoo Cardinale.
Equally, it is Dean Semler's photography and John Barry's score that superbly frame and enhance the picture without encroaching on it allowing, at all times, the story to take centre stage. As has so often been said , a glaring omission from the top 250, which is perhaps more of a comment on the quality of viewers than the quality of cinema.
An outstanding piece - well done Kevin and all who helped make it!
Deadwood (2004)
Murder, Lust and Wrath at the Birth of a Nation
From the first few moments of watching Deadwood you know that you are in for a treat. The unique authenticity of every visual aspect we encounter. The fact that every episode we watch not only the characters who evolve and grow but also the scenery as Deadwood evolves from a small mining camp to a thriving town. However, it is not just this that makes Deadwood an instant classic and prime time revelation.
Nor is it the stand-out performances of Ian McShane, Brad Dourif and Timothy Olyphant who offer effortless depth and mystery to the complex, multi-faceted characters they portray.
For me it is David Milch's ability to capture a time and place in American history where liberty and unity were forced to take a back seat to the greed and vengeance of the post Civil War Frontiers. We are presented with a scenario similar to that of the foot of Mount Sinai where, Moses' followers abandoned him for the pursuit of the earthly lavishes of wealth and lust.
We are, like the characters, thrown into an almost Apocalyptic world where law and order are replaced by personal vendetta and vengeance. However, Deadwood is far too complex for these simplicities of character as we are quickly shown the best and the worst of all characters, with only the immaculately dressed Cy Tolliver appearing less than human.
The show will inevitably move away from these vengeances and instant justices as the town develops and begins to resemble a more stable and sheriffed area. But as long as it continues with its pursuit of complex character study, it will continue to win fans and attract audiences.