Eschewing both the slickness and Hollywood sentiment of The Song of Bernadette and the speculative psychology of Alain Cavalier’s contemporary Thérèse, Delannoy’s unembellished, straightforward account seeks only to tell Bernadette’s story in a clear and compelling way.
Pope John Paul II gets the A&E Biography treatment in Pope John Paul II — Statesman of Faith, a 50-minute documentary made in 1993 focusing particularly on the Holy Father’s crusades against totalitarianism and violence.
The most successful sports movies (recent examples include Miracle, 61*, and The Rookie (starring Caviezel’s Frequency costar Dennis Quaid), reach out across the divide separating fans from non-fans, finding ways of making the drama compelling to the uninitiated as well as aficionados. Bobby Jones, while sweetly sincere and uplifting, doesn’t fully succeed in doing this.
Bonhoeffer notes the seeming oddity of the prominence of its subject, whose celebrity today may seem from one perspective disproportionate to his importance as a theologian and ecumenist and certainly as a relatively unimportant conspirator in a failed assassination attempt. Yet as another 20th-century saint once said, We are called upon not to be successful, but to be faithful. Bonhoeffer was faithful to the giving of his own life, which he did as willingly and serenely as any martyr.
Jason Bourne (Matt Damon) has come a long way since he was fished out of the ocean with a pair of bullet holes in his body and even bigger holes in his memory. His past is still a blank, mostly, but he’s finally fully in command of his devastating training and skills as a CIA black-ops agent. These days, when he kicks into high gear, it’s by design, not reflex.
City Lights is the quintessential Chaplin film — both the most perfectly crafted and satisfying of all his films, and also the most representative of all the different textures and tones for which Chaplin is remembered, from slapstick and pantomime to pathos and sentiment, farce and irreverence to melodrama and social commentary.
If love makes the world go round, the dizzily whirling globe in the opening title credits of Douglas McGrath’s Emma is a clear statement of intent regarding the film’s theme. And when we see the globe is a painted model spinning on a thread in the hand of Emma (delightfully effervescent Gwyneth Paltrow), it’s clear how Emma sees herself — pulling the strings, orchestrating the happy convergences that make the world go round.
Extreme Ops (Paramount) looks an awful lot like one of those supercharged sports-themed TV commercials, with its glossy footage of daredevil athletes snowboarding down sheer ice walls, skateboarding atop trains, and throwing themselves off precipices. In fact, given that few other situations call for such extreme antics, the movie is actually about the making of a sports-themed TV commercial.
Goodbye, Mr. Chips is the original inspirational-teacher story, and a beloved valentine to classical education, tradition, and the English public boarding schools of a bygone era.
Not a remake of the 1939 classic but a new adaptation of James Hilton’s sentimental novella, Masterpiece Theater’s engrossing Goodbye Mr. Chips couldn’t be more different from the 1939 film — and that’s all to the good.
Formality and courtesy attend adult interactions, but beneath the surface lurk petty misunderstandings, resentments, suspicions. A boy complains that adult conversation is bloated with meaningless, empty pleasantries, while his friends prefer to engage each other with an amusement that appears to be an Asian equivalent of “Pull my finger.”
More charming than uproarious, Grandma’s Boy isn’t in the same league as films like >The Kid Brother, Speedy, and Safety Last! However, it’s well structured for its day, and set the pattern for Lloyd’s best comedy features by helping to define the definitive dramatic story-arc for Lloyd’s already-famous Glasses Character persona.
Segal and Rule play convicts sent to Alcatraz by an FBI agent (Claudia Christian) following a chop-shop raid. For no plot-related reason at all, Segal is caught in crossfire during the raid and flatlines for what we are later told is 22 minutes, though it seems mere seconds at the time.
A mounting sense of dread and inevitability hangs over Fred Zinnemann’s grim, downbeat Western classic High Noon, a black-and-white anti-spectacle about an aging lawman who receives a series of nasty shocks on the day he tries to hang up his gunbelt and begin a new life.
Hitchcock’s underrated I Confess may or may not not quite rank with his greatest masterpieces, but it offers perhaps the most compelling variation on the director’s favorite theme, the innocent man wrongly accused.
Though the documentary plays like a “a day in the life” at the Vatican, National Geographic filmmakers actually spent three months in Rome amassing footage and interviews. The result is a well-rounded portrait, or series of portraits, of Vatican life: Vignettes include the ordination of a bishop, the restoration of a priceless tapestry, the swearing-in of a Swiss Guard soldier, reception of world leaders, and a race to digitally preserve disintegrating documents.
Director Richard Thorpe and star Robert Taylor would re-team the following year for the Arthurian epic Knights of the Round Table, but that film is a pale imitation of Ivanhoe, which boasts better spectacle and action (highlights include the opening tournament, the rousing seige sequence that is the film’s centerpiece, and a gripping climactic duel scored by ominous drums), a more interesting romantic triangle, and better villains scheming to usurp the king’s throne.
The best version is the 1982 TV movie starring Anthony Andrews (“A.D.”) as Ivanhoe, Olivia Hussey and James Mason (“Jesus of Nazareth”’s Virgin Mary and Joseph of Arimathea) as the Jewess Rebecca and her father Isaac of York, and Sam Neill (Jurassic Park), John Rhys-Davies (The Lord of the Rings), and Stuart Wilson (The Mask of Zorro) as villainous Norman knights.
A loosely structured coming-of-age story, Kiki’s Delivery Service features one of Miyazaki’s most personable protagonists, a delightful cast of supporting characters, and a rambling, episodic storyline full of charming incident and irresistible imagery.
Copyright © 2000– Steven D. Greydanus. All rights reserved.