Jeannette is a dialogue, and a mutual cross-examination, not only among the main characters of the drama, and above all between man and God, but also between the poet Péguy and the filmmaker Dumont, and even between Péguy the Socialist unbeliever of 1897 and Péguy the believing Catholic of 1910.
The Young Messiah is an impressive achievement of Christian imagination, a work that does one of the noblest things a Bible movie, or any literary adaptation, can do: It brings persuasive emotional and psychological depth to characters and situations that were either hidden or else so familiar we may have trouble seeing them at all.
The director of my favorite movie this spring about Jesus and a Roman soldier talks about working with Sean Bean, Jesus’ human consciousness, and bringing the biblical world to life.
Above all, it’s the story of the incredible lengths to which the Make-a-Wish staff and volunteers go in order to create special experiences for long-suffering children to make up in some way for their lost childhood.
Jean-Marc Vallée’s The Young Victoria is frothy, spirited and fairly inconsequential. I like that about it.
Henry Fonda’s best-known performance as a legendary historical character in a John Ford film is, of course, as Wyatt Earp in My Darling Clementine. Yet Fonda was more aptly cast, and gives a more vivid performance, five years earlier in their lesser-known first collaboration, Young Mr. Lincoln.
It doesn’t help that this is now the second Star Wars movie in a row in which the "wars" alluded to in the series title are still basically in the future (one climactic skirmish aside). Lucas should never have gotten bogged down in political debate, let alone given two whole films of it.
It’s not just that the banter and camaraderie of Luke and Han and Leia was so much more fun than the often wearying interactions of Anakin and Amidala and young Obi-Wan — though that’s part of it. More importantly, the stories themselves largely lack the strong center of good versus evil that was the heart of the original trilogy.
Crippled as he is by the decisions of the first two films, Lucas still manages to invest the final chapter of his sprawling space opera with the grandly operatic spirit of the original trilogy. It’s still cornball, yes, and with all the usual weaknesses. But Episode III at last has heart.
Copyright © 2000– Steven D. Greydanus. All rights reserved.