Tuesday, December 30, 2008
Here is a gallery of photos from the new David Pincher film that is based upon a F. Scott Fitzgerald's 1921 short story called, "THE CURIOUS CASE OF BENJAMIN BUTTON". The movie stars Brad Pitt, Cate Blanchett, Taraji P. Henson, Jason Flemyng and Tilda Swinton:
"THE CURIOUS CASE OF BENJAMIN BUTTON" (2008) Photo Gallery
Monday, December 29, 2008
"LOST": "The Island Guru"
There have been countless number of character essays and theories posted by ”LOST” fans about Island Destiny Man – John Locke (Terry O’Quinn). Quite frankly, I have only read a small number of those articles. But recently, I have been watching some of the series’ episodes from Seasons One and Two. After viewing some of them, I have grown aware of a certain trait of Locke’s that I find annoying.
When John Locke’s back story was first introduced in the episode, (1.04) “Walkabout”, viewers discovered that he had been a wheelchair bound employee of a box company in Tustin, California. Viewers eventually discovered that Locke was the illegitimate son of the fifteen year-old Emily Locke and a con artist named Anthony Cooper. Locke spent most of his childhood and a great deal of his adult years longing to be a man of action and someone special. He spent those years honing his skills as a hunter and gathering a great deal of knowledge on so many subjects.
On September 22, 2004, John Locke had traveled to Australia to participate in a ”walkabout tour” that would allow him to ”live in the wilderness” for a certain period of time with a group of tourists. Employees of the Melbourne Walkabout Tours took one look at Locke’s disabled state and refused to accept him on one of their tours. Forced to return home to California, Locke boarded the Oceanic Airlines Flight 815 that would take him from Sydney, Australia to Los Angeles, California. Only he and his fellow passengers never reached United States soil. Instead, they found themselves stranded on a mysterious island in the South Pacific. Locke also discovered that the island had somehow cured his crippled legs. From this moment on, Locke became an acolyte of the island. And judging from his interactions with characters like Charlie Pace and Boone Carlyle, he searched for his own band of acolytes to share his beliefs.
Locke spent most of Season One helping the castaways survive those first 44 days on the island and offer them sage advice. He also had two encounters with a mysterious smoke monster, became the survivors’ “great white hunter”, helped Boone Carlyle deal with unhealthy for his stepsister, Shannon Rutherford, helped Charlie Pace kick a heroin addiction and convinced spinal surgeon Jack Shephard to assume leadership of the castaways. This all changed in the episode, (1.19) “Ex Deux Machina”, when Locke and Boone discovered a Nigerian plane filled with heroin and bodies in the jungle. In that episode, he had convinced Boone to crawl into the plane to examine it. Because he had failed to inform Boone that he had a prophetic dream that the plane would lead to Boone’s death, he lied to Jack about the true situation of Boone’s wounds after the actual accident. From that moment on, the series began to unravel even more of Locke’s less admirable traits. Many fans and even actor Terry O’Quinn have expressed regret that Locke had not remained the wise, self-assured man from Season One.
But my recent viewings of some of the Season One and Season Two episodes have led me to wonder if Locke’s ”self-assuredness” had been nothing more than a façade. Also, that same self-assuredness seemed to have revealed a trait within Locke that I found personally distasteful. Superficially, John Locke’s willingness to help others like Charlie and Boone seemed may have seemed admirable. It certainly did to many viewers. No one has ever complained about his “methods” in helping those two. And for me, his methods in helping Charlie and Boone has made me wonder if John Locke was – like Jack Shephard – a slightly bullying and controlling man.
I had first noticed these traits in Locke during the Season One episode, (1.06) “House of the Rising Sun”. This episode’s subplot featured an expedition in which Jack, Charlie, Kate Austen and Locke examined a large cavern as a provision for housing and water for the castaways. While alone with Charlie, Locke took the opportunity to reveal his knowledge of the musician’s heroin habit:
[We see Charlie walking away from caves trying to take drugs out of his pocket, looking behind him. But Locke is coming from the opposite direction.]
CHARLIE: Listen to me, you old git, I'm going in the jungle. A man has a right to some privacy.
LOCKE: Just hand it to me. You're going to run out. My guess is sooner rather than later. Painful detox is inevitable. Give it up now at least it will be your choice.
CHARLIE: Don't talk to me like you know something about me.
LOCKE: I know a lot more about pain than you think. I don't envy what you're facing. But I want to help. [Charlie walks away]. Do you want your guitar?
[Charlie turns and comes back.]
LOCKE: More than your drug?
CHARLIE: More than you know.
LOCKE: What I know is that this island might just give you what you're looking for, but you have to give the island something.
CHARLIE [giving Locke the drugs]: You really think you can find my guitar?
LOCKE: Look up, Charlie.
CHARLIE: You're not going to ask me to pray or something.
LOCKE: I want you to look up.
[Charlie looks up and almost cries when he sees his guitar on a cliff above.]
Judging from the above scene, Locke’s idea of helping Charlie was to insist that the latter hand over the remaining heroin he had left. He insisted. That was Locke’s initial idea of helping Charlie. Knowing the location of Charlie’s guitar, which the latter valued more than anything, Locke then maneuvered Charlie into giving up the drugs in return for the guitar.
In the following episode, (1.07) “The Moth”, Charlie had demanded that Locke return his drugs – which the former agreed to do – ONLY when the former asked for the third time:
[Shot of Charlie running from a boar. Some luggage falls, the boar is trapped in a large net trap.]
LOCKE: Nice work, Charlie. You make excellent bait.
CHARLIE [angrily]: I'm glad I could oblige. Now give me my bloody drugs.
CHARLIE: Did you hear what I said? I want my drugs back. I need 'em.
LOCKE: Yet you gave them to me. Hmm.
CHARLIE: And I bloody well regret it. I'm sick, man. Can't you see that?
LOCKE: I think you're a lot stronger than you know, Charlie. And I'm going to prove it to you. I'll let you ask me for your drugs three times. The third time, I'm going to give them to you. Now, just so we're clear, this is one.
CHARLIE: Why? Why? Why are you doing this? To torture me? Just get rid of them and have done with it?
LOCKE: If I did that you wouldn't have a choice, Charlie. And having choices, making decisions based on more than instinct, is the only thing that separates you from him [indicating the boar].
Now I realize that Locke simply wanted to help Charlie. And I realize that he honestly believe that he was giving Charlie a choice. But if that was John Locke’s idea of a choice, he could keep it, as far as I am concerned. I found Locke’s idea of giving someone a choice rather boorish and controlling. He did not simply give Charlie a choice. What Locke did was manipulate Charlie into making a choice . . . but only on his terms. If Locke really wanted Charlie to utilize his free will to make a choice – one way or the other – about the heroin, he should have given Charlie the heroin when the latter first asked. Some fans have argued that Charlie would have never given up the heroin if Locke had handed it over right away. My answer to that is . . . tough shit. Seriously. Charlie should have made the decision to either continue taking the heroin or stop using . . . on his own. Without Locke’s interference or manipulation.
In the Season One finale, (1.24) “Exodus II”, Charlie accompanied Sayid in a search for Danielle Rousseau, a long time castaway who had kidnapped Aaron Littleton in order to exchange him for her own kidnapped daughter. During that search, the pair came across a Nigerian plane with dead bodies and Virgin Mary statuettes filled with heroin. In a weak moment, Charlie took one of the statuettes behind Sayid’s back. It turned out to be the first of many trips in which Charlie ended up filching a statuette or two, until he managed to build up quite a collection. The ironic thing is that Charlie managed to refrain from using heroin in his possession. Claire Littleton – Aaron’s mother, Mr. Eko and eventually Locke discovered in Season Two’s (2.10) “The 23rd Psalm” and (2.12) “Fire and Water’ that Charlie had possession of the statuettes. This, along with Charlie’s frantic concern and actions over Aaron, led Locke to assume that Charlie had resumed using drugs again:
CHARLIE: Hey, John, can I talk to you for a second?
LOCKE: Yeah, what is it, Charlie?
CHARLIE: I take it you heard about what happened last night.
LOCKE: If you mean you taking the baby out of Claire's tent in the middle of the night -- yeah, I heard.
CHARLIE: This whole thing was a big misunderstanding, John. I was sleepwalking. I don't how or why --
LOCKE: Is there something you want from me, Charlie?
CHARLIE: I was hoping you could speak to Claire for me. You know, put in a good word.
LOCKE: Are you using?
LOCKE: Heroin. Are you using again?
CHARLIE: Kate sees a horse -- nothing. Pretty much everybody's seen Walt wondering around the jungle. But when it's Charlie it must be the bloody drugs, right?
Charlie did lie about having the drugs in his possession. But he had been telling the truth about using. When Locke found Charlie’s stash of statuettes, he reacted in the following manner:
[Back on the Island, Charlie holds a couple of baggies of heroin in his hand.]
LOCKE [suddenly, off camera at first]: I'm disappointed in you, Charlie.
CHARLIE: You following me?
LOCKE: How long have you been coming out here?
CHARLIE: John, you've got the wrong idea, man.
LOCKE: You said you destroyed them all, and yet here they are. How is that the wrong idea?
CHARLIE: I came out here to finish the job. I'm going to get rid of these right now.
LOCKE: Yeah, that's very convenient now that I found you. [Locke goes to the statues with his pack.]
CHARLIE: What are you doing?
LOCKE [putting the statues in his pack]: There was a time when I let you choose whether or not you were going to do this to yourself. Now I'm making that choice for you.
CHARLIE: Oh, you don't believe me? Give them to me. Give them to me right now; I'll destroy them. Look. [He breaks up the baggies in his hand] I'll throw them in the sodding wind. Look, John, I know I lied, alright. [Locke starts walking away] Wait, wait, wait. Remember all those talks we had, you and me? You said everything happens for a reason -- this island tests us. That's what this is, John, at test. This is my test. That's why these are here.
LOCKE: These are here because you put them here, Charlie. [Locke starts to leave again.]
CHARLIE: Wait, John, wait. [Charlie grabs Locke's arm, and Locke angrily breaks free.] What are you going to do? Are you going to tell Claire? You can't. If she sees them, I'm done. She'll never trust me again, and she has to, John. It's about the baby, alright? Aaron's in danger. You have to believe me.
LOCKE: You've given up the right to be believed, Charlie.
Now, I can understand how Locke would be pissed off that Charlie had lied to him about having the statuettes. But the manner in which he took possession of them reminded me of a bullying parent. At that moment, Locke decided that he would do something about Charlie’s drug problem by taking away the heroin without the latter’s permission. Like a parent would act toward an errant child. All Locke could have done was express disappointment at Charlie for the latter’s lies. But he behaved as if he had the right to take the drugs away . . . and ”make the choice” for Charlie to stop using. The sad thing is that Charlie allowed him to get away with such controlling behavior.
By mid Season One, John Locke found another disciple to mentor. It all began when Charlie and a very pregnant Claire had been kidnapped by a spy for the Others – Ethan Rom – in the episode (1.10) “Raised By Another”. In the following episode, (1.11) “All the Best Cowboys Have Daddy Issues”, a party that included Locke, Jack, Kate Austen and a wedding planner named Boone Carlyle set off into the jungle in search of the two kidnapped castaways. Eventually, the quartet split into two teams when Kate revealed that she also had tracking skills. Jack and Kate formed one team, and Locke and Boone formed the other. And at this moment, the master/apprentice relationship between the latter pair was born.
This relationship between Locke and Boone lasted approximately eight to nine episodes – between ”All the Best Cowboys Have Daddy Issues” and (1.19) “Ex Deux Machina”. During this period, Locke and Boone discovered a steel door to the hatch (Swan Station) that would dominate Season Two. The two men spent several episodes trying to find ways to open the hatch, while lying to the castaways that they were on expeditions hunt for boar. These expeditions were briefly postponed in the episode, (1.13) “Hearts and Minds”, when Boone decided to tell Shannon about the discovered hatch:
BOONE: Look, at least I've got to tell Shannon.
BOONE: What do mean, why? She's my sister.
LOCKE: Why do you care about her so much?
BOONE: You don't know her man. She's smart, she's special in a lot of ways.
LOCKE: Fair enough.
BOONE: She's been asking me about this. I can't keep lying to her.
LOCKE: You mean you can't keep lying to her, or you can't stand the way she makes you feel because you're lying to her?
BOONE: Both. Whatever. Look, she can keep a secret.
LOCKE: You're sure?
BOONE: Yes, I'm sure.
LOCKE: No, I mean, are you sure you want to do this?
BOONE: I've got to get her off my back. She keeps asking me about this, she keeps asking me about you, about the whole thing.
LOCKE: You're sure you've thought through the ramifications?
LOCKE: So be it.
[Boone turns around, Locke clocks him with a knife handle.]
After this surprising moment, Locke tied Boone to a tree and used drugs to force the latter to experience a vision quest :
[Shot of Boone tied up. Locke is mixing the stuff in the bowl.]
BOONE: Locke, what is this? Do you hear me? Untie me right now.
LOCKE: Or what?
BOONE: I swear I won't tell anyone about the hatch thing, okay? I promise.
LOCKE: I'm doing this, Boone, because it's time for you to let go of some things. Because it's what's best for you. And, I promise, you're going to thank me for this later.
BOONE: Hey, I don't think this is best for me. [Locke smears the stuff he's been mixing onto the wound on Boone's head.] What is that?
LOCKE: An untreated wound, out here, is going to get infected.
BOONE: You're not going to just leave me here.
LOCKE: Whether you stay is up to you. The camp is 4 miles due west.
BOONE: Which way is west?
[Locke throws a knife into the ground, just out of Boone's reach.]
LOCKE: You'll be able to cut yourself free once you have the proper motivation.
[Boone is struggling in the ropes, trying to reach the knife.]
BOONE: Help, help!
Locke claimed that he was forcing Boone to submit to a vision quest ”for his own good”. Perhaps helping Boone find closure in his relationship with Shannon had been on his mind. But I find it interesting that Locke had decided to manipulate Boone into this situation after the latter decided to reveal the secret about the hatch. And regardless of whether Locke truly had Boone’s interests at heart or not, he really had no business forcing Boone into that situation in the first place. No wonder the younger man attacked Locke upon returning to the camp.
It all worked out in the end. Locke’s enforced ”vision quest” convinced Boone to leave Shannon alone and allow her to continue her romance with Sayid. More importantly – at least for Locke – the two men continued to maintain the secret of the hatch within the next six to seven episodes. However, Boone never really forgotten Locke’s heavy-handed method of coercing him into a vision question. He made this perfectly clear in ”Ex Deux Machina”:
[The scene switches to Boone and Locke at the hatch.]
LOCKE: I had a dream last night. I asked for a sign and then I saw a plane crash—a Beechcraft [pointing] right out there. It was a dream, but it was the most real thing I've ever experienced. I know where to go now.
BOONE: Go for what?
LOCKE: To find what we need to open this bastard up.
BOONE: Have you been using that wacky paste stuff that made me see my sister get eaten?
LOCKE [laughing]: No, no.
BOONE: Because, John, I've got to tell you—signs and dreams...
In the end, Boone paid a heavy price for becoming John Locke’s protégée . . . assistant . . . or however you want to call him. In the same episode, Locke dreamt of the following - a Beechcraft plane crashing, as well as his mother pointing in its direction; a blood-stained Boone; being confined to his wheelchair and a woman from Boone's past who had died from a fall. As shown in the above passage, Locke did reveal some of his dream to the younger man. Unfortunately, he failed to tell Boone about seeing the latter covered in blood. With Locke’s legs temporarily paralyzed, he urged Boone to climb into the Beechcraft. The younger man managed to briefly contact someone via the plane’s radio (it turned out to be Bernard Nadler from the Tail Section of Flight 815) before the plane fell over and severely injured Boone. Locke managed to regain the use of his legs and carry Boone back to camp. But since he had failed to inform Jack about the nature of Boone’s injuries, the latter eventually died in the next episode, (1.20) “Do No Harm”.
Charlie Pace and Boone Carlyle were not the only survivors of Oceanic Flight 815 to whom Locke had volunteered his advice. In (1.14) “Special”, he tried to give parenting tips to Michael Dawson on how to handle the latter’s ten year-old son, Walt Lloyd. Being older than Charlie and Boone, and resentful of Locke’s growing relationship with Walt, Michael angrily rejected Locke’s advice. Ironically, I sympathized with Michael. God knows he barely knew anything about being a parent, considering Walt’s mother kept him away from the ten year-old. But Michael had never asked for Locke’s advice or sympathetic ear. And the older man did not help matters by attempting to teach Walt on how to throw a machete without Michael’s permission.
Locke’s relationship with spinal surgeon Jack Shephard is practically legendary amongst ”LOST” fans. And yet, their relationship had begun on a harmless note when Locke informed Jack that most of the castaways regarded him as their leader. This was Locke’s way of convincing Jack to accept the mantle of leadership. In the end, Locke grew to regret the advice he had given for by Season Two, he ended up clashing with Jack over the leadership of the castaways. Which I did not found surprising, considering that both men shared a penchant for controlling others . . . in their own fashion.
There have been other instances in which Locke inflicted his own will against the desires and choices of others . . . or manipulated others. In ”The Moth”, he prevented Sayid from setting up a signal to help the castaways get rescued. He committed a similar act in Season Three’s (3.13) “The Man From Tallahassee”, when he blew up the submarine that the Others had provided for Jack’s departure from the island. In (3.19) “The Brig”, Locke manipulated James “Sawyer” Ford into murdering his own father, Anthony Cooper. It seemed that Cooper had conned Sawyer’s family of their money back in the 1970s – an act that drove Mr. Ford to commit the double act of murder/suicide. And in the Season Three finale, (3.24) “Through the Looking Glass II”, Locke murdered island newcomer Naomi Dorrit in cold blood to prevent her from signaling her companions from an offshore freighter.
For me, there is one scene that truly symbolized the conflicting and sometimes hypocritical nature of John Locke. In Season Two’s (2.11) “The Hunting Party”, Locke and Jack had discovered that Michael had left the camp in a desperate search to find Walt, who had been kidnapped by the Others in ”Exodus II”. And the two eventually clashed over how to react over Michael’s desperate flight:
LOCKE: Doesn't seem to be -- trail's as straight as the interstate -- the path of a man who knows where he's going. [Locke stares at Jack a moment] Where are you going, Jack?
LOCKE: Well, let's say we catch up with him, Michael. What are you going to do?
JACK: I'm going to bring him back.
LOCKE: What if he doesn't want to come back?
JACK: I'll talk him into coming back.
LOCKE: This is the second time he's gone after Walt. He knocked me out; he locked us both up. Something tells me he might be past listening to reason.
JACK: What? You think we should just let him go -- write him off?
LOCKE: Who are we to tell anyone what they can or can't do?
What exactly did Locke say to Jack? Oh yes . . . ”Who are we to tell anyone what they can or can’t do?” I found the comment a very ironic comment for John Locke to make, considering his past history with Charlie, Boone and Michael. Judging from the above dialogue, Locke seemed to be a fervent believer in free will and choices. Yet, he seemed incapable of practicing what he was preaching. Despite his belief in free will and free choices, I suspect that John Locke suffered from a malady that afflict many human beings – namely a desire to inflict one’s will or control over others. Power over another is a heady drug and many would bend over backwards or make any excuse to indulge in that desire. A very popular excuse, at least with Locke, seemed to be that he had acted for the greater good on behalf of his fellow castaways – regardless of whether they had asked for his help or not. From what I have seen of Locke’s character over the series’ past four seasons, he reminds of a certain type of character who has appeared in many forms of literature over years. This type happens to an individual who has exercised very little control over his/her life and who has spent most of his/her life being manipulated by others. This has certainly been true of Locke’s character in his relationships with his parents, employers and other acquaintances. Especially his father. This could explain why given the opportunity, Locke never hesitated to make decisions for others without their consent or manipulate them with a Draconian touch that seems rather sinister.
The ironic thing is I have rarely come across any criticisms regarding Locke’s penchant for inflicting his will upon others. Many fans have complained about his willingness to be manipulated by others, especially his father Anthony Cooper and leader of the Others, Ben Linus. Some fans have complained about his obsession over the island and his long-running feud with Jack. But I do not recall coming across any complaints about his actions with Boone in ”Hearts and Mind”. And many have complimented him for the way he dealt with Charlie’s drug addiction in Season One. I wish I could share in this adulation, considering that Charlie did give up his heroin addiction. But I cannot. I believe that Locke – and possibly many fans – was more focused upon the endgame, instead of the journey. What I am trying to say is that Locke seemed so intent upon achieving a goal – whether it was to get Charlie to give up drugs or convince Boone in getting over Shannon – that he failed to realize that such goals required a great deal of work on their parts. I would have been more impressed if both Charlie and Boone had come to the realization that they needed to get over their desires and obsessions on . . . their . . . own, or made the decision to achieve these goals without being manipulated by Locke. But since Locke had decided to interfere in the lives of both men, he pretty much robbed them of their struggles.
After reading this article, one would believe that I dislike John Locke. I do not. Frankly, I consider him to be one of the most fascinating characters on ”LOST”. Like many other fans, I bought into that image of him as this mysterious and all wise man who not only understood the island better than the characters, but also understood them and their situation better than them. What I had failed to realize back in Season One that underneath the persona of the all wise island guru, John Locke was an insecure man whose enthusiasm over being healed by the island led him to interfere and manipulate the lives of some of his fellow castaways. This enthusiasm not only led him to wallow in a delusion that he knew all there was to know about life, it also hid the fact that as an individual, Locke still had a long way to go in achieving self-realization.
Sunday, December 28, 2008
"CHARMED" RETROSPECT: (1.16) “Which Prue Is It Anyway?”
Most fans of ”CHARMED” seemed to harbor the opinion that the series’ early seasons are much better than episodes that aired during the series’ last four years. After viewing Season One’s ”Which Prue Is It Anyway?”, I can easily see how they managed to form that opinion. Mind you, I believe that this particular episode was not exactly the best of Season One. But it certainly seemed like a masterpiece in compare to most of the episodes from Seasons Four to Eight.
Penned by Javier Grillo-Marxuach, the episode began with Phoebe experiencing a premonition of Prue being stabbed to death by a man with a large sword. The Halliwell sisters discovered that their new enemy is a mortal named Gabriel Statler, a Lord of War. The sword renders Gabriel invulnerable to all mortal weapons and steals power. Gabriel is after Prue because one of the family’s ancestors, a Warren witch named Brianna had bested him during the Crimean War back in the 1850s. To become fully empowered again, he needs the power of a first-born witch. Prue is specifically targeted, because he also wants revenge against the Warren family. To protect herself, Prue used a spell to multiply her strength by three. Instead, the spell created two clones of Prue. Hence . . . the title.
As much as I enjoyed ”Which Prue Is It Anyway?”, I had problems with it. One, I found the humor behind Prue and Piper’s discovery of Phoebe’s martial arts lessons tacky and slightly racist toward those of Asian descent. The episode also featured a bad moment for Phoebe to showcase her new martial arts skills – which only featured kicking. During the sisters’ final encounter with Gabriel, Piper froze him so that Prue could kill him with his sword. Unfortunately, Phoebe chose that moment to kick Gabriel, causing Piper’s freeze upon Gabriel to end. Bad timing . . . eh? I am certain that Grillo-Marxuach had deliberately written the scene to unfold as it did. I just found it rather contrived.
Another problem I had turned out to be Gabriel’s motive for hunting Prue. As I had stated earlier, Gabriel wanted revenge against the Warren family line because one of the sisters’ ancestors – a great-great-something aunt named Briana – had managed to get the best of Gabriel during the Crimean War. The Warren family had been in America since the 17th century. What was Briana Warren doing on the peninsula of Crimea (which was under the Russian Empire in 1854-56) in the mid 19th century, in the first place? Also, Gabriel went after Prue, because the latter was the oldest sister . . . and the most powerful. Frankly, I found Gabriel’s reasoning rather limited. He could have acquired a lot more power if he had hunted all three sisters . . . one at a time.
But my main problem with ”Which Prue Is It Anyway?” centered around the main villain, Gabriel Statler. Mind you, Alex McArthur portrayed the character with great relish. The problem with Gabriel rested upon his characterization as a Lord of War and his motivation for going after Prue. According to the episode, Gabriel and his sister, Helena, are members of the Lords of War, a clan of supernatural warriors dedicated to war. The Lords of War are also mortals that have started most of Earth’s wars throughout history. Why? Who knows? But this description of the Lords of War illustrated a major irritation for me – humans’ tendency to use fantasy or science-fiction as an excuse to distance ourselves from our flaws or fuck-ups. In the case of ”Which Prue Is It Anyway?”, humanity’s responsibility for its penchant for aggression is blamed on supernatural beings. Even worse, Grillo-Marxuach had never explained why the Lords of War even bothered to start wars. Perhaps the audience was simply expected to believe that Gabriel and his kind want to start chaos because they are evil. If we were . . . I cannot buy it.
Despite its flaws, ”Which Prue Is It Anyway?” turned out to be a pretty damn good story. One of the consequences that resulted from Gabriel’s witch hunt resulted in the creation of the two Prue clones. This situation provided comedic gold for the episode. As stated earlier, Prue had cast a spell to triple her power and ended up inadvertently creating two clones of herself – a perky Prue (Pink Sweater) who possessed an overbearing manner masked by a cheerful demeanor; and a sensuous Prue (Blue Sweater) with an intense penchant for male attention. Both Prue clones provided some hilarious moments – especially with Pink Prue. But the two clones also provided moments of poignancy when the real Prue was forced to feel the pain that each clone experienced while being stabbed by Gabriel’s sword. The expression in Andy Trudeau’s eyes spoke a thousand words when the good police inspector discovered Pink Prue’s body in the city morgue.
I certainly found no fault in the performances featured in this episode. Holly Marie Combs and Alyssa Milano gave solid and humorous support as their characters (Piper and Phoebe Halliwell) dealt with Prue’s alter egos. T.W. King (a great favorite of mine) did an excellent job of conveying Andy’s grief over the death of Pink Prue and his suspicions that something was amiss with the Halliwells later in the episode. It was nice to see Bernie Kopell (”GET SMART” and ”THE LOVE BOAT”) as the city morgue’s sarcastic coroner. Both Alex McArthur and Shannon Sturges gave first-class performances as the evil Statler siblings – Gabriel and Helena. I also have to give them kudos for hinting an incestuous relationship between brother and sister without being too obvious. Apparently, they had failed to be a little more subtle for even Blue Prue managed to pick up on their incestuous vibe:
”And Gabriel has this weird binding passion for Helena. So, if we grab her we can use her as leverage. A sword for his sister.”
I also have to compliment McArthur for his exuberant portrayal of Gabriel. I may have found the character’s background as a Lord of War rather purile, but I cannot help but admire the energy that McArthur infused into the role.
One could not discuss ”Which Prue Is It Anyway?” without mentioning the woman of the hour – Shannen Doherty. Watching her in action reminded me of how much ”CHARMED” had benefitted from the actress’ presence during the series’ first three seasons. I would not call Doherty’s performance in this episode as her masterpiece, but I would certainly view it as one of her better performances during her three-year stay on ”CHARMED”. In ”Which Prue Is It Anyway?”, Doherty managed to portray three facets of Prue Halliwell. Not only did she portray Prue in all her complicated glory, she also had the opportunity to portray extreme aspects of Prue’s personality. In Doherty’s portrayal of Pink Prue, she revealed the domineering and perfectionist traits of the oldest Charmed One that must have been the bane Piper and Phoebe’s lives . . . and irritated Original Prue to no end. Doherty also got the chance to reveal Pink Prue’s traits with a humorous perkiness rarely shown in Original Prue. With Blue Prue, Doherty allowed her character’s sensuality to be unleashed with comic results at Quake – the restaurant where Piper worked during Season One. Considering how Doherty managed to nab these different nuances of Prue, it was not surprising to learn that she had earned two Saturn Awards for her portrayal of Prue.
I am almost inclined to rate ”Which Prue Is It Anyway?” as one of Season One’s best episodes. But due to the episode’s limited approach to Gabriel Statler’s villainous goals and the unsatisfying and one-dimensional description of his background as a Lord of War, I cannot give it that much credit. However, writer Javier Grillo-Marxuach did pen a well-paced episode filled with humor and pathos. The first-rate cast did his script justice with a solid cast that included an exuberant performance by guest star Alex McArthur and exceptional work by star Shannen Doherty.
Below are photos from the new Bryan Singer World War II thriller about the last assassination attemp upon Adolf Hitler. "VALKYRIE" stars Tom Cruise, Bill Nighy, Kenneth Branaugh, Tom Wilkerson and Terence Stamp:
"VALKYRIE" (2008) Photo Gallery
Saturday, December 27, 2008
"AUSTRALIA" (2008) Review
I might as well say it. I have never been a fan of director Baz Luhrmann’s films. "STRICTLY BALLROOM" (1992) had failed to generate my interest. I could say the same about the 1996 version of "ROMEO AND JULIET" As for "MOULIN ROUGE!" (2001), I loathe the highly acclaimed film. Considering my views on Luhrmann’s past films, I had no desire to see his 2008 endeavor – namely "AUSTRALIA", which starred Nicole Kidman and Hugh Jackman.
"AUSTRALIA" struck me as a character study of its three main characters – Lady Sarah Ashley, a British aristocrat who inherits her late husband’s cattle station (Kidman); her Drover (Jackman); and Nullah (Brandon Walters), the mixed blood child of Lady Ashley’s Aborigine maid and a white man. Written by Luhrmann, Stuart Beattie, Richard Flanagan and Ronald Harwood, this three-way character study focuses upon Lady Ashley’s attempts to maintain her fortune and cattle station, and keep her newly formed family together that includes Nullah and the Drover. Threatening Lady Ashley’s plans are a greedy cattle baron named King Carney (Bryan Brown), Australia’s "Stolen Generation" policy regarding mixed blood children, World War II, the Drover’s emotional cowardice, the villainous machinations of a station manager named Neil Fletcher (David Wenham) and her own possessive nature. All of this is set against the epic backdrop of Australia’s Northern Territory between 1939 and 1942. The story reaches its apex in the Japanese bombing of Darwin on February 19, 1942.
If I must be frank, "AUSTRALIA" is not the type of film I could see earning nominations for any major movie awards. Except for one possible category. It is not perfect film. Let me rephrase that. "AUSTRALIA" struck me as the type of popcorn epic that would be more appreciated during the summer season. Personally, I would compare it to Michael Bay’s 2001 film, "PEARL HARBOR". Only the latter struck me as slightly superior. Thanks to Luhrmann’s direction and the screenplay he co-wrote with Beattie, Flanagan and Harwood, "AUSTRALIA" had the bad luck to be marred by overblown melodrama that had seen its heyday in television soap operas like "DYNASTY". This seemed very apparent in the film’s last act that followed the Darwin bombing. Obstacle after contrived obstacle popped up endlessly to prevent Sarah Ashley, the Drover and Nullah from enjoying a tearful reunion.
Another aspect of the film that annoyed me was its first twenty minutes that introduced the main characters. Quite frankly, those early scenes baffled me. What exactly was Luhrmann trying to achieve? I found myself watching a badly acted spoof on costume epics or Australian culture with exaggerated performances by Kidman, Jackman and Jack Thompson, who portrayed Lady Ashley’s alcoholic accountant, Kipling Flynn. Speaking of Thompson, the poor man seemed truly wasted in this film. He only hung around long enough to give an over-the-top portrayal of a drunken man who ends up being killed by stampeding cattle. And all of this happened before the first hour.
Judging from the above, one would assume that I disliked "AUSTRALIA". Heartily. Guess what? I don’t. In fact, I found myself becoming a fan of the movie by the time the end credits rolled. How was that possible? Well, once Luhrmann’s tale rolled past that . . . bizarre first twenty minutes, it actually improved. To my utter surprise, I found myself getting caught up in Lady Ashley’s horror at the discovery of her husband’s murder, her growing affection for Nullah and the other hands on Faraway Downs, her new cattle station and her growing attraction toward the Drover. The movie’s first main action piece centered around Lady Ashley’s attempt to save her station with a cattle drive to Darwin. Not only does she develop a close relationship with Nullah, but falls in love with the Drover. And she also earns a strong enemy . . . not King Carney, the cattle baron who is determined to monopolize the cattle industry in the Northern Territory, but her husband’s former station manager who not only works for Carney, but longs to take possession of Faraway Downs for himself.
One of the amazing aspects about "AUSTRALIA" is that the movie managed to provide an entertaining romance between two interesting, yet flawed people. Despite their hokey acting in the film’s opening sequences, Kidman and Jackman did a solid job in creating chemistry between Lady Ashley and the Drover – two people who seemingly had no business in becoming a couple. Kidman eventually portrayed Lady Ashley as a warm and passionate woman who was afraid to let go of those she loved. This Lady Ashley was a far cry from the ridiculously shrill woman that first arrived in Australia. And Jackman transformed the Drover from the blustery and macho Australian male archetype into a caring man who was also afraid to become emotional close to anyone. David Ngoombujarra gave solid support as the Drover’s close friend and colleague, Magarri. Well known actor-dancer David Gulpilil was very imposing and unforgettable as King George, a magic tribal leader suspected of killing Lady Ashley’s husband. And veteran actor Bryan Brown was very entertaining as the charismatic cattle baron, King Carney. Surprisingly, Brown’s character did not end up as the movie’s main antagonist. That task fell upon David Wenham, who portrayed Neil Fletcher, Lady Ashley’s station manager and later, business adversary. Recalling Richard Roxburgh’s over-the-top performance as the Duke of Monroth in "MOULIN ROUGE!", I had feared that Wenham would utilize the same approach. Thankfully, Wenham’s villainy turned out to be more nuanced and low key. He gave a perfect portrayal of an insecure man who not only harbored a deep resentment toward the more privileged types like Lady Ashley and King Carney, but was too racist to acknowledge his own half-white/half-Aborigine son, Nullah, who also happened to be tribal leader King George’s grandson. But the real star of "AUSTRALIA" turned out to be the young Aborigine actor, Brandon Walters, who portrayed Nullah. All I can say is - where did Baz Luhrmann find this kid? He was phenomenal! This is the second movie in which Nicole Kidman found herself co-starring with an inexperienced, yet very talented child actor (the first being Dakota Blue Richards of "THE GOLDEN COMPASS"). Walters, who turned out to be a very charismatic and talented young actor, literally stole the picture from his co-stars. And I suspect that must have been unusual thing to do in a movie that was nearly three hours long. Whether Walters prove to become a future star - only time will tell.
But "AUSTRALIA" is not just about the characters. Luhrmann did a pretty good job of re-creating Northern Australia during the early years of World War II. And he received able support from people like Production Designer/Costume Designer Catherine Martin (Academy Award winner), Art Directors Ian Gracie and Karen Murphy, Cinematographer Mandy Walker, Special Effects Supervisors Aaron and Brian Cox, and Visual Effects Manager Katrin Arndt. I was especially impressed by Walker’s photography of Sydney, Bowen and Northern Australia locations such as Darwin and Kununurra. She did a beautiful job of capturing the rugged and dangerous cattle drive that dominated the movie’s first half. I also have to commend both her photography and Arndt’s special effects team for the sequence that featured the Japanese bombing of Darwin. My only quibble about the bombing sequence was that it did not last very long. Granted, "AUSTRALIA" is not "PEARL HARBOR" and its plot did not revolved around the Darwin attack as the latter film revolved around the December 7, 1941 attack in Hawaii. But, I must admit that I had been looking forward to a sequence with a little more depth than was shown.
The Japanese attack upon Darwin was not the only historical topic that dominated "AUSTRALIA". The movie also focused upon Australia’s policy toward those children of Australian Aboriginal and Torres Strait Islander descent who were removed from their families by the Australian and State government agencies and church missions between 1869 and 1969. One of the victims of this policy turned out to be Nullah, who is Aboriginal on his mother. The movie featured three chilling scenes that conveyed how this particular policy affected Nullah’s life. The most chilling centered around Nullah and his mother’s attempt to hide from the local police inside Faraway Down’s water tower – an act that leads to his mother’s death by drowning.
I had realized that "AUSTRALIA" would never be considered Best Picture material. Not even by me. Luhrmann had indulged in a little too much melodrama – especially in the film’s last half hour – to suit me. And I found the movie’s first half hour very confusing. I did not know whether Luhrmann had expected the audience to take it seriously or realize that he was trying to spoof epic movies or Australia in general. Whatever he was trying to achieve, I feel that he had made a piss poor effort. But as I had pointed out earlier, once Kidman’s character arrived at her late husband’s cattle station, the movie found its groove and Luhrmann proceeded to unveil an engrossing, yet entertaining epic tale.
Wednesday, December 24, 2008
Below are five of my favorite Christmas songs of all time. Enjoy:
TOP FIVE CHRISTMAS SONGS
"Christmas in Hollis" - Run D.M.C.
"Sleigh Ride" - Disney Merry Christmas
"Jingle Bell Rock" - Bobby Helms
"White Christmas" - The Drifters
"Rudolph, the Red-Nosed Reindeer" - The Temptations
Monday, December 22, 2008
Here are some photos from the third "PIRATES OF THE CARIBBEAN" movie. I hope that you will enjoy them:
"PIRATES OF THE CARIBBEAN: At World's End" Photo Gallery