"LOST" RETROSPECT: (1.17) ". . . In Translation"

"LOST" RETROSPECT: (1.17) ". . . In Translation"

Before I commence upon this article, I should reveal that the "LOST" Season One episode, (1.17) ". . . In Translation" is one of my all time favorites from the series. I will try to be as biased as possible regarding the episode, but do not expect me to succeed.

To understand ". . . In Translation", one has to watch the previous episode, (1.06) "The House of the Rising Sun". The flashbacks in that episode revealed the backstory of the marriage between Jin-Soo Kwon and Sun-Hwa Kwon (née Paik) before they had ended up stranded on the island via Oceanic Flight 815. Told from Sun's point of view, the flashbacks revealed that Jin had to take a job working for Mr. Paik, Sun's father, for her hand in marriage. The couple became increasingly estranged, as Jin began spending more time doing his father-in-law's bidding than with his wife. One night, after they are married, Jin returned home covered in someone else's blood. Fearing that her husband might be a dangerous killer, Sun secretly plotted to leave Jin (hence the secret English lessons); but changed her mind while on route to Los Angeles, via Sydney. "The House of the Rising Sun" also revealed the growing animosity between Jin and fellow castaway Michael Dawson, when the former attacked the latter for wearing Sun's father's watch - something that Michael had discovered on the beach.

". . . In Translation" continued the revelation of the Kwon marriage, only from Jin's point-of-view. The flashbacks revealed the circumstances behind Jin asking Sun’s father her hand in marriage, the bargain he made to work for the older man, Jin’s growing awareness of Sun’s frustration with his duties and more importantly the real circumstances surrounding the infamous blood on his hands that Sun had spotted. Sun saw a man who may have committed a brutal murder. What really happened is that Jin prevented a government official – who had refused to re-open one of Mr. Paik’s factories – from being murdered by one of his father-in-law’s henchmen by convincing the man to cooperate with a severe beating. Realizing that he was in danger of losing Sun, Jin decided to take his fisherman father’s advice to use a business trip to leave South Korea and stay in the U.S. for good. Only the crash of Oceanic Flight 815 intervened. Following the events of (1.14) “Special”, Michael Dawson decided to build a raft in order to get his ten year-old son away from the dangers of the island. The hostility between Michael and Jin finally come to a head when someone mysteriously set fire to the raft. Believing that Jin had set the fire, Michael attacked the former. Sun’s desperate cries for Michael to stop revealed her knowledge of English to Jin and the other castaways. The revelation not only led to a rift between the South Korean couple, but also to the beginning of a friendship between Jin and Michael, as they proceeded to rebuild the raft.

Following the events of (1.14) "Special", Michael Dawson decided to build a raft in order to get his ten year-old son away from the dangers of the island. The hostility between Michael and Jin finally come to a head when someone mysteriously set fire to the raft. Believing that Jin had set the fire, Michael attacked the former. Sun’s desperate cries for Michael to stop revealed her knowledge of English to Jin and the other castaways. The revelation not only led to a rift between the South Korean couple, but also to the beginning of a friendship between Jin and Michael, as they proceeded to rebuild the raft.

This episode was aptly named ". . . In Translation", a take on Sofia Coppola's 2003 movie. If anything, it focused upon the main problem that surrounded the Kwon marriage - namely the bad communication that existed between the couple before and after the crash of Oceanic 815. For some time, Sun believed that Jin might be a murderer on her father's behalf, due to the blood she had spotted on his hand. This would explain why she had continuously declared to people like Michael and fellow castaway Kate Austen about Jin's dangerous nature and how "he was capable of anything". And this would explain why she took the trouble to learn English and not tell Jin. However, Jin was also guilty of keeping secrets from Sun. He never told Sun the details behind the blood on his hands, believing that it was not her place to know. More importantly, he lied about his father, Mr. Kwon, telling both Sun and her father that the latter was dead. Which is ironic, considering he left Sun after learning that she spoke English. Even more ironic is the fact that Sun knows that his father is alive . . . but never bothered to reveal this to Jin. Some viewers translated that last shot of Sun revealing her bikini without Jin hovering about, as a sign of her "freedom". Whatever ”="bondage" that Sun found during her marriage, had been created by bad communication between her and Jin. For me, Sun’s removal of her wrap struck me as a hollow and irrelevant gesture. Her "freedom" came at the cost of losing - at least for a while - the very man that she would always love more than anyone.


On a minor level, a lack of communications also continued to exist between Michael and Walt. Most fans tend to blame Michael for this by accusing him of being a poor parent. Although there were moments when Michael became forgetful of Walt. And there were other times when Michael's jealousy of Walt's friendship with castaway John Locke got in the way. However, many of these fans failed to recall that Walt was just as responsible as Michael, due to his residual resentment toward the major changes in his life - losing his mother and gaining a long lost father. Because of this resentment, Walt had a bad habit of disobeying his father when he should have done the opposite. As far as these fans are concerned, Locke would have made a better parent than Michael. Personally, I disagree. Locke was adept at being a friend to Walt. Being a friend did not necessarily mean one is a good parent. The latter has to be an effective disciplinarian, as well. Unfortunately, being a disciplinarian does not jibe with the early 21st ideal of parenthood.

A third storyline centered on the triangle that existed between Shannon Rutherford, Sayid Jarrah and Shannon’s stepbrother, Boone Carlyle. But I barely paid attention. In a nutshell, Sayid declared his intentions to court Shannon to Boone. The latter decided to stir up trouble by hinting to Sayid that Shannon likes to use older men for her own benefit. Needless to say, Shannon set things to right and resumed her romance with Sayid after receiving sound advice from Locke.

Screenwriters Javier Grillo-Marxuach and Leonard Dick really did a great job in continuing the revelations behind the Kwon marriage in this very emotional episode. The island incidents balanced very well against Jin's flashbacks regarding his marriage. And this episode really worked, due to the outstanding performances from Daniel Dae Kim and Yunjin Kim. Also Harold Perrineau (Michael Dawson), Bryan Chung (Mr. Paik), and John Shin (Mr. Kwon) gave excellent support.

Some of my favorite scenes in the episode included Jin's successful attempts to save the life of the South Korean government official, his marriage proposal to Mr. Paik and especially the poignant conversation he has with his father, Mr. Kwon, about his marriage. I also enjoyed the scenes that featured Michael's two attempts to bond with ten year-old Walt - the second being more successful. I also enjoyed Locke's revelation that Walt was responsible for burning the raft. But my favorite scene featured the moment when Jin discovered that Sun spoke English. Director Tucker Gates did an excellent job in conveying Jin's confusion with spinning camera work and muffled babble, as the the South Korean castaway tried to understand the English words that swirled around him. The only dark spot in this episode was Sawyer's attempt to form a lynch mob for Jin, after the raft caught on fire. It was an unpleasant reminder that Mr. Ford's penchant for resorting to violent retribution remained with him until the last season
.
Some time ago, I had created a LIST of my ten favorite episodes from "LOST". ". . . In Translation" ranked at number six on my list. After my recent viewing of the episode, that ranking still stands.

"HALF SLAVE, HALF FREE: SOLOMON NORTHUP'S ODYSSEY" (1984) Screenshots Gallery

Below are images from the 1984 PBS television movie, "HALF SLAVE, HALF FREE: SOLOMON NORTHUP'S ODYSSEY". Based upon Solomon Northrup's 1853 autobiography, "Twelve Years a Slave", the movie starred Avery Brooks and was directed by Gordon Parks:


"HALF SLAVE, HALF FREE: SOLOMON NORTHUP'S ODYSSEY" (1984) Screenshots Gallery

























You can find more images of this movie from this GALLERY.

"EL DORADO WEST" [PG] - Chapter Four

The following is Chapter Four of my story about a pair of free black siblings making the journey to California in 1849:




Chapter Four - Mr. Whitman's Legacy

March 9, 1849
The news shook me to my very foundations. As I had assumed, Mr. Whitman's family had inherited most of his fortune. But to my surprise, that wonderful old man also left me five thousand dollars. Five thousand!

At first, I had feared that the Whitman heirs would contest my inheritance. My fears proved to be groundless. As far as they were concerned, the five thousand dollars was my reward for keeping the old man company. Besides, the five thousand was mere chicken feed in compare to what they had inherited.

My family received the news in a state of shock. Especially Papa. He knew what the inheritance meant - at last I had the means to make the trek for California and the gold fields without his support.


March 18, 1849
After nearly a week of preparation, I finally departed Cleveland for California. Or should I say . . . "we" left? Sister Alice had decided to join me at the last moment, upsetting the family even further. Since her rejection of Charles Maxwell, the family has made life miserable for her.

From the moment I had received my inheritance until our departure, my parents desperately tried to convince Alice and me to stay in Cleveland. I simply could not oblige them. It was not that I did not love them. I simply had to leave Cleveland. The desire to see other lands and dig for gold continued to grasp my soul. Mr. Whitman understood.

It is our first night on the road. Alice and I found shelter at a small tavern near the edge of Yellow Springs. Pleasant town. Although its citizens did not exactly make an effort to make our acquaintance, they did not seemed to mind the presence of two Negroes.


March 31, 1849
After nearly two weeks of travel, Alice and I have finally reached Cincinnati and the Ohio River. We decided to head straight for the riverfront and acquire about steamboat passage to St. Louis, instead of search for local lodgings.

I have never seen so much activity in one spot in my life! Cincinnati teemed with all sorts of characters - local riff-raff, stevedores, complacent-looking farmers, and well-dressed travelers on their way to heaven knows where. We even had our first glimpse of those rustic-looking creatures called mountain men, with their unruly beards, Indian clothings and tanned faces. Whores - especially those of the worst kind - teemed the levee, looking for new customers. But if there is one thing I will never forget about this city is the pigs! I forgot that Cincinnati was the pork capital of the nation. A person cannot walk one block without encountering the pink-skinned creatures.

Recalling that Cincinnati was a favorite hunting ground for slave catchers, I began to wonder if I would see any of their black merchandise. In the end, it was Alice who spotted the first of them - three black men chained together in a coffle. A tough-looking white man wearing a wide-brimmed hat, led them. The sight sent a chill down my spine and for the first time since leaving, I longed for the familiarity of my father's home.

Another sight temporarily erased any fears that the slave coffle had produced. Since Cinncinati happened to be one of the major ports along the Ohio River, river vessels of every kind filled the spaces by the river. Flatboats, keelboats (rarely used these days) and canoes. But the vessels that dominated the Ohio and Mississippi Rivers, along with the Great Lakes were the towering steamboats. And they nearly filled the riverfront.

Both Alice and I were at a loss. It would take us forever to discover which boat was destined for St. Louis. Someone would have to remain with the wagon, while the other searched for a vessel. And I did not look forward to leaving Alice by herself. She was young, pretty, female and colored - the perfect target for any man, especially a white one who might be interested in carnal pleasures or slave hunter. Fortune eventually appeared in the form of one Reverend Abraham Miller of a local Baptist church for Negroes. He allowed us to keep our wagon inside his barn, until our departure. He also invited us to join his family for supper.

Meanwhile, Alice and I scoured the riverfront for passage to St. Louis. Thankfully, we managed to find one within an hour. The name of the steamboat was the ALBERT P. SIMPSON. It was a white, three-story vessel trimmed in dark-blue. Its smoke stacks were painted in the same color. A uniformed purser informed us that it was scheduled to depart Cincinnati tomorrow afternoon at two o'clock. That left us with less than twenty-four hours in the city. When I had informed Reverend Miller, he suggested that we spend the night at a local boardinghouse two blocks away from his church. Cinncinati turned out to be slightly more friendly than I had orginally assumed.


End of Chapter Four

"THE KENNEDYS" (2011) Review

"THE KENNEDYS" (2011) Review

The past thirty to forty years have seen a great deal of movies, documentaries and television productions about one of the most famous political families in the U.S., the Kennedys. But none of them have garnered as much controversy or criticism as this latest production, an eight-part television miniseries that aired last April.

Directed by Jon Cassar, "THE KENNEDYS" chronicled the family’s lives and experiences through the 1960s – mainly during President John F. Kennedy’s Administration. The miniseries also touched upon some of the family’s experiences and relationships before JFK first occupied the White House through flashbacks in Episode One, which also focused upon Election Day 1960. And Episode Eight covered the years between JFK’s assassination and the death of his younger brother, Robert F. Kennedy in June 1968. But the meat of the miniseries centered on the years between January 1961 and November 1963. Unlike most productions about the Kennedys, which either covered JFK’s public experiences as President or the family’s private life; this miniseries covered both the public and private lives of the family.

Much to my surprise, "THE KENNEDYS" attracted a great deal of controversy before it aired. The miniseries had been scheduled to air on the History Channel for American audiences back in January of this year. However, the network changed its mind, claiming that "this dramatic interpretation is not a fit for the History brand.". Many, including director Jon Cassar, believed that the network had received pressure from sources with connection to the Kennedy family not to air the miniseries. Several other networks also declined to air the miniseries, until executives from the Reelz Channel agreed to do so. That network failed aired "THE KENNEDYS" back in April and other countries, including Canada and Great Britain also finally aired it. After viewing the miniseries, I do not understand why the History Channel had banned it in the first place.

The miniseries not only attracted controversy, but also mixed reviews from the critics. Well, to be honest, I have only come across negative reviews. If there were any positive commentary, I have yet to read any. For me, "THE KENNEDYS" is not perfect. In fact, I do not believe it is the best Hollywood production on the subject I have seen. The miniseries did not reveal anything new about the Kennedys. In fact, it basically covered old ground regarding both JFK’s political dealings with situations that included the Bay of Pigs, the Civil Rights Movement and the Cuban Missile Crisis. It also covered many of the very familiar topics of the Kennedys’ private lives – including the adulterous affairs of both JFK and Joseph Senior. Hell, even the miniseries' take on the Cuban Missile Crisis seemed more like a rehash of the 2000 movie, "THIRTEEN DAYS". In fact, the only aspect of this miniseries that struck me as new or original was the insinuation that First Lady Jacqueline Kennedy may have received amphetamine shots (also taken by JFK) from a Doctor Max Jacobson, to boost her energy for the numerous duties of her office. And I have strong doubts over whether this is actually true.

I have one other major complaint about the miniseries – namely the final episode. Episode Eight covered Jacqueline and Bobby’s lives during the remainder of the 1960s, following JFK’s death. For me, this was a major mistake. Although Part One mainly covered Election Day in November 1960, it also featured flashbacks of the family’s history between the late 1930s and 1960. But the majority of the miniseries covered JFK’s presidency. In my opinion, ”THE KENNEDYS” should have ended with JFK’s funeral, following his assassination in Dallas. I realize that the miniseries also featured the lives of Bobby, Jacqueline, Joseph Senior, Rose and Ethel’s live in heavy doses, it still centered on Jack Kennedy. By continuing into one last episode that covered Jacqueline and Bobby’s lives following the President’s death, it seemed to upset the miniseries’s structure. If that was the case, the setting for ”THE KENNEDYS” should have stretched a lot further than the 1960s.

But despite my complaints, I still enjoyed "THE KENNEDYS". For one thing, it did not bore me. The pacing struck me as top notch. And it lacked the dry quality of the more well-received 1983 miniseries, "KENNEDY". Although I believe that particular miniseries was superior to this new one, it sometimes felt more like a history lesson than a historical drama. It is possible that the additions of sequences featuring the family’s personal lives and scandals may have prevented me from falling asleep. But even the scenes that featured JFK’s presidency struck me as interesting – especially the scenes about the failed Bay of Pigs invasion in Episode Three. I also enjoyed the flashbacks that supported the miniseries’ look into Joseph Kennedy Senior’s control over his children and the shaky marriage between JFK and Jacqueline. At least two particular flashbacks focused upon JFK’s affair with Hollywood icon Marilyn Monroe, and its near effect upon younger brother Bobby. One scene that really impressed me was Bobby’s first meeting with the starlet. Thanks to Cassar’s direction, along with Barry Pepper (Bobby Kennedy) and Charlotte Sullivan’s (Marilyn Monroe), the scene reeked with a sexual tension that left viewers wondering if the pair ever really had a tryst. Both Greg Kinnear and Katie Holmes gave outstanding performances in two particular scenes that not only featured the explosive marriage between the President and First Lady, but also the depths of their feelings toward one another. The miniseries also scored with Rocco Matteo’s production designs. I was especially impressed by his re-creation of the White House, circa 1961. I was also impressed by Christopher Hargadon’s costume designs. He did a first-rate job in not only capturing the period’s fashions for both the male and female characters, but also in re-creating some of Jacqueline Kennedy’s more famous outfits.

Aside from the pacing, the miniseries’ biggest strength turned out to be the cast. I have already commented upon Charlotte Sullivan’s excellent performance as Marilyn Monroe. But she her performance was not the only supporting one that impressed me. Kristin Booth gave a top-notch portrayal of Bobby Kennedy’s wife, Ethel. And she did this without turning the late senator’s wife into a one-note caricature, unlike other actresses. I was also impressed by Don Allison’s turn as future President, Lyndon B. Johnson. However, there were moments when his performance seemed a bit theatrical. I also enjoyed how both John White and Gabriel Hogan portrayed the rivalry between a young JFK and Joseph Junior during the late 1930s and early 1940s, with a subtlety that I found effective. However, both Tom Wilkinson and Diana Hardcastle really impressed me as the heads of the Kennedy clan – Joseph Senior and Rose Kennedy. They were really superb. Truly. I was especially impressed by Wilkinson’s handling of his New England accent, after recalling his bad American accent in 2005’s "BATMAN BEGINS". And I had no idea that Diana Hardcastle was his wife. Considering their strong screen chemistry, I wonder if it is possible for husband and wife to act in front of a camera together, more often.

The best performances, in my opinion, came from Greg Kinnear, Katie Holmes and Barry Pepper as JFK, Jacqueline Kennedy and Bobby Kennedy, respectively. For some reason, Pepper’s portrayal of Bobby seemed to keep the miniseries grounded. He did a great job in capturing the former senator and Attorney General’s ability to maintain solidarity in the family; and also his conflict between continuing his service to JFK and the family, and considering the idea of pursuing his own profession. Greg Kinnear’s take on JFK struck me as different from any I have ever seen in previous movies or television productions. Yes, he portrayed the style, charm, intelligence and wit of JFK. He was also effective in conveying the President’s conflict between his lustful desires for other women, his love for his wife and any "alleged" guilt over his infidelity. There seemed to be a slightly melancholy edge in Kinnear’s performance that I have never seen in other actors who have portrayed JFK. But I feel that the best performance came from Katie Holmes in her portrayal of First Lady Jacqueline Kennedy. Personally, I thought it was worthy of an award nomination. However, I doubt that anyone would nominate her. Pity. I thought she did a superb job in capturing not only the style and glamour of the famous First Lady, but also the latter’s complex and intelligent nature.

I am well aware that most critics were not impressed by the miniseries. Hell, I am also aware that a good number of viewers have expressed some contempt toward it. I could follow the bandwagon and also express a negative opinion of "THE KENNEDYS". But I cannot. It is not the best production I have ever seen about the famous political family. It did not really provide anything new about the Kennedy family and as far as I am concerned, it had one episode too many. But I was impressed by Jon Cassar’s direction, along with the outstanding cast and first-rate production and costume designs. And thinking about all of this, I still do not understand why the History Channel went through so much trouble to reject the miniseries’ airing on its network.

"THE GREEN LANTERN" (2011) Photo Gallery

Below are images from the new DC Comics movie, "THE GREEN LANTERN". Directed by Martin Campbell, the movie stars Ryan Reynolds, Blake Lively and Peter Sarsgaard:


"THE GREEN LANTERN" (2011) Photo Gallery

"THOR" (2011) Review

"THOR" (2011) Review

My knowledge of European-based mythology is very sketchy. I am familiar with some figures of both the Greek and Roman mythologies. But my knowledge of Norse mythology is even less. As for the many characters from Marvel Comics, I barely knew about any of them - aside from "SPIDER-MAN", until the past decade. One can only imagine my surprise when I learned that one of Marvel's more successful super heroes was the Norse god, Thor.

Based upon the Norse mythology and the Marvel Comics character, "THOR" is an origin tale about the God of Thunder (and several other things), and how he ends up on Earth and becomes affiliated with S.H.I.E.L.D. The story begins in New Mexico, when scientist Jane Foster, her assistant Darcy Lewis and mentor Dr. Erik Selvig stumble across a figure that has tumbled from a wormhole in the sky. That figure turns out to be Thor, the Norse god that was exiled by his father, Odin, king of Asgard.

Earlier, Thor had been preparing to ascend to the throne of Asgard, but his ceremony was interrupted when Frost Giants attempted to retrieve the source of their power, the Casket of Ancient Winters, which had been taken by Odin in an earlier war. Against Odin's order, Thor traveled to Jotunheim, the Frost Giants' realm, to confront their leader Laufey; accompanied by his brother Loki, childhood friend Sif and the Warriors Three - Volstagg, Fandral and Hogun. A battle ensued until Odin intervened to save the Asgardians, which destroyed the fragile truce between the two races. For Thor's arrogance, Odin stripped his son of godly power and exiled the latter to Earth, accompanied by Thor's hammer Mjolnir — the source of his power, now protected by a spell to allow only the worthy to wield it.

No one was more surprised than me upon learning that actor/director Kenneth Branaugh had manned the helm for "THOR". Pop culture movie franchises were nothing new to him. After all, he had appeared in 2002's "HARRY POTTER AND THE CHAMBER OF SECRETS". But directing an adaptation of a comic book series? Mind you, "Thor" is a different kettle of fish in compare to . . . say "Spider-Man", "The Fantastic Four" or "Iron Man". After all, Thor originated as a figure in Norse mythology. However, I must admit that I found it difficult to wrap my mind around the idea of a known Shakespearean actor directing a comic book hero movie.

In the end, I believe that Branaugh did a pretty good job. "THOR" turned out to be a solid tale filled with mythology, some first-rate acting, family drama, comedy and action. The best aspect of "THOR" was to me - hands down - the family drama surrounding the main hero and his relationships with his father Odin and his younger brother, Loki. This family drama originated in Thor's arrogant nature and brother Loki's discovery that he was an orphan that Odin had discovered in the Frost Giants realm. Despite his discovery that he was a Frost Giant instead of an Asgardian, Loki viewed Thor as an unsuitable heir to the Asgard throne and used Thor's exile to muscle his way to the throne . . . and, uh Odin's heart.

Another aspect of "THOR" I found interesting was the story line about S.H.I.E.L.D.'s investigation into the wormhole that delivered Thor to Earth and his hammer Mjolnir, which is stuck in the middle of the New Mexican desert like Excalibur. The first encounter between the forces of S.H.I.E.L.D. and Thor during a rainy evening also provided some interesting action. This sequence not only featured a brutal fight to the now mortal Thor and a S.H.I.E.L.D. agent and a cameo appearance by future Avenger member, Clint Barton aka Hawkeye.

The New Mexico sequences provided most of the comedy featured in "THOR". The former Norse god's interactions with Jane Foster, Erik Selvig, Darcy Lewis and the locals of the New Mexico town where they resided. Ashley Edward Miller, Zack Stentz and Don Payne's screenplay not only provided a good deal of slapstick humor and witty one-liners for the Darcy Lewis character, but also a variation on the "fish out of water" theme.

And If there is one thing that the movie did shine was its production designs and cinematography. Bo Welch did a excellent job in recapturing the rugged setting of the small New Mexican town and the Frost Giants' realm of Jotunheim, featured in the film. But he did a superb job in his design of Asgard, the realm of the Norse gods. Asgard possessed a sleek, colorful and over-the-top quality that reminded me of what the Art Deco style would look in the hands of Hollywood craftsmen in the 1930s and 40s. And Haris Zambarloukos' photography did great justice to both settings, especially Welch's designs for Asgard. Even though I found the movie's theme somewhat conflicting, I must admit that I found Paul Rubell's editing rather smooth and well done in both the action sequences and the jumps between Asgard and New Mexico.

However, I have yet to encounter a movie that I would consider perfect. And "THOR" was far from perfect. The film's main problem was that it seemed to have a conflicting quality about it. Because the movie's setting constantly moved from Asgard to New Mexico and back, it ended up striking me as a mixture of "CLASH OF THE TITANS" and "STARMAN". And this conflicting style did not seem to balance very well. I could have settled for "THOR" beginning its story in Asgard and remaining in New Mexico until the last scene. Unfortunately, most of the movie's more important action occurred in Asgard, leaving the New Mexico sequences to bear the brunt of most of the comedy. By the time the movie's last scene ended, I could not tell whether this was a movie about mythological gods or a comic book hero. "THOR" was a pretty good movie, but it did not exactly rock my boat. I found the story a bit mediocre and conventional. And the problem, if I must be honest, rested with Marvel Comics' decision to create a comic series about a well-established mythological figure, instead of a new and original character.

Also, there were a few performances that failed to impress me. I realize that the three actors and one actress that portrayed Thor's Asgardian friends - Sif and the Warriors Three - were very popular with moviegoers. Unfortunately, not only did they fail to impress me, I found them rather uninteresting. Poor Rene Russo. Within a decade she went from leading lady to a minor character actress, stuck in the thankless and nothing role of Thor's stepmother, Frigga. Jeremy Renner as Hawkeye was really wasted in this film. In fact, he did nothing at all, except pose with a bow and arrow. I realize that he will appear as one of the Avengers in the upcoming 2012 film, but he was never allowed to strut his stuff like Scarlett Johanssen in "IRON MAN 2".

Aside from the performances I had earlier mentioned, "THOR" seemed blessed with a first-rate cast. I was surprised to learn that Chris Hemsworth had portrayed James T. Kirk's doomed father in the 2009 movie, "STAR TREK". His George Kirk had been so dull. Fortunately, portraying Thor gave him the opportunity to shine in a complex role that developed from an arrogant and over-privileged prince with an aggressive sense of self to a more compassionate and wiser man who had fallen in love. For an actor with only eight or nine years of acting experience - most of them on television - Hemsworth more than held his own against the likes of Oscar winner Anthony Hopkins. And those scenes that featured Thor's encounters with Jane's van conveyed Hemsworth's talent for physical slapstick humor. As an on-screen fighter, he struck me as a bit crude, but I am certain that he will improve with time. Natalie Portman gave a charming and humorous portrayal of Dr. Jane Foster, the astrophysicist who is not only obsessed with her work, but eventually finds love with Thor. Mind you, I did not find her character particularly exceptional. But I am glad to say that Portman tried all she could to make Jane an interesting personality. But one of the two best performances came from Tom Hiddleston's portrayal of Loki, Thor's resentful and conniving younger brother. Loki was definitely the movie's main villain. The joke he had played (luring three Frost Giants to the chamber that held the Casket of Ancient Winters) on Thor's ascension ceremony not only led him to the discovery that he was an abandoned Frost Giant infant taken by Odin, but also gave him the opportunity to discredit Thor and take the latter's position as Odin's more cherished son. Mind you, I cannot say that Hiddleston conveyed Loki's mischievous sense of humor effectively. But he did handle Loki's conniving nature, jealousy toward Thor and outrage over the story behind his true nature with great skill and subtlety.

Other outstanding performances came from Idris Elba, who portrayed Asgard's gatekeeper, Hemidall; Kat Dennings as Jane's sardonic assistant Darcy Lewis; Clark Gregg as S.H.I.E.L.D. agent Phil Coulson; and Colm Feore as Laufey, King of the Frost Giants (and Loki's real father). I was amazed at how Elba managed to convey all of Hemidall's emotions and intelligence with very limited movement. No wonder he became very popular with many of the film's characters. And Colm Feore managed to do something quite similar. He conveyed all of Laufey's malice and secrecy behind a ton of body makeup. Aside from Hemsworth's foray into slapstick, the New Mexico sequences featured a deliciously sly and humorous performance by Kat Dennings, who portrayed Darcy. And it was great to see Clark Gregg reprise the role of Phil Coulson for the third time (he made two earlier performances in the two IRON MAN movies). Thankfully, the movie's script allowed him to be more complex and increasingly sardonic, allowing Gregg to really show his acting chops. Finally, the movie benefited from solid performances by Anthony Hopkins' majestic portrayal of Odin, Thor's father and Stellan Skarsgård as Jane's dependable and practical mentor, Dr. Eric Selvig.

In conclusion, "THOR" proved to be an entertaining movie and another step toward "THE AVENGERS", the big Marvel Comics saga for 2012. The movie provided solid direction from Kenneth Branaugh and excellent performances from most of the cast. But the movie's conflicting genre(s) and somewhat mediocre story led me to realize that I would never consider it to be one of the outstanding releases from Marvel Studios.

"EL DORADO WEST" [PG] - Chapter Three

The following is Chapter Three of my story about a pair of free black siblings making the journey to California in 1849:


Chapter Three - Mr. Whitman's Offer

March 1, 1849
Another one of Cleveland's colored citizens departed for California, today. Josiah Norris, a carpenter and former classmate of Randolph's, had sold his shop, purchased a wagon and team and headed for Pittsburg. Chances are he will probably board a steamboat as far west as Cairo, Illinois.

First Tom Russell leaves and now, Josh Norris. Who will be next? Benjamin Fleming? I only hope. Yet, I suspect that my chances of leaving Cleveland might prove to be very slim. Despite a sizeable bank account from my years as manager of one of Papa's livery stables, I did not possess enough funds to finance a journey to California and sustain me in the goldfields.

"How much do you have?" Mr. Whitman asked. A former mountain man who had made his fortune in the fur trade, he happened to be our next door neighbor. After making his fortune, Mr. Whitman opened several dry goods stores throughout Northern Ohio. Quite an accomplishment for a man who had spent the first fifteen years of his life as a slave in Maryland.

It was Mr. Whitman who had told me about Josiah. He understood my need to leave Cleveland. After all, he had been young once. At fifteen, he had escaped his master and made his way to Pittsburg where he joined a fur trading expedition to the Illinois country. And that had been his first journey. In the ensuring thirty years, he had seen St. Louis, New Orleans, the Missouri River, Jefferson Territory, the Rockies and the Southern Plains. Only these days, he seemed to be afflicted by bad health.

Again, he asked, "How much, son?"

I told him. Five hundred dollars. Only enough to get me as far as Fort Laramie. Maybe.

Mr. Whitman agreed that five hundred dollars was not enough. His next question took me by surprise. "How would you like another twenty-five hundred?" Three thousand dollars! It was more than enough. But I could not understand why he would give me over two thousand dollars. And because of that, I had no choice but to refuse his offer.


March 5, 1849
The country has a new President - Zachary Taylor, who happened to be the new Mexican War hero. Papa dismissed the news with a sneer. "Another Southern slave owner," he grumbled. And one who, along with Winfield Scott, had conquered Mexico's former possessions.

On the same day that our new president was inaugurated, Ephraim Whitman died peacefully in his bed. He had been 69 years old. Not only had I lost a chance to acquire needed funds for the trip west, I had lost a true friend. Mr. Whitman had been 75 years old. Two sons and a daughter survived him. I can only assume they will inherit the Whitman fortune. Lucky fellows!

End of Chapter Three

The Future and Past Mrs. Don Draper

THE FUTURE AND PAST MRS. DON DRAPER

As many fans know, (4.13) "Tomorrowland", the Season Four finale of "MAD MEN" revealed Don Draper aka Dick Whitman proposing marriage to his secretary, Megan. And she said yes. Megan is just as beautiful as Betty. She is younger and seemed to be a better parent than the former Mrs. Draper.

Some fans have criticized Don for dumping the pragmatic Faye Miller for the superficially satisfying Megan. Some have waxed lyrical over Don's new choice, claiming that she will prove to be the perfect addition to the Draper family. I suspect that whatever misgivings some fans have about Don's engagement to Megan, many of them will fall in love with her during Season 5. Why? Because I have a deep suspicion that series creator Matt Weiner will portray Megan as the perfect wife/mother. She will not only be willing to accept Don as he is and not be concerned with his Dick Whitman persona, she will also be portrayed as the perfect stepmother for the Draper kids.

I suspect that these fans will especially love Megan for being the perfect stepmother, because we live in a society that believes the perfect mother is one that indulges her children, not discipline them. Weiner will make sure to portray Megan in the way many wanted Betty to be portrayed – as the perfect early 21st century mother in a story set in a mid 20th century tale. I have noticed his tendency to kowtow to fans' demands of how they perceive certain characters.

As for Betty, I never thought she was a monstrous mother. I have always viewed her as a conventional and somewhat mediocre parent. I also suspect that Betty was having a difficult time dealing with her divorce from Don, and the fact that she spent ten years with a man who had been lying to her from Day One. That was why she was having a meltdown in during Season Four. The problem is that our society seem to frown upon people having emotional difficulties in life. We would prefer if everyone behaves perfectly or as if we are not having any personal problems . . . all the time. Especially mothers.

Many have accused Betty of harboring this same attitude and trying to project this image of perfection. And they would be right. But these same fans seemed willing to ignore the fact that most of the series' characters are also like this. In fact, I suspect that many of the show's fans are like this, as well. They criticize Betty for trying to project a perfect image . . . and failing; yet they ignore this trait in the other characters. More importantly, they ignore this trait in humanity. They seemed to be unaware of their intolerance toward Betty's flaws and their demands that she behave like the perfect mother. Quite frankly, I find this behavior a lot more disturbing than Betty's or that of the other characters.

"SUPER 8" (2011) Photo Gallery

Below are images from the new science-fiction movie, "SUPER 8". Written and directed by J.J. Abrams and produced by Steven Spielberg, the movie stars Joel Courtney, Elle Fanning, and Kyle Chandler:



"SUPER 8" (2011) Photo Gallery

"PLATINUM BLONDE" (1931) Review

"PLATINUM BLONDE" (1931) Review

For over seven decades, many movie fans and critics have ignored the 1931 comedy, "PLATINUM BLONDE". They have dismissed it as some mediocre, obscure film from the early talkies period deemed unworthy of any real film criticism. But due to recent interest in that particular era, the film’s reputation has grown over the past several years.

Directed by Frank Capra and written by Jo Swerling, "PLATINUM BLONDE" is a romantic comedy about a newspaper reporter named Stew Smith, who becomes romantically involved with Ann Schuyler, a wealthy young socialite, after writing an expose about one of her brother’s romances. Unaware of the romantic feelings of a female colleague named Gallagher for him, the reporter marries the socialite. However, both Stew and Ann ending up assuming that the other is the one whose lifestyle must change.

Personally, I believe that "PLATINUM BLONDE" is a decent effort by Frank Capra during the early period of sound. Swerling’s script provided an interesting and comic portrayal of a marriage doomed by the couple’s class differences and their own arrogance. Surprisingly, I suspect that many moviegoers in 1931 saw the Ann Schuyler character as the cause behind the marriage’s failure. After all, she was a woman and from a wealthy background. Many probably felt that she should have been the one to change her lifestyle for the sake of her marriage. The movie did portray Stew giving in to her demands on two counts – living with her family and changing his wardrobe. But he did so, protesting rather loudly and still believing that Ann should surrender to his demands. Instead of condemning both Stew and Ann for their joint failure to compromise for the sake of their marriage, Capra and Swerling decided to portray Ann as the "villain". Even worse, the script provided Stew with a potentially perfect mate in Gallagher, after his marriage ended before the film’s last reel. Watching a professional journalist like Gallagher portray the little housewife, fetching and cooking for the now free Stew did not exactly leave a glowing feeling within me.

Many of the early talkies had a reputation for being nothing more than a filmed play. Most of ”PLATINUM BLONDE” managed to avoid getting bogged down with a slow pace. I found most of the movie surprisingly fast-paced. This is a miracle, considering that most movies during that period were bogged down in pacing, due to the studios’ inexperience and insecurities on how to deal with sound technology for films. Although most of ”PLATINUM BLONDE” managed to move at a brisk pace, the scene featuring Stew’s first meeting with Ann and the rest of the Schuyler family did not. Only during this sequence, did the movie threatened to bog down into a filmed play. Not even Swerling’s sharp dialogue or actor Robert Williams’ frenetic acting could prevent this.

I have heard that the movie was supposed to be a vehicle for Loretta Young and the movie’s original title was "GALLAGHER". I also heard that "PLATINUM BLONDE" was supposed to be a showcase the 20 year-old Jean Harlow and the color of her hair (which was one of several aspects that made her a star), hence the name of the movie’s title. Yet, Loretta Young ended up receiving top billing. Frankly, I found this confusing. It seemed obvious to me that Robert Williams was the real star of this particular movie, given his exuberant performance. It is a mystery to me why Columbia Pictures’ boss, Harry Cohn, could not see this. Sure, I could see why they pushed Harlow’s role, considering that she was fast becoming a sex symbol. But Young’s role seemed a lot smaller than both Williams and Harlow’s roles. Why give Williams second billing? He deserved first billing. Another aspect of "PLATINUM BLONDE" that took me by surprise was that it did not seem much of a Pre-Code film to me. Despite Jean Harlow’s presence, the movie seemed too much like a Frank Capra film, with its emphasis on class warfare. Despite the main male character involved with one woman and another woman desperately in love with him, there is very little hint of sex or sexual innuendo in this film. The sexiest scene I could recall featured Harlow and Williams’ horseplay on a sofa that struck me more as adolescent than something worthy of a Pre-Code film or anything Post-Code.

Many critics and fans have claimed that Harlow had been miscast as an heiress. Apparently, many seemed to have the notion that Harlow was incapable of portraying a role that did not call for her to be a spunky member of the working-class. First of all, Harlow did not come from such a background. She came from an upper middle-class or upper-class Kansas City family and was indulged as a child. Which made her, in my opinion, capable of portraying an heiress. And she did a pretty damn good job, as far as I am concerned. Loretta Young was sweet and spunky as the love-sick Gallagher. However, her role did not struck me as strong enough to warrant her top billing. I have heard about Robert Williams in the past and comments about his road to stardom being cut off by sudden death from peritonitis three days after the film's release. After seeing his exciting performance in "PLATINUM BLONDE", I believe that he had what it took to become a star in 1930s Hollywood. He was generally good-looking, talented, adjusted to talking pictures like a duck to water, and possessed a strong screen presence. Alas . . . fate had something else in store for him.

And as much as I liked "PLATINUM BLONDE", I find it difficult to get over my distaste toward the movie’s portrayal of the Stew Smith-Ann Schuyler marriage. I did not care for Capra and Swerling’s decision to make Ann the “villain” of the marriage, considering that both she and Stew were determined to be the one who controlled the marriage. I found the scene featuring Stew’s introduction to the Schuyler family rather long and slow-paced. And I believe that Loretta Young’s top billing undeserved. But aside from one scene, Capra directed a fast-pasted and entertaining movie filled with sharp dialogue written by Jo Swerling. And audiences were given a brief glimpse of the potential stardom that actor Robert Williams could have enjoyed, if fate had not stepped in.