MOVIE OF THE WEEK: The Lone Ranger

Nope, your eyes aren't deceiving you. 'The Lone Ranger' is my top pick for this week. In case you hadn't heard, this film was a major flop this summer, getting shunned by critics and audiences alike. Well, I clearly disagree as I found it to be one of the most enjoyable films of the year.
Based on an old radio series, this western features Armie Hammer the title character and Johnny Depp as his sidekick Tonto. Teaming up to exact revenge on the man who killed the Lone Ranger's brother, they embark on an adventure through the wild west. What follows is a messy chutzpah that really shouldn't work (and many would say it doesn't), but somehow I found it very entertaining.
Perhaps my positive response to the film is based on my experience watching 'Hansel & Gretel: Witch Hunters' the day before. By some strange stroke of fate, 'The Lone Ranger' came along and justified every problem I had with that film. It's perhaps easier to understand my contrarian opinion then, by doing a comparison between the two.
Firstly, I found "Hansel & Gretel" to be very uninspired and plain, but this film definitely had a vivid style. It's often hard to ascertain how certain films accrue such massive budgets, but it's very apparent here. The $215 million budget is all there on the screen, with outstanding production design, makeup, costumes and visual effects.
While "Hansel & Gretel" struggled to establish its tone, "The Lone Ranger" was very consistent with its frivolity. This film uses classic screwball sight gags and audacious stunts that evoke nostalgia for the comedies of Hollywood's Golden Age. I remarked on the ineffectiveness of the R-rated content in "Hansel & Gretel" and this is a great example of the creativity that can still arise out of PG-13. For example, the villain is no less intimidating (he even eats someone's heart!) than Famke Janssen's over the top shenanigans. In general, the danger is just as palpable, maybe even more so.
In terms of the humour, I found this to be much funnier too. Depp's deadpan delivery, quirky antics and his "buddy cop" chemistry with Hammer were fantastic. The same can't be said about the leads (Jeremy Renner and Gemma Arterton) in "Hansel & Gretel", who suffered from unspecific characterizations.
In the end, I would certainly admit that the script needed some fine-tuning but those strong points left me mostly satisfied. These elements came together best in my favourite moments of the film - the action sequences. The big setpieces here were just so much fun that I couldn't help but ignore the film's flaws. If modern blockbusters are all about the spectacle, then I definitely got my money's worth.

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OSCAR WATCH: Saving Mr. Banks

One of the many "based on a true story" Oscar films this year is Disney's "Saving Mr. Banks". This film is based on the tireless efforts by Walt Disney to make the famous 1964 film "Mary Poppins". In capturing this pre-production, Tom Hanks fills the shoes of Mr. Disney himself but the central performance of this film is the author of the Mary Poppins novels - P.L. Travers (played by Emma Thompson). As we take this behind the scenes look, we get to the know the inspiration for the character and her importance to the author. As we soon find out, Mary Poppins is a very personal creation for Travers, explaining that the character and the Banks family (the major characters in the book) are like family to her. In order to make the film though, she must relinquish some creative control to Disney as he secures the rights to the novel, which turns out to be the ongoing struggle of the plot.
Indeed, as the story progresses much of it is dedicated to the repeated objections by Travers in relation to the concept of the film. Strongly opposed to the intended playful, musical nature she becomes quite an insufferable character. Due to this constant narrative thread, the film often feels very dull. It makes you likely to wonder what was so special about this particular film production in the first place. Especially considering the magic and charm involved in Mary Poppins, this ends up feeling very mundane in comparison. Thankfully, there's another aspect to the story that picks up the slack. Using flashback sequences from Travers' own childhood, we get a stronger understanding of this fictional story and the seemingly rigid Travers. For my money, this subplot is the real heart of "Saving Mr. Banks".
Despite the humdrum plot mechanics of the production drama though, Thompson and Hanks give compelling performances that keep you engaged. Thompson is clearly better than the material she's given, expertly towing the line between making her character empathetic without softening her hard edges. Meanwhile, Hanks is the epitome of warmth and charm as he embodies the persona of his iconic character. As a Mary Poppins fan, I would have liked to see some recreations of individual scenes, but these actors captured the essence of the film well enough.
Overall, I would hardly call this an outstanding feat of filmmaking but the performances and general design (the costumes and production design of 1960s Los Angeles are a visual delight) make it well worth your time. Fans of the "Mary Poppins" are likely to be particularly pleased with this further insight into the making of this beloved film.

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A ROTTEN TOMATO: Hansel & Gretel: Witch Hunters

Eternally in vogue, the Grimms' Fairy Tales received the Hollywood treatment yet again with 2013's "Hansel & Gretel: Witch Hunters". The tale tells that of siblings Hansel and Gretel, who escaped death at the hands of a wicked witch who tricked them with her candy cottage. Using their wits, these children manage to push her into an oven to be burnt alive and they live happily ever after. This is the story's foundation in both the traditional story and this film, however this 2013 adaptation takes it one step further, continuing their witch-killing tendencies through adulthood, transforming them into ferocious bounty hunters. It's a bold narrative choice but does it work?
Well, the simple answer is no. What we have here is an uninspired take that lacks any sort of distinctive filmmaking style. The visuals are plain, the characters are broadly written and the action is over the top. As much as "Snow White and the Huntsman" was bashed last year, at least it had a well-defined tone with its moody cinematography, striking costumes and a memorable villain. This production has none of that. In taking a fairy tale and adding such dark violent elements, the whole narrative struggles with tone. For example, the warm set design never conveys any sense of desolation, yet the savagery of the action (bloody impalements and severed body parts) seems taken from a brutal horror film. On top of that, the "f words" and "b words" just seemed out of place for the film's setting. All things considered, this film may have been better off if it had been adjusted for a PG-13 rating. It's likely that it would have forced some more creativity in the filmmaking process.
Apart from the confused tone, everything just seems so dated. The campiness of the action and dialogue strangely reminded me of the Power Rangers TV franchise. That isn't an insult by itself (I was a Power Rangers fan back in the day), but it's a problem when you consider that was a popular 90s kids show (I refer to the original series of course) and this is a 2013 R-rated action movie. As a result, the campy humour never made me laugh and the cruelty just seemed unnecessarily mean-spirited.
In the end, the Power Rangers comparison would suggest that this may have worked better as a TV series. In fact, it often does feel that way with its open-ended climax and underdeveloped characters. Heck, Famke Jannsen (the main villain) gives her role enough spunky attitude that I could envisage a whole series dedicated to her war with the witch hunters. Unfortunately, I can only judge the 90-minute film that I've been presented with. My final verdict - "Hansel & Gretel: Witch Hunters" is a grotesque, unappealing movie that lacks depth and artistic vision.

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MOVIE OF THE WEEK: Paradise: Love

This week's top pick is Ulrich Seidl's provocative film "Paradise: Love". The first in a trilogy, it tells the story of a 50-year old Austrian woman Teresa (Margarethe Tiesel) on a "sex holiday" in Kenya, taking advantage of the virile local men. Overweight and single, Teresa's trip becomes a search for the affection that is missing in her life. On paper, it sounds like a tough watch, made only for the inherent shock value. I certainly assumed so myself. However, the film is about more than just sex. Indeed, there are scenes of graphic nudity but these are just narrative devices to explore its larger themes.
Using an observational style of filmmaking to rival the likes of Steve McQueen, Seidl perfectly captures a typical vacation in one of these Third World countries. Based on my own experiences, everything felt very authentic, from the harassment by souvenir merchants to the frustrating language barrier. Of course, the aspect I wasn't familiar with was the sex business at the heart of the plot.
Lined up along the beach waiting for the white women, the Kenyan men aren't much different from your typical prostitutes lined up along a dark street. However, the social dynamics involved don't overtly present the situation as such. Fooled by their declarations of love, Teresa engages in sexual relationships with these men. As she goes on her various exploits, it becomes apparent that this paradise is an illusion and the "love" she receives is merely a business transaction.
The more we learn about this situation, you're likely to wonder who is the victim in the scenario. Of course, the usual response is to assume that the wealthy foreigner is taking unfair advantage of the underprivileged African man. However, this film instead shows these men as rather shrewd opportunists. In using flattery to profit from these rejected women of the superficial First World, they are willing participants in a disturbing cultural practice. It makes for fascinating viewing as every scene is purposeful in showing the despicable objectification from both sides. Most importantly though, the script carefully elicits the audience's sympathy for both parties.
Overall, "Paradise: Love" is an thorough example of director-driven cinema. The screenplay and Tiesel's courageous performance are essential but the director's clear, purposeful vision is always present. Despite a seemingly austere visual style, the thematic depth is undeniable. In exploring the societal constructs of beauty and poverty, in addition to the politics of race, gender and sex, Seidl manages to make a statement without overtly making a manipulative "message film". As a result, his deft, non-judgmental touch takes this from mere arthouse provocation to something more deeply engaging. It's still unlikely to appeal to most, but for me this is a vital piece of work.

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OSCAR WATCH: The Songs

Perhaps the most unpredictable category to predict at the nominations stage is Best Original Song. With no reliable precursors, the nominees are entirely dependent on the mood of the voters. Sometimes they go for popular music (Lose Yourself), other times they lean a bit more obscure (Al otro lado del rio). With that in mind, there are still a few songs that have certainly been given a boost from their Golden Globe and Critics Choice nominations:

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CONTEST: Predict the Oscar nominations!

I am excited to announce that the Film Actually Oscar Contest is back! Last year's contest was a great success and I just knew I had to make this an annual tradition. If you're a newcomer, the idea is simple - just predict as many correct Oscar nominations and you can win!
This year's contest will be bigger and better, as I have even better prizes for you. The person who gets the highest score will receive an $40 online gift card (USD, or the equivalent in another currency) for their relevant Amazon store (US, UK, Canada etc). In addition, there are other potential prizes up for grabs (read below).

As with last year, I will also be competing and I'm in it to win it! Read below for further details.

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OSCAR WATCH: Critics Choice Nominations

Once again, 12 Years A Slave and American Hustle rise to the top, taking the lions share of nominations. The Critics Choice nominations were announced this morning and both films lead the field with 13 nominations each! David O. Russell's film in particular is picking up heat, notably with Christian Bale asserting himself in the competitive Best Actor category. It's all a lot to take in (especially with those silly action and comedy categories), so I'll just leave you to ruminate over the full list of nominees:

Best Picture
American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Inside Llewyn Davis
Nebraska
Saving Mr. Banks
12 Years a Slave
The Wolf of Wall Street

Best Actor
Christian Bale, American Hustle
Bruce Dern, Nebraska
Chiwetel Ejiofor, 12 Years a Slave
Tom Hanks, Captain Phillips
Matthew McConaughey, Dallas Buyers Club
Robert Redford, All Is Lost

Best Actress
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Judi Dench, Philomena
Brie Larson, Short Term 12
Meryl Streep, August: Osage County
Emma Thompson, Saving Mr. Banks

Best Supporting Actor
Barkhad Abdi, Captain Phillips
Daniel Bruhl, Rush
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
James Gandolfini, Enough Said
Jared Leto, Dallas Buyers Club

Best Supporting Actress
Scarlett Johansson, Her
Jennifer Lawrence, American Hustle
Lupita Nyong’o, 12 Years a Slave
Julia Roberts, August: Osage County
June Squibb, Nebraska
Oprah Winfrey, The Butler

Best Director
Alfonso Cuaron, Gravity
Paul Greengrass, Captain Phillips
Spike Jonze, Her
Steve McQueen, 12 Years a Slave
David O. Russell, American Hustle
Martin Scorsese, The Wolf of Wall Street

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MOVIE OF THE WEEK: The Great Beauty

"The Great Beauty" as its title suggests, is a film of extraordinary beauty. Set in contemporary Rome, it showcases the glamourous existence of its wealthy inhabitants. They enjoy life to max, but is there something more behind that facade? Well, that's what this film attempts to find out through the existential crisis of its protagonist Jep Gambardella (Tony Servillo).
The film opens on a raucous note - the 65th birthday party of Gambardella. It's a dazzling affair, rivaled only by Luhrmann's "The Great Gatsby" for its euphoric thrills. As we find out later, this is the culmination of a lifelong ambition to be the king of the socialites. We also learn that he is a writer, suffering from a lengthy affliction of writer's block. Struggling to find inspiration and with age creeping up on him, he starts to reflect on his life.
Of course, he soon realizes that the decadence provides merely temporary satisfaction. Like all of us, he reaches a point where he wants something more. Curiously though, the film doesn't fully condemn his lifestyle. Unlike the plethora of other socially conscious films (just look at "Elysium" and "The Hunger Games: Catching Fire" from this year alone), this isn't an "us vs them" scenario. We're used to these films that present poverty as something inherently noble, while portraying the wealthy as pure evil. It often rings false to me, as I'm a firm believer that one's character is solely based on personal choices rather than financial wealth. In "humanizing" the Italian high society then, I found this film to be very unique and much more fascinating.
The narrative is essentially a portrait of a city and its people, intertwined like a singular entity. Within this collective being is breathtaking beauty - the people, the architecture, the landscape, the art. The film captures this perfectly, with gorgeous locations, impeccable clothing and exhilarating music. On a deeper level, it also shows the individual struggles of these people. As we gaze upon Gambardella's world, it becomes much like a symphonic arrangement of life's fragments. The various aspects of life (relationships, career etc.) and their success/failure are given due attention, culminating in an acknowledgment of mortality.
This realization of life's ticking clock seems to hint towards a personal reinvention for Gambardella. Furthermore, the plot also adds a spiritual element in the final act. This is where the film starts to falter though, as it doesn't quite nail this seemingly crucial theme. For every scene of quiet introspection, there's another that suppresses it with dazzlingly appealing superficial beauty. As a viewer, it's therefore hard to be convinced that he's prepared to change his life. The luxury is too addictive and strangely enough, it seems satisfying in itself. Gambardella is hardly an immoral devil so there's no dire reason for a turning point. Instead, his crisis stems from curiosity rather than true disillusionment. In the end, it seems like he'll continue to indulge and I can't blame him. Unfortunately the film wants to dig deeper than this, but it eventually becomes overwhelmed by the great beauty it displays.
Of course ,"The Great Beauty" is the title of the film, so criticizing it for a narrow focus on beauty is inconsequential. With that in mind, this film is tremendously rewarding for any lover of artistry of all kinds. Considering the arthouse audience of this film then, it's a resounding success. Go ahead and bask in its glory.

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#FF Making the Case for blogathon, reviews and more...

With the awards season fully upon us, Stevee hosted another "Making the Case for..." blogathon to champion some unsung performances, directors etc. She received some great entries and I've included some of them below. Check out those posts along with the other great reads from the past week:

Josh couldn't settle for only one pick, so he made a case for "everything".

Nikhat made the case for a phenomenal young actor Tye Sheridan.

Clayton reviewed A Letter to Momo, likening it to a mix of Ozu and Miyazaki.

Jesse from Movie Mezzanine looks back fondly on Woody Allen's Annie Hall for their "History of Film" series.

Nick wrote an amusing post about hypothetical Actor vs. Actor Showdowns.

Ryan reviewed Dirty Wars and highlighted some of its main issues.

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OSCAR WATCH: Golden Globe Nominations

You can always count on the Golden Globes to be idiosyncratic with their choices. This year however, they were unique in a way we didn't expect. Firstly, the main shock was the lack of love for The Butler, a starry film that seemed right up their alley. We always assume they will cowtow to the celebrities, but this year they defied that. In particular, I don't think anyone saw that Oprah snub coming. The other unexpected idiosyncracy is the unusually strong Best Picture (Comedy/Musical) lineup. In fact, it seems like a stronger category than drama this year, a rare thing indeed. I'd also like to point out the strong showing for Mandela: Long Walk To Freedom, which managed 3 nominations - Best Actor, Best Original Score and Best Original Song. Harvey Weinstein is probably ecstatic that this film is finally getting some attention. The biggest celebrations today though, are for 12 Years A Slave and American Hustle, leading the field with 7 nominations each. Both films now seem to be very strong contenders for Best Picture. Will the Golden Globes have a large influence on the Oscars this year? Only time will tell. For now, let's ruminate over their full list of nominees:

Best Picture (Drama)
12 Years A Slave
Gravity
Captain Phillips
Philomena
Rush

Best Picture (Musical/Comedy)
American Hustle
Her
Inside Llewyn Davis
Nebraska
The Wolf of Wall Street

Best Actor (Drama)
Chiwetel Ejiofor, 12 Years A Slave
Idris Elba, Mandela: Long Walk to Freedom
Tom Hanks, Captain Phillips
Matthew McConaughey, Dallas Buyers Club
Robert Redford, All Is Lost

Best Actor (Musical/Comedy)
Christian Bale, American Hustle
Bruce Dern, Nebraska
Leonardo DiCaprio, The Wolf of Wall Street
Oscar Isaac, Inside Llewyn Davis
Joaquin Phoenix, Her

Best Actress (Drama)
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Judi Dench, Philomena
Emma Thompson, Saving Mr. Banks
Kate Winslet, Labor Day

Best Actress (Musical/Comedy)
Amy Adams, American Hustle
Julie Delpy, Before Midnight
Greta Gerwig, Frances Ha
Julia Louis-Dreyfus, Enough Said
Meryl Streep, August: Osage County

Best Supporting Actor
Barkhad Abdi, Captain Phillips
Daniel Brühl, Rush
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years A Slave
Jared Leto, Dallas Buyers Club

Best Supporting Actress
Sally Hawkins, Blue Jasmine
Jennifer Lawrence, American Hustle
Lupita Nyong'o, 12 Years A Slave
Julia Roberts, August: Osage County
June Squibb, Nebraska

Best Director
Alfonso Cuaron, Gravity
Paul Greengrass, Captain Phillips
Steve McQueen, 12 Years A Slave
Alexander Payne, Nebraska
David O. Russell, American Hustle

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OSCAR WATCH: SAG Nominations

And so it begins. The SAG Awards were announced this morning and as expected, 12 Years A Slave reaped the most nominations. There were some minor surprises however, as August: Osage County, The Butler and Dallas Buyers Club received a much-needed boost in their Oscar campaigns. Likewise there were some surprising snubs, especially Robert Redford missing Best Actor (very curious considering the film received a Best Stunt Ensemble nomination). It's incredibly difficult to win the Oscar without a SAG nod, so he's going to need some major help to keep in his spot in this competitive category. There's not much else to say about this set of nominees, so let's just take a look:

Best Ensemble
12 Years A Slave
American Hustle
August: Osage County
The Butler
Dallas Buyers Club

Best Actor
Chiwetel Ejiofor, 12 Years A Slave
Matthew McConaughey, Dallas Buyers Club
Bruce Dern, Nebraska
Tom Hanks, Captain Phillips
Forest Whitaker, The Butler

Best Actress
Meryl Streep, August: Osage County
Sandra Bullock, Gravity
Emma Thompson, Saving Mr. Banks
Cate Blanchett, Blue Jasmine
Judi Dench, Philomena

Best Supporting Actor
Daniel Brühl, Rush
James Gandolfini, Enough Said
Barkhad Abdi, Captain Phillips
Jared Leto, Dallas Buyers Club
Michael Fassbender, 12 Years A Slave

Best Supporting Actress
Jennifer Lawrence, American Hustle
Julia Roberts, August: Osage County
Lupita Nyong'o, 12 Years A Slave
June Squibb, Nebraska
Oprah Winfrey, The Butler

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Black contenders target Oscar record

Earlier this year, the New York Times ran an article titled "Coming Soon - A Breakout Year for Black Cinema". It put a welcome spotlight on all the emerging talent from black filmmakers and their deserved acclaim. Of course, it's perhaps too early to declare a paradigm shift in Hollywood, but it's certainly a step in the right direction. What's truly outstanding about this year though, is the number of black contenders in the Oscar race. In fact, we may see a new record for the number of individual black Oscar nominees (discounting duplicate citations) for a single Oscar year. The current record was set in 2006, which yielded nods for 8 persons - Forest Whitaker, Will Smith, Djimon Hounsou, Eddie Murphy, Jennifer Hudson, Sharen Davis, Siedah Garrett and Willie D. Burton. While that tally was largely due to "Dreamgirls", this year is noteworthy for the wider variety of films gaining attention. Of course, many of the smaller films will lose some traction throughout the season. However, I'm fairly confident that we'll see at least 9 different black contenders securing nods on January 16th.

So without further ado, here are the black nominees(in bold) I'm currently projecting for the 2013 Oscar year:

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MOVIE OF THE WEEK: Back to 1942

This week I caught up with the Chinese Foreign Oscar submission - "Back to 1942". Set in China's Henan province in 1942, the film recounts the experiences of the villagers who were caught between a catastrophic drought and China's war with Japan. If it sounds dreary, that's because it is. This film is about the suffering of a large population of civilians due to the actions of people in power. Although the drought was an environmental issue, the lack of governmental aid seriously exacerbated the situation. Of course, the war played a big part in this but this story isn't primarily about the war itself. We never go to the front lines to see the combat. Instead, the plot focuses mostly on a few families from Henan who were affected by the disastrous situation.

With scarce food to eat and the impending doom of a Japanese attack, our protagonists become refugees, trekking hundreds of miles for salvation. Two families are specifically given the spotlight, allowing interesting character development and a strong understanding of the social implications. The Fan family is wealthy through land ownership and the drought effectively brings them down to the social status of everyone else. As the desparation creeps in, the plot gets a lot of mileage out of this deconstruction of social heirarchies. A happy ending seems unlikely for all, including the most resourceful. As such, the film becomes relentlessly devastating. Despite this, the film feels somewhat emotionally distant, which has bothered many critics. Their qualms are valid, since the film never milks the horrors for their inherent sentimentality. However, I thought it was a smart choice by the director. To explain, one must consider that the film is about long-term misery (even using intermittent captions to indicate the long journey from home), rather than acute moments of distress. This is further emphasized by the fact that the drought has already happened before the events of the movie take place. So in my interpretation, I understood it as the characters being too weak from starvation to outwardly mourn every loss. The actors do a great job with the emotional peaks they are give though, so it's not a question of acting ability. There's strong character development, but the director (Xiaogang Feng) has no time for hysterics in his plot.

The plight of the main characters command most of the attention, but other people exist in this script too. Notably there's the military leader Chiang Kai-shek, who shockingly downplays the severity of the drought and effectively sacrifices the people of Henan. It's a striking reminder of the unfortunate "collateral damage" that is too often disregarded in times of war. In addition, American actors Adrien Brody and Tim Robbins are also shoehorned into the story. Frankly, they are both disposable in the grand scheme, but Brody makes a strong impact. In fact, he threatens to take over the whole movie with his subplot as a TIME magazine correspondent fighting to save the displaced people. Unfortunately, the film summarily abandons him and disregards his importance. There's surely a separate film to made about that character.

Apart from story elements, I'd be remiss if I didn't mention the phenomenal production values. The costumes, cinematography, sound and production design are so remarkable that I regret not being able to see it on the big screen. The film is worth it just for the top-notch visuals. It really gives you a strong sense of this period's atmosphere.

Overall, the plot mechanics of "Back to 1942" don't add much to the war epic genre, but the quality of the production is highly commendable. The struggle of the characters is suitably harrowing and the cast/crew capture this brilliantly. I certainly wouldn't want to literally go "back to 1942", but I appreciated this cinematic exploration of Chinese history.

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AWARDS SEASON: The Survivors

Will Gravity survive the long Oscar race?

It's awards season, can you feel it? Well, the Oscar race has been going strong since August but the actual awards-giving and nominating begins in earnest this week. As you may know, many major critics groups have already had their say (New York Film Critics Circle, Los Angeles Film Critics Association and Boston Society of Film Critics etc.) have already had their say. However, I consider the televised precursors (SAG, Golden Globes, Critics Choice) to be the true start of the season. Those groups will announce their nominees in the next 10 days and we'll then have a better idea of the frontrunners. Read on for my thoughts on the Oscar race as it currently stands, including my first official predictions of the season...

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MOVIE OF THE WEEK: To Kill A Mockingbird

Full disclosure: this isn't the first time I've seen "To Kill A Mockingbird". However, after considering the circumstances under which I first approached it, I felt it was appropriate to include it on my "List of Shame". To explain, my initial viewing of this film was about 10 years ago. I was much less advanced in my cinephilia and I prejudged it as a lame black and white movie that couldn't possibly be interesting (it was a supplement to the required reading in high school English Literature). This time around though, it became clear that I made the right choice in revisiting this classic. It truly felt like I was seeing it with fresh new eyes.
As you may already know, "To Kill A Mockingbird" is based on a Pulitzer Prize winning novel by Harper Lee. It's a story about equal rights and justice, focusing on a court case where a black man is falsely charged with raping a white woman. At the center of the plot however, is a white lawyer named Atticus Finch (played by Gregory Peck), who passionately defends this accused man out of a sense of moral duty. The setting is the American Depression-era South and as a result, it brings up themes of poverty and bigotry.
In assessing the effectiveness of this film, it's hard to separate it from the brilliant novel that inspired it. The film evokes a storybook quality throughout that strongly captures its literary source. Even though the narration is predominantly found only in the beginning and ending, it always feels like actual storytelling. Each scene is so exact and purposeful that you can easily imagine the storyboards or specific chapters used to develop the script.
To compare the film to a storybook doesn't do it justice though. One of the things that stood out to me this time was the harsh authenticity in portraying the era. The novel is often regarded as a "Great American Novel" in the way it captured the zeitgeist and this has been successfully translated to the screen. In some ways the film feels like your standard African-American Civil Rights story, but it's also unique in the way it portrays bigotry. Even without overtly depicting racially-motivated violence, the danger of uneducated, unemployed, racist alcoholics is palpable and terrifying. There are scenes where the lives of black citizens are threatened and the mere thought of what could happen is the stuff of nightmares. The hopelessness of the Depression seriously exacerbated the already troublesome environment of the pre-Civil Rights movement American South.
The truth of the matter is, almost all the inhabitants of this community are dirt poor and willfully ignorant. It's a situation that clearly doesn't bode well for a happy and fair society. Thankfully, there was an anomaly in this destitute system - Atticus Finch. In the history of memorable cinematic heroes, Finch sits firmly among the best. He is the ultimate role model, instilling strong values of compassion, tolerance and the importance of education in his two children. Even more impressive is that he "walks the walk". In standing up for justice and passionately defending a black man, he put himself at risk. For Atticus though, there was no other choice. "To Kill A Mockingbird" is told from the point of view of his daughter Scout and as you get to understand his character, you're likely to idolize him like she did. It takes a special performance to make a simple man seem like a superhero and that's exactly what we get here. Gregory Peck is simply perfect in the role. The character is unassuming and the subtlety in his acting indicates a true understanding of the character. With all the odds stacked against him, he maintains a quiet dignity and determination that is exemplary. In summary, he is the heart, mind and soul of the story.
The importance of Peck's performance in making the film watchable cannot be understated. The actors playing the bigots were so authentic that it often became quite discomfiting. Put these opposing views together though and you get a film of great poignancy and timeless relevance. From a general filmmaking standpoint too, it's just as brilliant. The film is warmly shot and it uses appropriately simple background music. The appealing storybook quality also has a lot to do with the great editing.
Overall, this is a beautifully realized literal adaptation. Robert Mulligan really did this book justice. Go watch this film and be inspired.

This film is part of my List of Shame.

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