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January 09: Revolutionary Road | Frost/Nixon | Valkyrie

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January 09: Revolutionary Road | Frost/Nixon | Valkyrie
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Revolutionary Road

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Director: Sam Mendes

Writer: Justin Haythe, Richard Yates

Cast: Leonardo DiCaprio, Kate Winslet, Michael Shannon, Kathryn Hahn, David Harbour, Kathy Bates, Ty Simpkins, Zoe Kazan, David Harbour, Ryan Simpkins

 Running time: 119mins

Director Sam Mendes offers a snapshot of domestic disturbance that's timelessly powerful, yet with all due respect to him, most of the power of "Revolutionary Road" comes from the sophisticated source material and the surprising maturity of its stars. Leonardo DiCaprio and Kate Winslet best known together as the lovers in "Titanic," help towards the erasing of that celluloid memory as they embrace the cold morning after of a previously blissful relationship.

Frank and April make eye contact across a crowded room at a bohemian party in postwar Manhattan. Fast-forwarding to several years later we are now witness to the Wheelers' stifling life as a married couple in Connecticut. April is jolted awake from her daydream of being an actress, while Frank is sleepwalking through a tedious office job at a bland computer company. The film contains one of the most hypnotic film images in ages as an army of men in suits and fedoras march unenthusiastically towards their humdrum occupations down a staircase into Grand Central Station. "Revolutionary Road" uncorks the seductive undercurrents of the 1950s-early 60s American suburban existence, from the charming house that the Wheelers are shown by an intrusively cheerful estate agent (Kathy Bates) to the flattering attentions that Frank is paid by the girls in the secretarial pool.

However, just as Frank is secretly contemplating a promotion and an affair, April embraces his previous declaration that they need to break out of their tedious trap, where they have resigned from life. She has a plan. They and their two afterthought children will move to Paris, where April will work while Frank seeks his creative muse. They think they hear validation of their plan in the jabberings of John the real estate agent's brilliant but brain-damaged son. What they don't hear until the wheels start coming off is his mockery of their make-believe rebellion. Michael Shannon as John turns in a splendid piece of acting with a character ripe with opportunity for an actor to grab hold and take advantage and Kathy Bates is the perfect actress for the role of Helen Givings, the outwardly cheery estate agent. However, this film belongs to Leonardo DiCaprio in a performance I believe is his best to date - even better than his Oscar-nominated turn in Martin Scorsese's The Aviator.

DiCaprio and director Sam Mendes use every inch of Leo's face to bring Frank Wheeler to life. It is a role filled with a variety of emotions and the wide baby face it seems DiCaprio will never shed adds vulnerability to the character in ways Leo has no control over, but Mendes utilises to its fullest extent. DiCaprio's performance is revealing and far from flattering, but in all the right ways and he deserves recognition. Winslet is impossible not to watch. A scene in which the fed-up April announces to Frank that she is going to scream and then throws back her shoulders and shamelessly lets loose is the moment of truth that has clinched Winslet an Academy Award nomination and possible statuette. It's an honour she might share with Mendes (her husband) and with the film itself.

"Revolutionary Road" is easy to admire but harder to love. While Frank and April are gnawing at their respective constraints, they fight with ferocity. As the escape plan devolves from manic highs to depressive lows, it's painful to see April trade her childlike faith for a grown-up charade. "Revolutionary Road" an illuminating view of the place where truth intersects with the American dream.

Frost/Nixon

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Cast: Frank Langella, Michael Sheen, Kevin Bacon, Matthew Mcfadyen, Sam Rockwell, Oliver Platt, Rebecca Hall


Screenplay: Peter Morgan, based on his play

Director: Ron Howard


Running time: 2hrs 2min

There's a moment in director Ron Howard's Frost/Nixon, when James Reston Jr. (Sam Rockwell), who has written multiple books about Richard Nixon, sees the disgraced ex-president (Frank Langella) in the flesh for the first time and is taken aback: "He's taller than I imagined." Indeed he is. As portrayed by the 6'4" Langella, Richard Nixon is not merely taller than Reston's imagination, but quite a bit taller than the 5'11" historical record. It's a physical disparity that might not pose such a problem if the cinematic president did not tower over the actual one in so many other ways as well. Langella is an actor of tremendous gravity and charisma, boasting a deep, sonorous voice and an aura of Mephistophelean self-assurance. Nixon, by contrast, was a shifty, restless schemer, desperately insecure about how others perceived him. He was, in the metaphorical even more than the literal sense of the word, small. This is the irony of Frost/Nixon: Though it chronicles the moment when the 37th president of the United States was cut down to size, the film's presentation of him is utterly larger than life. Langella is sensational but he's just not Richard Nixon. 

While the film built around this central performance is a pleasant enough diversion, it's a lightweight one. Instead, the film tries desperately to inflate itself into importance, arguing that its subject, the televised Nixon interviews conducted by British celebrity journalist (now Sir) David Frost (Michael Sheen) in 1977, were "the trial he never had," a moment of national closure, the dramatic culmination of Watergate. But they weren't, as the film forcefully reminds us at the outset with footage of Nixon's resignation and helicopter ride into political purgatory. Frost/Nixon isn't the climactic final act of Watergate. It's the postscript. Indeed as in the film's closing lines "Nixon never achieved the rehabilitation he so desperately craved. His most lasting legacy is that, today, any political wrongdoing is immediately given the suffix '-gate'.

As sheer entertainment, Frost/Nixon's chief shortcoming is imbalance. The film is structured as a high-stakes bout between Frost and Nixon in which the plucky, on-the-ropes lightweight comes back to knock out the ruthless old pro in the final round. But Frost never coheres enough as a character to earn a rooting interest. He's described as a "playboy," but is supplied with a girlfriend (Rebecca Hall) for what appears to be the purpose of advertising his monogamy; though there are frequent references to his devotion to parties and nightclubs, we never see any evidence of the hinted-at shenanigans. Is he a shallow cad in need of redemption or just another lovable underdog? The film can't decide, and as a result Sheen's excellent performance never acquires a third dimension as he tries to establish the fuller characterisation of Frost under the thinnest of scripts for him. Most people's perception of David Frost was of a man totally in control, unflappable, highly intelligent and focussed - but here, prior to the dynamic final interview he comes across as an immature flustered inept communicator with no grasp of the Nixon confrontation's potential magnitude. It's almost an overnight metamorphosis as he arrives for the concluding sequence, and one which seems totally at odds with his previous persona.

The supporting performances are a greater pleasure. Rockwell and Oliver Platt offer some ironic edge as Reston and Bob Zelnick, the investigative reporters hired by Frost to prepare his interrogation, and Matthew Macfadyen is amiably anxious as his long-suffering producer John Birt. In Nixon's corner, Kevin Bacon growls persuasively as Marine-turned-handler Jack Brennan and Toby Jones self-promotes with gusto as agent Swifty Lazar. In the end though, they're all just planets orbiting a celestial object, the great statesman-crook of American legend. In Langella's hands, Tricky Dick is intelligent, witty, by turns fearsome and endearingly awkward, and ultimately more than a little sad: a man of depths, not all of them dark, undone more than once by the surface-loving eye of the television camera. "It's impossible to feel anything close to sympathy for Richard Nixon," Reston asserts early in the film. Perhaps despite itself, Frost/Nixon seems to argue otherwise.
 
Langella alongside Michael Sheen as the breezy British TV personality Frost, reprise the roles they originated onstage in Peter Morgan's Tony Award-winning stage production. But you never feel as though you're watching a play on film: The way Morgan has opened up the proceedings in his screenplay feels organic under the direction of Ron Howard and despite my misgivings about the earlier 'tagged on' sequences, it still moves along with an ease and fluidity that keep it engaging. Personally, I still feel however that a more direct stage-to-screen translation would have been a great deal braver and immensely more satisfying.

Valkyrie

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Cast: Tom Cruise, Kenneth Branagh, Bill Nighy, Tom Wilkinson, Carice van Houten, Thomas Kretschmann, Terence Stamp, Eddie Izzard, Kevin McNally and Tom Hollander.

Screenplay: Christopher McQuarrie and Nathan Alexander

Directed by: Bryan Singer

Running time: 2 hours

Most people who know about the history of World War II would be aware that Colonel Claus von Stauffenberg was something of a hero. There are even memorials to him and his fellow conspirators in today's Germany, and are in fact, the country's only World War II veterans to whom this has been done. However, his story has not been one that filmmakers have exactly been tripping over one another to fulfill the desire of translating it on to the screen. He was at once treacherous and noble - he tried to murder his leader Adolf Hitler. Treachery in a humane cause can be a noble thing and any educated child would, I hope, be able to tell you that Stauffenberg must have failed because a bombing at Wolf's Lair is not how Hitler 
died.  So obviously the story of Stauffenberg is a story of failure and the outcome has to be a slight downer.

Tom Cruise’s pretty-boy looks and action hero roles have done a lot for him, but 
now they are working against him here. Stauffenberg himself did 
not exactly possess matinee idol features but Cruise's interpretation of Stauffenberg isn't entirely inaccurate. Claus von Stauffenberg determines that Adolf Hitler is leading Germany to destruction. The film (and history) are a little unclear on Stauffenberg's exact motives.  Hitler really was destroying Germany, and Germany was 
going to suffer for his terrible leadership. Mentioned also is Stauffenberg's indignation at the inhumane offences being perpetrated by Germany. One set of motives is practical and selfish, the other motivation is on a slightly higher level. In any case, Stauffenberg determines that action must be taken to remove the Fuhrer from power, this in a society where disloyalty was a capital 
crime.

Early on in the film Stauffenberg seems a little too open about his
opinions, but loses some of his over-confidence when his heroics badly maim and almost kill him in a battle in Tunisia. Returning to Germany he continues his campaign to remove Hitler, 
though a little more discreetly than he did in the field.  He finds others willing to join the plot against Hitler, in fact, one apparent expedient of the script is that he finds like-minded people just a little too easily and he seems all too ready to put his life into other people's hands.  Obviously a very dangerous practice, as Stauffenberg had to survive on more than one occasion, putting his own safety and fate into the hands of strangers.  It seems from the dramatisation that to varying degrees just about anybody he takes 
into his confidence is willing in one way or another to 
co-operate, even if it is just willingness to omit reporting these acts of treason through such treacherous conversations, as the plan progresses to the assassination attempt and its tense aftermath.

Scriptwriters Christopher McQuarrie and Nathan Alexander have done 
a surprisingly good job. Too frequently "political 
thrillers" turn out to be mostly gunfights and car chases.  There is one battle scene and one short gunfight, but for the most part the tension comes from the dialogue and plot. Words are traded, but rarely bullets.  

It is rather ironic that the producers are making a story of a man who failed and in a good cause brought about disaster on his co-conspirators. Had he remained to make sure the bomb killed Hitler, history would have been quite different.  Had he been willing to die in the effort, he might actually have been a 
success. This is a high-tension thriller that that survives the 
fact that much of the audience knows how everything turns out.  

It is fascinating to speculate how the world might have been different had the plot succeeded. Had Germany capitulated for peace in July or August, 1944, the Soviets would have had much less of a foothold in Eastern Europe. That part of Europe would have been
much more like Western Europe and Germany would have escaped a great 
deal of the destruction that came in the remainder of the war. 
Rebuilding Germany would not have been as necessary as the country would not have the modern atmosphere that it does today and might be a good deal less forward-looking.  After August the Pacific War would have gone a great deal faster, having the full wartime resources of 
the United States. This would have brought American troops to the shores of Japan before the nuclear weapon was ready. The only other alternative would probably have been the invasion of Japan, and as they (the Japanese) were ferocious fighters on the small islands of the Pacific they would have been really terrifying defenders of their homeland, trained to die rather than lost honour by surrendering. 
The cost in lives might easily have been over a million with each side taking very large hits. The Allies had greater access to 
resources so Japan probably would have eventually lost, but it is unclear what would have been left of their country when they did. 
This would have left lasting hatred on both sides. The resulting future of nuclear weapons is very unclear and they may well have been used on Japan eventually anyway, and it probably would have leaked to the Soviet Union in much the way that it did. This is all just speculation but the UK, Germany, Japan, and the United States might all have been considerably worse off in the remainder of the 20th Century.