Revolutionary Road

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.

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

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.
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