_LeoTheMaster's Talk

Cheri

Cheri is set in pre World War 1 France and aging courtesan Lea (Michelle Pfeiffer) and pampered dandy Cheri (Rupert Friend) form an unlikely romance. What begins as a fascination soon develops into a passionate, yet clandestine love affair that lasts six years.

Charlotte (Kathy Bates) plays Cheri's mother, who surmises to Lea that there is only one thing missing from her life of luxurious hotels, dutiful servants and opulent surrounding -- grandchildren. Charlotte plans a wedding for Cheri and a lovely 18-year-old daughter of another courtesan rival, tearing Cheri and Lea apart.

Cheri is a beautiful, lavish film that is touching, yet understated. Lea is a woman in the throes of a once-in-a-lifetime passion - but underlying all that is the sense of someone who really knows herself. It's a virtue of maturity wholly lacking in Cheri, as a young man in no position to know his own heart, because he doesn't know himself.

There's something in this film--anyone who has ever fallen in love with someone they just could not have is something poignant and deeply moving, and even a sign of perhaps defeat?

I read the book many years ago, and I appreciate both the film and the book but there were some distinct differences and I found merit in those differences. The film is more lyrical and emotional while the book was a lot more restrained, subtle and made you consider the issues more. My theory is that when you read the book and watch the film you get everything you can out of that story, the intellectual part and the human emotional part.

Also if you have read the book first it is sometimes hard not to be disappointed by the film. Sometimes it is hard to break that down. But books and films are different artforms and you have to expect different things to happen.

http://www.youtube.com/watch?v=OCUdEXqiNZ0

Who's Afraid of Virginia Woolf?

There are more emotional punches delivered in this drama than in a heavyweight boxing championship match.

Elizabeth was a decade or so too young for her role as the foulmouthed yet seductive wife, and Richard, the perpetual weakling husband, gets revenge on her. For Taylor, it's a brave try for playing the shrewish and vulgar Martha, yet Burton was better as George, the vitriolic and defeated husband with whom Martha shares a night of invective and bitter revelation.

The film is Edward Albee's dissection of a turbulent marriage, and how it is mercilessly exposed. It is quite the indictment against marriage, especially after the love has died. It's far from the whole story of marriage. There are many who stay married longer than George and Martha and happily. But it wasn't in Edward Albee's life experience to draw from.

Some memorable quotes:

Martha: Is that a threat George, huh?
George: It's a threat, Martha.
Martha: You're gonna get it, baby.
George: Be careful Martha. I'll rip you to pieces.
Martha: You're not man enough. You haven't the guts.
George: Total war.
Martha: Total.

I guess the theory is almost true to itself: the late night and the liquor bring out the worst in everybody. A whole lot of ugly truths get told.

Seven Sinners

In Seven Sinners, Marlene plays a second rate singer called Bijou Blance who appears in various Pacific Island bars, with a drunken ship's doctor, a pickpocket and devoted sailor called Little Ned(Broderick Crawford) in tow. The four of them are deported regularly and go in search of another island.

In one of the islands, Bijou finally meets navy lieutenant Bruce (John Wayne), who falls hopelessly in love with her and who, for her sake, would give up his navy job. To prevent that, she involves him in a brawl and then disappears with her hangers-on.

The film is an action-packed, two-fisted melodrama and Dietrich's role as Bijou Blanche is a tasteful satire on the Sadie Thompsons of the world. You'll find the tough, glamorous, eloquent demi-mondaine Dietrich. And forgetting all the svelte mannerisms which made her one of the screen's most wooden actresses for a number of years, she cuts loose in this film with a perfect impersonation of a high-class slattern. Her throaty voice gave the song 'I've Been In Love Before (Haven't You?)' just the interpretation it needed.

Of course, John Wayne and the entire supporting cast played with verve. The production sets, photography and musical score are typical of Universal. And for it's era, the flick is a fine and stunning example of romantic melodrama that can be enjoyed once more in today's modern generation.

The Proposal

Yes, I want some popcorn from time to time. And when I go to a chick flick I know I quietly laugh here and there. But with The proposal, I actually laughed my socks off.

Of course, it's not it's predictable story nor other la di dah, la di dah, but I think most of it came down to the performances of the two leads, Sandra Bulllock and Ryan Reynolds.

Bullock, who has a reputation for bringing warm, genuine characters to the screen, plays Margaret Tate, the boss from hell. Her employees are so scared of her, they warn each other via email messages when she is about to enter a room (The Devil Wears Prada kind of stuff).

And then there is her assistant of three years, Andrew Paxton (Reynolds), who is the nice guy trying to do well in his career, even if it means putting up with Margaret. Their relationship is purely business, until Margaret, who originally hails from Canada, is threatened with deportation, and blackmails Andrew to marry her so she can keep her job. After some bargaining, he reluctantly agrees, and they go away for the weekend to his parent's place in Alaska.

Predictably, this is when the fun begins. And unexpectedly, Andrew's family warms to Margaret, and decide that their wedding should be that very weekend. So the flick then becomes a guessing game whether they will really go ahead with their scam marriage ot not.

Fireproof

Every Man and Women should see this and follow what it says.Love one another.

Fireproof

Every Man and Women should see this and follow what it says.Love one another.

Katyn

Katyn takes us back to the late 1930's as Word War 2 was unfolding, geographical borders were being pulverised and enemies were approaching from all sides.

There has been a wealth of films about this period of time, thanks to a wide range of Jewish film makers ensuring that the world never forgets, like the revered Polish director Andrzei Wajda, who is now in his 80's, but still making top quality films like this one. Perhaps because he lived it and survived.

It was September of 1939 when Poland faced it worst--from the west the German Nazis had invaded and were setting up concentration camps in Cracow. From the east, Stalin's Soviet Red Army were heading in. The Poles were caught flatfooted about where to run and who to trust.

Wajda tells the story of this time, through the eyes of women who are left behind as their husbands are held in POW camps. One of these women is Anna (Ostaszewska). She flees alone with her daughter Nika, after her attempt to convince her husband, Polish Captain Andrzej (Zmijewski), to escape with them fails because of his conviction of not leaving his men. The film unfolds through to 1943, when a list of names of 12,000 soldiers found slaughtered in the Katyn forest. And the list turns out to be far from accurate.

Katyn is structured to leave us as much in the dark about the fate of the missing men and women. It reminds us again how much WW2 material has remained hidden during the communist years, with the Soviets accepting blame for the massacre only in the 1990's.

Adam's Rib

What is good for the goose is good for the gander.

In the atmosphere of post-World War 2, the social structure was slowly changing in the US regarding male dominance in the workplace and at home. This battle-of-the-sexes comedy film has been an inspiration for countless other films and television series about combative but sexually combustible couples.

When sweet,ditsy blonde Doris Attinger is charged with the attempted murder of her two-timing husband, proto-feminist lawyer amanda "Pinkie" Bonner (Hepburn) agrees to defend her. But Amanda's husband, Adam "Pinky" Bonner (Tracy), is the prosecuting attorney, and their courtroom rivalry quickly extends into the bedroom. Thus, in court we have not only the case in question, but also the roles of husband and wife under examination. The case unexpectedly turns into a battle of the sexes in which the married lawyers attempt to outdo each other using sharp-tounged and trenchant phrases in dialogues that are brilliantly crafted.

Hepburn's combative show in court--forever an inspiration to lady lawyers-to-be matches with Tracy's frothed indignation at her tactics and principles. Highlights include brainy Amanda's cross-examinations and the spectacle of Adam tearfully getting in touch with his feminine side to get his way back into his wife's good graces.

Still crackling with wonderful performances, witty dialogue and spirited discussion of double standards and sexual stereotypes, critics still find this flick as arguably the best of Tracy-Hepburn team.

Seriously, lawyers should never marry other lawyers.

Obsessed

Beyonce Knowles' performance is great...Another "FATAL ATTRACTION" movie...Good job also to Ali Larter as the obsessed one..

Drag Me to Hell

A very great horror movie for this year..It will surely make you SCREAM OUT LOUD..Do watch it...esp @ night!

What Just Happened?

An Adaptation of Art Linson's best selling memoir of the same name, 'What Just Happened' stars Robert De Niro as Ben, whose life as a big time Hollywood producer constantly impedes on his personal life.

Admittendly, the script offers moments of genuine humour and a couple of interesting anecdotes, but the sum of its parts don't add up like Maths to a worthy moviegoing experience. What you ultimately get is behind the scenes look at the movie industry, with all the juiciest bits out. All that's left is a run of the mill story about a man whose job is to try and please everybody, but who ends disappointing the people closest to him.

De Niro's performance as Ben is understated. The director and scriptwriter probably should have taken a cue from the creators of 'Extras' in terms of getting actors to play horrible egotistical versions of themselves. Sean Penn and Bruce Willis seem unable to stray too far from the lines they are given in what seems to be a wasted opportunity.

At a budget of 27 million dollars, it's hard to tell where the money all went, considering they were practically shooting in their own backyard or at a mansion that could easily have been owned by one of the film makers .

Amelie (Le Fabuleux destin d'Amélie Poulain)

This disarming, offbeat romance captivated international audiences and saw the gamine Audrey Tautou as the new Audrey Hepburn.

Immediately after 7/11, Amelie was received as a 'retreat' from the horrors and rigours of the real world. One noteworthy comment is that the film's fanciful title, Le Fabuleux destin d'Amelie Poulain--which translates literally to: THe Fabulous Destiny of Amelie Poulain--remains a far more colourful and helpful title than the simple: Amelie.

The film transforms contemporary France into a beautiful and surreal reflection of reality, in which Amelie herself spreads love and happiness to the sad, wistful and lonely people around her in Montmarte. And casting Tautou, who radiates good nature with a mischievous and sly smile would probably Jean-Pierre Jeunet's best choice as she's so capably regulates the way her character projects different emotions.

Albeit a fantasy film, you never get the impression the flick is about anything other than the way two hearts beating on opposite sides of Paris-- and to think that there are many kinds of love. It's more on how people feel and how they in turn make other people feel than in the world in which they live.

A bit of trivia: Tautou, who shot to international stardom after this film's shown worldwide, conceded there are similar attributes she shares with her Amelie character, such as their androgynous look and demure yet assertive nature but she says the similarities end there.

Changeling

I was on the edge of my seat from the first minute.