Rocking DH Reviews

Buck (2011)

Buck's candor and wit get under your skin and stick like a burr...

[10/10 · 4 July 2011]

Saw "Buck" today. Most memorable lines: "A horse can feel a mosquito land on its butt..." "You can move a horse with your energy. It's a dance." "I live in the moment." "I haven't grown up yet." In the film, Robert Redford says that Buck is the "real deal" and he is. Of the three men that Nicholas Evans based his popular novel, "The Horse Whisperer" on, Buck Brannaman is the sole surviving one. This biopic shows Buck's "day at the office" as he travels from ranch to farm, teaching groundwork, horsemanship, colt starting, ranch roping and cattle work. He misses his family but when together, it is obvious that it is quality time for all.

It may seem heavy-handed in our politically correct society to take someone's money for a service and then tell them something they may not want to hear. It may not seem like good customer service, but is it better to placate--the easier path--or to help? As someone with a lot of his own baggage, Buck recognizes it in his clients and knows it builds braces, hardness and even shut-down in their horses. He calls it as he sees it. Some can take it and learn. Others pack and leave.

Buck's candor and dry wit are reminiscent of another cowboy, Will Rogers. It gets under your skin and sticks like a burr in a blanket. It has a sense of timelessness, ancient wisdom, mystical, yet somehow, something that is known telepathically to herd creatures. He translates for the human.

"Buck" is a movie about a genuine human being who cares about others and--yes, more importantly--the horses who need an advocate to express their feelings. It shows that instead of letting a hard start in life be a stumbling block, it can be a challenge to a more elevated spiritual level. A win/win for all.

If some get the feeling that Buck prefers horses to humans, understand that horses speak truth. Their reactions reflect the treatment they have received and it can be read like a book. He says, "Your horse is a mirror of you. Some may not like what they see." Some might.

"Buck" barely flips the pages of Buck's life experience in the 88-minute final cut of the 300 minutes filmed, but that 88 minutes is intriguing to many--even those who have never touched nor owned a horse.

Pirates of the Caribbean: At World's End (2007)

Don't buy the large drink! If you leave your seat after the film starts, you'll miss something. Moves that quickly.

[10/10 · 25 May 2007]

I refuse to divulge the plot. That said, every "T" was crossed and every "I" dotted from plots of Pirates 1 and 2. "POC: At World's End" draws together the loose threads remaining from #1 and 2 and knits them into a plausible conclusion. Good writing, guys! Certainly, if the business is good and the project has legs, the door is open for a fourth, one would hope. Mullroy and Murrtog are back and as delightful as before. Many of the pieces that worked in 1 are used again in 3. If audience reaction is any indication, the two groups I sat with last night loved them. PLEASE sit through the credits for the tease footage at the very end of the film (That's why I suggest NOT getting the large drink.). There is one on this POC as well.

Because our AMC theater was sold out, I saw the movie in a different theater complex. The sound was muddied in a few places and dialects are strong (English accents, Tia Dalma's Caribbean-type accent)and with wind/rain effect noise on top of lines and audience reactions, some dialog goes missing--a good excuse to watch the film again in another venue with a quieter house.

Parents--and this is as much of a spoiler as I will give--you are cautioned about two scenes: One is a rather graphic extreme close up shot of someone being dispatched by Davy Jones which drew groans from college-aged folks and there is a near-explicit romantic scene at another point that had me saying, "This is a Disney film..." It did not push the barriers, just came close; and given today's hip kids with their overexposure to the world and tech savvy, I'm probably an old prude.

Overall, good work by all hands on and off screen. Lots more buckle than swash. Might have wished a few more feet back on the camera work on the fight sequences with Will, Jack, Elizabeth, etc., but I like to watch the choreography of things coming, going, flowing. Seemed more intense and rushed and out-of-focus somewhat with the tighter camera placement; may have been the theater projection as well. Another reason to watch again.

I particularly enjoyed the scene with Will and Elizabeth where they put their foreheads (third eyes)together. Aha! Who thought of that? Beautiful touch. Words were totally unnecessary between the two. Perfect. Sit back, reflect, Mr. Bloom. You have earned the privilege.

Captain Jack is back as only Jack can be, thanks to the multi-talented Johnny Depp. There are so many unique character bits with deft comedic timing. Truly a great talent. Mr. Depp makes it look effortless. He wears the skin of Capt. Jack with ease. Finally, we get to see Keith Richards as Jack's father. Not to be forgotten, the animals and their handlers are truly amazing. The animal characters are truly a part of POC3. Great fun, all.

Not to be missed are the oblique references to currently global situations/politics. Love it when a period piece can comment on current events--even if poking fun at them. Between drought, fires, war, terror--we need some pirates and laughter.

Mr. Bruckheimer, I believe you have another blue ribbon entry. The hard work and talents of all make for one wild, enjoyable 3-hour ride away from our current problems. Thank you!

Pirates of the Caribbean: Dead Man's Chest (2006)

Not perfect, but who/what is?

[9/10 · 21 July 2006]

"Dead Man's Chest" does not have the strong hook in the initial 10 minutes that "Curse of the Black Pearl" did. I wanted to see Will and Elizabeth preparing for their nuptials, the guests being seated, the musicians playing.... It just seemed like some footage was cut for running length that might have built a more emotional response to Will in irons and wet wedding music on a stand and a soaked bride with no father present. I also found the EIT company gentleman arriving in a small boat while mounted on a horse odd. Was this actually done in history? Given wave action, I should think the horse would have a hard time balancing--especially in such a small boat--and anyone sitting astride would be in risk of a dump in the drink. Incroyable! Given those reservations, DMC does provide an escape from the summer heat or the world and its current woes. It is darker and creepier, but what isn't these days? Red herrings fly in every direction, setting up the sequel. Johnny Depp has Jack running between raindrops and playing everyone off everyone else. Of course, things have to catch up with Jack. We are told what will happen at the beginning. No surprise when it does--although the manner has a twist. However, since Jack wisely palmed a piece of Aztec gold before fighting Barbossa, it is not surprising that he has managed to collect a couple items in Tia's home while there. He's ready for anything. Including the sequel.

I found myself wanting to see more of Will Turner in DMC. He moves the action along, has a few tender/dramatic moments (the best being his vow to his father), and one of the funniest scenes when he tries to charge out of the mill wheel, sword in hand, and doesn't quite. Interesting that he does not press Elizabeth about what he saw as they fled the Pearl. Since he is called "a man of destiny" by Tia, I have a feeling that PC 3 will have more Will Turner, Jr.

Elizabeth has a much larger role this go-round than Will, it seems. Her chemistry with Jack is tangible and convincing. Nicely done by Ms. Knightly and Mr. Depp. She, too, plays people off each other, using them. Pirate, indeed. But didn't she steal Will's medallion right off? Bill Nighy and/or CGI managed to make Davy Jones' octopus-type head expressive with just his eyes showing. I'm sure we will learn how Davy sustained and survived his coronary bypass in the sequel--and who the mystery woman is who drove him to be the devil of the sea. Someone with a matching music box, perhaps? Maybe another herring.

I do hope the sequel will rescue Jack, the elder Mr. Turner, the Governor, and the dog, and bring back Murtog and companion. Surely the world will still be here next summer and ready for another Pirates diversion. The cast and crew and production staff must have toiled hard to produce PC 2 in various locations through one of the worst hurricane seasons we've had in recent years. Thank you for your efforts.

Kingdom of Heaven (2005)

Dances With Wolves goes East with a fresh face.

[8/10 · 31 May 2005]

Orlando Bloom is out of the starting gate in his first starring/lead role as Balian, yet again a blacksmith (who convincingly hot shoes a horse)but this time in 12th century France. As the film opens, we learn that Balian is grieving the loss of both his wife and child, that his wife has committed suicide, and that the "village no longer wants you here". Strange counsel from one's parish priest, but perhaps folks in the middle ages were more superstitious about one so young having so much tragedy thrust upon him. Enter Godfrey of Ibelin, portrayed by Liam Neeson, who introduces himself as Balian's father. We watch Balian take this in as if swirling it in his mouth, tasting the idea, and feel that he is going to spit it out for the vinegar it seems to be to him. Not a line is said. But this whole concept is eminently portrayed by Bloom as if transmitted telepathically. I have not seen such acting since Spencer Tracey and Steve McQueen. Unfortunately, there isn't much time for father/son to interact, but there is enough. We see Balian decide to seize the opportunity for growth and responsibility that his father has offered. As the weight of responsibility and nobility is added to Balian's shoulders, he grows taller and straighter, steadier somehow. Balian makes his way to Messina, the port of departure for the Crusaders. The story follows that of a picaresque novel, in that the hero travels from adventure to adventure, situation to situation. Balian is shipwrecked and finds himself in the Holy Land. He rescues a black Friesian horse who escapes. He finds an oasis, and logically, his horse. This sets up an encounter with his first Muslim, Nasir. Nasir watches with respect as the young Balian's nobility grows as he reaches out to understand the strange culture that he is experiencing. A friendship and mutual appreciation is established that continues throughout the film. As Balian reaches Jerusalem and meets the Powers that Be--the Leper King and his sister--and the wannabes (her husband, Guy)--he becomes a chameleon, adapting sensible clothing for the blowing sand (neck and head scarves), melding into understanding the culture and people. Would that more folks would adopt this philosophy of life today versus taking umbrage for any reason and declaring war (the Templars and radical Muslims in the film). This is where the analogy to "Dances With Wolves" is tangible to me. A stranger in a foreign land, seeks to live as the natives, learn their culture and language, and in so doing, becomes a mix of cultures--a new being, neither of 12th century France nor of Jerusalem--but of mankind, understanding humanity. Balian resists the easy route to power and its temptations and decides to do what his dying father asked him to do--"Protect the people".

I found the soundtrack/Ibelin theme haunting and repeated listening reveals a richly interwoven tapestry of 12th century Christian sounds/choirs and period instruments alongside Eastern voices and instruments. Granted, scoring epic battle scenes is difficult, but the interposing of the choir vs. Eastern sounds seems appropriate. And the further the story goes, the more interposed/inseparable the two themes become...just as Balian's character is doing.

In an interview with Orlando Bloom, a writer commented that Bloom's character, "hardly speaks or merits any empathy in the first half of the film". I would disagree. I recently saw a short on Steve McQueen on Fox Channel and it revealed that McQueen often had lines stricken because he could SHOW the information without having to explicate it with words. I submit that Bloom eloquently conveys Balian's feelings upon meeting his father, Godfrey of Ibelin, without a word--yes--he SHOWS it. There is not a doubt what Balian thinks/feels at that point. And Bloom does this repeatedly throughout "Kingdom". Often he looks out at the desert, the nothingness of its sands, the wasteland, the waste--then he may turn his head down, or glance quickly towards the camera, or look away in resignation. But the need for conversation or a character's line is not necessary. This 28-year-old can act, folks! Interestingly, at the end of the same article, Bloom mentions McQueen's techniques. Hmmm. Stay tuned to this actor. What a treat! Another treat was the perfect casting of Ghassan Massoud as Saladin. He showed the Muslim point of view--dealing with the fanatical clerics as Balian was dealing with the fanatical Templars--yet respecting the fallen cross and replacing it after Jerusalem had been reconquered by the Muslims. Both Balian and Saladin regret the loss of life, deal with the dead, and in the end, reach terms for their peoples. Also a standout is the priest/knight medic/Hospitalier portrayed by David Thewlis, who counsels and guides Balian and watches him develop. Balian has grown from a blacksmith to a noble ambassador. He mingles with the common peasants on his father's lands and strides the corridors of power with kings and bishops. Quite a range. Thank you, Orlando Bloom, for caring and doing a darn good job. Your professionalism, talent, and ability show throughout this film--and you are not mere "eye candy". Rather, I would say, "food for thought". Keep up the good work, please. And thank you, Ridley Scott, for giving Orlando Bloom his first starring/lead role in a very major motion picture with themes/content critical to humanity today.

The Phantom of the Opera (2004)

It's a different Phantom, yet close to the stage production. Slightly off.

[6/10 · 27 December 2004]

I was intrigued by the trailer for this film. I could not tell who had been cast in the title role of the Phantom. The sets looked lavish and the production numbers promised to be top-notch, with some details fleshed out as films can do.

I grew up being taken to Broadway shows at an early age. I still remember wanting to see "Camelot" when I was three and lived in New York City (with Burton and Andrews). To this day, I cry when I hear a good soprano and I have a knack for hearing tunes and picking them out in the correct key. I saw Michael Crawford create the Phantom in London many years ago, and I took my mother to see him do it again in New York. His vocal range and power are truly awe-inspiring for me, reflecting much discipline and talent.

I saw the film version of "Phantom of the Opera" last night. Technically, yes, the film does reveal who the Phantom is and how he came to live in the Opera House, a nice touch. It also shows the backstage chaos of an operatic production, really putting the viewer in the middle of the mêlée. The story followed that of the play, for the most part. And the familiar score was there.

As for casting, I still wonder why Michael Crawford was not cast as the Phantom, although I have read that the choice was Andrew Lloyd Webber's. The young lady who portrayed Christine, Emmy Rossum, has a beautiful voice and she handled the difficulties of the role nicely--far better than Brightman, in my opinion. That she is rather young--17/18--by other comments, is not important to me. The role is that of an ingénue, an innocent, who comes of age. Ms. Rossum is extremely talented for one so young.

I have read much about the Phantom needing to be "younger" for audience appeal. Hmm. To me, the Phantom could be any age. An older man's fondness for his protégé, translating to a desire to own his creation, yet realizing, as a parent, that young people must take wing and leave the nest, once given a decent start on life. Much more interesting plot-wise for me than a competition between a deformed, unemployed creative genius and handsome, wealthy, titled aristocrat of the same general age, dueling it out like two young bucks clonking heads. I noted Butler's deeper voice and sensed that some keys had been lowered, perhaps. The giveaway for me was in, specifically, "The Music of the Night" where the Phantom has the first high note that is held impossibly long. Argh. I squirmed, ate my popcorn, and squirmed some more. I swear, it sounded flat. Just not THERE. Also, there is a delivery that Butler has that, well, it's not quite singing all the time. Raspy? I do not know the background of this man. The Phantom is an extremely difficult role. He lends credulity to it, given the differences in singing ability/acting technique, but the film would have been a much stronger vehicle with Michael Crawford in the role. Sorry. I disagree with the casting on this part. It also was obvious throughout the film that the synching was off. The characters' mouths did not match the singing frequently. And that drives me nuts. Surely for a production that went to such great lengths to get the opera house right, the costumes, the choreography, one would hope they could polish and brush up the technical details. Oh, well.

Patrick Wilson handled the young, aristocratic lover role nicely, creating a credible third side of the love triangle. Ah, but did he really jump while riding bareback? As a horse owner, I noted that there was a nice edit NOT showing Christing getting on the horse, and that he remounted from a tombstone.

I was surprised that Minnie Driver portrayed Carlotta, the diva. I truly did not recognize her. And I did not know she could sing. Then I learned that she did not--hers was the only role dubbed. She certainly portrayed an over-the-top diva. (Is there any other kind?)

For some reason, I found the movie overly long, almost dragging in points--"Masquerade" for one. It was almost too much, disturbing the pacing. Perhaps it was trying to build suspense. I squirmed in my seat a few times and looked at my watch. I do not remember feeling this way when viewing the stage production, which the film pretty faithfully followed. The difference? Ah, Michael Crawford is all that I can figure. There are such intangible commodities as charisma and star power--and Crawford oozes both--as well as vocal control and RANGE.

If one had not seen the stage version of the "Phantom of the Opera" with Michael Crawford as the Phantom, one might not notice much difference from a touring version of the show and the film. Alas, I have been treated to the best of fine wines with Crawford's version, and it is hard not to taste the film's version of the Phantom as slightly off, in pitch and key. Just slightly.

The Day After Tomorrow (2004)

Read the book. Spoilers.

[31 May 2004]

"The Day After Tomorrow" is a cataclysmal frolic that makes so little sense it is frustrating. Why would any parent let a child travel when the world's weather is acting strangely violent? Other commentators have pointed out the beyond-belief plot points (i.e. trying to drive to a frozen NYC when 3 RAF copters were flash frozen into uselessness moments before...right up there with driving a truck through a lava flow, which I recall from another film...)

I was also concerned by the opening sequences. I felt that if I were viewing a genuine helicopter flyover, it was recorded at such fast speed that the images blurred. I rubbed my eyes. Then I felt that I was seeing not-very-good CG effects. This did not bode well. The "wolves" that looked like dogs and acted nothing like wolves were enough to make me want to go home and put on a DVD of "Dances With Wolves". The animals locked in their zoo cages as flood waters were rising (except the smart wolves that broke out) with their handlers ignoring them really was disturbing. Add to this the President sitting in the oval office, not wanting to leave, as the city is freezing, glancing reluctantly at his desk......Sigh. No way the President's security would allow such a set up.

Dennis Quaid, for his part, struggles valiantly to save the world, the U.S., his son, friends, and even his marriage. He gives a heroic effort in the face of some rather difficult to believe plot lines and not very special effects.

Sela Ward adds a warm performance under similar hard-to-believe conditions, although her character has little to do; such a waste of a talented lady. Jake Glyllenhaal as Sam, Quaid's son, sure looks like Tobey Maguire's younger brother. His performance was believable and human. Expect to see more from this young man. The actors do try to make a go of it; worth viewing the film for their performances.

One line of dialogue struck a bell, though. The kids (Sam and co.)go to the Museum of Natural History and look at the mammoth that was purportedly flash frozen in ancient times with the food it was chewing in its mouth, having had time only to lift its head up as the temperature plummeted from around a summery 80 degrees Fahrenheit to -150. I had read about this in a book about 2 years ago, "The Coming Global Superstorm", by Art Bell and Whitley Strieber. Sure enough, in the ending credits, the movie credits this book as its source for its concepts. The book was not an easy read; but it eventually got round to its points in the final chapters. It did present some interesting arguments, however. And some of its predictions have been occurring.

All the typical Hollywood political jibes aside, (I found them as distracting as the effects)some of the science is worth thinking about, though I, too, would question the eons-to years-to days compression of the film. A recent program on PBS pointed out that the magnetic poles are in the process of beginning to shift. A "bubble" of opposite polarity already exists, which modelers indicate is the beginning of the process. It has been theorized that a reversal of the magnetic poles could bring about such climactic conditions and/or the salinity changes could effectively reverse the currents of the oceans. As the polar ice caps melt, the salinity of the seas is decreasing. Many marine animals are dying and becoming endangered and immunocompromised. Red flags SHOULD be running up all of our poles. We are all inextricably linked on this planet.

Within recent weeks we have seen an early tropical cyclone-type system near Peru in early May, I believe, and another one has been sitting upon Haiti and the Dominican Republic, with thousands dying. It's not even hurricane season yet, technically. The scientists/modelers and insurance folk that often fund their research seem slow on the uptake of Mother Nature's latest changes (our bureaucracy?). The last few years storms have been rather mild (a Floridian's viewpoint)but though not even classed as tropical storms, the storms have been landfalling tropical systems and have spawned tornadoes as they came ashore, and then they were so large in dimension that some filled the entire Gulf of Mexico or were able to be on both sides of the Florida peninsula at once, sucking energy off the Gulf while leaving the Atlantic. And they did not just "die" after landfall. Some went off to the Midwest to cause flooding. We had the worst rain/tornadoes from a system that was not a tropical storm, by wind speed criteria (Alison). But the damage was as severe(windstorm from tornadoes and major flooding). The storms have been larger, slower moving, and heavy rain producers. The modelers have not--at least as far as I have gleaned from the Weather Channel--changed any classification systems to match Mother Nature's inventions of the last 3 to 4 years. A recent interview indicated that the modelers feel their ability to track storms has improved. But to predict...ah, there is the rub.

Now, if everyone reading this would please go park their SUVs and find something more economical to drive that does not pollute as much....we might have a snowball's chance. But if folks insist on keeping them, start kitting them out with spare parts, fluids, and arctic gear. And for those of us in Florida that will go below sea level as the polar ice melts (a prequel to "Water World"?), try scuba gear and a cinder block.

This film could have been scarier if more realistic in its special effects and plot lines. I am afraid the summer movie-going public will just laugh the entire concept off, rather than rethink the need for that SUV/truck, or consider green house effects, species extinction, and current weather phenomena. Thank you, Mr. Quaid, for tackling a role with a social conscience, albeit with flawed production technicalities. Frankly, showing such incredible weather changes is a tall order for the effects folks.

Secret Window (2004)

Some great Depp moments, but it is a short story. Spoilers.

[7/10 · 20 March 2004]

In "Secret Window" (from Stephen King's "Secret Window, Secret Garden" short story) Mr. Depp develops another unique character, Mort Rainey. Mort is a writer with writer's block whose life is unraveling in many directions at once. Who hasn't been there? He compensates with, specifically, Mountain Dew--the classic overdose of caffeine--and Doritos for carbs. He backslides into smoking. And he lives wrapped in a thick, cushy robe--but its shoulder is ripped. And that is our first red herring. There are others. Depp's characterizations are at their best when he is talking to his dog and to Ted (Timothy Hutton). There is a spark and a thrill to Mort's encounters with his antagonist, Ted, that for me were the highlights of "Secret Window". There is such panache evident. I know teenagers in our audience cooed out loud. Depp has the magnetism and acting talents to build Mort's persona and to draw us into his fraying world.

The screenwriter maintains suspense to a point, and herein lies the problem with "Secret Window". It is pacing. It is really spiraling along with Depp propelling it and then it just comes abruptly to a wall and dies. The suspense is gone. One knows the ending, almost. There remains one last twist that is reminiscent of an early Hitchcock TV episode. I found myself eating more popcorn and fidgeting in the seat, waiting for the film to end as I knew it would. This short story just did not convert to film length. I cannot blame Johnny Depp's performance. It is masterful, with thoughtful details of characterization to make us empathize with Mort and his problems. (I have a robe almost identical to the one he wore, less the rip, and I know there are days and nights when I crawl in it and wrap it around for comfort. I love this insistence on detail that Depp uses with each character he undertakes.) I agree with the person that commented that Depp's hair gave a performance of its own, too.

Perhaps if Mort's wife, Amy, had been more developed and less stereotyped, additional sparks might have flown. It was also interesting to find veteran actor/musical performer Len Cariou portraying the town sheriff. I have fond memories of his portrayal of the title role in "Sweeney Todd" on Broadway.

I am certain that anyone who enjoys watching Johnny Depp and his characterizations will want to see "Secret Window". The secret window is opened, allowing us to see into Mort's soul. Mort's braces on his teeth at the end--to improve his image and straighten his bite--rate right up there for Depp aficionados with the gold caps that he donned for Captain Jack Sparrow. However, parents should be warned that this is a Stephen King film; there is violence, and ultimately it is not a comfortable film to watch.

Hidalgo (2004)

"Dances With Wolves" meets "Lawrence of Arabia".

[9/10 · 11 March 2004]

"Hidalgo" is the story of a man and a paint mustang. However, in the film--as Viggo pointed out in an interview--"The star IS the horse". The story is one of survival and growth, but it also exemplifies the genuine bond of partnership than can exist between four-legged and two-leggeds. It helps that Viggo's character (Hopkins) is "Blue Child" and is half-Lakota. Floyd Crow Westerman is a familiar voice speaking the Lakota tongue. The beginning of the film was strangely similar to parts of "The Last Samurai"...principle characters partaking inadvertently of despicable events (i.e. Wounded Knee) and suffering from PTSD (post-traumatic stress disorder), then seeking refuge from their nightmares in whiskey. Hmm. Onwards and upwards, as Hidalgo suggests when he disappears in the desert camp, only to be found waiting at the starting line for the day's race, staring at his staggering human, suggesting he get his,well, er-hum, together. Very eloquently projected to the audience, without a word having to be lipped in the style of Mr. Ed (bless him!). This is, after all, the age of natural horsemanship. "Be in the moment" is the horse's healing lesson for the tortured human.

The concepts truly behind natural horsemanship are that we are all brothers. None of this medieval church philosophy that God set two-leggeds above the four-leggeds for dominion. This film borrows heavily from the sacred wheel of the Lakota (their flag and Hopkins' talisman) and together the desert sands lead horse and human along the true path of the Red Road to healing and wholeness. Along the way, much hatred of Muslim for infidel is converted to mutual respect and even admiration, as cultural biases give way to common understandings that we are all good, all filled with that divine life, all equal....two-legged, four-legged, and even winged. The kinship and understanding of how to make the right thing easy and the wrong thing difficult--tenets of the late Tom Dorrance, a master natural horseman--take Hopkins and Hidalgo beyond living in the American West with its creatures and peoples to tasting and daring to share strange worlds and stranger customs of other peoples and their creatures--even when half of them are out to ruin Hopkins and his beloved horse. For anyone that loves horses, a good old-fashioned Western, the Lakota people, the mystique of the Arabian culture or has a fear of the Muslim from ignorance, they will find this film to be a broadening and enlightening experience. I have not read the history of Hopkins. The film says he was an advocate that sought to preserve the American Mustang breed his entire life. I have ridden mustangs and spent time with them on a preserve in Montana. They are intelligent and noble creatures. They still need our protection, lest they end up as fare on tables in Europe or processed into dog food. These are sentient, intelligent creatures, each animal unique with beatiful personalities--even humor. And Viggo is fun to watch, too. His bareback gallop scene had everyone on the edge of their seats in our theatre. Don't take yourself too seriously. Live in the moment and enjoy! Quite a romp. Viggo manages Lakota with the skill that he handled Elvish. Very impressing. And a childhood riding with the Gauchos certainly comes across in his ability to bond and be with horses. Nicely chosen role, sir. And Viggo is perfect for the part. "Hidalgo" was played principally by a horse named TJ and Viggo mentioned in the interview that I saw that he bought TJ and kept him; they really bonded. This film is that genuine in its scenes of horse and human. They really understand one another and the mutual respect and love they have for one another will bring a tear to hardened eyes. This film seems undermarketed with little advance press. But it is a gem. Almost feels like you have seen a foreign film, with the Lakota and Arabic being subtitled. James Newton Howard wrote the soundtrack--another plus. All in all, a good journey to share with food for thought and applications for the terrors, trials, and existence in today's world. Thank you, all of you who created this piece.

Wyatt Earp (1994)

Reassessing an underrated masterpiece.

[10/10 · 19 February 2004]

I have to thank Kevin Costner for taking me West. "Wyatt Earp" led me to pick up a copy of the early Earp bio by Stuart Lake while working in Canada, and I was surprised to find photos of the actual historical people tipped inside. The resemblance of the actors to those they portrayed impressed me.

I continued to research. I went to Tombstone and stayed at a nearby ranch. The town itself declined Costner's office to rebuild it with accuracy, preferring the leave things as they are (very touristy). The gunfight was actually held in the street, etc. My research matched at least striking physical/type casting for 17 characters, from major characters (the Earps and their wives/women) to the Cowboys, Beehan, Doc Holiday, his Kate, and Bat Masterson. Linden Ashby is the most striking doppelganger; indeed, he seems to be a physical reincarnation of Morgan Earp. Dennis Quaid lost some 40 pounds or so for the role of Doc Holiday and his resemblance to the TB-plagued gambler from Valdosta, Georgia is eerie as well.

Costner caught a lot of flack for this film; in fact, few critics noted the historical sense that he achieved. Granted, some cuts are made in time frame/continuity to speed plot along (i.e. timing of attacks on Morgan and Virgil), and the film is lengthy. I learned that the Cowboy/Earp feud was not mere ill-will, but that the strife represented political differences and clashing economic interests, as well as the "theft" of a lover. The old diaries and biographies are fascinating! I learned that Morgan Earp told Allie Earp something like, "I want to leave Tombstone and never come back" moments before he was shot to death.

Of note, Johnny Beehan's partner in the Dexter Corral in Tombstone was a man named "John Dunbar". This was Costner's character's name in "Dances with Wolves". Go figure. Read more about it! Granted Lake embellished Earp's image, but the place, the times and the issues are fascinating.

Pirates of the Caribbean: The Curse of the Black Pearl (2003)

For those hard to hear lines....

[10/10 · 16 February 2004]

Re: The comment from the individual that could not understand the British accents and/or some lines with overlying sound effects.

I recently explored the DVD at great length, and was fascinated with the English captioned lines for the hearing impaired. While not perfectly transcribed, they do help one understand lines that were yelled or screamed over cannon fire, wave sounds, etc. For example, I heard Geoffrey Rush say, "They're clubhauling". Had not heard this term in the movie theater. The captioned edition really did fill in some details in the script.

Pirates of the Caribbean: The Curse of the Black Pearl (2003)

Reminded me of Saturday AM matinees.

[10/10 · 16 February 2004]

I did not rush out and see this film. I mean, it is based on a theme ride at Disneyland/World. Ah, but that was my mistake. I kept hearing good things about it and finally did see it. I immediately found the sound track and also purchased the 2-disc DVD set when it was released. Johnny Depp has produced a masterful characterization in CAPT. Jack Sparrow, borrowing perhaps a bit from the barge gypsy in "Chocolat".

But Depp truly hones and defines the swash and the buckle in Jack Sparrow. I realize the film was released in Summer 2003 to probably help build concessions at the Disney Parks, and the Caribbean, islands, ships, and pirates are perhaps more conducive to summer movie audiences. But perhaps a slightly later release date might have helped the film garner more Oscar nominations. I regret that the music and the costumes have not been nominated. I am pleased that the Academy did single out Johnny Depp for a Best Actor nomination. I realize his chances of winning are as great a long shot as Seabiscuit's were in his career, but I, for one, hope Mr. Depp wins. Captain Jack has a thrilling physical introduction in the film and his energy just goes on and on. He has a single purpose and he keeps to it, manipulating the winds, waves, and folk that come his way. Beautifully written and acted. It is not often that a choice role combines with a commercially successful film to push an actor up into star range, but Captain Jack Sparrow has certainly done this for Mr. Depp. Mr.Bloom, Mr. Rush and Ms. Knightley are good support. Quite a romp with great swordsmanship. A really good crew assembled. "Yo ho!"