Whitehill Reviews

Revenge (2011–2015)

Sweet revenge turned sour

[6/10 · 10 December 2013]

"Revenge" is dramatic, opulent, twisty, well-scored and filled with characters you love to hate. The first season was filled with tension, mystery, suspense, good character development, surprises and enough story to make you interested in what was going to happen to these characters next.

Then, through season 2, the twists and turns took you on a roller coaster ride that evoked the laughs and screams you get from one in an amusement park more than the intense intelligent journey you get from well-written drama. In other words, suddenly everything seemed ludicrous – the villainy, the action and re-actions of many characters.

It seems it doesn't matter how many evil people have been killed off already in two seasons, there are always more devious scoundrels brought in to take their place. But, hey, the so- called "good guys" are as deceitful as the rest of the lot. You can play only so many tricks on an audience before the viewers say, "Sorry, that just doesn't work anymore." The plot has turned farcical, ridiculous, preposterous, and absurd (if you think I'm being repetitive, that's the point), so that one is no longer willing to go along with the inane plot development. Nor does one care anymore what happens to the characters. No character trusts any other, and now that the writers have killed off some of our favorite (and in some cases likable) people, we viewers no longer have enough trust to get too deeply involved with anyone.

Maybe it's a "guilty pleasure" for many viewers (ratings have been quite high) – maybe it will become a cult classic – and maybe some viewers who loved the first season are not yet willing to give up on it. As for me, I'm done: I give season 1 the highest rating, but season 2, in spite of its good looks, is nonsensical comic soap-opera sci-fi.

Zorba the Greek (1964)

I'll take the music over the film

[4/10 · 15 April 2011]

When I realized I could not remember anything about "Zorba the Greek," a film I had seen more than 45 years ago, I knew it was time for another viewing. Other than for its extraordinary music, the film is remembered, I think, for Anthony Quinn's portrayal and the joie de vivre of his character. But the reality of the film is the cruelty of mankind, embodied by the village people ransacking the French woman's house when she is dying, and, of course, the murder of the widow. I accept these incidents, and others like it in the film, as a realistic view of what life sometimes brings. What I can't accept is Basil's (Alan Bates') reaction to such things as the widow's death, especially after he had spent the night with her. Even if he couldn't do anything about the brutal slaying of the woman, supported by the village residents, why did he remain in the area to develop his mine and give work and money to the villagers? In fact why would such a shy and introverted man have hired a peculiar stranger like Zorba in the first place? Other questions—minor things, maybe—trouble me. If Zorba needed to get the tree trunks down from the mountain top in order to use them to shore up the weakened mine, where did he get all those huge tree trunks to support the "wire slide" that would bring the tree trunks down the mountain? And why didn't he use them inside the mine instead.

The characters were Felliniesque and, forgive me, I don't like Fellini. The character of Basil, around whom the film seemed to be based, was not believable to me. The film, in my view, was NOT based on the colorful Zorba character—he was merely the conduit for much of what happened. I think I'll just stick with the music.

Secret File, U.S.A. (1955– )

from not very good to not half bad

[5/10 · 17 December 2010]

Forget the plot lines. The not-very-good parts were the plot lines, all rather incredulous. The "Mission Firebird" episode had a story that felt like (and sets that looked like) something from Captain Video or earlier.

The acting, overall, showed every foreign-accented nemesis as a caricature or stereotype. And the most annoying thing (which a previous reviewer mentioned) was that the 4-episode DVD with its nice color cover (the shows are in black and white) highlights (with photo) Alan Alda as one of the two stars, even though he was not in --and apparently had nothing to do with--this series.

So what's not half bad? The on-location street scenes were great. The general anti- communist tone was a nice throwback to the '50s. And the star, Robert Alda (Alan's brother) had a certain kind of charm plus a great speaking voice; the fact that he narrated parts of each episode made it much more interesting.

Would I watch these episodes again? No. Would I buy another "Secret File USA" DVD with different episodes, if it ever came out? Sure.

Somewhere (2010)

watching paint dry

[1/10 · 16 November 2010]

The first fifteen minutes of the film are slow, noisy, and boring. Then it goes downhill from there. You know the expression of something being about as interesting as watching paint dry? We're actually subjected to something similar, watching a special effects face mask dry as the wearer sleeps beneath it. Ms. Coppola is not content with showing mundane actions in real time, she seems intent on prolonging the time the camera spends on uninteresting details. In another painful sequence, she subjects us to two pole dancers, who should have been paid by the hour, considering how long the dance lasted. As if we hadn't had enough, she even brings them back later for an encore. Maybe it's an attempt at her idea of setting a mood--or abruptly breaking one--or getting an audience to become absorbed with a character. I couldn't care in the least about these characters (except the daughter) and would just as soon, well, watch paint dry.

Four Star Playhouse: Tusitala (1955) Season 3, Episode 22

Interesting story with some basis in fact

[7/10 · 6 May 2010]

The most interesting part of "Tusitala" is the weaving of the story against a true historical background. "Tusitala," meaning "teller of tales" in Samoan, was the name given to Scottish author Robert Louis Stevenson when he made Samoa his home. Being in ill health, he had searched for a place that would help his illness, and the salt air and climate of Samoa suited him. When there, he formally deeded his birth date to the daughter of the American Land Commissioner Henry Clay Ide, since she, Anna, was born on Christmas Day and therefore could not experience the joy of receiving presents and attention on her birthday separate from that usually given on that holiday. Stevenson was involved in local politics and attempted to intervene in the budding feud between two tribal elders that could lead to war. These historical facts are played out in this "Four Star Playhouse" presentation and show a part of the great author with whom many of us might not be familiar. The roles were well-played by Niven (as Tusitala) and the supporting cast, though the roles of the two chiefs, Metaafa, played by Steven Geray, and Lappeppa, played by Richard Reeves, were closer to caricatures. The part of Anna, a small part, was played by a very young (pre-teen) Noreen Corcoran, but it was significant enough that the show ended with her being held in David Niven's arms; she was the child whose birthday was changed by Stevenson's decree. Noreen went on to star as teenager Kelly Gregg, the niece on the TV series "Bachelor Father." As that series started in 1957, I was surprised to see "Tusitala" listed as 1955, since Noreen looked so much younger than on "Bachelor Father." Her innocent, spirited, precocious role in Tusitala serves as an interesting preview to the child star's TV sitcom days.

Angel at Sea (2009)

Not a film for everyone

[3/10 · 2 October 2009]

Though there were certainly some visually beautiful and emotionally strong moments in this film, its theme may not be ultimately fulfilling for all viewers. Maybe it appeals more to people closer to the boy's age, rather than the father's. It was hard to accept that the father bestowed such a terrible secret upon his son, and harder to imagine that the son would keep that secret, when breaking his silence might have been of help to his father. By the end, I was hoping the father would make good his threat and end everybody's pain--his own, his son's, mine, and by now his family's as well, since the son's behavior in watching over his father and trying to keep it a secret was further disrupting the family (of course, the father's suicide would have had other tragic consequences for the children, but that would have been a different movie). The end--though maybe seen by some as a twist--was not a surprise and provided neither resolution nor satisfaction. I can see why some would be drawn into this film. I wasn't.

Miami Vice: Out Where the Buses Don't Run (1985) Season 2, Episode 3

An outstanding performance by Bruce McGill makes for a great episode

[10/10 · 29 May 2009]

Bruce McGill's outstanding performance makes this episode one of Miami Vice's best. In contrast to another reviewer's posting that this episode "hits the ground running and doesn't pause for breath," what makes this one so special is the pacing--the long sequences of atmospheric INaction and slow movements, coupled with a rich score and and the usual memorable photography that skates you by the bright bikini banquet on the beach, and moves, later on, to a long night drive with the camera (and you) following the dark convertible from above, past the street lights and blinking traffic signals of Miami. With all the characters in the various scenes (the station, a restaurant, the boat house on the water), McGill shines as the ex-Miami Vice crack detective whose comic impersonations (Groucho Marks, Peter Lorre, Boris Karlofff, among others) are in stark contrast to his infrequent rage and his hints of madness.