Pages

Tuesday, May 31, 2022

Operation Mincemeat (2021) [PG-13] ****

A film review by Christy Lemire for rogerebert.com on May 11, 2022.

Operation Mincemeat looks like a proper British spy drama and for the most part, well, it is. It’s based on the true story of wartime daring and heroism, features a classy cast including Colin Firth and Matthew Macfadyen and has a director in John Madden (Shakespeare in Love, the Best Exotic Marigold Hotel movies) who’s made his name with exactly this kind of sturdy, old-fashioned fare.

But the story itself is so absurd and is told with enough surprises and dry humor that it’s constantly engaging. Imagine Weekend at Bernie’s set during World War II, with a dash of romance sprinkled in amid the spy craft and physical gags, and you’ll have some idea of the tricky tonal balance this film improbably achieves. Operation Mincemeat takes its title from the real-life mission that tricked Hitler into believing the Allies were going to invade Greece, rather than Sicily, in 1943. Ben Macintyre’s non-fiction book of the same name also provides the basis for television veteran Michelle Ashford’s sprawling script. But while the film as a whole may seem dense and restrained, the performances and attention to detail consistently bring it to life
.

Operation Mincemeat
also serves as a bit of a James Bond origin story. One of the British intelligence officers behind this unlikely plan was Ian Fleming, who would go on to create the iconic 007 character based on his own experiences working in espionage. So if you ever wondered about the inspiration behind such legendary figures as M and Q, you’re in for some amusing enlightenment. The charismatic actor and singer Johnny Flynn plays Fleming and provides the film’s dramatic narration, accompanied by the clickety-clack of his typewriter while the other members of his interagency intelligence squad get actual work done in their hidden headquarters. But who could blame the aspiring novelist for wanting to take notes? This stuff’s just too juicy.

Firth’s Ewen Montagu and Macfadyen’s Charles Cholmondeley lead the scheme to secure a body, dress it in a military uniform and dump it off the coast of Spain in the hope that it will wash ashore with a briefcase full of fake documents intact. A million pieces large and small must fall into place to ensure that this disinformation falls into precisely the right hands in order to deceive Hitler and break his army’s hold on Europe. And as is the case in any great heist movie, much of the fun comes from watching the players work through their plan. Here, that means creating a fictional identity and backstory for their deceased drifter that’s so complete and air-tight that it won’t raise suspicion. These brainstorming sessions between the officers Montagu and Cholmondeley, clerk Jean Leslie (Kelly Macdonald) and secretary Hester Leggett (a lovely Penelope Wilton) have a snappy, lighthearted pace, but they also allow us to get to know these characters as it becomes clear that they’re not just playing a high-stakes game of make-believe. They’re investing their own very-real personalities, dreams and regrets into the made-up Capt. William Martin.


They’re also making themselves vulnerable in a profession that’s all about keeping up your defenses. That extends to the romantic bond that steadily builds between the widowed Jean and Ewen, who sent his wife and kids to America to protect them because they’re Jewish; early scenes suggest that the couple’s marriage was in jeopardy anyway. Macdonald and Firth have a sweet and easy chemistry tinged with the slightest sadness and world-weariness. They’re both great. But this burgeoning relationship grows complicated as it becomes obvious that Charles has feelings for Jean, as well; Macfadyen is mostly stoic, but he gets to deliver plenty of wry zingers. And mistrust begins to bubble up among everyone on the team as deceptions within the deception emerge.


Operation Mincemeat
grows legitimately tense on both the personal and professional levels as the team executes the mission and waits anxiously to learn whether it was successful. Tiny zigs and zags along the way could mean disaster at any moment, and characters who may have seemed minor at first become majorly important as they’re forced to improvise. At times, you may wish Madden had taken the same kind of chances as the masterminds behind Operation Mincemeat, but his film is still sufficiently rousing. [Lemire’s rating: 3 stars out of 4]

Labels: drama, history, war, WWII
IMDb 67/100

MetaScore (critics=65, viewers=59)

RottenTomatoes Averages (critics=66, viewers=70)

Netflix

Lemire’s original review


Saturday, May 28, 2022

David Foster: Off the Record (2019) [TV-MA] ****

A film review by Allison Rose for flickdirect.com on July 2, 2020.

David Foster is one of the greatest producers of all time without question. High praise especially when it is coming out of the mouth of former Columbia Records President Clive Davis. Of course, Foster's 47 Grammy nominations and 16 wins also speak for themselves. The numbers certainly don't lie, neither does the long list of hit songs and world-famous artists he has produced. That kind of fame could make a person egotistical and one dimensional – and Foster readily admits on camera that he is egotistical.  However, he certainly isn't one dimensional as evidenced in what both he and others say about him in the new documentary, David Foster: Off the Record.

Certainly, unless you follow music and the upper echelon of players in that world, you may have never heard of David Foster. However, I have no doubts that you have heard at least one of the hit songs he produced.  He has worked with Earth, Wind, and Fire, Chicago, Whitney Houston, Andrea Bocelli, etc. and discovered and molded new talent including Celine Dion, Michael Bublé and Josh Groban. He produced numerous songs for films including the St. Elmo's Fire soundtrack and The Bodyguard: Original Soundtrack Album. He has been a part of the music industry for almost fifty years and has created a legacy of songs that will remain timeless.

Born in Victoria, British Columbia, to a maintenance yard superintendent father, and a homemaker mother, David was the only boy with five sisters.  At a very young age, David's mother discovered that he had perfect pitch and encouraged him to learn to play the piano.  At age thirteen, he enrolled in the University of Washington's music program and became a session musician in 1971. However, by the end of the 1970's he found his niche in producing records and since then has had a string of hits spanning over four decades.

His personal life, unfortunately, hasn't been quite as successful, as Foster himself will admit he's a runner. He is currently married to his fifth wife, Katherine McPhee, who also happens to be 34 years his junior and is even younger than a few of his five daughters from previous marriages / relationships. He does say he is happy with McPhee partially because she calls him out on his past behavior and makes him listen as she talks about her feelings until he understands that he hurt / upset her. Being from a younger, more open generation may be the trick that will keep Foster from a fifth divorce.

It's obvious from how Foster and others speak about him that he is his harshest critic and doesn't necessarily think of himself as all that successful.  He will also be the first person to tell you that he can be a real asshole and even the artists who he has had great success with have probably hated him at some point during the recording process. And while Foster will admit to the ego and the bad behavior, even having cursed out Clive Davis once, he is unwilling to explore his feelings deeper than on the shallowest level. So even though his family and friends offer a portrait of a complex man, they will be the first to tell you that they don't fully know him.

Always striving for the next obstacle to conquer, Foster has now set his sights on Broadway and is in development on three different musicals. He also is obsessed with surviving and, as his daughters tell it, he will want to be frozen and come back. He is also a kind and generous man who will most probably say yes to every charity event he can and has his own foundation that offers to cover all costs to individuals who need organ transplants.

Again, a complex man who no one truly knows, I would love to see a follow up to this documentary where he actually explores his feelings and the motivation that still drives him so hard to be successful even at 70 years old.  Writer/director Barry Avrich does the best he can to piece together a full picture of Foster utilizing some of the most famous people in music and Foster himself. However, the musical genius will let the outside world in only so far. [Rose’s rating: A-]

Labels: documentary, music
IMDb 70/100

MetaScore (critics=tbd, viewers=tbd)
RottenTomatoes Averages (critics=71, viewers=58)

Netflix
Blu-ray Hit Man: David Foster and Friends (2008)

Blu-ray Hit Man Returns: David Foster and Friends (2010)
A rather negative review from Nick Allen at rogerebert.com

Wednesday, May 4, 2022

Seven Years in Tibet (1997) [PG-13] ****

An (edited) film review by James Berardinelli for ReelViews.net.

Hollywood has a habit of producing multiple films about the same topic in a short span of time. The tale of the Dalai Lama is the latest example of this, so Seven Years in Tibet, Jean-Jacques Annaud's adaptation of Heinrich Harrer's 1953 autobiographical work, isn't the only 1997 film to cash in on the new wave of Buddhism. Martin Scorsese's Kundun, a look at the life of the Dalai Lama before he went into exile, is due out on Christmas day. Both films have significant historical and thematic overlaps.

The focus of Seven Years in Tibet isn't the spiritual leader of Tibet, but the Austrian who would become his tutor and friend. In 1939, Heinrich Harrer (Brad Pitt) is an Austrian golden boy. An Olympic skiing medalist and mountain climbing champion, Harrer is invited to be a part of a German expedition to the top of Nanga Parbat, one of the tallest mountains in the Himalayas. The summit is never attained, however, because the group's leader, Peter Aufschnaiter (David Thewlis) calls a halt after a close call with an avalanche. When the climbers return to their camp at the mountain's base, they discover that WWII has begun and they are arrested by British soldiers and interred in a prisoner of war camp.

After numerous unsuccessful escape attempts, Harrer finally gets out, and, along with Aufschnaiter, makes his way through the mountains of India into Tibet, the roof of the world. Eventually, after a difficult trek, the two men enter Lhasa disguised as pilgrims, the Tibetan holy city, where they are accepted as foreigners who achieved a great feat by completing such a journey. There, they vie for the affection of a comely tailor (Lhakpa Tsamchoe) and Harrer attracts the attention of the 11-year old Dalai Lama (Jamyang Wangchuk). Soon, Harrer has not only met Tibet's young spiritual leader, but is spending hours every day with him, teaching him geography, English, and Western culture.

Those expecting a heavy dose of Tibetan Buddhist religion may be disappointed by Seven Years in Tibet, which keeps its religious elements low-key. This is essentially the story of Harrer's redemption, and, until the film's final quarter, Annaud keeps the proceedings centered on him. In fact, it's during Seven Years in Tibet's last act, which depicts China's ruthless submission of Tibet during the 1950s, that the film's focus wavers. This attempt to broaden the movie's scope detracts from its primary story. The extra scenes serve only to divert our attention from Harrer the Dalai Lama and prolong a movie that would have been more enjoyable with some additional pruning.


Seven Years in Tibet also tries too hard to underscore Harrer's personal transformation by overemphasizing his negative traits at the beginning. When Seven Years in Tibet opens, he's a egotist who abandons his pregnant wife to go on the Nanga Parbat expedition. During the climb, he endangers the others by concealing an injury, and, all the while, he shows the arrogance of someone who believes himself to be infallible and who practices blaming others rather than examining his own culpability. However, by the closing scene, he's a virtual saint. Of course, the end points of a spiritual journey matter less than the actual trek, so, although Harrer starts out the movie as a cliché, his character is permitted enough growth to allow him to become progressively more human as the story advances.

Seven Years in Tibet is at its strongest during those sequences when Harrer is crossing the Himalayas, adapting to Tibetan society, and forging a friendship with his surrogate son, the Dalai Lama. The latter scenes are especially effective, due in large part to a remarkable performance by Jamyang Wangchuk, whose fine acting makes it possible to believe that this boy, with all the natural curiosity of someone his age, has access to the wisdom of ages. Next to Wangchuk, Pitt comes across as rather pedestrian - his portrayal isn't exactly uninspired, but it's nothing special, and his inconsistent Austrian accent is a source of irritation. Of the other actors, only Lhakpa Tsamchoe manages to forge an impression. David Thewlis, who has been on a downhill slide since Naked, is even more unremarkable than Pitt.

Nevertheless, although he may not have the strongest leads, Annaud compensates for the deficiency with stunning photography. Cinematographer Robert Fraisse has used the glorious mountain landscapes to their best effect, almost always affording the viewer the opportunity to see something spectacular, such as a scene where two climbers are ascending a mountainside while silhouetted against a glorious sunset. It's a little ironic that, because of Asian politics, Annaud couldn't do any filming in the Himalayas, and was forced to use the South American Andes as a stand-in.

Ultimately, however, Annaud's desire to create an epic tale actually harms the production, since it results in unnecessary scenes that pad the running length to more than two hours. The best moments in Seven Years in Tibet are the quiet, intimate ones, and while there's some enjoyment to be gained from the more adventurous sequences, they pale in comparison to the interaction between Harrer and the Dalai Lama. Those are the times when Seven Years in Tibet is at its best; I just wish there had been a few more of them. [Berardinelli’s rating: 2.5 stars out of 4 = 62.5%]

Labels: adventure, biography, drama, history
IMDb 71/100

MetaScore (critics=55, viewers=74)
RottenTomatoes Averages (critics=63, viewers=74)

Blu-ray
Netflix

Wikipedia Heinrich Harrer 

Wikipedia 14th Dalai Lama