My Top 10 Favorite Screenplays (Part 2 of 5)

3. Pulp Fiction (1994) Written by Quentin Tarantino and Roger Avery
Accolades: Winner-Academy Award Best Original Screenplay
Winner- BAFTA Best Original Screenplay
Winner- Golden Globe Award Best Screenplay (Motion Picture)

Thoughts/Opinions: Yep, you knew it was going to be on here and I'm surprised I didn't get any complaints for it not being my number one. Pulp Fiction is completely run by the cleverness of its script and how incredibly fascinating its characters are. Pulp Fiction's script should be required reading for every passionate film fan or anybody who is dreaming of being a film maker. Its legendary non-linear storyline, endless clever quotes, and endless action are what make this film a masterpiece. If Pulp Fiction script wasn't great than the film would just be a clever action flick, but with one of the greatest scripts ever and some of the most iconic characters ever, Pulp Fiction is the only film of its kind to be a great film. Samuel L. Jackson's career was made and John Travolta's was revived by hit men pal characters Jules Winnfield and Vic Vega. Bruce Willis' career was also drastically helped with his role as Butch Coolidge, an aging boxer who is payed to throw a fight, but instead kills his opponent. Uma Thurman and Ving Rames have two of their earliest great performances as Mia and Marsellus Wallace. Tim Roth and Amanda Plummer play Pumpkin' and Bunny two desperate lovers who rob a coffee shop, their characters are featured at the beginning and end of the film and are in some of the most enjoyable scenes of the film. Oh it's characters and dialogue galore in this film. A screenwriter could only dream of having characters so wonderful that just about each of them in the film could have their own movie and people would go see it.

Vincent: And you know what they call a... a... a Quarter Pounder with Cheese in Paris?
Jules: They don't call it a Quarter Pounder with cheese?
Vincent: No man, they got the metric system. They wouldn't know what the fuck a Quarter Pounder is.
Jules: Then what do they call it?
Vincent: They call it a Royale with cheese.
Jules: A Royale with cheese. What do they call a Big Mac?
Vincent: Well, a Big Mac's a Big Mac, but they call it le Big-Mac.
Jules: Le Big-Mac. Ha ha ha ha. What do they call a Whopper?
Vincent: I dunno, I didn't go into Burger King.

Butch: You okay?
Marsellus: Naw man. I'm pretty fuckin' far from okay.
Butch: What now?
Marsellus: What now? Let me tell you what now. I'ma call a coupla hard, pipe-hittin' niggers, who'll go to work on the homes here with a pair of pliers and a blow torch. You hear me talkin', hillbilly boy? I ain't through with you by a damn sight. I'ma get medieval on your ass.
Butch: I meant what now between me and you?
Marsellus: Oh, that what now. I tell you what now between me and you. There is no me and you. Not no more.

Jules: Whoa, whoa, whoa, whoa... stop right there. Eatin' a bitch out, and givin' a bitch a foot massage ain't even the same fuckin' thing.
Vincent: It's not. It's the same ballpark.
Jules: Ain't no fuckin' ballpark neither. Now look, maybe your method of massage differs from mine, but, you know, touchin' his wife's feet, and stickin' your tongue in her Holiest of Holies, ain't the same fuckin' ballpark, it ain't the same league, it ain't even the same fuckin' sport. Look, foot massages don't mean shit.
Vincent: Have you ever given a foot massage?
Jules: [scoffs] Don't be tellin' me about foot massages. I'm the foot fuckin' master.
Vincent: Given a lot of 'em?
Jules: Shit yeah. I got my technique down and everything, I don't be ticklin' or nothin'.
Vincent: Would you give a guy a foot massage?
[Jules gives Vincent a long look, realizing he's been set up]
Jules: Fuck you.
Vincent: You give them a lot?
Jules: Fuck you.
Vincent: You know, I'm getting kinda tired. I could use a foot massage myself.
Jules: Man, you best back off, I'm gittin' a little pissed here.

Mia: Vincent, do you still want to hear my Fox Force Five joke?
Vincent: Sure, but I think I'm still a little too petrified to laugh.
Mia: No, you wont laugh, 'cus it's not funny. But if you still wanna hear it, I'll tell it.
Vincent: I can't wait.
Mia: Three tomatoes are walking down the street- a poppa tomato, a momma tomato, and a little baby tomato. Baby tomato starts lagging behind. Poppa tomato gets angry, goes over to the baby tomato, and smooshes him... and says, Catch up.

 

The Wolf: Jimmie, lead the way. Boys, get to work.
Vincent: A please would be nice.
The Wolf: Come again?
Vincent: I said a please would be nice.
The Wolf: Get it straight buster - I'm not here to say please, I'm here to tell you what to do and if self-preservation is an instinct you possess you'd better fucking do it and do it quick. I'm here to help - if my help's not appreciated then lotsa luck, gentlemen.
Jules: No, Mr. Wolf, it ain't like that, your help is definitely appreciated.
Vincent: I don't mean any disrespect, I just don't like people barking orders at me.
The Wolf: If I'm curt with you it's because time is a factor. I think fast, I talk fast and I need you guys to act fast if you wanna get out of this. So, pretty please... with sugar on top. Clean the fucking car.

4. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Written by Stanley Kubrick, Peter George, and Terry Southern.
Accolades: Nominated-Academy Award Best Adapted Screenplay
Nominated- BAFTA Best Screenplay

Thoughts/Opinions: Loosely based on Peter George's Cold War thriller Red Alert. Dr. Strangelove is the greatest satire of all time, and it's as simple as that. It took three men--Kubrick, George and Southern-- to create this script with many uncredited contributions from the actors, most notably Sellers. The dialogue uses intense sarcasm during very drastic moments and characters so outrageous that you could sit there for hours just to see what they were going to do next. There really isn't any real way I can describe this script, it's one of those experiences that you must witness on your own. Unfortunately not a lot of people know about the film and only major movie buffs even know anything about the script. This script was a complete risk. It was made during a time when the stress of the Cold War was still at a head, all of the scenarios in the film were in all honesty major possibilities for the time. Not many films or scripts would have the courage to tackle a very scary subject like nuclear war right when the possibilty is at it's highest, while also using such outrageousness with how it uses the satire. And you all will soon find out that this isn't the last Kubrick satire that will be featured on this list...hint hint.

General Jack D. Ripper: Your Commie has no regard for human life, not even of his own. For this reason men, I want to impress upon you the need for extreme watchfulness. The enemy may come individually, or in strength. He may even appear in the form of our own troops. But however we must stop him. We must not allow him to gain entrance to this base. Now, I'm going to give you THREE SIMPLE rules: First, trust NO one, whatever his uniform or rank, unless he is known to you personally; Second, anyone or anything that approaches within 200 yards of the perimeter is to be FIRED UPON; Third, if in doubt, shoot first then ask questions later. I would sooner accept a few casualties through accidents rather losing the entire base and its personnel through carelessness. Any variation of these rules must come from me personally. Any variation on these rules must come from me personally. Now, men, in conclusion, I would like to say that, in the two years it has been my privilege to be your commanding officer, I have always expected the best from you, and you have never given me anything less than that. Today, the nation is counting on us. We're not going to let them down. Good luck to you all.

 

Group Capt. Lionel Mandrake: Erm, what about the planes, sir? Surely we must issue the recall code immediately.
General Jack D. Ripper: Group Captain, the planes are not gonna be recalled. My attack orders have been issued, and the orders stand.
Group Capt. Lionel Mandrake: Well, if you'll excuse me saying so, sir, that would be, to my way of thinking, rather... well, rather an odd way of looking at it. You see, if a Russian attack was in progress, we would certainly not be hearing civilian broadcast.
General Jack D. Ripper: Are you certain of that, Mandrake?
Group Capt. Lionel Mandrake: Oh, I'm absolutely positive about it.
General Jack D. Ripper: And what if it is true?
Group Capt. Lionel Mandrake: Well, I'm afraid I'm still not with you, sir, because, I mean, if a Russian attack was not in progress, then your use of Plan R - in fact, your order to the entire Wing... Oh. I would say, sir, that there were something dreadfully wrong somewhere.
General Jack D. Ripper: Now why don't you just take it easy, Group Captain, and please make me a drink of grain alcohol and rainwater, and help yourself to whatever you'd like.
[Mandrake snaps to attention and salutes]
Group Capt. Lionel Mandrake: General Ripper, Sir, as an officer in Her Majesty's Air Force, it is my clear duty, under the present circumstances, to issue the recall code, upon my own authority, and bring back the Wing. If you'll excuse me, sir.
[He finds the doors locked]
Group Capt. Lionel Mandrake: I'm afraid, sir, I must ask you for the key, and the recall code. Have you got them handy, sir?

General Jack D. Ripper: Mandrake, do you realize that in addition to fluoridating water, why, there are studies underway to fluoridate salt, flour, fruit juices, soup, sugar, milk... ice cream. Ice cream, Mandrake, children's ice cream.

Group Capt. Lionel Mandrake: [very nervous] Lord, Jack.
General Jack D. Ripper: You know when fluoridation first began?
Group Capt. Lionel Mandrake: I... no, no. I don't, Jack.
General Jack D. Ripper: Nineteen hundred and forty-six. 1946, Mandrake. How does that coincide with your post-war Commie conspiracy, huh? It's incredibly obvious, isn't it? A foreign substance is introduced into our precious bodily fluids without the knowledge of the individual. Certainly without any choice. That's the way your hard-core Commie works.
Group Capt. Lionel Mandrake: Uh, Jack, Jack, listen... tell me, tell me, Jack. When did you first... become... well, develop this theory?
General Jack D. Ripper: [somewhat embarassed] Well, I, uh... I... I... first became aware of it, Mandrake, during the physical act of love.
Group Capt. Lionel Mandrake: Hmm.
General Jack D. Ripper: Yes, a uh, a profound sense of fatigue... a feeling of emptiness followed. Luckily I... I was able to interpret these feelings correctly. Loss of essence.
Group Capt. Lionel Mandrake: Hmm.
General Jack D. Ripper: I can assure you it has not recurred, Mandrake. Women uh... women sense my power and they seek the life essence. I, uh... I do not avoid women, Mandrake.
Group Capt. Lionel Mandrake: No.
General Jack D. Ripper: But I... I do deny them my essence.

[Strangelove's plan for post-nuclear war survival involves living underground with a 10:1 female-to-male ratio]
General "Buck" Turgidson: Doctor, you mentioned the ratio of ten women to each man. Now, wouldn't that necessitate the abandonment of the so-called monogamous sexual relationship, I mean, as far as men were concerned?
Dr. Strangelove: Regrettably, yes. But it is, you know, a sacrifice required for the future of the human race. I hasten to add that since each man will be required to do prodigious... service along these lines, the women will have to be selected for their sexual characteristics which will have to be of a highly stimulating nature.
Ambassador de Sadesky: I must confess, you have an astonishingly good idea there, Doctor.

Dr. Strangelove: Sir! I have a plan!
[standing up from his wheelchair]
Dr. Strangelove: Mein Führer! I can walk!

Top 10 Favorite Screenplays (Part 1 of 5)

Since I am an aspiring screenwriter, I thought it would only be right for me to make a list of my favorite screenplays in film. There are three major things I look for in a screenplay: First I pay attention to the characters and try to find characters that draw certain interests in me. Character development is essential to me.  Then it's the dialogue, how a character talks and interacts with other characters is major in revealing things about the character. And lastly I see how the themes of the film are used and portrayed. If a film is using a certain theme and then doesn't do anything to work with it, well that would be very bad. It wouldn't be good either if there are constant symbolic aspects in the film where the viewer is not shown what there meanings are. So there is a slight intro to this blog, now here comes the list.

1. Taxi Driver (1976)- Written by Paul Schrader
Accolades: Nominated- Golden Globe Award Best Screenplay- Motion Picture

Thoughts/Opinions: I have never restricted myself on praising Taxi Driver as a film, and I don't intend on restricting my praise for its screenplay which, along with Scorsese's direction, is the most powerful part of the film. The film features arguably the most iconic character in film history, Travis Bickle played by Robert De Niro. The film's major theme is the isolation of an individual from the world. Travis is a Vietnam veteran who has become a taxi driver because he can't sleep at night. The screenplay does something both unique and wonderful; it leaves you in the dark from just about all of Travis' life prior to the time of the film. His night time taxi job doesn't help Travis' already dark views of the world. He sees the world at its most darkest time, and I don't mean because it's night. Travis' dialogue and narration allows us to realize he darkening mental state before he crosses over into complete insanity. What this screenplay is able to do with a single character is revolutionary, but one character cannot make an entire film. As the character Travis Bickle dominates the film other smaller characters are used with great effect on the film. I don't know if there will ever be a more perfect screenplay than Taxi Driver's.

Memorable Quotes:
Travis Bickle: "Loneliness has followed me my whole life. Everywhere, in bars, in cars, sidewalks, stores, everywhere.There's no escape. I'm God's lonely man...June 8th. My life has taken another turn again. The days can go on with regularity over and over, one day indistinguishable from the next. A long continuous chain. Then suddenly, there is a change."

Travis Bickle: "You talkin' to me? You talkin' to me? You talkin' to me? Then who the hell else are you talking...you talking to me? Well I'm the only one here. Who the fuck do you think you're talking to? Oh yeah? OK.

Travis Bickle: "All the animals come out at night - whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets. I go all over. I take people to the Bronx, Brooklyn, I take 'em to Harlem. I don't care. Don't make no difference to me. It does to some. Some won't even take spooks. Don't make no difference to me."

Travis Bickle: " Listen, you fuckers, you screwheads. Here is a man who would not take it anymore. A man who stood up against the scum, the cunts, the dogs, the filth, the shit. Here is a man who stood up.'


2. American Beauty (1999)- Written by Alan Ball
Accolades: Winner- Academy Award Best Original Screenplay
Winner- Golden Globe Award Best Screenplay- Motion Picture
Nominated- BAFTA Best Original Screenplay

Thoughts/Opinions: American Beauty is a film that has been one of my favorites since the first time I watched it. When I watched it the first time, it was when I was just getting into film, but I knew there was something special about it. So then I rewatched the film and was blown away even more. It hit me like a punch how deep and relateable the film is. There is not one person in this world who doesn't relate to American Beauty in various ways. Now on to the character that makes the film great, the character that is the most wonderfully crafted characters I have ever seen. That character is Lester Burnham played by Kevin Spacey. A middle-aged man who is looking for purpose in life. Could that be anymore relateable? Spacey is one of the greatest actors ever, and I can say with assurance that this is the finest role of his career. I guess that explains why he won the Best Actor Oscar. I'm not going to rample on about all the things that make this screenplay great, so let me finish up. This script features real characters with real life struggles portrayed in the most wonderful ways leading up to one of the most powerful themes in film....beauty in the world.

Memorable Quotes: Lester Burnham: [narrating] " I had always heard your entire life flashes in front of your eyes the second before you die. First of all, that one second isn't a second at all, it stretches on forever, like an ocean of time... For me, it was lying on my back at Boy Scout camp, watching falling stars... And yellow leaves, from the maple trees, that lined our street... Or my grandmother's hands, and the way her skin seemed like paper... And the first time I saw my cousin Tony's brand new Firebird... And Janie... And Janie... And... Carolyn. I guess I could be pretty pissed off about what happened to me... but it's hard to stay mad, when there's so much beauty in the world. Sometimes I feel like I'm seeing it all at once, and it's too much, my heart fills up like a balloon that's about to burst... And then I remember to relax, and stop trying to hold on to it, and then it flows through me like rain and I can't feel anything but gratitude for every single moment of my stupid little life... You have no idea what I'm talking about, I'm sure. But don't worry... you will someday."

 Carolyn Burnham: "Your father and I were just discussing his day at work. Why don't you tell our daughter about it, honey?"
Lester Burnham: "Janie, today I quit my job. And then I told my boss to go fuck himself, and then I blackmailed him for almost sixty thousand dollars. Pass the asparagus."
Carolyn Burnham: "Your father seems to think this type of behavior is something to be proud of."
Lester Burnham: "And your mother seems to prefer I go through life like a fucking prisoner while she keeps my dick in a mason jar under the sink."
Carolyn Burnham: "How dare you speak to me that way in front of her. And I marvel that you can be so contemptuous of me, on the same day that you LOSE your job.
Lester Burnham: Lose it? I didn't lose it. It's not like, "Whoops! Where'd my job go?" I QUIT. Someone pass me the asparagus."

Lester Burnham: "Look at me, jerking off in the shower... This will be the high point of my day; it's all downhill from here."

Lester Burnham: I feel like I've been in a coma for the past twenty years. And I'm just now waking up. 

Suspiria (1977) Mood-O-Meter: 3 1/2 stars

Stylization at its finest, Suspiria is a horror film with all the right stuff to live on forever. But will it? Well as a recent viewer watching this film thirty-four years later I can say that it doesn't feel like the classic is was formerly considered as, but Suspiria hasn't lost very much of its flair or effect. Witches in film is not something that tends to receive much success or popularity, and for all the right reasons. Films about witches tend to be films that try to use the mythology of them to mess with the viewers mind rather than have any real substance or scares rightfully achieved. My love for film fills my heart when I am able to see a film that isn't afraid to attack the stereotypes that are given to specific genres of films and shed a new, wonderful light and change the thinking of us all. Suspiria does that. A witch has never seemed more terrifying, not riddled with the cliche maniacal laughing or the broomstick, and not even the casting of spells. Instead witches as portrayed as purely evil women who commit acts of violence to maintain a negative energy. Who in their right mind could tell me that Suspiria's view of witches isn't incredibly more chilling than the shameful portrayals in just about every other film with even the slightest hint of them. Roman Polanski's thriller Rosemary's Baby (1968) is one of the few exceptions, like this film Rosemary's Baby keeps much of the story a mystery until a shocking ending makes everything come together wonderfully. What makes this film in ways better than Rosemary's Baby though is that Argento uses his directing wizardry to create intense scares rather than mind burning inner thoughts.

An American ballet student, Suzy Bannion (Jessica Harper) arrives in Munich, Germany in the midst of a major storm. She heads to a prestigious academy of dance in Friedburg, but is unable to gain access. While trying to get inside she sees a panic stricken student, Pat Hingle (Eva Axen). She is saying something, but the storm drowns out her words. Later that night Pat is brutally murdered by a mysterious man. The next day Suzy is able to get into the academy, and is introduced to Madame Blanc (Joan Bennett) and Miss Tanner (Alida Valli). As she gets settled into the academy there are some very mysterious events that occur, and she slowly begins to realize that there is something horribly wrong going on.

Horror films are usually received with the harshest criticism and when a great one comes along they tend to be the quickest to drift away. So it is usually up to us a viewers and fans of film to keep they popularity a spirit alive. The Oscars and all of the major film festivals don't usually even consider horror films worthy of being mentioned, I guess that's why there have been numerous festivals dedicated solely to the horror genre. It pains me to admit this, but the cliched and sickening excuses for horror films that have come out, mainly in the last ten or so years have not done any good for the worldwide feelings about the genre. The pointless and continuous use of certain story lines and the over use of gore and nudity have made it to where even the greatest horror films seem painfully aged. But alas, Suspiria is one of the films that has been able to survive the onslaught that the genre has faced and to many it still remains a classic.

To end the saddening talk about horror cliches I will touch the subject of bad acting. Now we have reached something that not even this film was able to escape. Acting in Suspiria is not very good at all, actually the acting is very tolerable compared to most films of the same type. Stupid decisions, too much emotion that is distracting, and dialogue that tries to be more clever than it needs to. That is what plagues this film, little things that are barely noticed thanks to the powering music that charges the suspense to levels out of this world. Italian rock band Goblin composed most of the musical scores for the film. A use of music to drown out much of the pointless stammering and screaming is one of the great successes for the film. I have never had any desire to hear endless screaming or begging for mercy. If given the choice to hear loud music with violent mumbling and terrifying chanting or the crying and screaming of an actress trying too hard, I would chose the the former every single time. Dario Magento co-wrote the script with Daria Nicolodi, the script keeps the premise very engrossing, but does not allow the actresses/actors (very few actors) to make anything of their performances. The best performance by far is by lead actress Jessica Harper. Now don't expect any memorable lines or deep charecterization, but her success comes from her use of emotion. Not false emotion like most young actresses trying to make a name for themself, but real emotion that viewers will be able to feel.

Italian director Dario Argento made a name for himself by showing his talents of making films in Giallo genre-- thriller and mystery. His popular successes came from the films, The Bird with the Crystal Plumage (1970), The Cat o' Nine Tails (1971), Four Flies on Grey Velvet (1972). He then took a bit of a break and went into Italian TV for awhile. But when he returned, he returned with his best, Deep Red (1975). Deep Red by many is considered Argento's best film and it received instant acclaim. His use of mysterious direction that keeps the most fascinating secrets from the viewer all the way up to the end of the film. Also he is known as one of the few thriller directors who works just as hard on his scripts as on the scares in the film. Each of Argento;s film feauture true film making care and passion that shows itself on the screen, that's just the reason why he is one of the most respected thriller directors of all time with major cult followings.

Suspiria's concept is derived from the popular work of literature Suspiria de Profundis. In a section from Suspiria de Profundis entitled "Levana and Our Ladies of Sorrow", which references that there are three Fates, Graces, and three Sorrows. Much of the work is somehow or another added into the film. Ballet academies will for now on always bring a hint of fear into me. Argento uses vivid colors and constant moving direction to both enhance the scares and keep the attention of the viewer contiuously. Althogh, excluding Jessica Harper as the lead. Suspiria tends to get its best performances from the actors with the least lines (a blind man and a mute are the two of mention). Argento's script is weaker than his previous films, but his direction hits an all time high level. Gore fans will leave satisfied, the number of scenes are few, but the build up and effect work so well together that waiting will not feel like a task. Acting coaches will have a field day on Suspiria, but Argento's mastery is overwelming.
Budget: ?
Box Office: ITL 1.4 billion (Italy)

Amadeus (1984) 5 stars *****

Such passion, such  hatred, such pain. Those are the feelings that haunt Antonio Salieri (F. Murray Abraham), the protagonist and tortured hero of Amadeus. The film begins with a man (Salieri) screaming, he is begging for forgiveness for killing Mozart. When his servants enter the room they see him attempting to commit suicide by cutting his throat. Next you see Father Volger (Richard Frank) walking into a mental hospital and he meets Salieri in his room, at first Salieri wants nothing to do with the Father, but he quickly opens up and tells him his confession. He was just a man with one dream: To be able to dedicate his life to and make great music. As a child Salieri is plagued by his strict father who wants his to get into business. His father chokes and dies during a meal, an event that Salieri calls a "miracle", with his father dead he is taken to Vienna and able to fully dedicate himself to music. Next the films jumps to him being an adult, also he is a court composer for Holy Roman Emperor Joeseph II (Jeffrey Jones) which he is content with being. Next is the arrival of Wolfgang Amadeus Mozart (Tom Hulce), a praised young composer who Salieri is a major admirer of. But when Salieri finds Mozart to immature and "vile" for his taste the loathing begins.

How does a three-hour film (180 minutes precisely) about a virtually unknown composer who has a violent jealousy of the great Wolfgang Amadeus Mozart work? After I finished this film I took a little time to myself and thought that question over. What thrived most for me in this film is two different things: 1. The magnificent job Abraham and Hulce did at portraying their fascinating characters. That was a people simple reason. 2. The music!! Oh, the music!! Never has music taken over a film so much. Amadeus features more music than a musical with the music being from one of the greatest composers ever. That mix itself could create greatness, but Milos Forman wouldn't make the music work all alone. Milos Forman's masterpiece is widely considered One Flew Over The Cuckoos' Nest (1975). The film won 5 Oscars and is considered one of the great classics of films. I must respectfully disagree, One Flew Over The Cuckoos' Nest is a very, very good film but what keeps it from being a classic is the constant comparison it will get with the book of the same name by Ken Kesey. If it wasn't a book the film would easily be a classic, but since it is a book and you must always compare a film with the book and the book is so much greater. Ken Kesey's classic novel allows much more insight that the film, his book is able to have much deeper meanings that the film just didn't have the abilty to reveal.

Milos Forman's beautiful direction is perhaps and even stronger part of the film than Abraham and Hulce's performances. Forman is able to work with a time period thats beauty has a mind of its own. The outfits are outrageous, the women are gorgeous, and most of all the music was at a level that has never been matched. Fans of plays and musicals with be at home with Amadeus, Forman doesn't leave out any of Mozart's great work, he risked the film being too long so that he could rightfully direct the at times lengthy operas and that decision is one of his greatest. Amadeus features actual opera stars who are featured in the musical numbers, and how great those numbers are. Never have I ever had much interest in attending operas, maybe plays, but not operas. Now thanks to the great direction of Forman and the revolutionary music of Mozart I have finally been shown the truth about how wonderful operas can be when they feature such great music.

Mozart is one of the most known and praised composers of all time, his music is loved with such intensity worldwide. Never has his music left the world, its featured in movies, plays, and adapted into the ever changing music of today, but what most people know nothing of is Mozart's appearance or personality. His appearance and personality are nothing to remember, it is music that took him to immortality. As Amadeus rightfully shows us Mozart was a small man, thin and pale with a high-pitched obnoxious laugh. It is Mozart's laugh that truly haunts Salieri the most, it would haunt me also if I had to hear it continuously. My point is that unlike so many other films, plays etc. Amadeus doesn't portray Mozart as this handsome ravishing man who had no flaws, but instead shows how he appearance and personality had many flaws. Never has Mozart's music been used so wonderfully, Forman uses care and his love for the music to create a film that does nothing but good for his subject's music. The world can thank Milos Forman for helping bring Mozart and his music back into the spotlight, adding to his never fading popularity.

Tom Hulce as Mozart is a match made in film greatness. Yes, it is F. Murray Abraham as Salieri that gets all the attention (Abraham won the Best Actor Oscar for his performance). It is Tom Hulce that had the challenge of  portraying Mozart, the man, the myth, the legend. What Hulce does with his character is remarkable, he makes him outrageous, but without being goofy or awkward feeling. Most of all he shows Mozart's passion and dedication us a the viewer are able to see what Salieri never is able to throughout the film. We see his endless working and love for the music he makes. Hulce also received an Oscar nomination for his performance, but it just wasn't meant to be. Although, just like the film his performance has aged very well, everyone that I know that has seen the film-- with is just about everybody-- absolutely loves the performance. The easiness and joy in his performance works very well with the dark, tortured performance by Abraham.

Now on to the performance that remains one of the most respected even 27 years later. F. Murray Abraham is Antonio Salieri, a man who is tortured by his mediocrity compared to the greatness of Mozart. Throughout most of the film we see Mozart from Salieri's point of view, his hatred for both the success and lifestyle of the young genius. Salieri is a passionate believer in God and God's ways. Us a viewers can relate to Salieri, because most of us are constantly trying to understand His ways, when wonderful things happen in our lives it is almost second nature for us to thing that God, in some way, made it happen. Maybe I am just thinking that my mind is like every one elses, but that is how I see most people's minds working. Abraham shows us Salieri's painful obsession with such sympathy that it i hard not to sympathize with him. Films run on being able to evoke strong emotions about their characters, ironically what makes Abraham's portrayal of Salieri is the lack of strong emotions. Salieri's plots against Mozart and his obsessions would usually make a viewer frustrated or maybe just make them consider him an insane man. If that happened viewers would not look into his character anymore and with his character being the heart of the film that would have hurt Amadeus tremendously. We know that none of that happened, Abraham does a wonderful job showing Salieri's obsessions while also showing him as a person, as a man who is a good person tortured by evil thoughts.

I know I have done some terrible rambling on the two star performances, but that is for very good cause. Both performances deserve endless praise, but I will take some time to talk about a couple smaller roles that had such a great effect on this film. Not much is known about Constanze,  the beautiful, dedicated wife of Mozart. She was with him through all the ups and downs of his life and career. She is portrayed with care by Elizabeth Berridge. Her character loves Mozart to no end, none of his vast amounts of flaws ever strain her love for him. Constanze is the one character who has gotten a look at the true Salieri, she knows about his very hidden darkness. Jeffrey Jones as Emperor Joseph II is a minor role that has such an importance for the film. He is the authority figure over both Mozart and Salieri. He is the cause for both joy and anger on both of their parts. Jones' performance as the Emperor is both agressive and understanding. Lastly their is a performance that went unnoticed, but to me had a major impact on the flow of the film. That performance is Richard Frank as Father Volger. He has very few speaking lines and is only on screen for a few minutes total, but it is his facial reactions to the confession of the older Salieri that are a very powerful part of the film. Those reactions of a young religious figure hearing a story that would shock the world. That mere performance shows us how the smallest of roles can have such a powerful impact on a film. Acting in Amadeus is so wonderful that I am tempted to call it perfect, but I won't because I tend to get ahead of myself. When or if you finally see this film every part will touch a little something inside you, but the acting is what allows you to truly feel and understand those vast feelings. 

If you are intimidated by the 180 minute run-time-- like I was for a long, long time -- don't be. With two fascinating characters, great direction, and entrancing operas the time quickly drifts away. This is more of an opinion, but of the two main characters of the film it is Mozart--portrayed by Tom Hulce--that fascinated me the most. Unlike everyone else who just adored Abraham's role, don't get me wrong his performance is wonderful, very much worthy of the Oscar. But Amadeus is one of those rare films where both there lead actors deserved an Oscar, it got all the awards it deserved but the one that should have gone to Tom Hulce. Maybe that's why his performance took over me so much more, he didn't win the Oscar and is much overshadowed by Abraham. Ironically it's the complete opposite in the film. Milos Forman has some God given talent to be able to show such great beauty in such dark themes. Amadeus should be required viewing for film makers, there is not one flaw in the entire film. Milos is able to show each emotion from each character in its whole not just in limited points of views, but in ways where you can truly know the characters feelings. Amadeus stars like it will just be solely in the view of Salieri, but instead you see both Salieri and Mozart in ways where you get to truly understand and connect with them. Very loosely based on the lives of Antonio Salieri and Wolfgang Amadeus Mozart, historical accuracy is not of any real imortance. No Salieri did not murder Mozart, the risks this film took are unprecedented, Milos Forman shows why he is a legend to the industry.  Each scene in the film is acted to perfection, not a scene is put in without purpose. This si the film that has solidified Forman has a directing great. He had had some rough times since One Flew Over The Cuckoos' Nest, but now he has two films that are among the most celebrated in film history. F. Murray Abraham and Tom Hulce have great unforgetable performances, while Milos Forman's direction is considerate to the characters and passionate.
Budget: 18 million
Box Office: 50 million

Monsters (2010) 2 stars **

Absolute disappointment is how I describe this film. One of the most unfortunate endings I have ever had to witness. Monsters is just one big tease of a film. The premise is very interesting, full of tension and suspense. I have always been a bit of a sucker for sci-fi apocalyptic films, and I probably always will be. It's highly doubtful that I'm the only person who finds a film that just keeps you waiting for something major and shocking to happen, only to find out that there is barely anything of the sort. Most males going to see films like this are expecting loud explosions, tons of violence, and a outrageous amount of "monsters" (at least a handful is needed). So it doesn't suprise me at all that Monsters earned barely 3.5 million dollars worldwide. Monsters gets an A+ for how interesting it is, but relationship studies and sci-fi dramas do not mix well.

Acting is not much of a problem for this film, both Scott McNairy and Whitney Able do good jobs as the two leads. However two good performances don't do a film that much good unless the performances are mesmerizing (which they sure aren't) and the characters are iconic (Hell no). Scott Mcnairy plays Andrew Kaulder, a photographer who is accompanying his bosses' daughter Samantha Wynden (Whitney Able) back to the U.S., when Samantha misses her boat both her and Andrew must travel through a quarantined zone to get her home.  McNairy and Able's chemistry is very nice and will appeal to young couples, but when the leads aren't sharing passionate talks or cuddling even the easily amused teenage majority with not be able to keep interest.

Newcomer Gareth Edwards make his feature fill directing debut in Monsters which is a sci-fi, travel drama. Edwards' directing skills show promise, starting a career with an apocalypse film is always a way to get your name out there. However it is also Edwards that wrote the script for the film, but I highly doubt his mediocre script writing will do him much harm in the long run. What Edwards attempts in Monsters is to create a newer look for the apocalyptic genre, I guess that isn't saying anything because it's safe to say just about every film maker is trying to create a new look for just about every genre they choose to work with. Something I should add is that Edwards shows real promise with how risky and intriguing his story of love and survival in a barren world is. In order to combine both alien invasions with love is to have to leave out major aspects of one, and that is something that just will not work out. For alien invasions you need violence and creepiness, but for survival romance you need chemistry and emotion. Better luck on your next film Mr. Edwards, with Monsters you bit off quite a bit more than you could chew.

An argument that most fans of Monsters with throw out to the critics is the alien invasion/apocalyptic genre needed a film that wasn't just about cheap violence and endless cliches. In a way that is true, but Monsters takes it a little too far all in one film. For a genre to truly adapt it needs time and will take various attempts. I guess this is just one of those various attempts, and I wholeheartedly hope that this film will inspire other films to try something new. Although it's not right to give a film to much praise for potential, Monsters sure does have plenty of that and for the future to prosper there always needs to be potential. Director Gareth Edwards and his two leads Scott McFairy and Whitney Able all will have nice futures, and when they all look back on their career Monsters will bring back mixed memories with disappointment, but tons of potential.
 Budget: Around $500,000
Box-Office: 3.5 million

Watchmen (2009) 3 1/2 stars

This is one of the most faithful adaptations of a book I have ever seen. Although, even this being a very faithful adaptation, the Watchmen graphic novel is able to go to much higher levels than the film. Zach Snyder does a splendid job depicting Alan Moore and David Gibbons' Watchmen world and making it into one of the most unique films to date. Watchmen is filled with Alan Moore's, to say the least different views of the world and human nature. Snyder takes graphic to a whole new level. Watchmen has excessive gore and at times off putting nudity, but as a whole Watchmen is a very entertaining film.

With the ever increasing popularity of comic book adaptations, Watchmen was by far one of the most highly anticipated. Time Magazine ranked the Watchmen book as the greatest graphic novel of all time. Beating out the likes of, Frank Miller's Batman: The Dark Night Returns, Neil Gaiman's Sandman, and Artie Spiegelman's graphic novel/ biography Maus. Terry Gilliam (Fear and Loathing in Las Vegas) was the first choice at director, but he considered Watchmen "unfilmable" and it was dropped. Darren Aronofsky (Requiem For A Dream) and Paul Greengrass (The Bourne Trilogy) were the next two considered but things didn't work with them either. Zach Snyder's impressive work with 300 ultimately lead to him being the final decision. Snyder came in completely dedicated, and did a fantastic job with Watchmen's very challenging material. I have always seemed to be drawn to controversial and unique films/ books (and yes also violent). Watchmen fits both of those molds. Snyder's willingness to stay true to the book and dark direction is what made Watchmen a very good film, not a bust like many were expecting.

The story takes place on an alternate timeline where masked, costumed heroes fight crime in America. An act enforced by president Nixon bans masked heroes that are not working for the government. But when Edward Blake a.k.a. The Comedian (Jeffrey Dean Morgan) is killed things get desperate for the former masked heroes. A violent, mysterious masked "hero" Rorschach (Jackie Earle Haley) believes there is a mask killer on the loose. Around the world the U.S. and the U.S's and the Soviet Union are on the brink of a nuclear war which could destroy the world. Dr. Manhattan (Billy Crudup) is considered a superman and the U.S. ultimate weapon, but he isn't as dedicated to helping Earth as people expect. An ex masked hero Daniel Driedberg a.k.a. Nite Owl 2 (Patrick Wilson) is faced with the decision of returning to crime fighting, or not. Adrian Veidt a.k.a. Ozymandias (Matthew Goode) tries to protect the world from its self, he uses very different methods to help the world. Humanity is on the verge of extinction and the world needs a hero, but this won't have any comic book hero to save the day.

Watchmen does not feature any hotshot actors, but the performances by a very strong cast may lead to very bright futures. The performance that stood out the most to me was by Jackie Earle Haley as the very complicated character of Rorschach. As in the Watchmen book, while watching the film I found myself interested the most in Rorschach's character and storyline. His very violent methods that seemed very understandable (at least to me) when considering the harsh times the world are facing. Like another character that some may know about, a character by the name of Tyler Durden, I found myself agreeing (to an extent) his excessive/violent ways. The brightest face on the Watchmen cast is easily the darling beauty by the name of Malin Akerman as Silk Spectre 2. Her performance is strong, but yet not really that special. Her face is an added bonus though. Jeffrey Dean Morgan as The Comedian is also a very strong performance, second only to the great performance by Jackie Earle Haley. It is always great to watch a film with such high expectations be taken over by great performances by virtually unknown actors.

Although Watchmen was a very good film, the level the book was able to reach is much, much higher. The films length may turn away many (162 minutes for the regular version), but its storyline will keep viewers interested all throughout. Not to mention plenty of violence and action. Watchmen was a huge box office, bringing in over 180 million worldwide. With a very hopeless feeling throughout, some people may not enjoy its storyline. Be prepared to the view the world, and human nature a whole new way. Viewers will not be able to avoid the temptation to think deeply about how today's world will turn out, and what human nature is truly like. Snyder's direction and outstanding special effects are Watchmen's highlights. Watchmen is a must see for our generation, but if you really want the complete experience I recommend you check out the Watchmen graphic novel.

Budget: 130 million

Box Office: 180 million (worldwide)

Brokeback Mountain (2005) 5 stars *****

A heartbreaking story of truly forbidden love. Enis del Mar and Jack Twist fall in love, but a ignorant world makes them fear and hide their love. Heath Ledger and Jake Gyllenhaal give two of the greatest performances in the last twenty years. Brokeback Mountain is about two gay cowboys, that statement alone will turn many heads and cause many offensive comments. But Brokeback Mountain is much more than a film about gay cowboys. It is a film about a struggle, the struggle two gay men are faced with. The love between Jack and Enis is pure. Their love is so true and so powerful, but because they are gay they must hide in the shadows. Ang Lee's direction is emotionally haunting. Viewers that are able to see this movie for what it truly is will understand how wonderful this film is. Brokeback Mountain is an film filled with A-list actors like, Heath Ledger, Jake Gyllenhaal, Anne Hathaway, and Michelle Williams. Each one of the young stars in this film have performances that will forever be remembered.

Brokeback Mountain is a fearless look into the 20 year love affair/struggle of two gay men spanning from the early 60s to the early 80s. The film is set mostly in Wyoming, an area that has always been a very anti-gay area. The film references the shockingly violent reactions to homosexuality in the area, and how it affects Jack and Enis' relationship. People spend their whole lives, and many ultimately fail at finding true love. Jack and Enis find true love but because it is with each other, it is forbidden, and their lives turn into a constant battle with their emotions.

Ang Lee gained worldwide acclaim for his sensational directing in Crouching Tiger Hidden Dragon. Brokeback Mountain is a complete 180 degree turn from those days, but is also a whole new achievement. One of the most beautifully shot films in the last 20 years. But a film cannot run completely of emotionally powerful direction, for a film to be great it needs strong acting. Highly emotional viewers please beware Brokeback Mounting is a emotional freight train. Heath Ledger and Jake Gyllenhall as the leads become household names. Both Ledger and Gyllenhaal gain recognition from very memorable, and entertaining performances. Ledger rose to fame as a result of his rebellious performance in 10 Things I Hate About You. Gyllenhaal gained international fame from his lead performance in the dark Sci-Fi thriller Donnie Darko. Ledger and Gyllenhaal have grown a lot since then, and in Brokeback Mountain their performances are two of the greatest ever.

                  Potential Spoilers
Enis del Mar (Heath Ledger) is a ranch hand, and Jack Twist (Jake Gyllenhaal) is a rodeo cowboy. They are hired by Joe Aguirre (Randy Quaid) to herd his cattle on Brokeback Mountain. Both Enis and Jack develop a very emotional relationship during their time on Brokeback Mountain. Their trip is cut short. Ennis marries his long-time fiancee Alma Beers (Michelle Williams) and fathers two children. Jack marries and starts a family with rodeo rider Laureen Newsome (Anne Hathaway). When the two meet again two years later they realize that they still have very strong feelings for each other. The decide to not keep a secret relationship. As the years go on their love becomes more and more of a struggle.

While its plot wasn't the type of plot that many people would usually be interested in seeing, that did not keep people from flocking to see Brokeback Mountain when it came out. The film was a box office success making over 150 million worldwide. With Brokeback Mountain drawing in that many viewers, that definitely showed some significant maturing on our part. But controversy kept the film banned in many theaters across the U.S. and in various parts of the world. It was nominated for eight Academy Awards including Best Picture. Unfortunately it was upset by the also controversial film Crash, that referenced modern day racism. Brokeback Mountain did win three Oscars, including Best Director for Ang Lee.

A wonderful adaptation of Annie Proulx's short story by the same name. Brokeback Mountain was nominated for over 70 awards winning over 50. It gained worldwide acclaim, and there is no denying the shear emotional power in this film. Emotion is needed in any great film, and many have suffered because of its lack. Each and every person involved in this film went out of their comfort zone and had to go to emotional extremes to play their parts. Michelle Williams and Anne Hathaway were both known for their smaller and more comedic roles before this film. With Brokeback Mountain, they both were able to show off they acting talents, showing the world they have endless talents and range. I could ramble and gawk over the acting power and direction, but the experience is what will truly let the viewer understand the significance. Ang Lee's direction captures the emotion, but it is Ledger and Gyllenhaal that made Brokeback Mountain one of the most unforgettable emotional experiences any viewer will go through.
Budget: 14 million
Box Office: 178 million (worldwide)