High Spirits

 

High Spirits Provides Elevated Humor and Charm

by Kristin Battestella

When investors intend to foreclose on the struggling Castle Plunkett, down on his luck owner Peter Plunkett (Peter O'Toole) and his faithful staff pretend to be the most haunted castle in Ireland for a group of American Tourists – including an on the rocks couple (Steve Guttenberg and Beverly D'Angelo), a conflicted minister (Peter Gallagher), and more. Unfortunately, the real ancestral ghosts decide to give the Yankees what they came to see, leading to frights and supernatural love triangles as the murdered Mary Plunkett (Daryl Hannah) and her killer betrothed Martin Brogan (Liam Neeson) interfere with the vacation plans.

Neil Jordan (Interview with a Vampire) wrote and directed 1988's High Spirits, and the leaky roof, angry phone calls, and late payments waste no time in setting the three week deadline, desperate employees, and humor mixed with bleak situation. A seemingly senile mother who talks to the unhappy castle ghosts gives them the hair brained idea to drum up some smoke and mirrors ghosts, and the zany preparations give us a chance to tour the castle complete with silly string, a mummy swinging from turret ropes, roller skating knights in armor, and rubber body parts under the tour bus. Banshees on the luggage rack, out of control horseback phantoms, buses sinking in the swamp – the fakery is off to a terrible start for these soggy tourists! Charming music adds to the shenanigans while the layered script provides passive aggressive nuances. It takes repeat viewings to catch all the under the breath asides and off the cuff quips as eclectic guests and parapsychologists nonchalantly hope the real ghosts are better than spinning beds and sham theatrics. The kids aren't impressed after seeing Nightmare on Elm Street, either, but the bungling staff take their drink, song, and home seriously – especially as mortgage connections and family histories come to light. Despite fun pacing and humor regarding real ghosts who could have saved the castle had they appeared sooner, High Spirits has a darker undercurrent with rich American imperialism ready to put the villagers out of work and phantoms who stab, chase, and terrorize. This Victorian sense of the parallel realm on the other side of the wall is not so whimsical thanks to violence, betrayals, and repeated consequences accented by somber music cues, heavy breathing zooms, and hidden point of view camerawork. The intercut supernatural action doesn't need in your face boo shocks, for the idea that the ghosts are watching from behind the stone walls and may interfere with human business is creepy enough. These encounters are not part of the tourism facade, and the dialogue carries much of the dual storytelling and show within a show winks. The ensemble does its job thanks to one sided phone calls, details on their neurosis, and conflicting personalities – developing more character than our contemporary try hard exposition and contrived conversations. Perfectly timed lighting strikes, talking horses, guests covering themselves with rugs or lampshades, and meddling, innuendo making ghosts keep High Spirits playfully self-aware. Crisscrossed couples both living and dead are dangerous yet preposterous amid the titular guide book, whistling whiting, and The Big Bopper. Scary tense moments make up for anything dated or silly because the frights and conflicts are being experienced by the characters – these aren't just hollow special effects shockers tossed out for the audience. Unfortunately, after a strong start, some of the interesting ensemble players disappear while others are featured. Indeed there are rumblings that Neil Jordan intended High Spirits to be very different from the PG-13 theatrical version, and the uneven tone, disjointed scene transitions in the second half, and reduced to irrelevant characterizations show such behind the scenes rifts and editing changes. Ghostly tuppings, inter-spectral marriages, a tempted priest, suicides, sexual consequences, and kinky, mystical reversals also suggest High Spirits was meant to be darker and more mature. Skelping possibilities on All Hallow's Eve when the spirit is moved and the flesh is willing lead to scary nuns, kissing corpses, and forbidden relations. While true love can bring the dead the back to life, interchangeable women and mixed messages rush toward a quick finale when the story, characters, and castle vignettes are entertaining themselves without the seemingly easy happy results. I think we'd all like to stay a little longer at Castle Plunkett!

Yes, he made some epics, but I don't care I love Peter O'Toole in this and Supergirl. Drunk and desperate, Peter dons a tuxedo and pretends to be a gracious host, but he's not really a showman and insists that minor unexpected inconvenience should be expected because that's what's in the brochure. He's not sorry he lied about the castle being haunted when their home is at risk, and although we don't get the sense we see him acting, O'Toole looks to be having fun with the role thanks to theatrical seriousness, over the top soliloquies, and near slapstick physicality. The for the back row elevates the winks, and when not sleeping in his roll top desk, Peter has it out with his dead dad before complaining about these fickle Americans who couldn't wait to leave over fake ghosts but now stay longer for the real ones. Steve Guttenberg's (Police Academy) Jack feels at home in Castle Plunkett, innocently enjoying the bad performances and trying to make amends with his wife. He drinks and wanders the castle, interfering with ghostly patterns and confessing how cold-hearted his wife really is. Jack is smitten by Daryl Hannah's (Splash) alluring specter Mary Plunkett, but the situation is almost too much for him – “You're a ghost, I'm an American, it would never work out.” Mary is forced to relive her murder every night, and when Jack ends her torment, she instantly falls in love. She thinks this newfound peace is a miracle that brought them together. Sir Jack saved her from being doomed forever, but Beverley D'Angelo (National Lampoon's Christmas Vacation) is a deliciously snobby wife more interested in Valium and sleep masks – a daddy's girl with ulterior motives for this ridiculous trip. The Brogan versus Plunkett history is just business, and it takes a lot of high maintenance creams, high strung supplements, and obnoxious curlers for Sharon's satin and pearls to look so good. For her, Castle Plunkett is a nightmare; everyone hates her and Sharon is ready to leave until big, brutish, and bemusingly wicked Liam Neeson (Taken) pops up in her bathtub. He's cruel to Mary, smelly, squishing, and jealously stabs her but gives Sharon really great back rubs so she's not too sorry about ditching Jack when Martin takes an interest in her wee vixen.

Chaste soon to be priest Peter Gallagher (While You Were Sleeping), however, is having second thoughts on what was supposed to be this spiritual retreat before his final vows. He has to cover himself with his collar when stormy spirits rip away their clothes, and the impure thoughts mount when watching the marshmallow voiced guest Jennifer Tilly (Bride of Chucky) exercise. Evil nuns make Brother Tony think twice – a chilling scene with a smoking crotch that assures he gets the message. Tilly's Miranda is here solo after breaking up with a boyfriend who booked the trip. He's a hairdresser who devil worships on the side and ran away with a monk instead, but Miranda has no problem innocently flirting with a priest thanks to some kinky innuendo and scantily clad moments. Unfortunately, their story seems to get shorted during High Spirits. At times, they aren't present even in group scenes, and with these characters' backgrounds, it's a missed opportunity to further explore Catholicism, local folklore, and New Age thoughts on the ghostly events. Despite enough scares and nothing to keep them at Castle Plunkett, Tony and Miranda seem there just to round out the mayhem alongside likewise underutilized parapsychologist Martin Ferrero (Jurassic Park) and his family, who occasionally object and scream over the kids in peril. Delightful Mrs. Plunkett Liz Smith (The Vicar of Dibley) knows her son is an idiot and fills in the details on tupping with dead relatives, but she and her husband Ray McAnally (My Left Foot) deserved more. In the end, High Spirits is blessed with too much of a fine ensemble and no way to use them all. Fortunately, on location castles with rugged stone, arch windows, sweeping fireplaces, hidden nooks, enchanting crannies, maze like corridors, and winding staircases provide an excellent backdrop for all High Spirits' possibilities. Phantom winds, billowing curtains, cobwebs, and dust add to the four poster beds, antiques, throne chairs, tapestries, candles, portraits, and clutter. When you're doing a castle haunt theme for your Halloween house, this is what it should look like! Rainy coasts provides dreary amid perilous swamps and overgrown greenery. The rough and worn, moody blue scale comes in the chilly stone and bleak skies – unlike over saturation, this feels old, drafty, and natural with bitter hotel staff dressed in ratty layers and stretched out sweaters. Zany buses and whimsical fiddle music provides impish charm, for even the hokey, two dimensional marionette monsters and fake tentacles offer drunken parody, child fears, and sloshing water drenching everybody. That Pan Am flight to Ireland also has one of those wonderfully huge and unrealistic cinematic flight cabins! Boob tube television poltergeists, retro eighties does forties silky blouses, and voluminous ladies hair also look fine, and the women enchant with gray costumes, wispy Regency frocks, white slips, black lingerie, and red dresses as the innocent and pure fun escalates to more saucy cuts as the ghostly encounters increase. Bemusing ghost trickery, appearing and disappearing transitions, going through objects effects, and lighting pops accent the ethereal sheen, catacombs, and zombie corpses climbing out of the walls. Today's productions often work so hard in trying to be spooky or snarky, but who knew some ghostly body glitter could go such a long way?

While there may be a few adult scenes and scares that could be too much for young viewers, High Spirits is ripe for re-watching. Though I loved this in my youth, some of the critical panning is not undeserved – High Spirits could have been a flawless classic instead of just late night Halloween fun. However, despite apparent editing problems or behind the scenes changes, High Spirits balances the humor for the family, ghostly spoof turnabouts, and mature undertones for wise adult audiences thanks to a delightful cast, heaps of atmosphere, cheeky wit, and spooky but carefree charm.

Unscary 80s and 90s Macabre!

An Un-Scary 80s and 90s Horror Helping!

By Kristin Battestella

Do you want to see something really scary? These cult classics of decades yore provide varying degrees of scares, spooky, sinister, and nostalgia better served for drinking game delights and evenings when you take the ominous none too seriously. Look out!

 

Amityville 2: The Possession – Very good zooms, askew camera perspectives, and haunted house phantom forces highlight this 1982 AIP sort of prequel starring Burt Young (Rocky), Rutanya Alda (Mommie Dearest), and James Olson (Rachel, Rachel).  Though a touch toward campy at times, the possession makeup and demonic bodily designs are seriously creepy, and the somewhat stereotypical family dynamics and abuses are no less disturbing and sinister as the household terrors increase. Unfortunately, the latter half of the picture inexplicably dispenses all the fine atmospheric build and turns into a wannabe Exorcist clone with bureaucratic church officials, red tape corruption, and inexplicably poor policing. What the heck happened? After such pleasingly juicy family fears, the finale goes for all the nonsensical cheap thrills, and as a result, the Amityville franchise timeline is completely miffed. This so-called prequel never reveals itself onscreen as such – in fact, it looks decidedly dated eighties, further confusing the supposedly real world happenings and horror movie liberties that already both make yet ruin this film series. Is this installment an account of the DeFeo Family from the Murder in Amityville book or not? If you leave the history out of it and forget the legalese meets exorcism ending, this is an excellent haunted house picture. For all its first half good, it’s a pity someone behind the scenes dropped the ball on this one. I don’t want to be so split on it, but this movie just unravels itself.

Kingdom of Shadows – Of course, this 1998 70 minute documentary narrated by late great Oscar winner Rod Steiger (In the Heat of the Night) isn’t suppose to be scary but informative, and with early silent evidence and obscure footage, writer and director Bret Wood (Hell’s Highway) details the foundations of horror onscreen. The black and white visuals, cinematic screams, ominous scoring, and swift editing make for a fun eerie feeling, but the tone here is a touch too esoteric or highbrow thanks to a confusing, even ridiculously wordy approach. What’s trying to be said about the sex, demonic depictions, sadomasochism, and torture of uncensored silent film? Analysis on early religion and science as evil take up too much time, and these heavy segments aren’t meant for younger viewers. Fortunately, there is quality horror education in the F.W. Murnau talk and good versus horror clips from “The Golem” and “Faust” along with famous topics like Jekyll and Hyde, Frankenstein, and Lon Chaney’s monstrous roles. The audience here, however, has to be one already familiar with movie history and horror film – the sole focus on silent movie making macabre combined with the lofty voiceover, necessary subtitles, and philosophical structure requires a finite niche indeed. Counterpoint interviews and expert discussion would have broken up the academia, and a resolution showing how these early beginnings translated into future horror cinema would have set off the silent spooky. For fans of foreign horror and often unknown early cinema, this is a nice treat – but it also makes a great atmospheric party showing on mute! 

Phantoms – Sisters Rose McGowan (Charmed) and Joanna Going (Inventing the Abbotts) arrive in a sleepy Colorado town turned deadly and join Peter O’Toole (Lawrence of Arabia), Ben Affleck (Argo), and Liev Schreiber (Scream) against evil in this 1998 barely R rated adaptation of Dean Kootz’s 1983 novel. We get right to the creepy ghost town suspense with fine simmering discovery, eerie bodies, subtle gore, and no technology or communications – it’s nice to see women thinking on their feet amid the unknown, too. Old time ringing phones, jump buzzers, and more fun sounds create shock moments and ironic use of Patsy Cline classics adds to the discomforting uses of light, dark, mysterious messages, and severed hands. The brooding, character piece direction and in camera action in the first half of the film is quite effective compared to today’s herky jerky in your face every minute awe and hype. Unfortunately, the ensemble atmosphere turns somewhat stupid once the cowboy hat wearing, too young, laughable, and woefully miscast Affleck arrives. Folks begin shooting at nothing and running off alone – I half expected Affleck to break character and ogle over the delightfully Cushing-esque O’Toole. Is this a small thriller or military action? We’ve seen other better small town invasion SF/horror, and the middle section here unravels with anonymous deaths, gruesome cool, and inexplicable monsters. We’re supposed to care when the initial players disappear for entire segments only to return for a redundant science versus religion, preposterous under siege battle of wits finale? So long as you don’t take the faux Lovecraft feelings too seriously or think too much on the smart but ridiculous techno babble, one can enjoy the early mystery and ultimately outrageous finish here.

Screamtime – There seems to be very little information online about this 90 minute 1983 anthology, and its very dated British on the streets low budget vibe will turn off some. The framing story is also fairly dull with bad dialogue and wooden acting, but the obligatory boobs pop out soon enough and that nostalgic charm can help heaps. It’s a top loading VCR! Those huge glasses! Puppetry and homely Robin Bailey (I Didn’t Know You Cared) anchor Tale 1 “That’s the Way to Do It” along with his pressuring wife Ann Lynn (The Vise). He clings to his childlike profession and the pace is slow to build beyond the family strife, but dizzyingly good killer perspectives, dark angles, and violent bludgeons overcome some of the laughable elements. It’s a familiar concept; sure, however several solid shock moments and the innate creepiness of Punch and Judy dolls make up the difference. For the Second Story “Dream House,” expected but suspenseful creaking sounds and household scares such as creepy kids, flickering lights, a conveniently non-functioning flashlight, and ominous bloody bathwater make for interesting jumps and twists. Is this ghosts, gaslighting, or hysteria? Though slightly dull to start and similar copycats like Psychosis are fairly recent, there’s a pleasingly effective downward spiral here. Next “Do You Believe in Fairies?” presents seemingly classy old ladies Jean Anderson (The Brothers) and Dora Bryan (Last of the Summer Wine) telling their thieving handyman about evil fairies and murdered lovers. Although there’s more of the same freaky dolls and gnomes, this is a quiet but crazy set piece with a mystical wink and some scares. Everything here is a little too humorous and this should be tighter in getting to the juicy of each tale – the woeful frame story breaks up the demented atmosphere, too – but the now period designs and spooky anticipation make for a relatively good time here. If only it were available on DVD!

 

The Twilight Zone: The Movie – Narrator and original Twilight Zone alum Burgess Meredith leads this 1983 anthology starring Dan Aykroyd (Ghostbusters), Albert Brooks (Defending Your Life), John Larroquette (Night Court), and many more. From the traditional opening titles to tapes stuck in the tape deck, old TV theme songs, and one hulky boob tube, the nostalgia and sentimentality is here for older audiences who appreciate the reflective charm. Though still relevant with nice wartime designs, foreign language uses, and intensity to match its disturbing social analysis, “Time Out” is a little too heavy handed compared to Rod Serling’s original subtly. The bigotry from the late Vic Morrow (Combat!) is upsetting, yet we feel for him as he learns his much-warranted lesson in a most unfriendly past. “Kick the Can” also makes statements on bitter ageism and a second chance at youth but keeps its whimsy thanks to Scatman Crothers (The Shining). The twist is obvious in this retelling and old folks playing can be silly, but that’s kind of the point, too. Kathleen Quinan (Apollo 13), Kevin McCarthy (Invasion of the Body Snatchers), and Bill Mumy (Lost in Space) lead “It’s a Good Life” and its bizarre family analysis endears with its freaky funhouse style. Some of the effects become annoying and compromise the would-be black comedy commentary, but there are precious few scares here. Fortunately, with its fun thunder, lightning, music, excellent editing, airplane fears, and apprehensive shocks, the highlight “Nightmare at 20,000 Feet” remake starring a perfectly panicky John Lithgow (3^rd Rock from the Sun) in the famed William Shatner role is still superbly relatable. While there are no bridging stories pigeonholing the reworked plots from longtime TZ writers Richard Matheson and George Clayton Johnson and Melissa Mathison (E.T.) and Jerome Bixby (Star Trek), the suspense and/or lighthearted attempt to capture the varied spirit of the unforgettably superior series is woefully uneven. Though speculative and thought provoking, the scary claims are definitely misleading, and the rug is taken out from under any momentum because we know how these remakes end. Directors John Landis (Animal House), Steven Spielberg (hello), Joe Dante (The ‘Burbs), and George Miller (Babe) feel late on the scene. Thanks to the tragic behind the scenes helicopter accident this try hard homage becomes an unnecessary, shoddy, and latent blockbuster vanity project. Sure, it looks great on blu-ray and can be enjoyed by those who’ve somehow never seen The Twilight Zone, but most of this is too dated for young audiences and too tainted for older viewers to appreciate.

This article originally appeared at Horror Addicts.net. Search our Kbatz posts for more macabre! 

 

More Blu-Ray Evidence!!

More Blu-Ray Evidence! 

By Kristin Battestella

 

Be it period and medieval drama, science fiction and intergalactic battles, or epic fantasy, the blu-ray format has once again renewed the panache of these titles both young and old.

Beckett – One has to be in the mood for this lengthy two and a half hours of 1964 epic medieval history and bromance starring Peter O’Toole (Lawrence of Arabia), Richard Burton (Anne of A Thousand Days), and the brief but charming John Gielgud (Arthur) thanks to lots of soliloquies and a decidedly Shakespearean vibe. From clashing Normans and Saxons and swashbuckling humor to saucy affairs and swordfights, the mix of stage presence and grandiose film scope works. While audiences today may focus on the homosexual subtext, there are excellent one on one debates on women, religion, and even food from the three Oscar nominees here. King Peter is wonderfully snotty and tormented while Burton is surprisingly subtle as the chancellor who knows how to rein in his prince – until he gets a case of religion, that is. The colorful photography, great costumes, beautiful horses, sweeping architectures, and scenic landscapes all look made to look old delightful on the restored blu-ray, and Latin chorales, wonderful orchestrations, and big crescendos rise or disappear as needed. Though a Best Adapted Screenplay winner, contemporary viewers may find some of the inaccurate plotting and old speaketh a little dry. Subtitles are essential, but the scrollwork blu-ray interface is cool.  After being out of the home video market for so long, period piece lovers, fans of the cast, and history buffs should indulge here – with O’Toole’s reprisal as Henry II in The Lion in Winter for good measure.

Elizabeth – Granted, this 1998 biography from writer Michael Hirst (The Tudors) is not super accurate historically, but dang if this isn’t as fine a period film as they come. The orchestral music is perfectly fitting, and the stunning costumes, medieval sets, and colorful photography all look brand spanking new on blu-ray.  Yes, liberties were taken; some of the stylized scenes are pretty for the sake of it and don’t always advance the plot. It’s often tough to tell who is who and Joseph Fiennes (Camelot) is insipid as always. However, Cate Blanchett (Lord of the Rings) was 110% robbed of the Best Actress Oscar – we knew it then. The sharp editing, solid pace, assassination dangers, and regal plotting still make this a better picture than that other Elizabethan movie that unjustly ruled the Academy that year coughshakespeareinlovecough. It’s also delightful to see the excellent supporting cast, from stalwarts like Richard Attenborough (The Sand Pebbles) and Geoffrey Rush (Pirates of the Caribbean) to charmers like Vincent Cassel (Eastern Promises) and James Frain (True Blood) and then-unknowns like current Bond Daniel Craig and ex-Doctor Christopher Eccleston. For scholars, Tudor lovers, fans of the cast, period connoisseurs, indie film audiences, and Oscar should-have-won trivia fans, there’s no reason not to like this one.

 

Elizabeth: The Golden Age – We wrote on this 2007 sequel at length previously, but after seeing this again on the dual blu-ray set with its predecessor, it’s time for a digital glory update. Once again, Cate Blanchett rules the hour, simply put. Yes, this follow up is slightly weaker thanks to some cartoonish King Philip (Jordi Molla, Colombiana) scenes and an uncharismatic Clive Owen (Closer) as Sir Walter Raleigh in love. Though there are panoramic, sweeping paces and this sequel also plays with historical facts, it isn’t as artsy as Elizabeth was and feels more toned down and mainstream in its construction. Quibbles aside, the naval battle with the Spanish armada is worth the wait. Rightfully so, one doesn’t want the whole film to be about the battle. However, the depiction is just the right amount of epic – and the gore, fire, and stylized strengths are simply smashing on blu- ray. And the Oscar winning costumes? Wow. Fans of the first film, period audiences, and Elizabethian students will simply have to see this pair together for complete scope and Regina reflection, and it would be awesome if we yet saw a third film to finish this set.

The Last Starfighter – Nothing can be done about the old gaming graphics and arcade plots in this 1984 SF adventure, but the space battles, reptilian aliens, and galactic clichés are colorful and bigger than ever on this 25^th Anniversary blu–ray edition. 80s retro chic trailer park fashion is always fun to see, too, and the heroic, sincere tale is actually quite entertaining and memorable. Yes, it’s preposterous that a video game would unite a poor town – and that’s before the over the top megalomaniac aliens and need to save the galaxy enter the scene! Fortunately, the primitive computer animations, imaginative space equipment, and dated futuristic technology have the flavor needed, although well-schooled old school fans might see a lot of references or rip-offs from other science fiction films. Director Nick Castle (The Boy Who Could Fly), however, makes sure the 80s names and recognizable faces such as Lance Guest (Halloween II), Catherine Mary Stewart (Night of the Comet), and Robert Preston (The Music Man) are able to laugh at the absurdity of it all – from doppelgangers and playboy snooping little brothers to fake intergalactic speaketh and DeLoreans.  The epic, lively music by Craig Safan (Cheers) ties all the rousing fun together, too. Though the blu-ray interface is a tad annoying, the making of feature, commentary, and other behind the scenes treats complete this renewed, nostalgic trip – it’s perfect for the whole family.

 

And a Split Decision Wait and See…

The Hobbit: An Unexpected Journey – I confess, I’m not sure how I feel about this 2012 first installment in Peter Jackson’s prequel trilogy to Lord of the Rings. This is a great story, yes. This is a fine cast, true. However, it doesn’t feel as if all the players or the heart of the tale get their due time because the audience is too busy trying to keep up with the 48 frames per second fast rate and the in your face 3D battle scenes – which honestly don’t look good on blu-ray.  While it’s lovely to return to Middle Earth and see this dwarf attention, there’s simply too much other prequel stuff and extra Tolkien ephemera such as the necromancer and white council clouding the story. It’s nice to see these nods and winks bridging the gap to the Lord of the Rings films, but it’s tough to do both a children’s book adaptation and darker mature fantasy material justice with all this off kilter CGI thrown in to boot. I mean, is Frodo seriously there just to pick up Bilbo’s mail? It’s wonderful that the Gollum riddles scene remains rightfully uncut, but the intercut goblin town battle and completely cliché Azog creation look and feel like a real mess. The dwarves don’t really look like dwarves, either. Well, the ones who don’t have any speaking lines do, and the accents here are all over the place, too. Most of the time, it’s tough to remember Richard Armitage (MI-5) is not playing a man about Middle Earth. Do you think John Rhys Davies – who had allergic difficulties to the facial prosthetics as dwarf Gimil in Lord of the Rings – was upset that these dwarves just get big axes, floppy hats, and beards to accent their pretty faces? The script here also adds unnecessary difficulty to itself – flashbacks with more flashbacks within them are what make The Lord of the Rings such a frustrating modern read. When the viewer can tell what’s going on, the pattern here feels like a slower, sillier retread of The Fellowship of the Ring. Ultimately, this first installment can’t decide if it is a prequel to the Lord of the Rings films, a faithful adaptation of the titular children’s book from the thirties, or a new fantasy film trying to keep up with all the other blockbusters via high frame rates, in your face 3D, and too much CGI.  I personally also found The Fellowship of the Ring slow to start and muddled with too many characters and only came back to the Lord of the Rings trilogy after it was completed. I’d like to hold out hope that the story and heartfelt adventure will dominate the next two Hobbit films. However, it seriously looks like a faithful, youthful Hobbit adaptation could have been done in one film.

 

Inspirational Films and Documentaries

An Inspirational Viewing List

By Kristin Battestella

There’s no time like the gloomy winter present or the forthcoming Lenten season to hunt and peck for the elusive quality Christian film or documentary! Here’s a quick list of inspirational movies and heartfelt documentaries to catch anytime of year.

Agora – This seemingly obscure 2009 Spanish film starring Oscar winner Rachel Weisz (The Constant Gardner) wonderfully deals with the early strife between paganism, slavery, philosophy, science, Judaism, and Christianity in Alexandria towards the fall of the Roman Empire.  Though tough subjects to deal with independently, let alone together, director Alejandro Amenabar (The Others, Open Your Eyes) also fits in a convincing romantic angle and women’s issues as well.  The fine dialogue is just right- the film itself represents an honest dialogue taking place in the Library of Alexandria.  Despite some historical liberties, more light is shed for good than ill with a well-dressed, non-digital, authentic looking design and period music.  Why don’t we see this time and place onscreen like this more often?  So many sword and sandal or Romanesque pictures are hit or miss, going for adventure and political statements over the tale at hand.  If they can all blend such intelligent topics with this kind action, performance, and design, then by golly why aren’t we making more movies like Agora?  

Crusade: The Life of Billy Graham – It took me awhile to watch this 1993 PBS documentary about ‘the most famous and influential preacher of the 20^th century.’  Well, this show sets itself up with some big shoes to fill, doesn’t it? The straight narration is slow to start with a lot of educational background and history; and in all fairness, they do have a lot to cover! However, the ninety-minute biography picks up with one on one interviews and insights from family and friends including longtime singer George Beverly Shea. Fans of the evangelist will also enjoy hearing casual and personal stories from the man himself, as well as frank discussion about presidents and politics.  The chats and reflections are a little deep, yes, and the length and long-winded style here is probably a bit much for a younger classroom viewing.  Thankfully, adults who have grown up with Graham’s warm yet zestful style will enjoy the spiritual reminiscing, archival footage, and uplifting nostalgia whether personally or in a group or study discussion. I’ve been watching Billy Graham all my life and I still can’t get used to seeing footage of him looking so young!

Luther – Overall, I was pleased with this 2003 biography by director Eric Till (Fraggle Rock) as a basic introduction to the father of the Protestant Reformation.  Although I still am not a fan of Joseph Fiennes (Shakespeare in Love) and his uneven performance wavers between Luther’s crazy doubts and murmuring, bland rhetoric; the classy supporting cast including Alfred Molina (An Education, Magnolia) and Peter Ustinov (Spartacus, Quo Vadis) is delightful, if too brief. Not only is it difficult to dramatize Martin Luther favorably for all, but this is also not an easy time period to replicate without it looking a little silly in our eyes- what’s with those hollow bowl haircuts?  However, the beautiful churches, somber music, lovely locations, and both high and low styled costumes bring 16^th century Germany to life along with the well-crafted story of Godly revelation. While the English captions go a long way with the soft-spoken dialogue, I’d like to see a serious examination of Luther and all his flaws again in a big and proper production with a better lead actor.  Christian classrooms, however, might enjoy a viewing and discussion, perhaps along with the Empires: Martin Luther PBS documentary.

One Night with the King – Though not as well told as The Nativity Story, this 2006 biblical tale from director Michael O. Sajbel (The Ultimate Gift) is a fine family tale for Christian and Jewish families alike.  Though the narration from John Rhys Davies (Lord of the Rings, Indiana Jones) is a bit much, Peter O’Toole (Lawrence of Arabia, Troy) only has one scene as Samuel, and a little too much fantasy and lovey dovey hampers the story; Tiffany Dupont (Greek) is charming and inspirational for young and old.  The music is period enough, and the production also stays on the authentic side, but subtitles are a must for the mixed modern and thou sayeth speak.  Parents or teachers might also want to prepare with a reading and discussion pre or post- especially if the youngins ask, “What’s a eunuch?”

The Ride – Michael Biehn (Aliens, The Terminator) departs from his usual action and SF yarns for this lovely 1997 spiritual western funded by the Billy Graham association.  Yes, some of the youth acting leaves something to be desired, and the rodeo scenes in this a movie about downtrodden cowboys and bull riding dreams aren’t that good or even the primary focus really.  However, the inspirational turnaround and wonderfully heartfelt performance from Biehn can touch even the coldest viewer.  Again, some of the direction and writing from Michael O. Sajbel is a little obvious and borderline heavy handed on the sentiment.  However, if we could all watch a movie like this when we are our utmost despair, one might find one’s outlook seriously changed for the better.  That’s what quality inspirational film is supposed to do!

I really shouldn’t be a total grinch, but I do have a skipper:

Man of Faith – You want the religious sentiment and inspiration to come forth in this 2005 televangelist biopic from director, writer, and star Damian Chapa (Street Fighter, Brando Unauthorized), but the reverence never really happens.  Or perhaps it does, but you get really tired of waiting for it amid the zealous narration and bad but holier than thou Southern dialogue.  There’s little information about this film online, but I wonder how big names like Robert Wagner, Faye Dunaway, Jill St. John, and Brad Dourif came to be involved. Not only is the photography and camera work low budget, but the sound is bad on top of the overall poor acting and presentation.  And actually, I find the violent and threatening, gibberish styled Speaking in Tongues kind of insulting. Eh, stick with Elmer Gantry and The Apostle instead.

Classic Swashbuckling and Adventures

Classic Swashbucklers, Knights, and More

By Kristin Battestella

Yes, I do love me some classic film.  Moreover, if said classic film has plenty of Arthurian lords and ladies, sword fighting pirates, not so chivalrous knights, or any other medieval rogues and wenches- it’s all the better. Here’s a quick list of old school fantasy and historical films for ye olde viewing pleasure.  Break out the mead and rum!

Captain Blood – I said ‘swashbuckler’. That means we’re going to spend a lot of time with the Tasmanian ladies man himself, Errol Flynn.  In this 1935 stateside breakout full of feathers, frocks, and pirates; Flynn (The Adventures of Robin Hood) and his favorite onscreen leading lady Olivia de Havilland (Gone with the Wind, The Heiress) debate slavery, fight imperial injustice, and battle the wonderfully ruthless Basil Rathbone (The Adventures of Sherlock Holmes). Some of the music, reused seafaring footage, highbrow delivery, and over the top design might be a bit much for contemporary folks, I grant you.  However, the sweet sword fights, dashing story, and jolly good fun are a fan’s delight- and its all dang impressive for its time.  Take that, Pirates of the Caribbean!  Now, if only this were really in color, can you imagine?

Knights of the Round Table – Medieval rogue Robert Taylor (Ivanhoe, Quentin Durward) is at it again with a seriously smokin’ Ava Gardner (Mogambo, The Barefoot Contessa) in all the Arthurian Cinemascope glory one classics fan could ask for. From the sword in the stone to all those somehow fitting but out of place 14^th century French styles, director Richard Thorpe (Jailhouse Rock, The Prisoner of Zenda) keeps this colorful 1953 yarn quick and entertaining.  Yes, the dialogue is a little hokey now, but the fights and fancy, chivalry and ladies are all in good fun.  There’s even as much scandalous love as the Production Code will allow, complete with a saintly Elaine (Maureen Swanson, later even a real life countess!) and an appearance by the Holy Grail. What’s not to like?

The Lion in Winter – This 1968 opus starring Peter O’Toole (Lawrence of Arabia) as Henry II and Oscar winner Katharine Hepburn (The African Queen, Guess Who’s Coming to Dinner) as Eleanor of Aquitaine is as epic as they come.  Sure, its long and slow by today’s standards, with too many angled zooming close ups and over the top arguments for the throne; but divine locations, authentic dressings, sweet costumes,  and lovely Oscar winning music from the late James Bond composer John Barry more than make up the difference.  Add Timothy Dalton (The Living Daylights) and Anthony Hopkins (Silence of the Lambs) in their film debuts, too, and we’ve a medieval tale well told.  Die hard audiences can also take in O’Toole’s prior appearance as Henry II in Becket or compare the 2003 television The Lion in Winter starring Patrick Stewart.

The Private Lives of Elizabeth and Essex – Only an exceptional few ladies could play Good Queen Bess twice, and Bette Davis (The Virgin Queen) makes a lovely royal debut here in 1939- along with our swashbuckling essential Errol Flynn as the titular Essex and a young, pre-horror maven Vincent Price as Sir Walter Raleigh.  Toss in the wonderful schemer Olivia de Havilland (again!), some sweet costumes by Orry Kelly (Some Like it Hot, Gypsy), lovely medieval decoration, and plenty of historical drama from Oscar winning director Michael Curtiz (Casablanca, Yankee Doodle Dandy, Mildred Pierce) and you simply can’t go wrong.  And thanks to Cate Blanchett, too!

Robin and Marian ­– Contrary to our modern versions keeping Robin Hood young, pretty, non-English (I’m talking to you, Mr. Costner and Mr. Crowe) or otherwise badass; this 1976 Sean Connery (The Untouchables, Dr. No) yarn  adds a touch of vintage class and mature romance to the outlaw’s tale.  While the golden age tone and veteran retrospective bend is not what we expect, the pace and editing is a little slow at times- especially early on.  It’s a little too dark in some spots, and some of the accents are kind of annoying, too; but hey, 12^th Century England was no picnic. Thankfully, the look, style, and sword action are fun and authentic, along with the delightful cast including Audrey Hepburn (Roman Holiday, Breakfast at Tiffany’s), Richard Harris (Camelot, The Field), and Ian Holm (Alien, Lord of the Rings).  

The Sea Hawk – In Like- err Errol Flynn strikes again, this time with the none to shabby Flora Robson as Elizabeth I, another multi-talented lady reprising her turn as Her Majesty from Fire Over England (Take that Bette!). Toss in the ever wonderful Claude Raines (Casablanca, Notorious, Mr. Smith Goes to Washington) as Spanish ambassador Don Alvarez, add an armada or two, and we’re okay to go.  Some of director Michael Curtiz’ (yes, him again, too) black and white photography is showing its 70 year wear, but that doesn’t mean we have to go and bastardize it with some faux color!  Besides, not a lot of contemporary actors can look so fitting and proper in those pointy conquistador helmets, either.  The frocks- partly nipped from The Private Lives of Elizabeth and Essex- are also charming, even if the rest of the story is pretty historically inaccurate. Even with the dated fun and faults, we just don’t make strapping, family friendly, entertaining, and adventurous yarns like these anymore.  I protest!

Also, don’t forget to check out our extensive Classic Camelot and Medieval Fun list, compiling these and a slew more of ye olde films of Arthur, yore, and more!

Horror Comedies, Anyone?

Horror, Meet Comedy

By Kristin Battestella

Of course, I prefer when my horror films are really dark, scary, macabre, and well, horrific. However, sometimes a viewer needs to lighten things up for spooky parties or frightful family fun nights. Here’s your viewing list for an evening of friendly scares.

Munster, Go Home! and The Munsters Revenge- Boxers or Briefs? Lennon or McCartney? The Munsters or The Addams Family? Enjoy this funny, charming family of monsters in their 1966 theatrical debut Munster, Go Home! as they take their hijinks-now in Technicolor!- abroad. Though more about the caper at hand instead of the family, The Munsters Revenge is still a treat for fans of Herman, Lily, Eddie, and Grandpa.

Elvira Mistress of the Dark- There’s a touch of mature innuendo, but it’s a treat to see Cassandra Peterson’s alter ego host in a full length picture. The plot’s a predictable fish out of water scenario; with sexy Elvira taking an inheritance in a quiet, conservative town. Nevertheless, Peterson’s wit, bosom, and personality are all in spooky good fun.

Ernest Scared Stupid- Everyone loves Jim Varney and his plethora of goofy characters. Add a creepy house, trolls, and Halloween and you’ve got all the hijinks for a family fright fest. Yes, it might be stupid as the title suggests, but who cares?

Beetlejuice- Don’t say the bio-exorcist’s name three times! Michael Keaton leads an all-star cast in this humorous tale about a country couple turned ghosts trying to rid their house of a snotty New York family. Winona Ryder is creepy as the goth daughter Lydia, and all of director Tim Burton’s odd touches have their moments-from Juno’ smoke coming out her slit throat to Delia’s infamous ‘Dayo!’ dance party. Multiple viewings are in order here.

Idle Hands- Devon Sawa, Jessica Alba, and Seth Green star in this creepy teen comedy warning kids about idle hands being the devil’s workshop. Dumb in some ways, but hysterical in others-the cast has plenty of gory fun here. Some of the gore, teen sex jokes, and drug use might be much for youngins, but this one’s perfect for a safe, indoor night or mature fun.

High Spirits- Peter O’Toole and his Irish friends turn their foreclosed castle into a haunted showplace to attract American tourists. Unfortunately, Daryl Hannah and Liam Neeson really haunt the place! Some goofy humor, funny romance, even a few scary scenes make this Neil Jordan haunt a keeper.

Once Bitten- Jim Carrey and Lauren Hutton are quite the humorous pair as the aging but sexy vamp and the virgin she needs to bite. Sometimes I’d rather this be a straight vampire flick-the talent is certainly there. But the valley talk, Halloween fun, and kinky camp save this movie from total drivel ala the similar My Best Friend’s A Vampire. Again, there’s some mature innuendo, but young fans can enjoy Carrey’s early horror hijinks.

The Tudors Season 2

Seriously Good Tudors Season 2

By Kristin Battestella

Sure The Tudors sold its first season on the sexy actors, sexy costumes, and sex of the times. Season two of the Showtime series still has naughty goodness, but writer Michael Hirst allows historical drama and religious conflict during the reign of Henry VIII to take the forefront.

 

Still fighting with the Catholic church over his divorce from Katherine of Aragon (Maria Doyle Kennedy), King Henry (Jonathan Rhys Meyers) secretly marries Anne Boleyn (Natalie Dormer) and breaks England away from Pope Paul III (Peter O’Toole). Henry’s friend Charles Brandon, the Duke of Suffolk (Henry Cavill) has mellowed his philandering ways and sympathizes with Katherine, unlike Anne’s father Thomas (Nick Dunning), who’s hell bent on royal position. New Secretary Thomas Cromwell (James Frain) also moves up the courtly ladder at the expense of Sir Thomas More (Jeremy Northam).

 

As on form as Jonathan Rhys Meyers (Elvis) was playing the pretty boy King, his turn for darkness and conflict do well here, as does the slow turn around of now Queen Anne. We receive no explanation for the off screen exits of several made to be important folks from season one, but the departing cast this season sets off The Tudors. Maria Doyle Kennedy’s bittersweet Queen Katherine is so sad to watch and yet it gives the downfall of Natalie Dormer’s Anne Boleyn an extra delight. The burnings and persecutions of protestants made me grimace last season, but this time around, Thomas More’s humble devotion to his conscience brought tears to my eyes. As robbed as Sam Neil was of hardware in Season 1, I’m shocked Jeremy Northam is not racking up awards.

 

The supporting and recurring roles add to this rift, with mistresses and bishops caught on both sides of the divide. Some new characters this season are useless, like musician Mark Smeaton (David Alpay) and poet Thomas Wyatt (Jamie Thomas King), but the brief appearances of Bishop Fisher (Bosco Hogan) and The More Family lend a humility to the highly styled court of King Henry. I would have liked more to the quick development of Jane Seymour (Anita Briem, Journey to the Center of The Earth), but the stylized executions that end the series (not a spoiler if you know anything about history) top off the weaker characters.

And of course, we’ve plenty of adultery and mistresses despite the seemingly tamed Henry and Charles. There’s still sex in The Tudors, but now its down to maybe a quick scene an episode, as opposed to the slow full frontals that grabbed audiences initially. Some fans purely watching for the kink may tune out, but serious viewers who were turned off by the soap opera sex should give The Tudors another chance. Sure the show still isn’t playing like a history text book, but Peter O’Toole’s guest appearances from Rome add a new historical authenticity to the series. Yes Wolsey was corrupt, a lot of leaders in the Catholic church were at the time, but most folks caught in the struggle between Henry and the Pope were just good, poor, God fearing people. Strange how I can say a show has a healthy amount of sex whilst discussing social and religious ramifications. The Tudors achieves this rare balance. The lusty are getting their due and England will be forever changed by it. I only hope The Tudors can kept up such charm for Season Three. Look for The Tudors Season 2 on DVD this Christmas.