Octopussy and For Your Eyes Only

Avoid Octopussy and See For Your Eyes Only

By Kristin Battestella

Some swear by Roger Moore’s tenure as Bond, others loathe him. 1981’s For Your Eyes Only gives us some of Moore’s finest. Unfortunately, 1983’s Octopussy gives us some of his weakest.

In Octopussy, MI-6 agent 007 James Bond (Roger Moore) takes over the wounded 009’s operation after the latter steals a fake Faberge egg. Bond tracks the real egg to an auction house, where Afghan prince Kamal Khan (Louis Jourdan) and his mistress Magda (Kristina Wayborn) bid on the egg. When infiltrating his palace, Bond discovers Khan and Russian General Orlov (Steven Berkoff) are in the business stealing Soviet antiquities and using the wealthy Octopussy (Maud Adams) and her all female island cult as a cover for their nuclear hijinks.

I can’t really put my finger on what makes Octopussy a sub par Bond picture. It feels like a film of contradictions and almosts, but no gems or follow through. The opening song ‘All Time High’ by Rita Coolidge is lovely, but my goodness is that ice dancing along with our 007 motifs? Even the title tries for that cheeky innuendo, but the term and its use in the film are just silly. “That’s my little octopussy!” For such a scandalous title, Octopussy is actually a rather tame Bond picture, centering most of its plot on silly gags and flat humor. Octopussy, does however, have one thing going for it: India. Perhaps trying to capitalize on Indiana Jones and more adventure styled films, the Southeast flavor here gives a more exotic feeling than the previously merely classy spy pictures. The looks, speech, and dress of the henchman and extras are a touch stereotypical, but the Indian palaces are wonderful and enchanting.

Villain Kamal Khan might also be an asset to Octopussy, but the suave performance from Louis Jourdan (Gigi) is hindered by a convoluted script and scheme. What the heck is his plot to take over the world, anyway? After all the babes and circus shenanigans, the viewer could really careless about Khan and Russian nuclear plans. Also wasted is the titular Octopussy. Instead of revealing Maud Adams as an intelligent woman and international player at the start, Octopussy delays her reveal and plays up the later relationship with Bond. Although I love Adams and Moore’s scenes together-they are perhaps the best in the film-it takes us half the movie to get all that. Adams looks as lovely as she did in The Man with the Golden Gun, and once we spend some time with her onscreen, we forget about her previous turn. I’ve noticed most Bond pictures will favor a gadget or an action plot device before a character, but veteran Bond editor and director John Glen (For Your Eyes Only, A View to A Kill) should have recognized his leading talent and chemistry.

They still have one more film to go, but Roger Moore and Lois Maxwell as Miss Moneypenny are beginning to show their age and disinterest. The simple gesture of Bond not tossing his hat is a small symbol of how much this series has changed. In Connery’s tenure, it was perfectly acceptable for him to have a hat about his suit. In 1983, the only time I saw even women wear hats was in church. The eighties styles on the ladies haven’t stood the test of time, either. I do, however, wonder what happened to Miss Moneypenny’s new assistant and presumed replacement Penelope Smallbone (Michaela Clavell, who never appeared to do anything else, either). She’s young and enamored with Bond, of course, and Smallbone certainly seems better than the bespectacled ninny Moneypenny during Dalton’s brief time as 007. Just another quirk in the franchise, I suppose.

Although Moore’s final appearance as Bond in 1985’s A View To A Kill is less than perfect and a guilty pleasure more than anything; I’m glad he did not end his tenure on the sour note here. Perhaps after such success with The Spy Who Loved Me, screenwriter George MacDonald Fraser (Red Sonja) and house writers Richard Maibaum and Michael G. Wilson were trying to put a different spin on things with Octopussy’s original screenplay. But the elephants, the backgammon, the circus, the gorilla suits-come on. Though the Octopussy siege at the end is kind of cool, it seems a little preposterous that these cirque de sol women can take out the bad guys. At least it looks like good old Q gets the girls. Unfortunately, it’s all too little, too late for Octopussy.

Fortunate then, that Moore did give us a fine turn in 1981’s For Your Eyes Only- this quieter, darker blend has revenge, sports-oriented chases, and a realistic outing by the third official Bond. After a British ship and its Automatic Targeting Attack Communicator sink, Bond is sent to investigate the ship’s whereabouts and the murder of Timothy Havelock, a British archaeologist contracted to find the wreckage. In Spain, 007 meets Melina Havelock, the vengeful daughter of Timothy. Together with Greek smuggler Milos Columbo (Chaim Topol, Fiddler on the Roof) they tail dirty businessman Aris Kristatos. Will they find the ATAC before him and expose his nefarious dealings and KGB connections?

It seems no one liked For Your Eyes Only’s sf-ication predecessor Moonraker, and we begin this semi return to Bond’s roots with a nice opening reference to the late Mrs. Bond. Sure, we like 007 on the prowl, but mention of Tracy Bond is something we don’t see enough. It’s nice to know Bond has a few issues beyond being a detached spy who loves and leaves because of his job. Some kitschy kitties, allusions to Blofeld, and some hair-brained piloting also keep a touch of humor in the pre-titles sequence. However, it is strange to see singer Sheena Easton actually singing the theme song during the titles. Unique and it all looks good, but the song itself is sub par compared to ‘Nobody Does It Better’ before and ‘All Time High’ after.

Where Octopussy meanders and grows silly and confusing, For Your Eyes Only’s script and story is deep and complex- yet behind the scenes man and director John Glen keeps the mission easy to follow. There’s the usual red herrings and turncoats, but this Macguffin mystery seems more like a spy’s tale then other Bond pictures coughmoonrakercough. For Your Eyes Only is in many ways akin to Lazenby’s one off On Her Majesty’s Secret Service. We have solid literary sources from Ian Fleming, dark and complicated folks onscreen, and a Bond we are familiar with and like. Perhaps For Your Eyes Only is the perfect combination between book and onscreen Bond?

Who knew James Bond could have been on the British Olympic Team? Though mature in his fifth picture as 007, Roger More has the right blend of action, fun, and seriousness here. Some think Moore is too humorous at times, but his one-liners and comebacks are the perfect breath amid this sporty, global escapade. Perhaps the miscasting of his leading ladies makes him appear older, but in For Your Eyes Only, we don’t have a geriatric Bond just yet. He has the uppity style for some intense skiing, and he can handle the busy babes and hard liquors. What’s not to love?

For Your Eyes Only is also special for its somewhat abstract villains. For most of the picture, car bound henchman Emile Locque (Michael Gothard, Arthur of the Britons) doesn’t even speak. Instead of having a quipping, hung up, faulty and clichéd bad boy; we have a bespectacled weirdo pursuing Bond and a charming Julian Glover (The Empire Strikes Back, Indiana Jones and The Last Crusade) as Greek big wig Aristotle Kristatos. We know he must be up to know good, but Glover doesn’t play his crooked hand too soon. Kristatos is sleek, international, suave. He’s as good at what he does as Bond, and the slow reveal of his KGB ends is a welcome change against all the villains who put Bond in an easily escapable situation and then tell him all their plans. John Wyman is also lean and mean as Kristatos’ steroid-esque KGB man Erich Kriegler. It’s not a new notion to this franchise, but seeing Bond take down a toughie is always a pleasure.

Let me get the bad about Award winning French actress Carole Bouquet out first. Her Greek heiress Melina Havelock is no doubt beautiful in that quintessential exotic seventies way, but she’s too young against Moore. Bond likes his women younger, but she’s the grown daughter of a murdered ally. It’s too weird, as is Bouquet’s thick accent and re-dubs. Pity all that, for she has plenty of presence, acting skill, and a nice vendetta storyline. The tragic revenge damsel has been used in these films before, but when done well, it works. Bizarre then that Lynn-Holly Johnson again shows her figure skating prowess (Ice Castles, anyone?) when Octopussy has the ice dancing motifs. Maybe she was the it girl of the moment, but Johnson’s aptly named Bibi Dahl is also too young and pouty for Moore’s elder suave. Still, she can do all the skating and skiing needed, that’s something.

By contrast, Countess Lisl von Schlaf seems too old against the young hotties. It seems bad to say of Cassandra Harris-the late first wife of future Bond Pierce Brosnan. She’s actually just the right age for Moore’s Bond-and we can’t have that! The Countess serves her Bond Girl purposes, and there’s plenty of women and skin about. This time out, however, Moore’s lover boy Bond isn’t as…productive…as he usually is. Unlike the awkwardness in Octopussy, it’s great to see Lois Maxwell’s Moneypenny in For Your Eyes Only- and she’s putting on lipstick for Bond no less! Despite some heavy deaths before and a serious debriefing after, Moneypenny’s quips go a long way in keeping Bond lighthearted. Respectfully we have no M due to the death of Bernard Lee; but Desmond Llewelyn is his ever-lovable Q. Unfortunately, I can’t say the same for those old computers, oiy!

Also trying to be hip and eighties latest is Bond in his Lotus Esprit. Give him a DeLorean why don’t you? It’s understandable that 007 needs to keep up with the times, but a classy ride is more in keeping with our Martini man, don’t you think? Thankfully, there’s plenty of female eye candy. The hair and bathing suits are also victims of the decade, but I doubt the boys are complaining. The new wave synthesizer music isn’t the best either, but like the car, it serves its purpose. The James Bond theme makes its presence known, thankfully, too. The sports oriented action in For Your Eyes Only is a little absurd, but it’s also fast paced and entertaining. A backwards car chase in a yellow clunker capped with a fairly late ‘Bond, James Bond’ again keeps the balance of Moore’s humor and house writers Richard Maibaum and Michael G. Wilson’s tight adaptations of Fleming’s short stories. The ski chases are silly in a good way, too, with original moves and plenty of suspense. Yes, the music and some stylings in For Your Eyes Only are dated, but it doesn’t hinder the wit, complete story, and fine action. There’s ice hockey, I really can’t complain.

Although perhaps regionally close, For Your Eyes Only’s various European locations provide an assortment of beauty and danger. Greek Islands, biplanes and ships, shooting and skiing amid the Swiss Alps, congested Spanish cities, and stuffy London offices add to the chases and bikinis. Eyes also has some fine, well lit, fast-paced but no less claustrophobic below the surface action. Some of the sappy music and hand signaling because of Scuba gear is very silly, but Glen uses the natural dangers to build the audience’s underwater suspense. I’m sure Jaws had a lot to do with adding the sharks, but the deadly rock climbing looks good and quickens your pulse.

 

Though dated and not without its faults, For Your Eyes Only is a believable, entertaining, well rounded Bond picture-unlike the mishmash that is Octopussy. Clear-cut action and honest story will always last longer than a laughable and convoluted successor. Had Moore departed with Eyes and Timothy Dalton debuted in a streamlined Octopussy (Could we take the good parts of Never Say Never Again, too?), the overall opinion of Moore as Bond might be very different. A promising debut in Live and Let Die, a good villain saving The Man with the Golden Gun, a delightful The Spy Who Loved Me and For Your Eyes Only, and the abomination that is Moonraker-not bad if you think about it. Collectors will have to wait for Octopussy on blu-ray, but several DVD sets and blu-ray editions of For Your Eyes Only are available now. Save yourself from Bond mediocrity, skip Octopussy and enjoy the younger, witty, hip For Your Eyes Only.

Somewhere In Time

Beautiful and Bittersweet Somewhere in Time

By Kristin Battestella

I hate romance movies. They’re so clichéd and sappy and overly girlie, and it’s all just too much. How then can I explain my praise of the 1981 love story Somewhere in Time? Jane Seymour, Christopher Reeve, tragic time travel, great costumes, and a tugging score can make romance look so good.

Eight years after a mysterious old woman gives him a pocket watch and says ‘Come back to me’; Chicago playwright Richard Collier (Reeve) can’t finish his latest play. On a whim, he ends up at the Grand Hotel on Mackinac Island and becomes quickly obsessed with the portrait of actress Elise McKenna (Seymour), who stayed at the hotel briefly in 1912. Richard contacts a local professor who wrote a book on time travel and prepares to travel back in time to be with Elise. Unfortunately, once Richard makes it to the past, Elise’s ruthless manager W. F. Robinson (Christopher Plummer) stands between them.

Perhaps now an oft used and familiar premise, Somewhere in Time’s story is based on the Richard Matheson’s novel Bid Time Return. The longtime Twilight Zone writer adapted his work for the screen-retaining his knack for intelligent, somehow realistic, but no less complicated tales. Naturally, we are dealing with one huge paradox-actually several ‘chicken or the egg’ dilemmas -but that’s the nature of most time travel stories. The ideology by Matheson is established enough for our belief to be suspended, yet there’s enough room for intelligent questions. Was Richard from the past and somehow moved forward? He’s a playwright and takes a class taught by a man who writes about time travel before he meets the elderly Elise and becomes obsessed with her portrait. How many times has he traveled to the past? I don’t wonder if we’re seeing the second time Richard has gone back. Robinson suspects him as the man who will ruin Elise, and even her first words to Richard are a cryptic, “Is it you?”

It’s bittersweet to see the late Christopher Reeve as a young, vital, and obsessive leading man, yes; but there’s also something about the magic of movies at work: Somewhere in Time has forever captured Reeve in the prime of his life. Richard is educated and talented, yet we believe Reeve’s obsession as Richard becomes maniacal about going into the past. We know him, we like him, and deep down, we don’t blame Richard for going to the lengths he does for love. Reeve sells Richard’s awkwardness in the past and the present-he’s of both, but belongs to neither. Much as we like Christopher Reeve, Christopher Plummer (The Thorn Birds, Counterstrike, Star Trek VI) is uptight and almost despicable as Elise’s ruthless and stern manager William Fawcett Robinson. He’s supposed to handle her career, but his old school man style thinks that applies to every facet of her life. He’s kept her sheltered until now-we don’t doubt he’s good at what he does-but his power is interfering with our couple. Plummer is tall and over bearing compared to Seymour, too. Reeve is also a big man next to his leading lady, but he convinces us of their perfect match. He’s traveled through time for it!

I’ve always liked Jane Seymour (Live and Let Die, Dr. Quinn Medicine Woman) and her exceptional Elise McKenna is probably why. Her clipped English delivery and style go along way in bringing the romance in Somewhere in Time to life. In the first half of the picture, she’s so built up through her lovely portrait. When we finally meet Elise forty minutes into the film, it’s such a charming introduction-a whirlwind of music and magic and beauty. At last, we get to see her in the flesh-just like Richard. She’s innocent, yet a dynamo; the fabrics are sheer and effortless, yet there are hats, gloves, and etiquette. How can we not long for such youth, beauty, and grace?

Seymour can’t have any period piece charm, of course, without such breezy costumes and a heart wrenching score. The Grand Hotel has the perfect turn of the century charm, and the award winning dresses are a fine mix of Edwardian and Victorian styles. Somewhere in Time isn’t Titanic, but it isn’t flapper yet either. The 1912 timeframe is a beautiful and eclectic mix of that transitional time. McKenna is a stage actress, and the importance of the old-fashioned theater in its twilight before silent films is enchanting. Likewise, the Golden Globe nominated classical score by John Barry (Dances with Wolves, Out of Africa, The Lion in Winter) haunts the entire picture. Even when we’re in the eighties present, the trinkets, music, and Grand Hotel take us back.

Not for un-period piece fans, Somewhere in Time is sappy and melodramatic at times I must admit. All this time travel and intense romance actually happens in only a few days’ time; and all the upper crust emotion and romance is a little too mature for kids. Youthful viewers are better turned to Reeves’ wondrous Superman series. The seventies and eighties clothes and styles are a bit much for some today, too. I think we were more innocent back in the day, and I wore out my VHS copy of Somewhere in Time long ago. In fact, right after I made my mother a new tape, I found the DVD used at a very affordable $3! The behind the scenes feature on the Collector’s Edition disc is over an hour, with conversations from Matheson, director Jeannot Szwaerc (Jaws 2), and the entire cast and crew. There’s also a commentary option with Szwaerc, in addition to photos and a few other treats.

Audiences who enjoy old school styled films should try Somewhere in Time. If you watch one romance, this should be it. After all, it’s really about time travel, isn’t it?

Dead Calm

Dead Calm Old, But Still Kind of Creepy

By Kristin Battestella

My Mother gets the wiggins every time she watches the 1989 thriller Dead Calm. A very young Nicole Kidman and then popular Billy Zane date this drama on the high seas, but there’s enough chills to keep you on the edge of your seat.

After the death of their son, John Ingram (Sam Neill) and his young wife Rae (Kidman) take time to grieve and bond anew as they sail back to Australia. After a month at sea, they encounter an unresponsive ship, then its lone survivor Hughie Warriner (Zane) on a dinghy. Neill leaves his wife to care for Hughie on their ship while he tries to save Warriner’s damaged vessel. Unfortunately, once Hughie has Rae alone, his true nature is revealed.

Natural suspense goes a long way for Dead Calm. There’s plenty of violence and disaster to get into on a lonely boat on the high seas. Director Phillip Noyce (Patriot Games, Clear and Present Danger, The Bone Collector) does well with the vast dangers of the sea as well as the tight, claustrophobic, and confined interiors. Who doesn’t love all that bottomless water along with all the wood and mechanics to use, abuse, and on which to get hurt? Even the dog aboard ship is used intelligently. The fine story by Terry Hayes (The Road Warrior, Payback) - based on the 1963 novel by Charles Williams- is also complete and well done in the under two hour time frame. There’s a ticking clock of rescue and seafaring desperation in Dead Calm that appeals to all our fears. Today the powers that be would make a huge action disaster picture full of computer-generated squalls and people in bikinis. While not lacking on action or congested fight scenes, Dead Calm focuses on what would happen when we add the worst of human nature to the sea.

Sam Neil (Jurassic Park, The Tudors) is a little old for his wife, and this strain-along with the death of their child goes a long way in Dead Calm. Neil’s authentic as a former Navy man who knows the ocean. We trust him, like him and his instincts. If John feel’s something fishy, we worry with him. We don’t doubt he loves his young and saucy wife, but John’s rigid style might not keep Rae for long.

But of course Dead Calm uses all it can of the young and pretty Kidman (The Hours, Moulin Rogue, To Die For) in her first big picture stateside. Her accent, style, and mannerisms are not the elegant lady we know today-in fact, her delivery might be difficult to understand for some. At first, it doesn’t seem there’s a lot to Rae beyond the clichéd young and grieving wife and mother. However, Kidman shows her future talent with charm and chemistry with both her leading men. As Dead Calm progresses, Rae wisens up and uses her short, beachy outfits to her advantage. Naturally, a certain sexuality comes into play-and it’s all good and ambiguous. We don’t doubt Rae’s grief and devotion to her husband, but she is younger and all alone with a hot and scary guy.

Billy Zane does bad guys best: Titanic, yes, The Phantom, not so much. Built and bizarre, you don’t blame the Ingrams for being suspicious when they meet Hughie. Sure, the tale he tells of violence and marooning on the high seas might make anyone a little flaky; but Zane sells every piece of Hugie’s psychotic bend. His paranoia, quick obsession with Rae, explosives speeches, and creepy dancing seep into everyone one of our fears-we’d be afraid to be alone with Hughie at all, let alone sailing away into the worst that we can imagine. Then again, I’m sure there is an audience that will find Zane’s portrayal sexy as hell. Despite his mental instability, Hughie is vital and in control, and yes, it is rough and kinky.

Dead Calm’s styles-much like Billy Zane’s popularity, have however, waned. The clothing styles are very dated and Kidman’s bushy hair isn’t all it could be. The score by Graeme Revell (Sin City, Daredevil, The Crow) is too overbearing and obvious as well. There’s also not much rewatchability once you know all of Dead Calm’s twists and turns. Some of the naughty scenes, however, can be studied and re-interpreted time and again.

Fans of the trio will enjoy-although, this picture is not for any one who has water or boat phobias, I must say. There’s nudity of course for Kidman and Zane lovers, too. They’ve gone on to bigger and better things, but Dead Calm has all the makings of a scary, psychological thriller. Dated, perhaps, but sex and fear never get old. Look for this high seas adventures on DVD or blu-ray.

Family Friendly Fantasy and Science Fiction

Family Friendly Fantasy and Science Fiction

By Kristin Battestella

Hello again with another quick list of recommendations for your rainy days and family fun nights. Here are a few genre keepers that can be enjoyed by the entire family-young and old, modern and classic.

­The Adventures of Robin Hood - This 1938 classic may seem hokey to some, but tales of Sherwood Forest don’t get much better than this. Juvenile audiences and old time memories still make Errol Flynn’s be greened Robin, Olivia de Havilland’s Maid Marion, and Basil Rathbone’s Sir Guy of Gisborne a delight.

Swiss Family Robinson- Forget Pirates of The Caribbean, this 1960 Disney classic has tree houses, wild animals, tropical locations, and pirates! How can you not love Dorothy MacGuire and the scrawny boy who’s obviously a girl? Everyone can still enjoy this one-and it looks great on DVD. Disney just doesn’t make ‘em like they used to.

Clash of the Titans- This sword and sandal fanfare looks so bad yet still looks so good. The All-Star cast, Harryhausen-laden visuals, and story filled with meddling gods and mythical creatures is a delight for young and old. Very young children might be scared by the darker imagery and there’s a touch of toddler nudity; but kids 10 and under can still delight in this 1981 charmer.

Ladyhawke- Yes the music’s bad and the ending is weak, but this fanciful and tragic love story is still beautiful and moving. Rutger Hauer and Michelle Pfeiffer are bittersweet as two cursed lovers who can only see each other for a moment at dawn. Fine characters, witty humor, and nothing scandalous make this a family keeper.

Jurassic Park- This Steven Spielberg extravaganza isn’t exactly one of my favorites, but the sequels are down hill from this groundbreaking and visually stunning dinosaur ‘what if’. A fine cast and some awesome dinosaurs will always look good to the paleontologist at heart.

Stargate- The long running series and spin-offs have their fans, but the original 1994 Stargate is a commitment free fix for a night of archeology and action. Kurt Russell’s Colonel O’Neill has more edge, and who doesn’t love a little bit of aliens with their Ancient Egypt?

Batman Forever- Not as dark, serious, and thought provoking as the recent Batman installments, this 1995 edition from Joel Schumacher has comic book fun, color, Robin, and Bat Girl. Nicole Kidman, Jim Carrey, and Tommy Lee Jones add the supporting grit, humor, and charm. Kids can enjoy the lighthearted take on the Caped Crusader while parents critique Val Kilmer’s entry as Batman.

The Mummy- Another original film that reigns above its sequels and direct to DVD spin-offs. Here’s more Egyptology and fantasy to inspire the kids, along with charm and wit from Brendan Fraser and Rachel Weisz. The mummy effects still look good to the mature, critical eye, and despite some humorous romance; there’s nothing skimpy and offensive.

X-Men- Perhaps not the best one in this mutant superhero trilogy, X-Men still packs in a lot of introductions and back-story, setting the scene for a fantastic look at discrimination. Teens who don’t already enjoy X-Men will love this tale of the gifted and misunderstood for its reflection of their own lives.

Bruce Almighty­- Though humorous and a little fresh in some places, Jim Carrey proves here that he can handle drama and mature story telling. Morgan Freeman is charming as God, and Carrey’s everyman struggles to do the right thing when given such enormous opportunity. Family friendly or even acceptable for youth group-beat that!

MI-5: Season 4

MI-5 Season 4 Still Going Strong

By Kristin Battestella

After being addicted to the British television spy series MI-5 for the past few weeks, other things came up so I took a break from Season 4. In the back of my mind, I speculated that maybe this season just had too many cast changes and wasn’t as tight as previous series. Upon returning to the show, however, I was again surprised by just how much MI-5 can shock your brain.

Amid the ups and downs of daily life, married MI-5 agents Adam (Rupert Penry-Jones) and Fiona Carter (Olga Sosnovska) struggle with the demanding nature of their secretive day job. Relationships come no easier for Intelligence agent Ruth Evershed (Nicola Walker) or their boss Harry Pearce (Peter Firth). Newer agents Zafar Younis (Raza Jaffrey) and Jo Portman (Miranda Raison) are learning the ropes at Thames House, but National Security Coordinator Juliet Shaw (Anna Chancellor) walks a fine line amid British red tape and international intrigue.

Season 4 branches out a bit with more international heavy storylines, foreign locales, and global suspense. From internal terrorism to ex KGB cohorts, Syria, Iran, and Turkish tension- creator David Wolstencroft keeps MI-5 relevant. It’s only been four years since this season originally aired, but in our fast-paced world, the politics of MI-5 are still pushing the limit of what American audiences are used to. I will say, however, that this show is better when it keeps the personal in the intrigue. We care about all the treachery because we like the people who deal with all these dangers on a daily basis. From tensions with our dearest friends to conspiracy theories about Princess Diana; as an American, I like seeing the homegrown UK trials and tribulations. That simple, ‘they’re people, too!’ works for some mighty fine television.

Since losing MI-5’s original lead trio, Peter Firth’s boss Harry Pearce has stepped up to the plate. We’re seeing more of Harry’s personal dilemmas in and out of Thames House. He’s cool and collected for his team, but we’re beginning to see things aren’t so clear-cut for him. Government politics and backdoor deals take their toll as well. We also get so see more of Nicola Walker and her Ruth Evershed in and out of the office. She has personal friendships but total professionalism with Harry and the team. Once shy, Ruth becomes a strong voice of information and support for the younger and newer members of the team. I hope to see more of her and Harry next season. The final two episodes here give these characters their due, and I’m aching to move on to next season after Episode 10’s cliffhanger. I’m waiting for the Season 5 DVDs to arrive, and oh, the agony!

It may seem strange to say, but Adam Carter’s role at MI-5 isn’t as clearly defined as his predecessor Tom Quinn. If he’s the Section Leader, how can he be the boss of his own wife Fiona? Outside of this quirk, I like the mix of their familial relationship with their highly unusual workplace. Penry-Jones’ Adam has all that leftover clout from MI-6, but he’s beginning to let all this spy baggage hinder his stride. He’s still played as cool and badass and at the highest level of his game, but tough choices and crazy decisions midway through the season dent Adam’s armor and somehow make him more likeable. Of course, we have another cast departure due to Olga Sosnovksa’s pregnancy. Fiona Carter’s exit seems quicker then last season’s played out departures, but hers seems more realistic. She’s a darn good spy, a great wife who surely has to let a lot go in this business, and a loving mother who keeps her son as unaware of her double life as possible. Sure, it’s fun to spot all the pregnancy cover up tricks, but we like and subsequently miss Fiona.

Despite some fine departures this season and last; we get no onscreen explanation for the absence of desk agent Sam Buxton (Shauna Macdonald). She was all right, but I like the introduction this season of Miranda Raison (Match Point) and her junior agent Jo Portman. The character comes into the system quickly with only an investigative journalism background, but she has instincts and spunk. It’s annoying sometimes when as the rookie Jo makes a mistake, but I like the way Adam takes her under his wing. Maybe there might be some romantic chemistry there or at least an early crush on Jo’s part; but it also seems like the writers are pushing Jo towards a character strengthening relationship with fellow young agent Zaf. Unfortunately, like the obligatory minority before him, Raza Jaffrey’s (Mistresses, Sharpe’s Peril) Zaf hasn’t had much to do beyond being the young hip guy. Adam was the young hip guy last season, and now that’s he’s matured, I suppose we need another hip young guy? I hope Zaf grows up some for next season. We’ve yet to dig deep with him like MI-5 is capable of doing.

We know some agents better than others-and I think the staggering of the comings and goings of our personnel is a good thing-but this season has finally presented a character of which I’m not fond. National Security Chief Juliet Shaw (Anna Chancellor, Suburban Shootout) is perhaps meant to be a bitchy high up political woman on Harry’s side, but her seeming incompetence at the actual spy game undoes any political help she may bring. It’s realistic that maybe she got the job because she’s a woman, and her horrendous mistakes at MI-5 are also true to the real life workplace. Unfortunately, all this makes Juliet her very unlikable. If she did have a past romantic relationship with Harry as we’re led to believe, it doesn’t warm her up any.

I’ve noticed that the bulk of my MI-5 reviews have focused on character analysis, and frankly, that’s because if you don’t care about the people at Thames House, you won’t like the show. There’s a lot of spy in jokes regarding MI-5’s sibling MI-6 and Her Majesty’s most famous spy, James Bond. Though it’s a smaller scale as a 10-episode television season, I have to say MI-5 has a lot going for it against the current incarnation of Bond. It’s much more realistic and statement making than Craig’s attempts, as well as more intelligent. Where we like an element of fantasy in Bond’s lifestyle, we expect MI-5 to be edgy and heavy. In that regard, the show is much more akin to the Bourne series than what some call the ‘Bournification’ of Bond. Nevertheless, we stick with Bond and MI-5 not for all the action, gadgets, and effects- but for how these people react in the extreme situations of their dangerous and deadly day job. If you think you have it bad, spend the night with MI-5.

Strangely, this season doesn’t bother to swap the British name Spooks for MI-5 in the opening credits. I suppose if you’re this far into the series, you understand the term and thus the makers aren’t worried about potential American offenses. Unfortunately as I mentioned earlier, this is also the last season offered on Netflix Instant Watch streaming, so it’s back to my DVD queue proper until I can purchase the upcoming seasons. The sets are affordable enough, just tough to find in brick and mortar stores. Still, with rental and streaming options and PBS airings stateside, there’s no reason not to take a chance on MI-5. Intelligent, mature audiences will enjoy the grit, emotion, and intrigue.

The Seven Year Itch

The Seven Year Itch Still Charming

By Kristin Battestella

Despite my sister’s avid collecting of Marilyn Monroe memorabilia, she’s not a big fan of 1955’s The Seven Year Itch. Some may find all that iconic white blowing dress and neighborly temptation played, but audiences unfamiliar with Monroe can still enjoy this witty and complete comedy.

Dime Publisher Richard Sherman (Tom Ewell) keeps himself in check around the ladies while his wife is vacationing with their son for the summer. He does well: eats right, no drinking, and no smoking-until ‘The Girl’ (Monroe) enters his life. She’s renting the apartment upstairs for the hot New York summer, and Richard- married for seven years-sees no harm in being neighborly. The Girl and Richard play chopsticks and take in the air conditioning, but is it too much for this loyal husband? Richard tries to calm himself by reading a potential manuscript, but unfortunately, it’s a psychology book about man and his understandable ‘seven year itch’.

Marilyn Monroe. No one can help but notice that her torpedo boobs enter before she does. Indeed, Monroe (How to Marry A Millionaire, Gentleman Prefer Blondes) was actually quite curvy and full figured-not like today’s obsession with sickly thin. Naturally, director Billy Wilder (Sunset Boulevard, The Apartment, Some Like It Hot, The Lost Weekend) uses every camera angle and movie making trick in the book to show Monroe in all her glory. The Girl keeps her panties in the fridge when it’s hot…and that’s all it takes for Richard to break out a cigarette. Her costumes are perfection, and Monroe’s wispy and husky delivery works for comedic timing. Even if she is a little over the top, who cares? Most fifties films are a bit obvious anyway, and she’s cute and charming enough to forgive. The Girl’s a little dumb and blissfully unaware of why men like her, but nevertheless likeable. Who wouldn’t want to hang out with Marilyn while eating potato chips and drinking champagne? Although her off screen antics were not fun- lateness, numerous takes, flubbed lines, and a divorce from Joe DiMaggio made The Seven Year Itch a little infamous. It was probably a difficult performance for Wilder to capture, but Monroe was well worth it.

Not nearly as famous as his leading lady, Tom Ewell (State Fair, Baretta) does a fine job as the beguiled everyman struggling with temptation on all fronts. It’s a shame he’s upstaged by Monroe, for Ewell reprises his Tony winning stage role just fine. Modern audiences might find Richard’s near soliloquies awkward or slow, but these meandering talks are critical to his character. Richard’s opinion that his sex appeal attracts women like a moth to flame is, well, shall we say askew. It’s all a little contrived, of course, that Richard has air conditioning and The Girl doesn’t- but the allusions between sex and heat are tough for him to handle. Besides, we never tire of such subjects! We like Richard even if he’s skirting a fine line. Ewell’s practiced mannerisms sell the angst and tension. Instead of a serious commentary on adultery, Ewell’s cigarette puffs, bumbling stature, and fanciful visions keep The Seven Year Itch lighthearted. In actuality, it’s not the notion of the sexpot that’s unique here. It’s Richard’s witty daydreams that keep The Seven Year Itch fresh.

Though charming, The Seven Year Itch is the dated fifties in all their glory. The opening Manhattan Indians montage is woefully stereotypical, as is the omnipotent voiceover telling us about five hundred years of man’s wondering eye. There are, however, comedy references to scandalous wit-quick lines about nudist camps and the boys upstairs who are interior decorators ‘or something’. A naughty dream sequence where Richard imagines his secretary seducing him over his desk-as well as a nurse too involved with bedside manner- are funny, sure, but they also represent the ideal fantasy for a man: the woman is either the dowdy homemaker or the unachievable sexual ideal. Ironically, Richard’s wife Helen (Evelyn Keyes, Here Comes Mr. Jordan, Gone with the Wind) might be looking, too-but it’s implied that she’s merely being charmed by the sly, bad writer Tom MacKenzie (Sonny Tufts, The Virginian). George Axelrod (Breakfast at Tiffany’s) tamed down his Broadway play for the screen, so The Seven Year Itch still has that dated style of the old-fashioned ‘honey I’m home!’ big man. Not many of the old school pillow talk films are viewable fifty years later, but The Seven Year Itch does have something that never gets old. It’s the anti Fatal Attraction look at men and women and fidelity.

The sentiments my have been different, but The Seven Year Itch also keeps what’s good about the fifties alive. The sets are perfect time capsules from 1955; and the costumes, props, books, and colors are as quintessential as Ms. Monroe and that delicious subway breeze. (Such ten seconds of scandal!) It’s amazing that with such visible legs and quick kisses, this friendship can seem so innocent then and now. Richard and The Girl go to see The Creature from the Black Lagoon, and argue if women find Gregory Peck hot. If you’re not a classic film buff, you probably can’t appreciate all the subtle charm of The Seven Year Itch. When Richard is asked what blonde is in his kitchen, he plainly says off the cuff, “Maybe it’s Marilyn Monroe!”

Fans of Monroe should enjoy The Seven Year Itch, as should any fan of old school film. Despite its kinky topics, all the Hollywood codes are in place. There’s nothing overtly visual to deter a family fun night-although adults can certainly study The Seven Year Itch for all its almosts. Available in several DVD editions and Marilyn Monroe collections, The Seven Year Itch is apparently not available on blu ray as of yet. Thankfully, online options and affordable prices are keeping the nostalgia alive. “Isn’t it delicious?”

The Invasion versus War of the Words

The Invasion versus War of the Worlds

By Kristin Battestella

What are the odds that once golden couple Tom Cruise and Nicole Kidman would both star in remakes of science fiction classics within two years of each other? Though delayed and quieter than Cruise’s 2005 blockbuster action yarn War of the Worlds, Kidman’s 2007 remake of Invasion of the Body Snatchers fairs somewhat better…maybe.

Psychiatrist Carol Bennell (Kidman) begins to notice strange behavior and bizarre stories from her patients, including abused wife Wendy (Veronica Cartwright, also in the 1978 Invasion of the Body Snatchers). Carol has misgivings about her sickly son Oliver (Jackson Bond) visiting with his father-her ex husband and CDC administrator Tucker (Jeremy Northam)-for he and his colleagues are also not themselves. Carol consults with her boyfriend Dr. Ben Driscoll (Daniel Craig) and his coworker Dr. Stephen Galeano (Jeffrey Wright) as more and more people go to sleep and wake up completely devoid of emotions. When violence and totalitarian rule escalate in the city, Carol and Ben attempt to rescue Oliver from his father and escape to a military base where Stephen works on a cure.

In War of the Worlds, Ray Ferrier (Cruise) hopes for quality time with daughter Rachel (Dakota Fanning) and teenaged son Robbie (Justin Chatwin) while his ex wife Mary Anne (Miranda Otto) and her new husband visit family in Boston. Ray’s family troubles are quickly mended when strange phenomena mysteriously occur. Monstrous alien tripods rise from the earth, destroy massive buildings, and kill all in their path, sending Ray and his family on the run.

If I had to choose, I have to admit I’d take Kidman over Cruise. When Cruise was riding high in Top Gun and Kidman was scared in Dead Calm, my feelings might have been reversed. Recently, however, I could careless about Cruise and his off screen antics. He’s become a parody of himself, and War of the Worlds only adds to this feeling. Despite the heavy action and extreme circumstances presented, Ray continually comes out a-okay. He’s never that roughed up, and the viewer can only suspend belief for so long. Help, coincidence, and deus ex machina preposterously aide Ray again and again. At some point, I found myself saying, ‘I just don’t care! Take him!’

By contrast, The Invasion turns our favorite pod people tale into a maternal vehicle. The execution is not perfect-Kidman looks too pretty for too long in skirts and high heels-but a science fiction family female is unusual enough. Instead of an action hero, Carol is intelligent and believable. She keeps her wits as instinct and emotional attachments drive her to a realistic course of action. Though a spotlight for Kidman, director Oliver Hirschbiegel (Five Minutes in Heaven) and his replacement (not a good sign in itself) James McTeigue (V for Vendetta) never quite get the right balance between serious psychological drama and hard science fiction thriller. Had more time been spent on the dark places for Carol, The Invasion might have been an exceptional film.

I still can’t put my finger on new Bond Daniel Craig. In his brief but memorable roles in Tomb Raider and The Jacket, I find myself wanting more of him. As Bond however, I don’t think he’s on par just yet. The Invasion falls in the previous: Craig’s Ben Driscoll simply doesn’t have enough to do. It’s not the pairing with Kidman-maybe they do have chemistry here and in The Golden Compass. The duo is just never on screen enough to find out. We’re supposed to care about these characters because The Invasion’s summary lists Ben as Carol’s potential love interest. Like all the other soft spots in The Invasion, writer David Kajganich (Town Creek) and clean up men Larry and Andy Wachowski (The Matrix) don’t make use of Craig and all the scientific or romantic possibilities.

Unfortunately, Lord of the Rings alum Miranda Otto fairs no better in War of the Worlds. We can’t have our romantic interests be equal to their onscreen star partners, now can we? She’s successful and well-known Down Under, but Otto hasn’t faired well in supporting parts stateside. Cashmere Mafia, The Starter Wife, and War of the Worlds don’t do her justice. Mary Anne is practically an absent MacGuffin, and son Justin Chatwin (The Invisible) is cast aside in favor of supposedly touching action between Cruise and Dakota Fanning. They say never act with kids or dogs, and she is why. The Taken charmer steals the spotlight from Cruise-unlike Jackson Bond (In Case of Emergency) in The Invasion. Like everyone else besides Kidman, we simply don’t see enough of him to care.

For me, science fiction and people go hand in hand. Whether sociological or hard science, the genre works because it places a mirror of the human condition in outlandish situations-we feel for the aliens with issues, struggle with the technological debates. Unfortunately, both The Invasion and War of the Worlds excel at neither. Kidman’s maternal action is good, but not as mind blowing as Jack Finney’s source book The Body Snatchers or either the 1956 or the ‘78 Invasion of the Body Snatchers films. Even 1993’s Body Snatchers gives us the military and scientific aspects of such an invasion. For a film packed full of scientists- including a wasted Jeremy Northam (The Tudors) and Jeffrey Wright (Casino Royale)-there isn’t a lot of science in The Invasion. One might just think it a disaster thriller, not even science fiction. I would rather have seen a picture with Kidman and Craig trapped on a military base struggling with viruses, cures, and quarantines. You know, sf that’s not so far from the scary truth. Why get iffy with all this modern political intrigue and statements?

Of course, War of the Worlds swings at the opposite end. Trading time, place, and words of warning from H.G. Wells novel; Tom Cruise and Steven Spielberg (Saving Private Ryan) update to contemporary New Jersey and sacrifice people for every blockbuster effect in the book. Remember when blockbuster meant that a film was a hit-box office success, awards sweeps, advances in the technology of motion pictures. Today the term ‘blockbuster’ is any attempt at the formula. If we have big people, big hype, and big CGI, then we have a blockbuster! Maybe some like War of the Worlds, but it does not capture its source material any more than The Invasion. Both are too full of themselves instead of the potential story at hand.

Yes, Cruise and Kidman are imperfect in their respective science fiction vehicles. Against classics of the genre both quickly falter as vanity films. For a mindless spectacle and Cruise funfest, by all means spend a night in with War of the Worlds. For more intelligence and suspense, The Invasion is what’s watchable. Of course, for really bad comparisons we could check out Cruise and Kidman’s Eyes Wide Shut or The Golden Compass for more Kidman and Craig. But why would anyone want to go there?

Cape Fear (1962)

Original Cape Fear Still Chilling

By Kristin Battestella

Many modern audiences and Robert DeNiro fans especially love to quote his maniacal ‘Come out, come out wherever you are!’ from the 1991 version of Cape Fear. Classic viewers, however, can still enjoy the 1962 fear fest starring old school men Gregory Peck and Robert Mitchum.

Lawyer Sam Bowden (Peck) fears for his family’s safety after an ex con he helped put away returns to town. Max Cady (Mitchum) feigns innocence, claiming he has every right to be passing through. Sam’s wife Peggy Bowden (Polly Bergen) and daughter Nancy (Lori Martin), however, each have threatening encounters with Cady-including stalking Nancy at school and calling Peggy late at night. When the promiscuous Diana Taylor (Barrie Chase) refuses to press charges against Cady for beating her, the authorities are of little help to her or Sam. Before Cady can do worse to his family, Bowden decides to take matters into his own hands.

We’re familiar with the story-and not just because of the films or the source novel The Executioners by John D. MacDonald. Cape Fear dramatizes every family man’s fear. First, there’s the notion that a man’s action or inaction can bring something like this onto his family. Then we have all the naughty vibes of a criminal hunting down a man’s wife and daughter. Any husband or father can understand Bowden’s situation. Screenwriter James R. Webb (The Big Country, How The West Was Won, They Call Me Mister Tibbs) doesn’t present a tainted family man or promiscuous daughter like in the remake, but there’s enough sixties scandal to keep this Cape Fear juicy.

He’s tall, dark, and handsome, and good guy Gregory Peck is the ideal family man for Cape Fear. Among so many other heroic pictures (Spellbound, The Gunfighter, Roman Holiday I could go on…), we love familial Peck in To Kill A Mockingbird and The Yearling. We know he’ll stay on the right side of the law for as long as he can. Justice and family are the only things that matter to Sam Bowden, so when he takes on Cady himself, we know it’s serious. Peck may be taller than Mitchum, but can he be as ruthless as he needs to be in order to protect his family? The heated and tense conversations between Bowden and Cady keep Cape Fear saucy and interesting; yet there’s no doubt we’re rooting for Gregory Peck. We don’t question him or his performance, but he’s the good guy in a world that’s seemingly turned against him.

By contrast, Robert Mitchum has all the spooky vibes going for him in Cape Fear. Despite his handsome rugged old Hollywood style, Mitchum’s real life pot conviction and scandalous strip down here add to his underlining touch of menace. He shows his wet and deadly bare bulk, yowzah! Cady’s pursuing such a wholesome family, and that poor dog! Sure, we don’t have as much ambiguity and overt sexuality as in the 1991 remake, but Mitchum (Night of the Hunter, Heaven Knows Mr. Allison, The Longest Day, El Dorado) pushes the envelope of what you can see onscreen-and the allusions to what happens in the shadows are sometimes more frightening. Cady creepily reverses our notions of bad guys dressed in black with his daunting Panama hat and suave cigar. He talks the talk in attempting to show us how he’s been wronged, but we are always aware his slick is just too slick. Cady ‘looks fair and feels foul’, and Mitchum oozes every iota of it.

Lori Martin (National Velvet The TV Series, The Angry Breed) as Nancy looks young for fourteen-not a little girl, of course, but still a bit too prepubescent for big and scary Robert Mitchum. It’s an innate fear of ours to be preyed about by such a sexual predator. Martin plays her innocence and fear quite naturally and understandably. Likewise, Polly Bergen (War and Remembrance, Commander in Chief) as wife Peggy gets genuinely panicked for herself and her daughter’s safety. She’s the picture perfect Mrs. in the spirit of June Cleaver-complete with pearls. We’d like things to stay white gloved for her, but we know its going to get dirty. Her screams while Cady’s about are enough to make us squirm. Telly Savalas (Kojak) also has old school charm as Charles Sievers, the Private investigator hired by Bowden. Unfortunately, his hands are tied in the swift cat and mouse game Cady’s playing.

British director J. Lee Thompson (The Guns of Navarone) uses his cast to perfection and films them accordingly. Innocent wife Peggy and little Nancy always wear white or bright clothing-compared to dancer Barrie Chase’s (It’s A Mad Mad Mad Mad World) used and abused Diane Taylor in all black. The visual subtleties and timely music are very Hitchcock. The creepy black and white shadows mixed with long angles and moving camera shots also add to the noir suspense. Where the remake is all exceptional performances, this Cape Fear is much more about the craft of a scary picture. One could dare say this is the perfect horror film. There’s no blood and gore; it’s the real life menace that scares. A sunny day at the dock with Robert Mitchum in his panama hat is the most terrifying thing this side of Fred Krueger.

Fans of good old-fashioned black and white thrillers should already know and love Cape Fear. A two pack DVD featuring both film versions is now out of print, but a fully featured individual release of the original is fortunately available. Enjoy DeNiro and Jessica Lange and Nick Nolte’s version, too, but take a chance on this creepy old school classic. Study it, learn it, fear it, love it.

Summer Sees and Skips

Summer Sees and Skips for the Whole Family

By Kristin Battestella

With all the holidays and vacays, you and you’re family need to know what to watch during you’re summer movie nights. Here are some tips on what to enjoy- along with a few pictures to avoid.

See and Enjoy

Napoleon Dynamite- After finally seeing this 2004 teen comedy I was pleasantly surprised by its coming of age wit and awkward stuck in the eighties silliness. Not quite for children, but teens and folks who remember graphic t-shirts will laugh.

Little Miss Sunshine- A fine ensemble cast-including Steve Carell, Toni Collette, and Alan Arkin- gives this quiet picture the umph, charm, and plenty of humor. Some parts are a little sentimental, and you should know if you’re kids can handle some of the heavier subject matter before viewing; but this one has drama and family analysis for the intelligent audience.

Mr. Bean’s Holiday-He’s not as cruel as he used to be, but Mr. Bean’s hijinks still have laugh out loud moments and English wit for the whole family. This road trip sequel does far better than the titular Bean and even has some heart-warming charm, too.

The Departed- Put the kids to bed for this gritty undercover cop and mole game from director Martin Scorsese. Plenty of hardware and fine action from Matt Damon, Jack Nicholson, Leonardo DiCaprio, and Mark Wahlberg add spice and intrigue-and more than make up for an ambiguous ending.

The 6th Day- Sure there’s action that we expect from Arnold Schwarzenegger, but this 2000 sci-fi thriller has science, intelligence, and religious debate to thicken the mix. More than just an excuse to have two Arnolds about, director Roger Spottiswoode presents cloning issues that aren’t that far from current science.

Yes Man- Jim Carrey’s latest starts off like Liar, Liar but grows into a charming mix of humor and drama. Fine support from Zooey Deschanel and Terrence Stamp add reflection and warmth. Outside of brief nudity and innuendo, the whole family can enjoy-not often said for a Carrey picture.

Traitor- Don Cheadle and Guy Pearce are dynamite in this international thriller. Touching upon the FBI, CIA, radical Islam, and the American Way, Traitor is complex, intelligent, intricate, and yet wrapped with a fine cast and realistic action.

Donnie Darko- A little obvious and weird; but a fine ensemble, intriguing premise, and good old teen angst keep this quirky picture interesting. Go for the Director’s Cut DVD for more scenes and food for thought.

Finding Neverland- Sentimental and full of Victorian Charm, fans of Kate Winslet, Johnny Depp, and all things Peter Pan will love this little film. The whole family can enjoy the drama, fantasy, and trouble with growing up while learning a thing or too about J.M. Barrie.

Avoid

In The Name of the King: A Dungeon Siege Tale- I have tried to watch this poor imitation of the Lord of the Rings at least a dozen times. So many things are wrong with this Uwe Boll film-from the blatant Peter Jackson ripoffs to the woeful cast. Ray Liotta’s Goodfellas’ delivery does not work with Matthew Lillard and his Shaggy squeaks-and that’s if you can figure out what the hell is going on.

The Golden Compass- Another children’s fantasy book rushed to the screen, creating a mishmash of effects with an incomplete story. Nicole Kidman and Daniel Craig are wasted along with some fine young talent. Some were upset about the anti-Catholic sentiments in the novels, but there isn’t much of anything worthwhile here.

Pathfinder- We don’t see nearly enough Viking pictures, but a great story idea is lost amid all the action and barely there bad dialogue. What might have happened if Vikings encountered early Native Americans? The racial stereotypes here certainly don’t tell us.

The Other Boleyn Girl-I like Medieval films and Tudoresque material, but this adaptation of the Philippa Gregory novel boils the reign of one of England’s most infamous monarchs down to a sisterly catfight. Erica Bana, Natalie Portman, and Scarlet Johansson are wonderful elsewhere, but an international cast was not needed for what should be some definitive Englishness.