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Reviews
Far from Heaven (2002)
Emotionally-charged picture
Contains spoiler Hollywood typically portrays racism and bigotry through small-minded yokels in deepest, darkest Alabama. However, racism sees a new medium-that of haute-culture Connecticut. The commendable film `Far From Heaven' tackles the issues of homosexuality and race relations in an upper-middle class neighborhood.
Cathy Whitaker (Julianne Moore) is the proverbial June Cleaver of this movie, set in the late 1950s. She's ever so polite and hospitable, to the point of being surreal. She's married to successful business executive Frank (Dennis Quaid). They live the seemingly perfect life: Frank brings home a large slab of bacon and Cathy entertains gossipy middle-agers.
At the same time, Frank harbors a secret hell-bent on tearing the family apart: he's a closet homosexual. This isn't the most acceptable of behaviors at the time; this secret could terminate the perfect family life.
In the midst of helping Frank through heterosexual conversion therapy, Cathy meets Raymond Deagan (Dennis Haysbert), the family's new black gardener replacing his deceased father. Raymond charms Cathy with his artistic insight and friendly conduct. But eyes peeked through slid curtains translate to mouths speaking venomous words against Cathy's conduct. In a fit of rage, Frank chastises Cathy for the mere friendship with Raymond. He fears such an illicit relationship jeopardizes their status in the community. Similarly, Raymond suffers bricks through his window-from fellow blacks. He poignantly sums it up saying, `It's the only thing blacks and whites agree on.' This starts the downward spiral threatening to tear the Whitaker family apart.
Todd Haynes continues the tradition started with films like `Amelie' and `Pleasantville' presenting vibrant colors and stunning scenery. The fairy-tale neighborhood contrasts with just how bleak the outlook is for the Whitakers. The 1950s are also portrayed with a significant degree of accuracy-as the plethora of period-theme films has taught us. Additionally, he brings stunning insight to the script; seldom does one ever attempt to tackle so many clichés-however old they may be-in one film.
Moore's deep-seeded kindness contrasts many of her other roles, such as gold-digging social climber in `Magnolia' and dominatrix in `The Great Lebowsik.' Cathy seems trite, but never lacks engagement when she's forced to reexamine her life. It's why her character is the hub of the film. It all makes Julianne Moore one of Hollywood's best actresses.
Randy Quaid scores as tortured husband inept at keeping his secret under wraps. He clearly never fell in love with Cathy; it was merely friends with benefits-a token marriage. But he's shocked at his own spiteful behavior when he accidentally slaps Cathy. He never hates her; he just never loved her. His emotional performance adds the needed darkness that his character lives in.
Raymond, however, becomes Cathy's confidant. Dennis Haysbert's sensitive and intelligent character becomes Cathy's anchor in the storm. He desperately hungers for amity between the two; the townsfolk think otherwise. Your heart sinks as he eventually subscribes to the neighborly bigotry.
Her friends add needed spite to this film. Even her best friend Eleonor (Patricia Clarkson) withers away with the rest of Cathy's high-society peers when the secret nature of the relationship surfaces.
The major complaint is with the caricature-like depictions. Cathy's stereotypical role is bitingly surreal-nearly unbelievable. The rich folk are also a bit hackneyed, with snobbish catch phrases (`why I never!') and quasi-English accents.
However, this film gravitates higher than just a period drama. It's an essential what if: a specter of our past and an inclination of our direction. It demonstrates racism exists everywhere, not just in redneck country. It's mean to join hands, just like Martin Luther King, Jr. intended during his stirring `Free at Last' speech.
Lovely & Amazing (2001)
Suburban drama at its best - spoilers
Suburbia can be a jungle-especially when you're a woman struggling with image.
`Lovely and Amazing' frankly and honestly follows the lives of three sisters with their mother. It's a superbly directed film with realistic characters and humorous situations sure to entertain, if not teach.
If image isn't everything, then Jane Marks (Brenda Blethyn) has it all wrong. She feels the claws of age grab hold of her and she decides to put a little distance from them with a trip to the plastic surgeon. At the same time, her daughter Michelle (Catherine Keener) struggles with an unhappy marriage and zero career. Her other daughter, actress Elizabeth (Emily Mortimer), can't seem to manage to find a decent role, no thanks to her sickeningly superficial manager. Jane's youngest daughter Annie-a ripe candidate for Jenny Craig at the mere age of 8-deals with being the adopted black girl in a family of whites.
Alas, as Jane's trip under the knife goes awry landing her in a coma, her bad luck rubs off on her daughters. Michelle takes a lowbrow job in a one-hour photo shop when her art doesn't sell and Elizabeth is rejected for a part after a steamy audition with the soap-opera swooner Kevin-who she later ends up sleeping with. Michelle's gig at the shop lands her in trouble when she gets involved with her 17-year-old boss Jordan (Jake Gyllenhaal). Through the experience with Jane, the two eldest try to look after Annie, but her angst manages to grow as fast as her waistline. Finally, she runs away but gets no further than the neighborhood McDonald's.
This story can relate to anyone who's dealt with self-image. Each of the characters battle demons: be it lacking sex from a husband, desiring to stand naked for a bodily critique or loving your plastic surgeon. However, some questions remain. What becomes of Michelle's illicit relationship? Will she stay married? Will they all go back to life as usual, or have they been changed by this experience? Subtle holes in the plot abound, but detract little from the film.
Acting, as you would expect, would have to be a knockout. And it is. Michelle's character strikes as most distasteful for her sour attitude and salty tongue. Elizabeth's part is equally as engaging; she's loveable but shy and self-conscious. However, many extras conjure up the west-coast stereotype for superficiality. Elizabeth's manager is equally as stomach turning in her purposefully chic forgetfulness.
Nicole Holofcener does double duty as both writer and director. She effectively recruits personal experience, as her 12-year-old brother was a black adoptee. At any rate, her direction brings the storyline and characters to life in a way that most women, and even some men, will undoubtedly relate to. Her story and direction conjure up remembrances from the suburban post-noire `American Beauty' in its attack on ostentation, albeit not nearly as dramatic.
It's unclear whether `Lovely and Amazing' attempts to amplify any message. If it did, it would subtly drive it home with realistic characters and minimal amounts of self-righteousness.
Sen to Chihiro no kamikakushi (2001)
Japanimation at its best
Films from Japan never lack in creativity. `Spirited Away' is certainly no exception. It's a movie fit for kids that even adults can appreciate in that this film uses creative muscles you thought never existed.
`Spirited Away' came to U.S. shores thanks to a deal with Disney. Thought the original version of the film was in Japanese, fear not, because Disney handymen did an excellent job of removing the seams from the overdubs.
The movie is a modern interpretation of an Alice-in-Wonderland-type adventure of young Chihiro (voice of Daveigh Chase), who finds herself in the land of the spirits when a family trip turns awry. She desperately searches for a way out of the zany underworld. In order to do that, and save her parents that had turned into gargantuan pigs, she took up employment at a bathhouse for affluent ghosts. There, she meets a troop of unlikely friends eager to help her out of her predicament-including a mysterious boy named Haku (voice of Jason Marsden).
The movie slides into a roller coaster of strange characters and unbelievable twists; it keeps you guessing what could possibly happen next. Woven into the story are dragons, body-less heads, mystical dragons and magical spells. No fantasy, myth or eastern spirituality is spared.
The film blends a well-animated backdrop of colorful creatures and splashing scenes together, complete with pre-Meiji architecture. In other words, the city of the spirits conjures up memories of traditional Japan. People look like typical Japanamation characters: enormous round eyes and small features. Throw in some walking sludge piles and an elderly witch with a protruding beak for a nose and you have a recipe for intrigue.
The character development was a bit weak, considering the number of incredulous situations Chihiro manages to get herself into and the strange creatures she meets. She seems remarkably calm in the face of the barrage of hideous creatures, including a ghoul with an appetite for anything on two legs. Also, the voice of Chihiro is unusually whiny-even for a kid.
These small tidbits did not stop director/screenwriter Hayao Miyazaki from lining his shelves with trophies for the movie. The film received awards everywhere from the Berlin Film Festival to the New York Film Critics Circle for both best animated film and best foreign film.
At any rate, this film will be a winner for any kid looking for a different type of film. It ties together influences from The Neverending Story and the Wizzard of Oz in a completely new perspective. Granted, Disney movies-backed with plenty of corporate advertising-usually take home the more money. However, this film-available now on video-delivers an imaginative script and a vivacious palette of hues and scenery.
Boys Don't Cry (1999)
Tragic tale of biggotry
The land of trailer parks and honkytonks yield dark hatreds. Brandon Teena realized this 10 years ago. Since then, director and screenwriter Kimberly Pierce spun this tragedy into a suspenseful motion picture destined to amplify intolerance in the way `Schindler's List' portrayed the holocaust.
Brandon Teena (Hilary Swank), or Teena Brandon, grew up most of her life as a girl. However, her preferences gravitated to male behavior. Hence, she began stuffing her crotch with socks and cropping her hair short. Her behavior drew ire from her neighbors as they chase her to her friend's trailer and nearly beat her senseless. Not only that, but she's in trouble with the law for grand theft auto. In an attempt to flee her tarnished life, she transplants herself from native Lincoln, Neb. to Falls City where no one suspects her identity-until clues pop up.
She meets kind-hearted Candace, who offers her a place to stay. Soon she encounters angst-ridden Lana (Chloe Sevigny), whom she instantly fancies.
Lana, on the other hand, tires of her mundane life and comes across nearly unapproachable. Soon, the two develop an awkward friendship that develops into a love affair. Her friend John (Peter Sarsgaard), who doesn't hide his infatuation with Lana, develops a blinding jealousy towards Brandon. Finally, Candace's discovery of Brandon's personal items yield a witch hunt for her true identity. Herein lie the tragic circumstances of the movie.
Acting surpasses that of any big-budget production. Hilary Swank's transformation from comely Hollywood starlet to tomboy is nearly unbelievable. Swank is a straight woman convincingly playing a lesbian. Her love for Lana appears nearly genuine as scenes of intimacy clearly demonstrate. Her seven various awards, including best actress at the Academy Awards, speak for themselves. It's clear that she brings personal experience to this film; she was born in Lincoln, Neb.
Supporting characters were also superlative. Chloe Sevigny compliments Swank perfectly. She echoes trailer-park desolation with disillusionment, particularly in the early '90s economic downturn. John's and Tom's (Brendan Sexton, Jr.) characters portray typical redneck country boys.
Kimberly Pierce's direction brings avant-garde filmmaking to a real-life story. It could have easily come across as Lifetime's movie of the week, had it not been for the cast and her direction. She uses innovative camera techniques such as fast motion shots and new angles mixed with colorful backdrops reminiscent of the film `Amelie.' At the same time, she amplifies the misery of Falls City.
Themes, as you would have guessed, deal with gender identity and gay issues. You feel infuriated by both the law and the simple-minded yokels of Nebraska for not taking a stand for Brandon's harassment. Does any human deserve this kind of treatment? Absolutely not. The film forces you to think, and for some people that can be a problem.
Be forewarned: this is not the feel-good movie of the decade; it was never meant to be that way. It shines the spotlight on hatred and bigotry while teaching us about ourselves. That's what makes this film more indispensable than any $100 million Hollywood blockbuster
U Turn (1997)
Not Stone's finest work, but it's edgy - spoilers
What does a big-time city slicker do when his car overheats in a down-on-its-luck town in the middle of the Arizona desert? Everything.
`U Turn' illustrates just how bad a day can go when you're Bobby Cooper (Sean Penn), a man who has to deliver $30,000 in cash to a crime syndicate or else. This dark comedy/suspense maroons Bobby in the worst places, keeping your pulse high for the entire ride.
Bobby, anxious to take care of business in Las Vegas, busts a radiator hose in the midst of a hot day in Arizona. He pulls his '64 ½ Mustang to the only repair shop for 50 miles. The seemingly dim-witted Darrell (Billy Bob Thornton) runs this threadbare establishment; he seems to make the majority of his income swindling unsuspecting out-of-towners with ever mounting repair bills.
Realizing he has to stick around for a while, Bobby goes out in search of something to eat. Here, he meets a slew of local yokels, and one ravishing Grace McKenna (Jennifer Lopez). Unfortunately, his sexual romp with Grace lands Bobby in the sights of her husband, Jake (Nick Nolte). But after apologizing for a brief session of fisticuffs, Jake makes Bobby an offer he can't refuse: kill his wife for a cut of $50,000 in life insurance. The offer looks all the more tempting when a robbery gone awry loses the cash Bobby was intending to give to his associates. Unfortunately, Bobby can't manage to pull off the murder and he gets caught in Grace's endless cycle of lovers. If that weren't enough, he has runs in with local tough guy Toby N. Tucker (Joaquin Phoenix), locally referred to as TNT, with a nasty jealousy case over his girlfriend Jenny (Claire Danes). Top it off with an insightfully blind Vietnam vet (Jon Voight) and a crooked cop (Powers Boothe) and you have a recipe for a top-notch plot full of bizarre turns. The funny part is no matter how hard he tries and how many chances he gets, Bobby just can't manage to get his money and get out of town. Rather, he becomes the hit man of choice for everyone needing to dispose of a spouse.
Oliver Stone's suspenseful direction shines yet again. His masterful camera work visually transforms this from an average cinematic showing to a dynamic feature. He contrasts the Ansel-Adams-like desert scenery shots with the desolation of the shantytown. He effectively uses flashbacks, explaining Bobby's and Grace's backgrounds. Other visual elements abound. Buzzards and crows wait for ensuing carnage. The desert heat's sweat and stink roll off each character's forehead with each painful close-up. You might want to take a glass of water with you.
But the main strength of this movie lies in its cast. Names like Sean Penn, Nick Nolte, Jennifer Lopez, Jon Voight and Billy Bob Thornton rarely end up in the same film together. But it's not just the reputation they carry; it's the characters they portray. Perhaps most humorous is Thornton's depiction of the crooked mechanic Darrell. Of course, Penn delivers a believably slime-ballish Bobby-a character you love cheering against. Jennifer Lopez, however, probably tires of her roles as femme fatale in her hackneyed performances. But the couple of Claire Danes and Joaquin Phoenix add some much-needed comic relief as the unpredictable slack-jawed kids.
For $3, this film should serve a couple hours of above average suspense and long list of Hollywood names rivaled only by movies like `The Royal Tenenbaums' and `Magnolia.' You shan't be disappointed.
The Apostle (1997)
Duvall's direction/acting/writing makes this flick a winner
The Lord seldom forgets unrepented sins, so Eulis `Sonny' Dewey would discover in the film `The Apostle.' Seldom does a filmmaker venture to the church's unreached corners as boldly as director/writer/protagonist Robert Duvall. His portrayal of Sonny yields conviction, yet feels drawn out.
Sonny grew up in the light of the church since he was 12. Before long, he's pastoring his own congregation. However, his modern, flashy church and fiery sermons seldom quench his affinity for women, alcohol and temper. Sonny's vices catch up when his wife Jessie (Farrah Fawcett) severs the marriage while she's having an affair with the youth minister Horace (Todd Allen). At the same time, Horace plots to usurp Sonny as pastor. Tempers flare when Sonny slams Horace with a little-league baseball bat. The blow lands Horace in death's grip while Sonny flees from the law. He crawls his way to a Louisiana shantytown where he establishes a new church under the name The Apostle E.F. With his past unbeknownst to the congregation, Sonny converts run-down shack into the One Road to Heaven Holiness Temple with the help of retired preacher Brother Blackwell. There, his small following of a few members blossoms to fill the entire building, with more people putting their faith in Sonny than ever before.until the day the law comes.
This film realizes Robert Duvall 15-year-old dream. Through his direction, funding and personal talent, he brings Sonny's character to life. Sonny's convictions are real and his people are enthusiastic about the Lord. Perhaps the greatest strength of this film lies in its honesty portraying the church. Often, Hollywood makes their own assumptions about Christianity, as was the case in `Signs.' These misconceptions come off hackneyed and often insulting. Duvall's homework prior to this film is clear: he actually knows something about the people he's portraying.
Ultimately, Sonny often strikes you as sour rather than saint. He masks his past with spirituality without repenting of past sins. Not only that, but fists fly when he's agitated, as was the case when a backcountry redneck threatens to tear Sonny's new church down. However, Sonny's love for his people and congregation deserves admiration. He blocks a church-knocking bulldozer by himself. No one can match his zeal for the lost sheep.
Duvall's direction adds Pentecostal fire in each congregation. No shout, scream or clap was spared. In the end, the film felt drawn out with an abrupt end; it tagged on like a four-hour charismatic service.
In the end, Duvall delivers a respectable product in a genre that Hollywood doesn't effectively address without ignorance or inaccuracy.
Sleeper (1973)
Hillarious Allen flick with great social commentary
Films like `Sleeper' garnished Woody Allen with his iconic status in American pop culture. His sarcastic, yet admirably foolish characters amplify his aberration in the film industry; you find yourself asking, `is this guy ferreal?'
`Sleeper' looks at 2173 through the spectacle of 200 years prior, obviously slamming the genre of science fiction that was still in its infancy. However, for all its low-fi gadgetry and gaudy bubble cars, it serves humor only Allen can conjure.
Misfortune abounds when Allen's character Miles Munroe wakes up two centuries after what was supposed to be a routine operation. Unfortunately, he finds himself in the laboratory of a group of underground leftist physicians destined to overthrow the fascist cult regime ruling what we know as America. Should authorities catch him, he'll surely be reprogrammed, or eliminated. As the Leader's Gestapo find and surround the physicians' croissant-shaped estate, Miles sneaks into a mechanical-servant delivering van where he poses one of the devices. This inadvertently lands him a job at Luna Schlosser's home. Schlosser (Diane Keaton) has an affinity for ditsy, melodramatic poetry, fondling an intoxicating orb and having sex in the orgasmatron. All the while, authorities place an APB for Miles. Meanwhile, Luna wants nothing to do with him.
Miles solicits Luna's assistance by threatening a big hickey. He drags her to the brink of civilization where she complains she hadn't showered in seven hours. Their sustenance comes from Miles' thievery of oversized legumes. Predictably, their woodland romp adheres their relationship and Luna joins the underground Marxist sect bent on eliminating the Leader.
On a special assignment, Luna and Miles discover the underground movement gained more strength than they realized when a bomb exterminates all but the Leader's nose. The establishment's goal is to reconstruct the leader as a clone from the DNA in the appendage. The pair attempts to purloin it and expose the government's weakness.
Allen's direction compares to Mel Brooks' slapstick shtick and subtle Semite humor-granted, Allen is more salacious. The tacky backdrop and props directly slam 1970s sci-fi low-budged and low-imagination, right down to the operation-assisting computer resembling HAL from `2001: A Space Odyssey.' Similarly, he satirizes the stalling '60s counter-culture movement with the film's exaggerated battle between ultra-rightists and leftists. In what seems purposely outdated for a sci-fi spoof, he works aged silent-film clowning and fast-motion replays backed by New-Orleans's-type chase music into the mix.
Diane Keaton, a regular in Allen's films, returns yet again as femme fatale Luna. Her comely appearance and wavering allegiance to the government help solidify her role, pulling it off with a sarcastic farce. She progresses from air-headed hackneyed poet to red revolutionary with a devil-may-care attitude.
The story serves as a mile marker when the '70s brought about dismal disillusionment with revolutionary culture with the influx of recession. Allen nearly questions the legitimacy of either side in favor of the ultimate balance. The sexual revolution's societal penetration culminates with the introduction of the orgasmatron-a cylindrical sarcophagus capable of stimulating both partners without the need for physical contact. It unwittingly points sexuality's grim future facing the '80s AIDS scare. He clearly has much to say in this film.
Allen's status in film will never be challenged. He makes social commentary while raising eyebrows and eliciting chuckles. At any rate, this video release is a must-have for any film connoisseur.
Harold and Maude (1971)
Interesting love tale
If so irreverent a story were to be told today, how would one react? As was probably the case when the film was released, people would probably find the theme edgy, if not inappropriate.
Such is the case with the cult film `Harold and Maude.' It openly explores themes of suicide, love, death and life with a fresh perspective.
The interesting part is how this film will likely find you. In most societies, an older man will likely fall for a woman years his junior. However, Harold (Bud Cort)-a shy teenager with an affinity for death-meets his 80-year-old true love Maude (Ruth Gordon), not at a dance or social event, but at funerals. The meeting almost seems reminiscent of Edward Norton's character's support group addiction in `Fight Club.'
Harold loves the attention he gets from staging fake suicides to frighten his obtuse and superficial haute-culture mother. In a reaction, she enlists him in a computer dating service in a vain matchmaking attempt to fix him up with Beetle-driving yuppies-to-be. The beauty is he frightens off all his prospective mates with cleverly staged fake suicides. At the same time, he meets Maude, a free-spirited senior who teaches him to appreciate life. After spending more time with her, he finds himself in love with her. However, a barrage of authority-i.e. priests, army-loving uncles and a psychiatrist-urge him not to follow through with his relationship.
`Harold and Maude' plays on '60s-esque themes of anti-establishment and open minds. Harold's militaristic uncle comes across as comical in his war-mongering vices-right down to his armless right sleeve that salutes when he pulls the string. Harold seems unhappy though he's surrounded by extravagance that rivals anything on MTV's `Cribs.' Not only that but his mother's lack of sense and indifference to her son mirrors her addiction to affluence. In addition to the swarm of brides-to-be, she tries to pacify him with material possessions-including a spanking-new Jaguar convertible, which he converts into a hearse.
Cat Stevens' open-air, acoustic-driven rock 'n' roll provides the soundtrack for the film. It gives the film a decent organic sound indicative of its demeanor.
This is a film that chases happiness wherever it can be found with a Woodstock-sense of responsibility. Maude's vices of vehicular larceny and bong smoking match Harold's love of fake hara-kiris and hearses. In a way, this movie comes across as a bit dated in that time has indeed erased the '60s anticipation of The Age of Aquarius and replaced it with `Fight Club' desperation.
However what the film lacks in reality, it makes up for in heart. This movie is not meant to be taken seriously; it's only to break down paradigms of societal thought.
Midnight Cowboy (1969)
Voight's breakthrough performance
Explore the seedy underbelly of '60s culture through the perspective of a good ol' southern boy in the movie `Midnight Cowboy.'
The film showcases some of Hollywood's finest before we really knew them. Jon Voight and Dustin Hoffman deliver memorable performances in conjunction with John Schlesinger's avant-garde direction.
Take one Texas-bred ladies man, Joe Buck (Jon Voight), and plant him in the middle of New York City. Of course, this fellow doesn't know the city's ins and outs. He manages to hook up with the deplorable Ratso (Dustin Hoffman). It's Joe's ambition to pocket as much money as possible. However, he finds it a bit more difficult than that. He discovers the only thing he's decent at is getting laid and swindling people out of their money. That's where Ratso comes in. He's the epitome of scoundrel; he merely leeches off others. That's what makes him the pimp. However, he has a place and Joe doesn't. That what makes them friends.
Throughout the film, history reminds Joe of his past failures. For instance, he keeps flashing back to a past love, a since-dead grandmother and an isolated childhood. In spite of this, Joe and Ratso attempt to make some semblance of a living on the mean streets any way they can.
Both Voight's and Hoffman's characters get excellent development. In pop culture, it's easy to confuse stereotypes with reality. Voight gives Joe a semblance of street sense, while not making him into another Jed Clampet-save for his over-dressed attire. Whatever shortcomings he had when he got to New York were soon calloused over with a renewed sense of self-preservation.
Joe's companion Ratso basically lived up to his name. Hoffman, playing roles like star newspaper reporter Carl Bernstein in `All the President's Men' and a pirate in `Hook,' shows he has incredible range. In this movie, he's equally part scoundrel and pathetic clot. He's greedy, he never bathes and has no friends.
The themes introduced are turn up the thermostat on the taboo-o-meter-be it drug use, free love, homosexuality or male prostitution-with a social irresponsibility that will rival any Cheech & Chong movie. It some ways, it was Austin Powers before anyone knew who Austin Powers was.
The directing patches the whole lump together. John Schlesinger combined innovative camera techniques with lively scenes. Be forewarned. Some flashback scenes will leave you on the brink of seizures. Take, for example, a party Joe and Ratso attend. The melding of mind-altering drugs and flashbacks provides the audience with a substance-free trip of its own.
All things considered, it's not hard to understand why this movie won the '69 Academy Award for best picture, among many other nods. It should also come as no surprise that this was the first rated-X mass-market film, with all of its vices. Since then, of course, it's been downgraded to an R rating.
It's likely this movie will trounce at least one of your social taboos. It's probably what the director intended anyway.
Lost Horizon (1937)
'30s Masterpiece ravaged by time & bad editing - Spoilers
The trappings of any society force man to dream of a place where there is no word for suffering and everyone finds true love. Unfortunately, we have no such place on Earth-so we dream about it. `Lost Horizon' capitalizes on our thirst for paradise with a euphoric romp through Tibet.
Fittingly enough, the film introduces us to the protagonists in the midst of a conflict-possibly seeming from Japanese aggression of China at the time. They pile into a plane and narrowly escape the oncoming fighting. However, a Mongolian with different set of priorities hijacks the plane only to crash it in China's frigid mountainous region. If they hadn't enough problems, a group of strange natives surround the plane. However, they find that the natives speak English, much to the relief of the passengers. The natives lead them to a paradise hidden by the murderous climate: Shangri-la-just one of the mythical cities sought by man's unquenchable thirst for paradise.
However, the peacefulness and scenery impress none of the passengers. In fact, the lack of contention only irritates them more. They apply the universal law of man to the situation: you don't get something for nothing. Alas, they wait for some type of catch. But the law of Shangri-la is the supreme Christian ethic of `love thy neighbor' tempered by the human need for moderation.
Yet as time passes, they grow accustomed to their stay. The two-feet-on-the-ground dignitary Robert Conway finds himself a new love. Other members of the crew find new occupations in order to express their increasing gratitude to the natives. It's only Conway's brother George that wishes to leave at the end of the movie. By that time, brace yourself for a plot that twists like a Six-Flags rollercoaster.
Perhaps the strength of this movie lies in director Frank Capra's lap, recalling other work from films like 1946's `It's a Wonderful Life' and 1933's `Lady for a Day.' His direction, combined with picturesque scenes of the Himalayas and Shangri-la put the audience in the picture. It's clear that no dollar was spared to make this a top-notch film: that's what earned it a nomination for 1937's best picture.
Theatrical themes during the Great Depression revolved around escapism. The Depression lasted 8 years by that point and people were looking for a way out. Yet even in a modern context, the theme still resounds: people are always looking for the escape hatch on hectic everyday life. Perhaps the only things dated were the attitudes and paradigms of the westerners by their refreshingly un-politically-correct demeanors.
The characters were likeable-if not slightly stereotyped. There was Conway: the upright British fellow with the closely cropped moustache. Then sarcastic American boob whose principal aspiration is to swindle unsuspecting folks. Naturally, throw in the femme-fatale blonde with a crew full of men. You find yourself admiring Chang, the proprietor of Shangri-la, for tolerating the new arrivals' blasé attitudes and sharp criticisms.
The hair-in-the-soup is the film's age. Subsequent re-edits chipped away nearly 30 minutes of original footage. In an attempt to restore as much as possible, stills were added to audio tracks to reconstruct the missing scenes. However, these serve more to irritate and distract rather than add plot and character development.
If the remaining footage were to be discovered and re-added, the film would be superb. Alas, like everyday life, we can only hope for Earthly utopia, but in the end not expect it in our lifetimes.