The Princess Bride

Fri, 8 Jul 2011 22:28:22 -0700

If you’re not already familiar with “The Princess Bride”, you should know what others who have gone before you have discovered - one viewing will not suffice. Be warned, this film will get under your skin and draw you back again and again for repeat viewings. No matter what your age, you won’t be able to help yourself from becoming addicted to the wholesome entertainment this film has to offer for viewers of all ages and all backgrounds. I don’t think it’s saying too much to call “The Princess Bride” the modern age “Wizard of Oz”. Yes, it’s that good.

Like Oz, Bride takes the audience away to a world of fantasy and wonder. But instead of a clunk on the head caused by a house under the threat of a natural disaster, we are lead into this other world by the soothing voice of a loving grandparent reading to a beloved grandchild who is sick in bed. Played by Peter Falk, the grandfather has a strong and protective presence that heightens the authenticity of the adventure while maintaining a secure and cozy feeling. Regardless of how hardened your sensible, adult heart may be you’ll be drawn into the story just as easily as the jaded grandson, Fred Savage (prepubescent and pre-“The Wonder Years”). The kindly voice of the doting storyteller carries us along a quaint beginning that quickly morphs into a tale of adventure, loss, and impending doom. Way cool!

And from there it only gets better. For what initially appears to be a classic fairy tale of a beautiful maiden discovered by a charming Prince is far from what it seems. Oh no, for “The Princess Bride” comes from the brilliant mind of master storyteller and Oscar winning screenwriter William Goldman (“Butch Cassidy and the Sundance Kid”, “All the President’s Men”). Goldman has deftly used his keen talents to gingerly throw in every classic fairy tell element you can think of and then proceeds to stand each one on its head, creating an epic tale where heroes scale the Cliffs of Insanity, battle Rodents of Unusual Size, and endure villainous torture in the Pit of Despair, complete with daring swordplay and, much to the displeasure of the grandson, some kissing.

“The Princess Bride” is an unapologetic escape into the world of fairy tale and fantasy, helmed by the expert comedic hand of one of the most under-appreciated directors of our time, Rob Reiner, whose experience among the silly and the daffy include the world’s first and most irreverent “rockumentary”, “This is Spinal Tap”. Much like his ode to all things tasteless in rock and roll, Reiner spares no shame in constructing his fractured fairy tale. Every gag is played perfectly straight and to the hilt. This is the sign of a true master of comedy. Not to undervalue the performances of the extremely capable cast by any means, but it takes a genius to guide those talents to their best performances without letting them get beyond themselves.

For instance, the evil Prince, usually an over the top caricature, is portrayed by a wonderfully understated Chris Sarandon. Sarandon’s Prince Humperdink is really a conniving warmonger with a streak of yellow running down his back, but even he has his sensitive moments when conferring with his best friend. Furthermore, the treacherous kidnappers are spared the standard two-dimensional depictions. As the leader, Wallace Shawn is painfully funny as he bullies and manipulates an out of work circus performer (Andre the Giant, in a stroke of brilliant typecasting) and a swarthy swordsman. Mandy Patinkin is sexy personified as the swordsman on a lifelong quest to revenge his father’s death.

And a dashing Cary Elwes channels the spirit of Douglas Fairbanks in his turn as the dread pirate Roberts, an entrepreneurial young man who has decided to retire, but not before regaining the heart of his true love. Topping it all off is the ethereal performance of then newcomer Robin Wright. It’s impossible to think of a more perfect fit for a role than Wright as Princess Buttercup. Her simple delivery, paired with a timeless grace and beauty, recalls the image of Grace Kelly. It makes you wonder what Her Serene Highness would have been like if she had done a tongue in cheek comedy.

“The Princess Bride” has everything you could want from a cult classic, and more, because it has one thing other cult films lack – universal appeal! Sounds like an oxymoron when referring to a cult film, but there you have it. It has everything “The Wizard of Oz” has without anyone breaking out into song. It has all the romance and adventure of “The Rocky Horror Picture Show” without the cross-dressing. Not that there’s anything wrong with that, but it might raise questions mom and dad just aren’t ready to answer.

Most importantly, there’s true love in the form of romance, friendship and family. As much as you’ll enjoy experiencing the inevitable happy ending, you’ll find yourself gushing tears over the happiest ending when a satisfied grandchild invites his grandfather to come back the next day and read it all over again. Much like an avid cult movie fan, the grandfather can’t resist the opportunity to revisit the story again, and again, and again.

The Sound of Music

Tue, 3 May 2011 12:53:45 -0700

The Sound of Music is one of the most popular and entertaining films of all time. Like The Wizard of Oz, this family friendly feature is well known the world over and beloved by generations, due in large part to becoming an annual television event. In the days before VCRs I remember the excitement of being allowed to eat dinner in front of the television because The Sound of Music was on. This was a rare privilege, bestowed on only the most special occasions.

Upon it’s initial release the Rodgers and Hammerstein classic received a multitude of awards including Oscars for Best Picture, Best Editing, Best Sound, Best Music Score and Best Director for the flawless direction of the versatile and highly honored Robert Wise, who also directed Best Picture winner Westside Story. Interestingly enough, Wise only agreed to direct after William Wyler had abandoned it, and if 20th Century-Fox would agree to finance his next picture, The Sand Pebbles. They did, so he did.

As most people know the story is based on a real family and the events in their life. This audience favorite tells the story of Maria, who, after proving too high-spirited for the other nuns in her convent, is sent to work as a governess for the unruly children in the Von Trapp family in 1930s Austria just before the outbreak of World War II. Julie Andrews (in only her third film) stars as the young and effervescent novice who charms her charges and wins the heart of their strict military father played by the incredibly sexy Christopher Plummer. Ironically, Plummer was known for decades to despise the film for what he thought was overwhelming sentimentality. However, as the years have passed, he has since come to embrace its charming appeal.

Although the chemistry between the two stars is palpable, their blossoming romance is conducted on the highest of moral grounds, making it a love story any adult can enjoy while in the presence of children, and likewise children with their parents. Throw in some Nazis for some villainous adventure and some angelic nuns for comic relief and you’ve got a well constructed, perfectly written, wonderfully acted, and brilliantly executed film. Simply put, The Sound of Music has everything one could want in a movie, and it is a timeless classic every family should share.

For many film fans, The Sound of Music is the 70mm experience! And Director Robert Wise doesn’t waste a moment of the grand aspect’s magic. From the very first shots across the Salzburg woods to the final camera sweeps over the Austrian Alps, to the energetic “Do, Re, Mi” montage sequence with Maria and the children scampering through picturesque scenery, to the Cathedral wedding scene with the bridal train that goes on and on and would never fit on 35mm, every frame requires the grandeur of 70mm film. If you’re a fan of classic cinema, or just looking for a unique experience the whole family can enjoy, I recommend you get a copy of one of the most popular films of all time. You’ll undoubtedly watch it again and again and likely start a family tradition that will span the generations.

For other reviews on The Sound of Music use this link to MRQE.com.

Kramer vs. Kramer: Fathers Can Be Parents Too

Sat, 19 Jun 2010 23:24:52 -0700

Although pushed into action due to unfortunate circumstances, in Kramer vs. Kramer Dustin Hoffman steps up to his responsibilities as a father and demonstrates that when it comes to children a man is just as capable as a woman of boundless love and devotion.

Families of all shapes and sizes are quite common in today’s American landscape, and even though divorce was not exactly scandalous in 1979 it was still a unique subject for the movies. Sure, it had been depicted on screen before, but never with such sympathy for the husband/father who in this case is suddenly forced to adjust to a life different from the one he had planed.

Hoffman plays a man who is blind sided by his wife (Academy Award winner Meryl Streep) when she suddenly decides to up and leave him and their small child in order to “find” herself. This was a common event for housewives of the era. Many women at the time were questioning their roles in society and wondering if there weren’t more options available to them than the ones allotted by tradition. The side effect of this self-exploration usually required the man in the woman’s life to do some soul searching of his own, and in the process usually ended up discovering the unexplored domain right inside his own home. Such is the source of drama, conflict and growth for Hoffman’s character in Kramer vs. Kramer.

Hoffman’s career minded breadwinner is realistically portrayed as a man who is understandably upset, even outraged by his wife’s actions. Frustrated and overcome, he does his best to set his complicated feelings regarding his wife aside and step up to the challenge of hands-on parenting. He may have lost a wife, but in the end he has a closer relationship with his child, and it is through their shared hardship that he truly establishes a sense of family with the little boy he hardly knew. He faces the tough challenges and basks in the rewards, such as the moment when his young offspring learns to ride a bicycle. I don’t think there’s a better, more exciting or enthralling “proud father” moment in all of cinema history.

Hoffman, of course, has difficult moments. There is a particularly memorable scene when his son wants to eat ice cream instead of what has been prepared for their meal. There is no child psychology at play here; it is a pure and simple power struggle that every parent has experienced at one time or another. Even more difficult is negotiating the waters when his child longs to see his mother. Laying down the law is one thing, but putting aside one’s own personal feelings of anger and resentment for the good of a child can be extremely challenging.

But that is fatherhood in a nutshell: stepping up when you are needed to lay down the law and stepping aside when other needs take precedent, even if that goes against your own desires. What truly matters is the welfare of the child. Kramer vs. Kramer never loses site of this, making it a family classic worth watching even by families who have never experienced the pain of divorce.

Field of Dreams: A Sports Film with Mass Appeal

Sat, 19 Jun 2010 21:00:42 -0700

What could possibly be a better film for baseball loving fathers and sons to watch together than Field of Dreams, which may also quite possibly be the single best sports film even mothers, daughters and even non-sports persons can love.

Far more than just a sports film, Field of Dreams emerged into the heart of all things Americana over 20 years ago. It’s a film about a man played by Kevin Costner (The Untouchables, Dances with Wolves) who longs for a resolution with a deceased father he never understood, let alone appreciated. Now, the son has a chance to reach out to that father through a fanciful game of baseball with ghosts playing on a diamond in a cornfield. As strange as it sounds it’s really a simple tale that works to great effect, and is guaranteed to tug on the heartstrings of even the manliest of men.

Through a series of events dictated by the voices in the head of a struggling Iowa farmer men of all walks of life, living and dead come together to play the great American past time. Along his journey the farmer is influenced by strange forces to elicit the aid of two very different men played by James Earl Jones (The Great White Hope, Matewan) and Burt Lancaster (The Killers, From Here to Eternity). Jones and Lancaster play two particularly moving characters, each on a journey of his own to fulfill a long lost desire, one to play professional baseball and the to experience the game to its fullest. Jones is an award-wining writer who had an effect on the beat generation, and Lancaster plays an elderly small town doctor who has recently passed away. Like most of the other men they have absolutely nothing in common except for a shared love of a national pastime so deep it is best expressed by the playing of the game itself.

After completing his quest, saving his farm and fulfilling the requests made by the voices in his head, Costner is finally given the opportunity to play a game of catch with his long dead father. The emotional moment that passes between the two is far deeper than any they shared while the father was alive. It is a poignant scene that any person can understand, male or female, sports enthusiast or not. It also qualifies as the best scene ever depicted demonstrating the simple solution to the complicated question of communicating with family. As the very wisest of parents have already discovered themselves: when words become useless the best communication between a parent and child is in the moment itself.

Athlete or not, you will undoubtedly love the timeless themes expressed within Field of Dreams. But it’s likely you’ll enjoy them even more so if you’ve got a dad and a son in your life who enjoy the pleasure of each other’s company even in silence. Who needs a whole bunch of fancy words getting in the way? The feelings are there, they just don’t have to talk about them to appreciate them or each other.

Father of the Bride (1950)

Sat, 19 Jun 2010 15:46:43 -0700

Spencer Tracey is one of those rare actors who can do no wrong regardless of the role, or genre. And he proves it once again as the title character in Father of the Bride as a man who feels befuddled, under appreciated, and often the fool.

Father of the Bride is a solid representation of Tracey later in his career, when comedic parts came more often than before, and for good reason. When not winning Oscars for his straight dramatic roles Tracey was often seen in lighthearted turns opposite Katharine Hepburn (Pat and Mike, The Desk Set), and the chemistry was impeccable. This was particularly impressive because in dramas he could be very intense, but in comedies he was warm, kind and all heart. Basically, Tracey naturally projected the attributes anyone would long for in the ideal father, and director Vincente Minnelli (An American in Paris, Lust for Life) used that persona to great advantage when placing the distinguished actor in one undermining situation after another.

The film is all about a father who prepares for his daughter’s wedding and discovers that he’s losing his place in that daughter’s life, becoming less important to her every step of the way. Only an actor with a steadfast character of his own could keep the comedic character from becoming a gross caricature. Of course, it helps that Tracey can’t help but bring nobility to every scene regardless of the indignities placed upon him. He even pulls off some great physical comedy, first in a scene involving an old ill-fitting tuxedo, and then later in a scene where he’s opening some coke bottles. Both situations demonstrate his underutilized ability to be a great straight man, and his willingness to be the butt of a joke, making you long for more opportunities to see Tracey in a funny role.

Joan Bennett (Little Women, Scarlet Street) does a solid job as Tracey’s enthralled wife. Distracted by the details of planning her only daughter’s wedding she just can’t understand what her husband is upset about. And a young and pre-nuptial Elizabeth Taylor (A Place in the Sun, Giant) portrays the loveliest bride you’ll ever see in any Hollywood movie. With familiar situations and a happy outcome this is a film everyone will appreciate. But a special warning should be given to young fathers of little girls: Look sharp and take note, because your day as the most important man in your daughter’s life is coming to an end much sooner than you think!

Burt Reynolds, a huge admirer of Spencer Tracey’s once described him as “the universal man”, or a man with whom everyone could relate, and the kind of basic man anyone would be content to be. In Father of the Bride Tracey is just that and more as he surpasses the requirements of being a man and embraces the necessities of fatherhood. He’s honest, steadfast and true, and eventually learns to let go when the time comes - a terrific embodiment of the ultimate father.