The final Monday of May is a Memorial Day holiday here, which is a day to remember the fallen men and women who died while serving in the United States Armed Forces. As a U.S. resident, I’m definitely grateful of the service of Military men and women. Freedom is definitely NOT free and the people serving in the various U.S. military branches – Navy, Army, Air Force and the Marines – risk their lives to protect their country and its citizens.
So today, as I reflect on their bravery and dedication, I thought I’d do a pictorial tribute to memorable portrayal of American soldiers in the movies from various era and genres. Obviously I have not seen too many war/military-themed movies so these are meant to only be a sampling of military roles represented.
So here are (roughly) 27 of them, simply to coincide with today’s date of May 27:
Now, I made an exception with this last pick. Even though I have not seen Saving Private Ryan yet, but everything I’ve read (including this fine review by good friend Mark) about this Steven Spielberg masterpiece suggests that Tom Hanks as Captain Miller is more than worthy to be included.
Happy Memorial Day to my fellow Americans!
Now, which other U.S. military movie characters would YOU add to the list? Let me know in the comments!
Critics everywhere seem to fall all over themselves in declaring The Hurt Locker a landmark movie-making achievement, giving director Kathryn Bigelow one major award after another, which in and of itself is a record as she’s the first female director who’ve won some of these awards. I finally saw it this past weekend – with my my expectation set quite high given all the positive buzz – and well, for the life of me, I can’t figure what’s all the fuss is about.
As I started working on my review, I kept thinking how underwhelming it was. I mean, I thought it was just okay… you could even say it’s a good film, but a milestone? Hmmm, I don’t know about that. I guess this isn’t the first time I disagree with the critics, a couple other recent movies that I had really high hopes for didn’t quite deliver: Up and Bright Star (read my full review). I don’t know if I’ll ever get to writing a full review for The Hurt Locker and Up, but let me just say that despite some great scenes and performances that perhaps merit some acknowledgments, overall I don’t think they’re worth all the critical praises (both of them are almost 100% fresh on rottentomatoes!) and all the awards they’ve reaped.
Let’s talk about The Hurt Locker as it’s still fresh in my mind. Castor at Anomalous Material highlighted some of the preposterous scenarios in the movie, which practically echoes the sentiments voiced in this Huffington Post article. Now, I don’t claim to know much about military facts, so my critique is more about how the movie’s done and whether it works as an engaging/stimulating cinematic experience for me. The answer to that is not quite. In the end, it just didn’t leave that big of an impression on me. Sure it’s got some intense, edge-of-your-seat thrills, but I didn’t come away forming any emotional attachment with any of the major characters (in fact, I was easily distracted by the cameos of big-name actors such as Guy Pearce and Ralph Fiennes). For instance, I have no idea why the protagonist was indulging in such risky behavior (somewhat recklessly at times as he risked his fellow soldiers’ lives), is it because he’s addicted to the adrenaline rush of war (like the opening line of the movie suggested) or was there something more? I find that another war-themed movie that shares a similar sense of realism and grittiness, District 9, tugs at my heart strings more. Somehow I felt more ‘connected’ to and thus care more for Sharlto Copley’s Wikus than Jeremy Renner’s James, it’s that bond with the character that I find lacking in The Hurt Locker.
Hmmm, I guess that’s a cliff-notes version of my review. What I meant to do with this post is to pose this question to you readers: what critically-acclaimed movie(s) have you seen lately that are somewhat of a letdown? Whether the hype is from film critics/bloggers or perhaps the movie is from your favorite genre or by a director you love, so you’ve been somewhat predisposed to liking. And, on the flip side, are there movie the critics trashed that you actually like? Let’s hear it!
Ok, 2 down, 10 more to go. As I mentioned in my Oscar nom musings, I’ve got twelve movies to catch up on by Oscar time (both nominated for Best Picture and those that feature Oscar-nominated performances). In the past 2 weeks, I finally caught this one and The Hurt Locker, here’s what I generally think of it.
Since the movie is divided into five chapters, I thought I’d break down my review into five main parts just for the heck of it. Now, I’m not hugely familiar with Tarantino’s work, nor did I know much about his movie influences as this LA Times article pointed out. I have no qualms with him ‘borrowing’ certain aspects from obscure or foreign movies, as long as he’s able to make those scenes his own with his own actors and approach/style, which is exactly what he did in this movie.
Before I continue, here’s the plot:
In Nazi-occupied France during World War II, a group of Jewish-American soldiers known as “The Basterds”, led by Lt. Aldo Raine, are chosen specifically to spread fear throughout the Third Reich by scalping and brutally killing Nazis.
PART I: The Story
Before I saw this I expected it to be an ultra-violent anti-Nazi flick, a revenge fantasy with Tarantino’s brand of panache and style. Well it was all that indeed, but it’s also so much more. The Basterds are absolutely hell-bent on revenge, but there’s more to the story than what Lt. Aldo (Brad Pitt) and the gang are up to. Their mission is cleverly interwoven with the story of Soshana Dreyfuss (Melanie Laurent), the sole survivor when his family was ambushed early on. There are many layers to the story, one knotty predicament after another — thanks to the shrewdness of Col. Landa (Christoph Waltz) — keeps on unfolding until it builds to a gratifying climax.
PART 2: Direction
It’s quite obvious that Tarantino must’ve paid homage to old-school film-making style in the opening sequence. It’s a long continuous shot of just two people – a French farmer and Col. Landa – conversing. That scene runs for a good 10-15 minutes with the camera focusing between the two characters and not much else, yet the dialogue (switching from French to foreign-accented English) and the expression of the French farmer is immensely tense. This is one of the three segments of the movie where I literally had to get away from the room and distract myself in order to calm my nerves. Of course after my husband assured me it wasn’t “that bad” that I came back and he re-wound the scene for me to watch. It’s an absolutely brilliant opening sequence that pretty much establish Christoph Waltz as one extraordinary actor. I was in for a surprise how much dialog-centric the script was, not so much a gore-fest merely to satisfy fans of the Saw franchise, despite Hostel director Eli Roth’s involvement. Yet, even the more talky scenes are so charged with suspense that my every nerve was stretched to its snapping point.
PART 3: Acting
There’s no doubt that Christoph Waltz is a revelation in this movie. He practically steals every single scene he’s in, he’s got that delicate combination of being comical yet deranged, a Nazi Patrick Bateman, but with less affinity for business cards surely. Many times during the movie I actually stopped and marveled how good his performance was, and the Austrian actor’s knack for languages is even more mind-boggling, such a talent that’s as potent a weapon as any rifle. I could write an entire post on him the way I did for District 9‘s Sharlto Copley, he really is that good! According to NY Times, the Tarantino admitted “I knew Landa was one of the best characters I’ve ever written and probably one of the best characters I will ever write” and thus “I literally had to consider I might have written an unplayable part.” Without Waltz, Tarantino might’ve given up making this movie and I agree, under less capable hands, Col. Landa would’ve been nothing more than a sadistic caricature villain. No wonder he’s nabbed just about every award given out this year, with last night’s BAFTA being the latest, and he’s definitely a shoo-in for Oscar.
Besides Waltz, the rest of the cast is also terrific. It’s no secret that I’m not a Brad Pitt fan, but he actually suited his character perfectly. Just like Ben Affleck, he’s got a real gift in comedy as I liked him more here than his more serious roles. Diane Krueger proves she’s more than a pretty face here, but it’s French actress Melanie Laurent that truly stands out to to me. Her scenes at the restaurant is such an exquisitely-controlled and affecting performance, her expression as Col. Landa finally leaves the room is one that stayed with me for a long time. She’s definitely overlooked in this year’s award season. Major eye candy Michael Fassbender is fantastic here and his bar scene is soooo full of suspense. LOVE a man in uniform and he definitely looks great in one. German actor Til Schweiger is quite good as one of Basterds’ allies, oh, even Mike Myers has a pretty memorable cameo.
PART 4: Accent, accent, accent
If I wrote this post about movie accents after seeing this movie, I’d have listed it as one of the best examples of using subtitles. The way a person speak is an integral plot point here so naturally the actors have to pull off the various accents believably. I really enjoyed listening to the different languages spoken here (most notably by Mr. Waltz who speaks French, German, English and Italian fluently), it makes the movie all the more richer and adds a tinge of ‘foreign film’ flavor to it. Accent truly becomes a matter of life and death during the meeting point of “Operation Kino” at the basement of a French tavern, it’s one of the most nerve-racking and violent scenes in the movie, but the dialogue is absolutely to-die-for. Best movie sequence I’ve seen in a long time!
PART 5: Other observations: music and costumes
The music is as quirky as the film itself. It doesn’t exactly fit the period but it certainly fits the scene and when put together, it just works. I mean, you’d never think of pairing renowned composer like Ennio Morricone (Cinema Paradiso) with cuts from David Bowie, that’s exactly what Tarantino did. ThisL.A. Times blog wrote about the method of how the Tennessee native went about choosing the right song for a particular scene, and how unlike other directors, he doesn’t work with a songwriter to custom-made a song for his movies, “… he handpicks each song and painstakingly injects them into scenes instead of simply hiring a music composer to do the work.”
Tarantino also pays careful attention to the beautiful costumes in his first period film, as costume designer Anna Sheppard said in this interview. The fabulous 1940s fashion provides a nice distraction from all the violent scalping and shooting scenes, there’s almost a Cinderella moment (with a nasty twist of course) with Col. Landa slipping on her pump on Bridget von Hammersmark’s delicate foot. The red dress that Melanie Laurent wore at the pivotal night at the cinema is almost as memorable as her iconic performance.
All in all Inglourious Basterds is a glorious film that truly exceeds my expectation in many levels. If you have reservations about this as you’re not really a ‘Tarantino fan’, give it a chance. Trust me, you’d be glad you did.