critical-escapist
Joined Jun 2004
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critical-escapist's rating
The first time I watched Scent of a Woman, I was alone in my room and it was nearing around midnight. I had borrowed the DVD from the local library and had very low expectations for it and knew little of the film's plot other than what the DVD box had offered. I was still wide-awake so I popped the DVD into the player just to get some entertainment. Scent of a Woman would then become one of my personal favorites. For the next 2hrs and 37min I will be pleasantly surprised by this dramatic but also lightly comedic film that I felt sad when it ended.
Al Pacino, who is one of the prolific actors of his time breaks out of his usual gangster persona to play Lt. Col. Frank Slade, a blind man who meets his complete opposite and most unlikely friend. Prep school student Charlie Simms (a pre-Robin Chris O'Donnell), desperate for a job during the Thanksgiving weekends so he can earn enough money to spend Christmas back at his home in Oregon, is hired to "babysit" Frank while the family goes on a trip that Frank refused to go along with. Little did Charlie know, Frank already has already purchased tickets to New York where he will eventually enjoy himself with expensive restaurants, big hotels, and a beautiful woman. At the end of his trip, he plans to commit suicide because he simply cannot tolerate his blindness anymore.
There is a subplot involving Charlie's fiasco at his prep school. After witnessing a prank on the school headmaster's beloved car, Charlie is asked to spill the names of the members behind the prank in order to be bribed for a chance to enter Harvard University, or find himself in great trouble. The other student who also witnessed the prank is a rich-snob-type, George (a pre-Capote Philip Seymour Hoffman), who may have been behind the prank as well. We can think Charlie is ridiculously naive, but Frank takes note of Charlie's integrity and admires him for it, and for some reason, we should too. The subplot is a bit silly if you really think about it, but then again, without this subplot, one of the best speeches I have ever seen in film will never exist -- and that is the speech that earned Pacino his first Oscar, twenty years and seven nominations later.
What is so great about Pacino's performance is not just because he plays a blind man, but he makes a very unlikable character into an object of sympathy. We hate him because we can't stand him, but we like him because he respects Charlie's integrity like no one else does. In a way, Pacino IS the film because without his performance, this film wouldn't have the same greatness. And even the "Hoo-ah!" would sound different if it was performed by another actor -- and we won't want that to happen! Another strong point is that Pacino never makes O'Donnell into his walking shadow and this gives a chance for his co-star to shine as well. Maybe O'Donnell didn't deliver a performance as heartbreaking and wonderful as Pacino, but the two actors were able to produce perfect chemistry and their absurd friendship seemed truly believable.
There is a scene in this movie where Frank visits his family. We watch as everyone in the house looks at him with their unwelcoming eyes. Frank can sense it, but he tries to make the best of it since he still has his planned suicide in mind. He tries to have a Thanksgiving meal with his family, only to fall into an argument with his nephew (Bradley Whitford). That was the moment that I really sympathized Frank because it felt like he was someone who had finally come to terms with his blindness but regrets his past, but he isn't ready to be nice about it.
Even with its long runtime, the film manages to be very entertaining as the audience watches Frank dancing the tango with a young woman (Gabrielle Anwar, in one of the film's most memorable moments) to Frank driving the Ferrari at full-speed. Even in the most dramatic moments, I didn't find one boring second to this film. As Frank shouts to Charlie, "I'm in the dark, here!" I felt a strong chill going through me as if I finally understood Frank.
After seeing this film, you would be surprised that this film was directed by Martin Brest, the same guy who gave us -- you guessed it -- Gigli. He does such a superb job in this film even when the script (written by Bo Goldman, who adapted the 1974 Italian film, Profumo di donna) is attached with the standard Hollywood formula. What lead the audience overlook the formula was the marvelous character-driven plot and the lively, humorous, and quotable dialogue. The film is about friendship between two very different people who were able to help each other in their time of need. Scent of a Woman also contains one of the best feel-good endings ever (maybe because it actually felt good) as both men discovers a new purpose to life and a new will to live.
Al Pacino, who is one of the prolific actors of his time breaks out of his usual gangster persona to play Lt. Col. Frank Slade, a blind man who meets his complete opposite and most unlikely friend. Prep school student Charlie Simms (a pre-Robin Chris O'Donnell), desperate for a job during the Thanksgiving weekends so he can earn enough money to spend Christmas back at his home in Oregon, is hired to "babysit" Frank while the family goes on a trip that Frank refused to go along with. Little did Charlie know, Frank already has already purchased tickets to New York where he will eventually enjoy himself with expensive restaurants, big hotels, and a beautiful woman. At the end of his trip, he plans to commit suicide because he simply cannot tolerate his blindness anymore.
There is a subplot involving Charlie's fiasco at his prep school. After witnessing a prank on the school headmaster's beloved car, Charlie is asked to spill the names of the members behind the prank in order to be bribed for a chance to enter Harvard University, or find himself in great trouble. The other student who also witnessed the prank is a rich-snob-type, George (a pre-Capote Philip Seymour Hoffman), who may have been behind the prank as well. We can think Charlie is ridiculously naive, but Frank takes note of Charlie's integrity and admires him for it, and for some reason, we should too. The subplot is a bit silly if you really think about it, but then again, without this subplot, one of the best speeches I have ever seen in film will never exist -- and that is the speech that earned Pacino his first Oscar, twenty years and seven nominations later.
What is so great about Pacino's performance is not just because he plays a blind man, but he makes a very unlikable character into an object of sympathy. We hate him because we can't stand him, but we like him because he respects Charlie's integrity like no one else does. In a way, Pacino IS the film because without his performance, this film wouldn't have the same greatness. And even the "Hoo-ah!" would sound different if it was performed by another actor -- and we won't want that to happen! Another strong point is that Pacino never makes O'Donnell into his walking shadow and this gives a chance for his co-star to shine as well. Maybe O'Donnell didn't deliver a performance as heartbreaking and wonderful as Pacino, but the two actors were able to produce perfect chemistry and their absurd friendship seemed truly believable.
There is a scene in this movie where Frank visits his family. We watch as everyone in the house looks at him with their unwelcoming eyes. Frank can sense it, but he tries to make the best of it since he still has his planned suicide in mind. He tries to have a Thanksgiving meal with his family, only to fall into an argument with his nephew (Bradley Whitford). That was the moment that I really sympathized Frank because it felt like he was someone who had finally come to terms with his blindness but regrets his past, but he isn't ready to be nice about it.
Even with its long runtime, the film manages to be very entertaining as the audience watches Frank dancing the tango with a young woman (Gabrielle Anwar, in one of the film's most memorable moments) to Frank driving the Ferrari at full-speed. Even in the most dramatic moments, I didn't find one boring second to this film. As Frank shouts to Charlie, "I'm in the dark, here!" I felt a strong chill going through me as if I finally understood Frank.
After seeing this film, you would be surprised that this film was directed by Martin Brest, the same guy who gave us -- you guessed it -- Gigli. He does such a superb job in this film even when the script (written by Bo Goldman, who adapted the 1974 Italian film, Profumo di donna) is attached with the standard Hollywood formula. What lead the audience overlook the formula was the marvelous character-driven plot and the lively, humorous, and quotable dialogue. The film is about friendship between two very different people who were able to help each other in their time of need. Scent of a Woman also contains one of the best feel-good endings ever (maybe because it actually felt good) as both men discovers a new purpose to life and a new will to live.
The 1993 version of The Secret Garden is probably always hailed as the best version of the classic children's novel. The thing I loved about Frances Hodgson Burnett's classic was that it was her only book that she didn't write about a perfect little kid who had to struggle The Secret Garden is about a imperfect, bratty little kid who had to struggle. But hey, I loved the book so that brings high expectations to the film and I was disappointed.
For those illiterate people (I'm kidding) who do not know the story, the story beings with Mary Lennox (Kate Maberly), a spoiled little brat who lived in India with god-knows-how-many-servants who take care of her. Her parents do not care for her and instead they go to parties and enjoy themselves. One day a horrible earthquake hit India and many died, including Mary's parents.
Mary is sent to live with her uncle (John Lynch), a heartbroken widow. The house is like a mansion, watched closely by Mrs. Medlock (Maggie Smith). While Mary goes searching around, she finds a "secret" garden, a garden that her uncle has locked up many years ago after his wives' death. Mary meets Dickon (Andrew Knott), the brother of one of the servants, Martha (Laura Crossley) who happen to talk with animals and helps Mary with the garden. Mary also meets her cousin Colin the son of her uncle who is isolated and alone, fearing death may come (like a smaller 1900s version of Woody Allen's character in Hannah and her Sisters).
A huge problem of the film is that I find it impossible your average ten year old would enjoy the film. The film is slow and has a lot of moments where cute little kids run through corridors. The ending seems abrupt and kind of phony. Sometimes the dialogue even sound fake or just what adults think children would say to each other. In the book (excuse me for comparing film to book), Mary seems to really develop, while in the film, she just suddenly becomes a little angel. There are even moments in the book that Mary still seem a little bratty and probably haven't fully changed and in here, she just magically changes in the instant that she steps into the garden. Dickon, which I thought wasn't as likable in the movie as in the book (especially when he seems like he is harassing Mary in some scenes) I enjoyed book Dickon a lot better.
Directed by Agnieszka Holland, it visually looks stunning but the screenplay written by Caroline Thompson disappoints me because it lacked the book's heroic spirit. There are some scenes that seemed so sudden, like a coincidence. There are a few likable moments in the film where you just smile and mentally wink at the screen, but nothing more. Overall, the film seemed like a drag, seeming longer than it really is. The acting is not superb and sometimes even over-the-top. Maggie Smith is actually quite good here, showing that she hasn't really aged since (watch the Harry Potter movies).
For those illiterate people (I'm kidding) who do not know the story, the story beings with Mary Lennox (Kate Maberly), a spoiled little brat who lived in India with god-knows-how-many-servants who take care of her. Her parents do not care for her and instead they go to parties and enjoy themselves. One day a horrible earthquake hit India and many died, including Mary's parents.
Mary is sent to live with her uncle (John Lynch), a heartbroken widow. The house is like a mansion, watched closely by Mrs. Medlock (Maggie Smith). While Mary goes searching around, she finds a "secret" garden, a garden that her uncle has locked up many years ago after his wives' death. Mary meets Dickon (Andrew Knott), the brother of one of the servants, Martha (Laura Crossley) who happen to talk with animals and helps Mary with the garden. Mary also meets her cousin Colin the son of her uncle who is isolated and alone, fearing death may come (like a smaller 1900s version of Woody Allen's character in Hannah and her Sisters).
A huge problem of the film is that I find it impossible your average ten year old would enjoy the film. The film is slow and has a lot of moments where cute little kids run through corridors. The ending seems abrupt and kind of phony. Sometimes the dialogue even sound fake or just what adults think children would say to each other. In the book (excuse me for comparing film to book), Mary seems to really develop, while in the film, she just suddenly becomes a little angel. There are even moments in the book that Mary still seem a little bratty and probably haven't fully changed and in here, she just magically changes in the instant that she steps into the garden. Dickon, which I thought wasn't as likable in the movie as in the book (especially when he seems like he is harassing Mary in some scenes) I enjoyed book Dickon a lot better.
Directed by Agnieszka Holland, it visually looks stunning but the screenplay written by Caroline Thompson disappoints me because it lacked the book's heroic spirit. There are some scenes that seemed so sudden, like a coincidence. There are a few likable moments in the film where you just smile and mentally wink at the screen, but nothing more. Overall, the film seemed like a drag, seeming longer than it really is. The acting is not superb and sometimes even over-the-top. Maggie Smith is actually quite good here, showing that she hasn't really aged since (watch the Harry Potter movies).
One of the best films of recent years, Million Dollar Baby tells a simple story so heartbreaking and inspirational at the same time. Frankie Dunn (Clint Eastwood) who trains boxers has been through tough times in his life and it has influenced him to become the man he is rough, frustrated, and broken. One day he meets Maggie Fitzgerald (Hilary Swank), a determined woman in her thirties who wants to make herself a boxer and wants Frankie to train her. At first, Frankie is reluctant to train a girl, but when his old friend Eddie (Morgan Freeman) encourages Frankie to take on Maggie and train her, the two form an inevitable bond and a wonderful friendship.
The best thing about Million Dollar Baby is that it is simply told. Paul Haggis (by recent Crash fame) does a good job with the screenplay without making it sound too phony at times. The dialogue seemed real even with its solid simplicity. The characters are very well developed and I think one of the best things you can do to a character in film is to make the audience feel sympathy for him/her. In this case, the three characters of this film are introduced then we learn a little about them. Maggie is a local waitress who takes home customer leftovers and chew on them as dinner like a dog. Her family doesn't appreciate anything she does Frankie, who attends church for the past few decades goes there and doesn't really know what draws him there. Eddie, an ex-boxer, is blind in one eye and cleans the gym daily and reads newspapers frequently. We feel some sympathy for these characters and that is what makes the film work.
The performances are brilliant. Hilary Swank is amazing here. We see her eyes look at Frankie like a child as she eagerly learns how to box. In the boxing ring, her eyes are shining with determination and great strength, knowing that she has got her chance. Clint Eastwood (who also directed the film) is also good here too, making his character like some tough-guy but hey we know the guy's got a soft-side too. Morgan Freeman is great, filling in his classic "supporting role" style.
The flaw of Million Dollar Baby comes in the last 40 minutes or so. The last 40 minutes seem to go by too slowly. Even though the heartbreaking ending was bound to come, I thought the emotional development in those last scenes seemed slow and sometimes bland. It shows again what we already know and already saw. It was pretty much for me, "Been there, done that." The last few seconds were quite powerful, but what came before that was too slow for me to handle.
The best thing about Million Dollar Baby is that it is simply told. Paul Haggis (by recent Crash fame) does a good job with the screenplay without making it sound too phony at times. The dialogue seemed real even with its solid simplicity. The characters are very well developed and I think one of the best things you can do to a character in film is to make the audience feel sympathy for him/her. In this case, the three characters of this film are introduced then we learn a little about them. Maggie is a local waitress who takes home customer leftovers and chew on them as dinner like a dog. Her family doesn't appreciate anything she does Frankie, who attends church for the past few decades goes there and doesn't really know what draws him there. Eddie, an ex-boxer, is blind in one eye and cleans the gym daily and reads newspapers frequently. We feel some sympathy for these characters and that is what makes the film work.
The performances are brilliant. Hilary Swank is amazing here. We see her eyes look at Frankie like a child as she eagerly learns how to box. In the boxing ring, her eyes are shining with determination and great strength, knowing that she has got her chance. Clint Eastwood (who also directed the film) is also good here too, making his character like some tough-guy but hey we know the guy's got a soft-side too. Morgan Freeman is great, filling in his classic "supporting role" style.
The flaw of Million Dollar Baby comes in the last 40 minutes or so. The last 40 minutes seem to go by too slowly. Even though the heartbreaking ending was bound to come, I thought the emotional development in those last scenes seemed slow and sometimes bland. It shows again what we already know and already saw. It was pretty much for me, "Been there, done that." The last few seconds were quite powerful, but what came before that was too slow for me to handle.