Showing posts with label amadeus. Show all posts
Showing posts with label amadeus. Show all posts

Friday, July 22, 2011

Movie Rant: (Fairly Recent) Movies I Think Are Underrated

The Talented Mr. Ripley
I thought this could be a sort of companion piece to the Popular Movies I Dislike list I did last week.

The movies on this list were pretty much all universally acclaimed by critics. But I consider these films underrated because, in talking with other people, I find many either haven't seen them or they've never even heard of them at all.

There are a ton of underrated films out there, from each and every decade. This list will be more "recent" films -- the oldest being from 1984 and the most recent from 2008. Going back through the history of world cinema to find more underrated gems from other decades would be a task and a half -- so, in no particular order, here's a list of fairly recent movies I consider underrated/sadly ignored by the masses nowadays.

(1) The Talented Mr. Ripley (1999)
In this mostly faithful adaptation of Patricia Highsmith's novel, the late Anthony Minghella directed a moody, atmospheric murder mystery among the sights and sounds of Italy. It feels like an old-fashioned thriller and Matt Damon's restrained, yet perfectly awkward and eerie, performance allows the audience to get lost in the bizarre enigma that is Tom Ripley. I still consider this Damon's best performance.

Amadeus
(2) Amadeus (1984)
The film won Best Picture, Best Director and Best Actor, yet it remains largely forgotten by almost everyone outside of its loyal fan base. Those expecting a straight-forward biography of the brilliant composer, Wolfgang Amadeus Mozart, will be disappointed -- however, this visually beautiful film focuses on the myths, the addictions and the jealousy behind the famous Austrian genius' short life. With rich performances (especially by F. Murray Abraham as the jealous Salieri) and an authentically historical atmosphere, Amadeus is an absolutely fascinating look at an artist's dark descent.


(3) Zodiac (2007) 
Everyone loves David Fincher, right? Well, no one seemed all that interested in his masterful recreation of the investigation into the famous 1970s Zodiac murders. The film was a dud at the box office and most people complained about its running time and the slow pace. Granted, it's recommended that you brush up on your knowledge of the case beforehand, but I believe Zodiac will go down as Fincher's most underrated masterpiece. It was ignored and is already largely forgotten, but it's an eerie look at a horrific murder case with wonderful performances (especially by Mark Ruffalo) and a great attention to period detail.

(4) Amelie (2001)
Nominated for Best Foreign Language Film at the Academy Awards, it wound up losing in a shocking upset. Incredibly popular upon it's initial release ten years ago, it has since receded into the background. This whimsical gem from France was a breakthrough for star Audrey Tautou but, more importantly, it's that rare film that improves with each viewing. It's more than just a fairy tale love story and it's filled with wonderfully genuine commentary on how people choose to live their lives. It will leave you wishing you could see the world through the eyes of someone like Amelie Poulain.

American Psycho
(5) American Psycho (2000)
You either love it or you hate it. The first time I saw the film I know I missed out on a lot of its dark comedy and commentary on yuppie society of the 1980s. Having re-watched it a couple of times over the years, I realized what a great (albeit understated) adaptation it is of a very complex (and graphic!) Bret Easton Ellis novel. Christian Bale nails his performance as Patrick Bateman, the wealthy New York investment banking executive who slowly loses himself in his perverse and violent fantasies.

(6) Boogie Nights (1997)
This cautionary tale of how a young man went from small town student to a big-time porn star named Dirk Diggler is arguably director P.T. Anderson's best film to date. It's a film that is rarely mentioned anymore, but it's an intimate and often hilarious look at the porn industry of the 1970s and 1980s through the eyes of the famously well-endowed Diggler. Full of wonderful performances in a large ensemble cast that includes Mark Wahlberg, Julianne Moore, Burt Reynolds, John C. Reilly, Philip Seymour Hoffman and William H. Macy, Boogie Nights also boasts a killer soundtrack. Anderson has Quentin Tarantino's knack for picking great songs to accompany his films.

(7) In Bruges (2008)
This film debuted in one lonely theatre in Toronto a few years back and, when mentioned, it's usually met with blank stares. Despite the fact that it was critically acclaimed and earned Colin Farrell a Best Actor Golden Globe, it's an under-the-radar film from the U.K. that deserved more attention than it received. Watching the delightfully un-PC hitmen, played by Farrell and Brendon Gleeson, run around the medieval city of Bruges is hilarious, heartwarming and tragic all at once. In Bruges is classified as a dark comedy, but it's so much more than that.

Secretary
(8) Secretary (2002)
Speaking of small indie films that are often met with blank stares -- Secretary is that fantastic little film that you haven't even heard of, let alone seen. Maggie Gyllenhaal is so perfectly cast as a mentally ill young woman heading back into the workplace that I often continue to associate Gyllenhaal with her character, Lee Holloway. James Spader plays the demanding lawyer that she works for -- and the two ultimately embark on a sexual, sadomasochistic affair. It's a wonderfully bizarre love story.

(9) The New World (2005)
The fact that this is widely considered to be Terrence Malick's weakest film is no insult to the work itself -- it's still a lyrical, poetic ode to man's ever-changing relationship with nature, told through the eyes of 17th century Englishman John Smith (Colin Farrell) and Pocahontas (Q'orianka Kilcher). With it's leisurely pace, long segments of stunning visuals and whispered dialogue, The New World won't be to everyone's personal taste, but it's a masterpiece that often gets lost in the shuffle of other more well-received Malick films.

Downfall (Der Untergang)
(10) Downfall (2004)
This German film was nominated for a Best Foreign Language Film award at the Oscars -- only to suffer a surprising loss, much like Amelie in 2001. Bruno Ganz gives a stunning and authentic-feeling performance as Adolf Hitler during the rapid decline of his power. With his subtly trembling hands (Hitler was rumoured to have had Parkinson's Disease), watery eyes and stooped shoulders, Ganz embodies the diminishing fire of one of the world's most violent dictators. The entirety of the film takes place in Hitler's bunker in Berlin during the final days of his tumultuous life. Downfall dared to show a softer side to the dictator -- one who thanked people for their loyalty, married his longtime girlfriend, Eva Braun, and tearfully mourned the betrayal of Albert Speer, one of his most trusted men. You'll feel as though you are watching an actual documentary on Hitler's final moments.

Question: What films do you think are underrated or have been largely forgotten?

Saturday, March 19, 2011

30 Day Movie Meme: Day 20

Day 20: FAVOURITE MOVIE POSTER


"From now on we are enemies, You and I. Because You chose for Your instrument a boastful, lustful, smutty, infantile boy and give me for reward only the ability to recognize the incarnation. Because You are unjust, unfair, unkind. I will block You, I swear it. It will hinder and harm Your creature on earth as far as I am able."
~Antonio Salieri (F. Murray Abraham) in Amadeus

I love poster art and I have at least a couple dozen I could have made into a list. Too much work, though, to be honest. So ...

My number one favourite is the international version of the Amadeus (1984) poster. I'm so used to seeing the shrouded Don Giovanni version, where he's spreading his arms over the darkened city of Vienna. I love it a lot but it's so often associated with the film or Peter Shaffer's play, so it lost some of its impact for me.

The international version, on the other hand, is darkly beautiful in a different way than the official poster. Why this never became a more popular image to associate with the Oscar winning film, I'll never know.

You've got the reflection of Wolfgang Amadeus Mozart (played by Tom Hulce) in the piano, with the piano keys in the foreground. Only half of Mozart's face is visible and in the background, a masquerade takes place. The poster suggests a film with a moody, yet lavish, atmosphere -- perfectly capturing exactly what the film is all about.

Thursday, March 4, 2010

Favourite Film Scenes: Amadeus (1984)



AMADEUS (1984)
DIRECTED BY: Milos Foreman
STARRING: F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Jeffrey Jones and Simon Callow

THE BASIC PLOT: Based on Paul Shaffer's play, Amadeus takes a fictional look at Wolfgang Amadeus Mozart's astronomical rise to fame in the late-eighteenth century Vienna. The genius Austrian composer and former child prodigy (played in the film by Tom Hulce) transforms from a charming, albeit arrogant, youth into a raging paranoid alcoholic. However, for the most part, the story unfolds through the eyes of Mozart's rival, Italian composer Antonio Salieri (played by F. Murray Abraham). According to popular myth, Salieri had a hand in Mozart's premature death in 1791 at the age of 35. The film went on to win a total of 8 Academy Awards, including Best Picture, Best Director and Best Actor (for F. Murray Abraham).

MY FAVOURITE SCENE: The very end of the film, when a dying Mozart lies on his deathbed, too weak to complete his final composition, the Requiem Mass in D Minor. He enlists the help of Italian composer Antonio Salieri, thinking he is a loyal friend when, in fact, Salieri is insanely jealous of Mozart's talent and is tempted to pass off the Requiem Mass as his own piece, once Mozart is dead.

WHY?: This scene is incredible, powerful and well-edited. It illustrates Mozart's genius through the way that he can make up something as epic as the Requiem Mass right on the spot, with little or no self-editing. This was an actual fact about Mozart, who very rarely had to edit his own work. He was naturally gifted and, more than any other scene in the film, this grand finale really allows to the audience to experience his brilliance.

I love how director Milos Foreman chose to have a sickly Mozart weakly vocalize and try to articulate his music to Salieri as he lay in bed. Meanwhile, the soundtrack translates it into actual music. I love how Mozart's fading voice and the soundtrack play over top of one another in layers. Before your eyes, a piece of music is created for the audience. You can literally hear and experience it all coming together. It's all layered and beautifully presented on film.

The performances by F. Murray Abraham, as Salieri, and Tom Hulce, as Mozart, are absolutely perfect. I love the look on Abraham's face when his Salieri realizes he will never be the talent that Mozart is, no matter how great his attempts, no matter how feverish his prayers to God. Despite the fact that he loathes Mozart and feels he is an ungrateful, spoiled brat, Salieri wishes he had the ability to hear and see music as Mozart does; to be "God's instrument." The awe is evident in Salieri's face. It outweighs his jealousy, in the end. Salieri is a music-lover first and foremost and he can appreciate the unique and effortless genius of Mozart. One of the real tragedies, though, is that Salieri wasn't mediocre at all. However, history may suggest otherwise as his compositions are rarely heard anymore.

Abraham is flawless in this film and it's one of my all-time favourite male performances. He registers Salieri's jealousy perfectly. Despite Salieri's self-appointed title as the "patron saint of mediocrity", he is an incredibly sympathetic character. Who hasn't, at some point in their life, felt inferior to someone else's seemingly effortless talent? We all fear mediocrity, of being forgotten when we are gone. No one can really begrudge Salieri that feeling. Abraham gives a wonderfully subtle performance. Instead of going over the top, his emotions are always just below the surface, ready to burst. His demeanour is in direct contrast to the childlike exuberance that Hulce gives Mozart.

Even if you've never seen Amadeus (and, if you haven't, you really should), at least do yourself the favour and watch this scene. Mozart died at the age of 35 without having completed his Requiem Mass, but the parts he did leave behind are haunting and beautiful. Though the film is not an accurate biographical account of Mozart, by any means, it's a captivating look at the battle between two composers, one with genuine talent and the other who struggles with mediocrity. And this final scene between Mozart and Salieri is the best moment of this often-forgotten cinematic masterpiece.

Watch the scene here:
http://youtube.com/watch?v=nJ226kQJiHY