Sometimes a film exists beyond words (spoken or not) and there’s no description that can accurately prepare one for what they are about to see. Some films exist solely on a visual level, are so purely cinematic, that nothing anyone could ever say about them could speak as well as the images from the film themselves. Hell, but that won’t stop film buffs and writers like myself from giving it the old college try.
Triptych on this.
Recently, I was lucky enough to have someone over there at the incomparable Wonders in the Dark toss me a copy across the pond of the Kevin Brownlow restored version of Abel Gance’s Napoleon. It included the Thames Television cut of the film (which runs over five hours and is presented mini-series style in three parts) with both the TV tailored single frame version of the Italian set finale and the phantasmagoric tripped-out red-white-and-blue triptych that is unlike anything ever seen before or since. I’ve been told this is the definitive way to view the film and far superior to the Coppola produced version that came out stateside around the same time in 1980.
If a director were to compose a film today like Abel Gance composed his untethered and monstrous epic Napoleon in 1927, it would be called audaciously experimental. Continue reading →
Let’s get the elephant in the room out of the way first. Russell Crowe is in his mid-forties and playing the “younger” Robin Hood — you know, as is the trend these days to show us how the men became the legends. He’s utterly mis-cast in the role. Being such a chameleon of an actor in his younger days has taken its toll on Mr. Crowe, and he hasn’t aged well. He’s reached that point in his career where he now only plays Russell Crowe — you know, that bullish, overweight, talented dude full of piss and vinegar on and off the screen. Thankfully, his old pal Ridley Scott still loves him, and you have to give the director some props for not giving a damn about the age thing (hell, Sir Ridley is in his seventies himself) and casting ol’ Russell in the title role of his revamp of Robin Hood. He then had the good sense to cast (shouldn’t she be Dame by now?) Cate Blanchett as a feisty Lady Marion, and for fans of old school Hollywood epics, it’s a real treat to see two accomplished Oscar winners create palpable chemistry and act against each other within the comfortable context of well-worn characters.
Ridley Scott has traversed many genres, but he — more than any director out there — knows his way around historical epics. Let’s not forget it was his first marriage to Russell Crowe in Gladiator that brought the two their biggest hit — and deservedly so. His Robin Hood (though I already can imagine a bloated director’s cut coming to Blu-Ray) is surprisingly quick-footed. Continue reading →