The Business of Being Born (2007)

For those of us who believe childbirth is a natural process and that a pregnant woman isn't sick, this documentary is for you.

Masterpiece Theatre Classic: Emma (2009)

Yet another delicious interpretation of a Jane Austen classic from Masterpiece Theatre came to an end tonight.

This BBC adaptation stars Jonny Lee Miller (Eli Stone) as Mr. Knightley. This Emma Woodhouse (Romola Garai) is bit more insufferable that the next. Emma holds herself in high regard as a matchmaker, but after she suffers the consequences of her own meddling she is resigned to life of loneliness. Long-time friend, Mr. Knightly, suffers Emma’s mess and is often nearby to scold and comfort.

The film feels disjointed and something is missing for this viewer, but any Austen-phile should be able to follow along. Mr. Churchhill (Rupert Evans) is a perfect cad. As is Mr. ‘E’ and his mistress Mrs. Elton (Christina Cole). Sadly Michael Gambon as Mr. Woodhouse is a missed opportunity and poor Mrs. Bates gets an annoying turn as a prattler, not as good-spirited matron she is in the book.

As I see it, this Emma is should see simply because it brings to life a classic story. It’s a fine production with a great cast, beautiful costuming and settings even if the overall story lacks the certain characteristics of Austen’s book.

Invaders from Mars (1953)

Dated but solid sci-fi with Pro-American sentiment.  Classic.

Michael Jackson's This Is It (2009)

One look at this footage of MJ’s concert rehearsal and there is no denying that it was going to be one heck of a comeback. The King of Pop is in his element. Running his backup dancers and band through a tight choreography, refining cues and steps, Jackson moves like he was 30. With definitive opinions on everything from props and lighting to the action on the video screen, here is a man who continues to innovate and refuses to quit dreaming.

Over the 90+ minutes we see what the concert would have looked like. Along with interviews from director Kenny Ortega, choreographer Taylor Payne, back-up dancers, and musicians, we get the feeling we are experiencing something truly special because we are.

The musical numbers include everything a MJ fan could want. Thriller 3-D shows the promise of what could have been. Billie Jean, complete with signature moves is smooth. Beat It sounds as brilliant as ever.

Not to be missed are the accompanying bonus features. A look into his wardrobe created for the evening is amazing; as is the featurette focusing on the search for the best of the best back-up dancers.

As I see it, This Is It, is a must-see for fans of the King. Regardless of your personal feelings towards the man, this is footage of a genius—a genius who died too soon.

Postscript 02.02.10 ~ I've watched this documentary three times in two days.  It continues to fascinate me.  Michael continues to make me happy.

Public Enemies (2009)

Director Michael Mann’s latest drama centers on the life of John Dillinger (Johnny Depp) and the man, Agent Melvin Purvis (Christian Bale) who must bring him down. With Baby Face Nelson (Stephen Graham) and Pretty Boy Floyd (Channing Tatum) at his side, Dillinger charms the nation and evades J. Edgar Hoover (Billy Crudup) and his men. But for all the style found herein, Public Enemies lacks in hearty substance.

Public Enemies is nearly too smart for its own good. The entire cast including Marion Cotillard but especially Depp and Bale are perfectly nuanced. But the film feels too reflective and doesn’t allow this gifted cast to breathe. As Dillinger, Depp exudes a man who has transcended his meager upbringing. He seems almost otherworldly in the eyes of Mann. So, too, is G-man Melvin Purvis and Hoover. Bale and Crudup are also amazing, but the reality of these men seems lost.

This film is brilliantly executed. Stylistically is looks gorgeous. The production is glamorous, but gritty. And the cast—did I mention the cast? It’s a roll call for some of the best, often overlooked, and up-and-coming actors. It was distracting to find David Wenham, Giovanni Ribisi, Carey Mulligan, Emilie de Ravin, Leelee Sobieski or even Diana Krall pop-up in bit characters.

For what it is—the gangster equivalent to Jesse James—Public Enemies is masterful. But the film isn’t approachable. The production is open for interpretation and might leave much to be desired for most. However, as I see it, Public Enemies is a brilliant portrayal of a most interesting man.

Happy Birthday, Papaw!

Today is my grandfather’s birthday. He is 77. But until years past, he no longer knows who he is. Dementia. It is a horrible, unforgiving disease and it smacks in my face today. While I am grateful that his quality of life is still wonderful—after all he’s 77—it is his lack of existence that I hate.

To look at him is to see a face etched with the lines of a good life. But his eyes show hints of confusion instead of joy. His lips are less quick to smile and often reflect worry. It seems as if his life’s breath has left him.  It's unusual--like his body his here, but his spirit has left.

I often think he says my name because he hears others and long to hear the ‘same old stories’. I wish to hear his laugher, see his joy, and relish in his nonsense. Instead I find myself clinging to memories and avoiding the present. It’s too sad. I must find a way to reconcile with this change.

Dear readers, I beg you. Take the time to love. Love now. Love more…because tomorrow may be too late.

Caged (1950)

Marie Allen (Eleanor Parker) has been sentence to prison for aiding in an armed robbery. The scared naïve 19-year old must survive the next 10 months amid hardened criminals to get her chance at parole.

It’s not often you find a movie this powerful despite its age. An impressive cast leads to amazing results. Marie’s evolution from girl to broad is brilliantly executed by Parker. Supporting her, but no less engaging is Hope Emerson as prison matron, Evelyn Harper. She is cold, calculating, and barbaric. She enjoys wielding her authority of her wards, but relishes punishment. Harper stands in grave contrast to the prison’s director played by Agnes Moorehead (Bewitched, Citizen Kane). As Ruth Benton, Moorehead is sympathetic and willing to rehabilitate her wards.

Director John Cromwell frames the prison wonderfully, making it claustrophobic and rote. But remarkably, he is able to imbue joy and sadness which the context of the B&W cinematography.

Caged was not at all what I expected. Provocative for it’s time, Caged remains an intense film thanks to incredible performances from all involved.