Rogue Rebels And The Heavy Breather

“Be careful not to choke on your aspirations, Director.” ~ Darth Vader

“The power that we are dealing with here is immeasurable.” ~ Orson Krennic

“The captain says you’re a friend. I will not kill you.” ~ K-2SO

“Our rebellion is all that remains to push back the Empire. We think you may be able to help us.” ~ Mon Mothma

“They call it the Death Star. There’s no better name. And the day’s coming soon, when it will be unleashed.” ~ Galen Erso

“Take hold of this moment. The Force is strong.” ~ Chirrut Imwe

“I’ve been recruiting for the rebellion for a long time.” ~ Cassian Andor

“The world is coming undone. Imperial flags reign across the galaxy.” ~ Saw Gerrera

 “We have hope. Rebellions are built on hope!” ~ Jyn Erso

When the Disney studios got their hands on Lucasfilm and the Star Wars franchise, the decision was made not only to continue to make more films, hence the release a year ago of The Force Awakens, but also some tie-in self contained stories set in that universe, basically an anthology of tales firmly set in the galaxy of Imperial forces and courageous rebels. Rogue One is the first of those stories, set shortly before the events of the 1977 original film, featuring a small band of rebels racing to retrieve the plans for the Empire’s ultimate weapon.

As a prelude, scientist Galen Erso (Mads Mikkelsen) is taken by force from his family by Orson Krennic (Ben Mendelsohn), an Imperial weapons designer who wants him to return to work on a secret project. His wife is killed during the raid, and their daughter Jyn is taken to safety by a rebel, Saw Gerrera (Forest Whitaker). Years later, Jyn (Felicity Jones) is freed from Imperial captivity by rebels and brought in on a mission after word has been smuggled out from her father on what the Empire has in store. The small band of misfits now find themselves racing to thwart a doomsday weapon most film audiences are quite familiar with: the Death Star.

The concept for this goes back long before the Disney-Lucasfilm deal, this notion of telling self contained stories firmly within the universe as established by George Lucas. John Knoll, a visual effects supervisor for the prequel trilogy, was pitching the idea for some time, and did so again after the deal. The studio decided to go ahead with the idea of these self contained tales, alongside the new trilogy being unfolded at present. Knoll and writer Gary Whitta had a hand in the story process at one point or another, with the screenplay being finished and polished by Tony Gilroy and Chris Weitz. The story is at heart a dark one, a war epic with a very clear line between good and evil. Beyond that, the story mixes in dark humour (particularly from the resident droid), and a sense of impending tragedy- we know things can’t end well for these people. While a good number of the characters are new, some familiar faces appear- Mon Mothma and Bail Organa have both appeared previously in Star Wars lore, and their appearances here are welcome.

Gareth Edwards was brought in as director, which was a good touch. He had recently done the Godzilla reboot in 2014, and his style for an epic, sprawling action tale transfers well over here- with more looks at what we’re seeing, as opposed to the glances and cutaways and darkly lit set pieces of a good part of that film. The production style he employed in filming this rings true to the style of the original Star Wars- the sets, costumes, props, and visual effects don’t seem out of place with that film, given that this movie so closely leads into that one. There are some visual surprises along the way- body doubles mixed with digital effects bring in the late Peter Cushing’s Tarkin as well as a young Carrie Fisher as Leia, and that comes across seamlessly. And in keeping with Star Wars tradition, the visual effects are part of introducing us to strange new worlds, as well as some familiar ones- filming in the Maldives, for example, gave us a watery atoll setting that’s strangely beautiful, before things go terribly wrong, and perhaps evoke thoughts of the Second World War in the Pacific theatre.

Edwards keeps the movie flowing, never slowing down, but steadily driving up tension as he goes along. There’s an underlying sense of dread and urgency as things go along, and the director’s visual style plays to that. He films battle sequences- on planets and in the stars- with a ferocious intensity fitting the genre- this feels like a war film. The movie also marks the first time that a Star Wars film does not have the musical work of John Williams. Michael Giacchino, who’s been doing a whole lot of work in recent years, including the Star Trek films, comes on board as composer, giving a darkly moody score that does incorporate Williams’ themes here and there as needed.

The cast is international in scope, and that plays off well. Ben Mendelsohn is the primary villain of the piece, Orson Krennic, an ambitious, contemptuous, and ruthless Imperial officer and designer of weapons for the Empire. The Australian character actor has been in a lot of roles down through the years- the first time I ever saw him in anything was as a laid back mountain climber in Vertical Limit, but others might remember him as Bane’s corrupt corporate ally Daggett in The Dark Knight Rises. His character is a nasty piece of work, with a malevolent streak and little in the way of sympathy. Darth Vader appears as well, the ultimate villain at his most malicious. James Earl Jones reprises the voice of the Dark Lord, while the physical role is carried out by two actors- Spencer Wilding and Daniel Naprous. This might well be the last we ever see of Vader at his darkest on the big screen, and he’s a cruel, brutal pleasure to watch, chilling at the same time.

Alan Tudyk (Serenity) did the voice and motion capture for K-2SO, a droid that was once an Imperial enforcer, its memory erased. K is a whole lot less polite than C-3P0 ever was, and snarky in his own way, so there are times he steals the scenes. Riz Ahmed gets an interesting role as Bodhi Rook, an Imperial pilot who chooses to defect to the Rebellion, and his place in the team requires the actor to step in two worlds and convey the sense of shifting allegiances. Jiang Wen plays a Rebel soldier and mercenary named Baze Malbus, tough and capable, and a friend to another Rebel. That character being Chirrut Imwe, played by actor Donnie Yen, a character who’s blind and yet in touch with the Force, something of a zen presence to the team.

Mads Mikkelsen is one of those character actors always compelling in whatever he does, and here he’s the father of the lead heroine, torn away from his family and forced into doing the bidding of evil. Mikkelsen brings a sense of regret and loss to his performance as Galen, as well as poignancy. Forest Whitaker is also a character actor who can make a role fascinating to watch, and he gets a lot to do as Saw Gerrera, a veteran of the Clone Wars that were such a strong component of the prequel trilogy. Gerrera is courageous and bold, and clearly a leader. Diego Luna shows up as Cassian Andor, a Rebel intelligence officer given responsibilities over the mission, including one that serves as a troublesome contingency measure. He’s a leader in his own right, brave and stoic as the film unfolds, weighed down by the responsibilities he faces.

Felicity Jones has the lead role as Jyn. She’s hardened by what life has had in store for her, cynical even, and yet not broken. All that she loved was torn away from her, and at the same time she’s come out of it as a survivor. She invests herself in the mission with a personal stake, and we sympathize with her, part because of way Jones carries herself in the role, but also because we’ve been a silent witness to what she’s lost. Jones makes the character compelling to watch, bold, brave, and poignant. It’s a one time role, but it’s a good one, and a worthy heroine for the Star Wars universe.

Rogue One is an entertaining addition to the Star Wars mythos, giving us new characters in a familiar universe of dark threats and the hope of a better day to come. It’s self contained, but ties strongly into what’s come before. It is ferocious and intense at times in its action sequences, and dark in its tone, but it works well, leaving the audience satisfied and wanting more of these self contained stories. Next up? A tale of a young smuggler with a talent for getting himself and his friends into trouble...

Hell Has Too Much Tom Cruise

I have an image blog today. Enjoy!

Ghosts Stealing Third Base In The Corn Field

“The Voice is back.” ~ Ray Kinsella 

“Oh, Lord. You’re supposed to build a football field now?” ~ Annie Kinsella

“Man, I did love this game. I’d have played for food money. It was the game.... the sound, the smells. Did you ever hold a ball or glove to your face?” ~ Shoeless Joe Jackson

“We just don’t recognize life’s most significant moments while we’re happening. Back then I thought, well, there’ll be other days. I didn’t realize that was the only day.” ~ Doc Graham

“The one constant through all the years, Ray, has been baseball. America has rolled by like an army of steamrollers. It has been erased like a blackboard, rebuilt and erased again. But baseball has marked the time. This field, this game: it’s part of our past, Ray. It reminds us of all that was good and that could be again.” ~ Terrence Mann

“Is this heaven?” ~ John Kinsella 

“It’s Iowa.” ~ Ray  

“Iowa? I could have sworn this was heaven.” ~ John

The 1989 fantasy drama Field Of Dreams has established itself as a beloved classic, particularly around Father’s Day, and is, among other things, a supernatural tale, a story of the power of dreams and magic,  and a sentimental (in the best of ways) analogy about life. It boasts a terrific cast who fit their roles perfectly, and is based on the novel Shoeless Joe, by W.P. Kinsella, who wrote his surname into the characters and would end up having a good deal of input into the film adaptation.

The film introduces us to Ray and Annie Kinsella (Kevin Costner and Amy Madigan), a couple in their thirties who have settled down to a quiet life of corn farming in Iowa. They have a daughter, Karin (Gaby Hoffmann), and are content to live away from the busy city and feel the grass grow. Ray is out in his field one day, however, when he hears a voice, just a whisper, telling him, “if you build it, he will come.” Ray doesn’t quite know what to make of it- was he hearing things? Have other farmers heard weird things in the back forty?

The voice is persistent, and Ray sees a vision- a baseball diamond carved into his field of corn, and with it, perhaps the return of the disgraced but legendary Chicago White Sox player “Shoeless” Joe Jackson (Ray Liotta), who’d been a hero to Ray’s late father, with whom Ray had unresolved issues. While his wife is sceptical, she lets him go ahead and build the diamond. And one night, the family spots a baseball player in their diamond. It’s Jackson himself, a ghost somehow come back to vivid life.

Director Phil Alden Robinson wrote the screenplay and helmed the production. The narrative of the book is closely adapted (with one major character having a name change). It might surprise the casual viewer that the author of a story so deeply entrenched with Americana is in fact Canadian- W.P. Kinsella was born and raised a Canadian, and continues to live here. Robinson had first read the acclaimed book after publication, bringing it to the attention of producers Lawrence and Charles Gordon.

The themes of dreams, hope, family, and possibility play out throughout the film, and Robinson’s screenplay, filled with advice from Kinsella, is a strong one. It invests the characters and dialogue with a strong sense of character and authenticity- the old time ball players sound exactly like you’d expect them to sound, while the reclusive pacifist writer comes across as one might think of him. There’s never really an explanation for why these baseball players are able to turn up in this field, or anything else that occurs during the film- nor does there need to be an explanation. The audience accepts it for what it is, and accepts the poetic vision of where the film ends up, simply because the film is that good.

Robinson had a number of earlier directing and writing credits to his name- among them the screenplay for the delightful Steve Martin and Lily Tomlin comedy All Of Me. After this film, his resume would end up including Sneakers, The Sum Of All Fears, and Band Of Brothers. He shot the film on location, mostly in Iowa and Illinois (with some work in Boston around Fenway Park), crafting a baseball diamond into a corn field. The filming process gives things that strong authenticity- rather than be on a set, you feel like you’re among stalks of corn, or on a lit diamond late at night (Jackson’s remarks about the lights feeling out of place ring true as well). The ghostly baseball players might be dead, but they’re real enough, looking like they stepped out of a period photo in their uniforms, and the performances fit in with the authentic mood of the rest of the film- the actors carry themselves physically as baseball players. Robinson also enlisted James Horner for the music score- a perfect choice, as the composer gave one of his finest scores, quiet at times, melodic and dream like.

There’s a dual role in the film, with two actors playing the same character decades apart. Frank Whaley plays a young Archie “Moonlight” Graham, a brash young player eager to get in the game, seemingly before his one shot at the major leagues (in 1922), who encounters Ray (and seems oblivious to what to his eyes should be a vehicle decades ahead of his time. The actor plays him as wide eyed when he finds himself face to face with big players he would have known, and just a little bit cocky at the same time.

His elderly counterpart, Doc Graham, is played by Burt Lancaster in one of his final roles. It’s a wonderful character, an elderly Minnesota doctor late in life (and a ghost, at that). Decades earlier he had his one chance in the major leagues, but those days are long behind him. He’s satisfied with his life- his remark about had he only been a doctor for fifteen minutes being a tragedy rings true- and yet he’s never forgotten what baseball meant to him. Lancaster invests the role with a quiet wisdom and a twinkle in the eye. It’s tremendously likeable character- and one, it turns out, that’s based somewhat in a real doctor.

Ray Liotta plays the pivotal role of “Shoeless” Joe Jackson in different ways. The character is based on the real man, the disgraced ball player who was kicked out of the game but insisted he’d done no wrong, and taken in a different direction. Here he’s a ghost, the first of numerous ball players who come to the diamond. Liotta gives the character an enigmatic quiet wisdom at times in the way he plays Jackson, while also playing him as a bit coarse, sure of himself, and ultimately yearning for the game he loved. It’s my favourite role for him.

James Earl Jones gets a great role as the reclusive writer Terrence Mann. In the book, the character was the real life recluse J.D. Salinger (who threatened lawsuits after the fact if the book ever got adapted into a movie. Robinson chose to change the name and race of the character instead, and we get a  man who’s withdrawn from the world, from the fame his writings gave him. He’s suspicious and grouchy at first, particularly when Ray first tracks him down. Beyond that though is a similar sort of dreamer, who doesn’t question The Voice when it speaks again to both Ray and himself, and Jones gives the role depth and gravity and a good dose of humour in how he plays Terrence. There’s also a man who remembers what the game meant for him in his youth- and that shows itself so well in what he says about it.

Amy Madigan brings out the best in her role as Annie. At first she’s understandably sceptical of her husband’s mysterious whisperer- and yet she understands the need in a marriage to accept dreams and to trust on a fundamental level. She’s outspoken and thoughtful- particularly about the issue of book censoring, in a memorable way- and comes to share in the vision and the dream without hesitation. Annie is spirited, something that Madigan really invests in the character, and tremendously likable. The actress plays well with Costner- the two actors bring such a grounded, genuine feel to their characters that Annie and Ray come across as a believable married couple.

This is one of my favourite roles for Costner, who gives the character a mixture of wide eyed wonder, occasional disbelief, and casual charm. It’s the second of his baseball trilogy, in between Bull Durham and For Love Of The Game. Ray is likable, something that comes across when we first meet him through an introductory monologue, and carrying on through the film. He’s stubborn at times, wondering at the oddity of what he’s being called to do, and yet he does it. There’s another underlying element for the character- regret over the estrangement that was in place with his father before the old man’s death- that plays out through the film, and ends up in emotional catharsis. Costner invests these elements into his performance, and we can’t help but like Ray.

Field Of Dreams was an audience favourite early on, and has become a beloved classic ever since. As part of Costner’s baseball trilogy, it’s radically different from the other two movies, and it’s the sort of film that the golden age director Frank Capra, a dreamer himself, would have gone for. It’s also a film that speaks truth and tugs at the heart strings in many ways- if you aren’t moved by the ending, I would find the issue of your having a soul is in dispute.