Tag Archives: joseph gordon-levitt

Review – Lincoln (12a) [2013]

Lincoln - title banner

Star Rating: 4/5

Director:

  • Steven Spielberg – Saving Private Ryan, War Horse, Indiana Jones I-V

Cast:

  • Daniel Day-Lewis – Gangs of New York, There Will Be Blood, Nine
  • Sally Field – Mrs Doubtfire, ER, The Amazing Spider-Man I & II
  • Joseph Gordon-Levitt – The Dark Knight Rises, Looper, Sin City II
  • Tommy Lee Jones – No Country For Old Men, Captain America: The First Avenger, Emperor, Bourne V
  • Jackie Earle Haley – Watchmen, Shutter Island, Robocop
  • David Strathairn – LA Confidential, The Whistleblower, The Bourne Ultimatum & Legacy
  • James Spader – Boston Legal, The Office, By Virtue Fall
  • David Oyelowo – The Last King of Scotland, Rise of the Planet of the Apes, The HelpInterstellar
  • Michael Stuhlberg – Steve Jobs

Music Composer:

  • John Williams – Star Wars I-VI, War Horse, Indiana Jones I-V

All democratically-elected state leaders, whether they are presidents or prime ministers, have an ambition for reaching their respective position. For some, it is about power and/or aggrandisement; for others, it is about putting their names down in the history books. But for an exceptional few, it is about being uniquely in the right place at the right time and enabling their ideologies and actions to make them stand out from among their peers. President Abraham Lincoln (1860-65) belongs to the last category, and Steven Spielberg’s admirable biopic, Lincoln, illustrates why this is the case.

President Lincoln (Daniel Day-Lewis) forcefully telling his cabinet that he intends to proceed with the amendment and that they must help him.

President Lincoln (Daniel Day-Lewis) forcefully telling his cabinet that he intends to proceed with the amendment and that they must help him.

Lincoln revolves round events in America during January 1865. At the time, no-one was certain as to how long the Civil War (1861- April 1865) would continue. The Unionists, led by President Lincoln (Daniel Day-Lewis) and the armies of the north, are in a strong position. But the rebel Confederacy, led by Jefferson Davis and the armies of the south, are not about to surrender either.

The latter’s resolve is further stiffened upon hearing that, despite the war raging on, President Lincoln intends to push through Congress the highly contentious Thirteenth Amendment (the abolition of slavery) before the legislature ends its session at the beginning of February. The Confederacy’s hatred of black people and their slavery-based economy cannot allow for it. But will their attempts to block the proposed amendment succeed?

Lincoln’s storyline is intelligent; yet, slightly lacking in depth and, at 150 minutes, drawn out. Despite being potentially confusing for someone who has no knowledge of the era, the political wranglings going on behind the scenes throughout the film are great to watch because they are amusing and appear realistic. They also indicate that there was more than an element of corruption in American politics in the 1860s. (Then again, does The Ides of March show us that American politics is significantly different today?)

Moreover, the debates on slavery and freedom throughout Lincoln are intellectually stimulating. In the present era, it defies belief to learn that President Lincoln was a ‘radical,’ even among his key allies, for wanting the abolition of slavery. The Thirteenth Amendment was a measure that America (apparently) wasn’t yet ready for in 1865 (almost sixty years after Britain and France had abolished the Slave Trade, and four years after Tsar Alexander II had passed the emancipation of serfdom in Russia).

However, one only has to read Harriet Beecher Stowe’s 1852 novel, Uncle Tom’s Cabin, to realise that Lincoln fails to illustrate the inherent racism towards black people that existed even among abolitionists. Similarly, the movie says nothing of the four Union states that permitted slavery, which is strange as those four states could have been portrayed as a thorn in President Lincoln’s side.

Mary Lincoln (Sally Field) welcoming home her eldest son, Robert (Joseph Gordon-Levitt).

Mary Lincoln (Sally Field) welcoming home her eldest son, Robert (Joseph Gordon-Levitt).

Furthermore, the film only deals seriously with two issues: the amendment and the Civil War. While they understandably dominated Lincoln’s presidency, surely there were other matters for the president to consider, such as the annual budget and foreign relations? None of these are ever mentioned, which has the indirect effect of making President Lincoln appear almost two-dimensional.

But to say that the ex-president was anything less than a highly-complex and gifted man serves to undermine him, and Daniel Day-Lewis exemplifies this with a performance of remarkable consistency. He captures the former president’s quirkiness, social awkwardness and witty humour fantastically, as well as his indefatigable zeal and reason for his ideals.

Day-Lewis undoubtedly dominates Lincoln, but that does not mean that the supporting cast should be ignored. With the exception of Joseph Gordon-Levitt, who is average at best and whose role, as the ex-president’s son, Robert Lincoln, could easily have been shelved, Sally Field as the ex-president’s worrisome and frenzied wife, Mary Lincoln; Tommy Lee Jones as the savvy Republican Congressman, Thaddeus Stevens; David Strathairn as the cautious Secretary of State, William Seward; Jackie Earle Haley as Alexander Stephens, the racist Vice-President of the rebel Confederacy; and even James Spader, as the underhand Mr. Bilbo (no, not Baggins) are all superb.

President Lincoln exploring the aftermath of a battlefield, knowing that his decisions have cost many Americans their lives.

President Lincoln exploring the aftermath of a battlefield, knowing that his decisions have cost many Americans their lives.

Equally good are the costume and make-up designs, which truly bring the 1860s to life. Likewise, John Williams should be praised for writing a soundtrack that does not sound remotely like Star Wars, Home Alone or Indiana Jones. Indeed, Williams’ score here is more subtle in nature. It adds a touching element to Lincoln that makes the movie that bit more poignant when it matters most.

Over-all, Lincoln is a venerable film with clever dialogue, a beautiful set and enchanting acting. The movie might be a little long and simplifies some of the historical issues, but this should not negate that President Lincoln was one of the rare few leaders who have managed, almost single-handedly, to change the course of history. He understood the uniqueness of his epoch and acted upon his conscience, despite knowing the storm it would cause (as well as unknowingly making him pay the ultimate price for it). Lincoln demonstrates all of this wonderfully and shows us why President Abraham Lincoln is rightly regarded as the archetypal president that so many of his successors have tried (and often failed) to emulate.

PG’s Tips

Advertisements

Review – The Dark Knight Rises (12a) [2012]

Star Rating: 5/5

Director:

Cinematographer:

Cast:

Music Composer:

Once in a decade, perhaps, are audiences treated to a trilogy wherein the three films are not only worthy of five stars each, but also raise the bar over the movie that preceded it. Ten years ago, it was Peter Jackson’s The Lord of the Rings, which culminated beautifully in the epic The Return of the King. Now, it is the turn of Christopher Nolan and his Dark Knight Legend saga, which has climaxed spectacularly with The Dark Knight Rises.

The monstrous-looking, hulking Bane (Tom Hardy). Ra’s Al Ghul’s successor intends to finish off Gotham once and for all, forcing Batman to come out of his virtual retirement.

Eight years have passed since Bruce Wayne/Batman (Christian Bale) defeated the Joker, killed the District Attorney, Harvey Dent, and disappeared. Since then, Gotham has branded Batman an enemy, after he took responsibility for Dent’s crimes to uphold the reputation of the ‘White Knight.’ Whilst away from his former exploits, Bruce has been a recluse, investing some of his considerable wealth in peaceful nuclear energy and the Wayne Foundation, where he uses the expertise of Miranda Tate (Marion Cotillard) to good effect.

However, Gotham now faces a new threat. The League of Shadows has returned and is led by the masked, super-strong Bane (Tom Hardy), who is out to destroy Gotham and Batman with it. After Commissioner James Gordon (Gary Oldman) is wounded trying to take out Bane, leaving the police almost solely in the hands of the young idealist officer, John Blake (Joseph Gordon-Levitt), Bruce feels that the time has come to don the bat-gear again. But how will Gotham take to his return? And what will Batman do with the criminal Selina Kyle/Catwoman (Anne Hathaway), who has a mysterious interest in Wayne Manor and Wayne Enterprise?

Rises’ plot might be slow-moving for the first hour and it certainly requires great levels of concentration for the entire 164 minutes; yet, the film is intellectually-stimulating, absorbing and multi-layered. It also builds up to a stunning, well-thought-through climax, ensuring that those who give the movie their full attention will be rewarded.

One of the most satisfying aspects of the storyline is that Nolan cleverly links Rises with Batman Begins and The Dark Knight, the two previous instalments in the series. He does this by making the caped crusader rise to a new mental and physical challenge, which is a direct result of his prior victory over the League of Shadows; and by illustrating the relevance of Batman and Harvey Dent as symbols of hope against injustice and corruption. (Not to mention demonstrating how susceptible the fabrics of society are to implosion when the symbols are smashed.)

Selina Kyle (Anne Hathaway) wearing her figure-revealing ‘cat’ outfit while she steals what she needs at night and fights her way out of trouble.

Furthermore, Nolan intelligently incorporated genuine, present-day issues and analogies into the previous two films to make them relatable to the epoch. He does it again in Rises. Like in The Dark Knight, he throws in moral and ethical dilemmas here to illustrate just how tough and messy decisions can be for our political leaders (in the war on terror). And, like in Batman Begins, Nolan underlines how sophisticated, scientific technology can be used as weapons. In the first film in the series, it was the dangers of microwave emitters. In the third, it’s the threat posed by ‘peaceful’ nuclear programs (Iran) and what happens should they fall into the wrong hands.

Arguably, Rises lacks a character with the charisma of the Joker, especially as he is Batman’s traditional nemesis. Nevertheless, the astuteness of the plot and the excellence of the cast make up for this absence. Christian Bale superbly reveals the psychological torment and the multifaceted nature of Bruce Wayne that makes all other comic-book based protagonists, such as those in Fantastic Four, The Avengers Assemble and Spiderman appear immature and superficial by comparison; Anne Hathaway looks as eye-catching in tightly-fitted latex as she plays; Michael Caine again gives a touching performance as Alfred, Bruce’s wise fatherly butler, as does Morgan Freeman as the humorous Lucius Fox, the head of Wayne Enterprise; and, lastly, Tom Hardy is terrifying as Bane.

Just as Nolan did with the villains Scarecrow, the Joker and Two-Face in the other movies, he’s turned Bane from a pantomime fool (as was seen in the unwatchable 1997 Batman & Robin) into a complex and sinister character, with a distressing backstory. It is not merely Bane’s brute strength and intelligence that’s scary, it’s also the glint of frightening fanaticism in his eyes which was probably last seen with Ayatollah Khomeini, the late leader of the 1979 Iranian Revolution.

Batman (Christian Bale), with renewed vigour, battling it out with Bane to save Gotham from destruction.

While the actors do their parts splendidly, so too do the special effects team and Hans Zimmer. The effects look so real, viewers have to remind themselves that CGI was used. Similarly, the score may not be as grand or uplifting as the one composed by Howard Shore for The Lord of the Rings; nonetheless, the dark disposition of Rises entails that Zimmer’s gothic-style music is apt and augments the scenes exponentially.

Over-all, The Dark Knight Rises is an engrossing and special conclusion to an exceptional trilogy. Christopher Nolan has transformed the Batman story from a joke into a dark and very human tale that has relevance to the current era, making all other comic-book based movies seem light and casual in contrast. Once more, Nolan has used intelligence and a phenomenal cast to outdo himself in the same way that Peter Jackson did almost a decade ago. Heaven knows, it might be another ten years before we see a series of such brilliance again.

PG’s Tip