DAHLRUSSELL
Feb. 2005 ist beigetreten
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Bewertung von DAHLRUSSELL
This excellent program is really two biographies in one. We get side by side biographies of both Lincoln and Mary. Both of these biographies are then put into context of their societies and the politics and ultimately the war that had an impact on everyone's life and broken families... Just when things seem to be settling down, there is a visit from Mary's confederate half sister.
The pace is methodical, which some might find slow, but it has a real payoff in the moments when we can really savor the richness of Lincoln's words and the choices he makes in the moment. Holly Hunter was a really poor choice for Mary's voice, her lateral lisp is too distracting for voice-over work, and her choice of breathy delivery was off putting. She's a fine actress, just a poor choice for voice-over work, and wrong for this role. A "name" is not always a good solution for a difficult voice casting choice. David McCullough's narration is seamless, as usual, Mr. Morse as the voice of Lincoln really fit perfectly - his voice seemed to be Lincoln and it was "unnoticable" and that is great vocal casting.
The variety of historians is the highlight here, they create a great window - from the Mary Lincoln historian who breathlessly relates Mary's side of things, to the writer who talks about Lincoln's choices as a writer, to the African American historians, one who thinks Lincoln didn't do enough, the other who appreciates that Lincoln evolved and had a good sense of how much and where he could push.
An excellent series, it would make an excellent gift for repeated viewings.
The pace is methodical, which some might find slow, but it has a real payoff in the moments when we can really savor the richness of Lincoln's words and the choices he makes in the moment. Holly Hunter was a really poor choice for Mary's voice, her lateral lisp is too distracting for voice-over work, and her choice of breathy delivery was off putting. She's a fine actress, just a poor choice for voice-over work, and wrong for this role. A "name" is not always a good solution for a difficult voice casting choice. David McCullough's narration is seamless, as usual, Mr. Morse as the voice of Lincoln really fit perfectly - his voice seemed to be Lincoln and it was "unnoticable" and that is great vocal casting.
The variety of historians is the highlight here, they create a great window - from the Mary Lincoln historian who breathlessly relates Mary's side of things, to the writer who talks about Lincoln's choices as a writer, to the African American historians, one who thinks Lincoln didn't do enough, the other who appreciates that Lincoln evolved and had a good sense of how much and where he could push.
An excellent series, it would make an excellent gift for repeated viewings.
This is a dark, riveting drama of two Americans who decide to part with their group and take the TransSiberian railway on a leg of their trip home from China. Woody Harrelson and Emily Mortimer are the couple returning from a mission trip, who decide to do something different from the normal plan to relieve the dissonance within their marriage.
They end up sharing very tight sleeping quarters with a younger couple, a charismatic Spanish man and an emotionally guarded young American woman who seem to spend their lives traveling free. Somewhere between sympathy, conniving, and shared language, their paths grow together and then someone ends up missing. This is Kafka territory in both the literal and figurative sense when the young wife sees the police beating up a young man on the train with impunity.
The bleak locations, the language and cultural barriers, the police investigation that opens the film, and the really excellent individual character through lines make this film marvelous and riveting. The thriller tone is maintained with great editing and story twists. In some sense, you've seen every element here before, and while individual points may be trite, they are put together in a very fresh way.
It shares some impoverished Russo-Euro feel that Hitchcock's TORN CURTAIN had, and they are the high points of both films. I share with many IMDb reviewers the feeling that "it is so good, why does it feel as if it missed the mark? What is it?"
The strength and the downfall of this film is casting Emily Mortimer. This is a fantastic role, and she is up to every single moment of it. Her performance is really excellent. The irony is, if you really look at the character "on the page"... Emily Mortimer does not look old enough for this role. Isn't Harrelson in his 40s? A woman who APPEARS to be his age, his partner, would have given this entire story tremendous dimensions, in the romantic tensions, in the empathy with the younger girl. It's really hard to feel Mortimer is an older version of the girl when she looks only about 3 years older. (Looking younger is not always an asset for an actress.) It's hard to believe their marriage is that stale when it has to be pretty recent given the details. I admit, I DO usually feel an older, less "cute" actress would be better for almost any role, but this is a specific case where the script REALLY seems to need it. After seeing this film, just imagine Kate Nelligan or a character actress in this role, and THERE's the beef, baby! (By the script details, this is a lead role for a seasoned character actress.)
Amazingly, the other casting problem is the always excellent Ben Kingsley. The role doesn't cover new territory for him, but he's always tops. But when you put him in a small role, immediately we know something is going to happen with that role, and it hurt the film... despite my ADORATION of The Kingsley, this role needed an unknown face (like the actor playing his sidekick).
It's definitely a good thriller, and I highly recommend it... definitely NOT a date film! It has all the mistrust and antipathy of many of last years award winners, but a more human story. Fantastic direction, and the music is so well integrated that you are completely unaware of it! Worth seeing in the theatre while you can.
If you want a little more in this vein, rent VAGABOND by french director Agnes Varda from the 1970s. The American film THE DEAD GIRL was based on VAGABOND, and while it is also a good film, the themes are very different, more sensational and outre. VAGABOND, like TransSIBERIAN is very "slice of life."
They end up sharing very tight sleeping quarters with a younger couple, a charismatic Spanish man and an emotionally guarded young American woman who seem to spend their lives traveling free. Somewhere between sympathy, conniving, and shared language, their paths grow together and then someone ends up missing. This is Kafka territory in both the literal and figurative sense when the young wife sees the police beating up a young man on the train with impunity.
The bleak locations, the language and cultural barriers, the police investigation that opens the film, and the really excellent individual character through lines make this film marvelous and riveting. The thriller tone is maintained with great editing and story twists. In some sense, you've seen every element here before, and while individual points may be trite, they are put together in a very fresh way.
It shares some impoverished Russo-Euro feel that Hitchcock's TORN CURTAIN had, and they are the high points of both films. I share with many IMDb reviewers the feeling that "it is so good, why does it feel as if it missed the mark? What is it?"
The strength and the downfall of this film is casting Emily Mortimer. This is a fantastic role, and she is up to every single moment of it. Her performance is really excellent. The irony is, if you really look at the character "on the page"... Emily Mortimer does not look old enough for this role. Isn't Harrelson in his 40s? A woman who APPEARS to be his age, his partner, would have given this entire story tremendous dimensions, in the romantic tensions, in the empathy with the younger girl. It's really hard to feel Mortimer is an older version of the girl when she looks only about 3 years older. (Looking younger is not always an asset for an actress.) It's hard to believe their marriage is that stale when it has to be pretty recent given the details. I admit, I DO usually feel an older, less "cute" actress would be better for almost any role, but this is a specific case where the script REALLY seems to need it. After seeing this film, just imagine Kate Nelligan or a character actress in this role, and THERE's the beef, baby! (By the script details, this is a lead role for a seasoned character actress.)
Amazingly, the other casting problem is the always excellent Ben Kingsley. The role doesn't cover new territory for him, but he's always tops. But when you put him in a small role, immediately we know something is going to happen with that role, and it hurt the film... despite my ADORATION of The Kingsley, this role needed an unknown face (like the actor playing his sidekick).
It's definitely a good thriller, and I highly recommend it... definitely NOT a date film! It has all the mistrust and antipathy of many of last years award winners, but a more human story. Fantastic direction, and the music is so well integrated that you are completely unaware of it! Worth seeing in the theatre while you can.
If you want a little more in this vein, rent VAGABOND by french director Agnes Varda from the 1970s. The American film THE DEAD GIRL was based on VAGABOND, and while it is also a good film, the themes are very different, more sensational and outre. VAGABOND, like TransSIBERIAN is very "slice of life."
---Who was the target audience of this film? People who were really interested in Parker would have to find this disappointing.----- so...
We spend a lot of time indoors/While Leigh suffers from lockjaw/With boozy loud insufferable boors /That self-indulgent Parker saw
The costumes great, production high,/ But what is that she is saying?/ Parker did drone, but diction, sigh,/ Is needed above the other's braying.
Paltrow, so often wan and fey/ Shows marvelous character actress prospect /She towers above this teeny fray /But her humor and tartness are not lost yet.
Leigh is lovely, dewy and luminous /Her vocal imitation comes and goes/ Will someone unclench her jaw for us /So we can decipher her character's woes?
Leigh's smaller than a umbrella stand/ Matthew Broderick is a lovely pairing /The story only starts when he enters, grand /And sexy and strong and stirring.
Cambell Scott is the backbone of this /Screeching brood, he doesn't contest a fraction. /He calmly settles back in bliss/ And steals every scene, every action.
Parker fans, I think, would largely not/ Feel compelled to this trendy casting spread. / With this posey art, we can bet on spot/ That she's now even more happy that she's dead.
We spend a lot of time indoors/While Leigh suffers from lockjaw/With boozy loud insufferable boors /That self-indulgent Parker saw
The costumes great, production high,/ But what is that she is saying?/ Parker did drone, but diction, sigh,/ Is needed above the other's braying.
Paltrow, so often wan and fey/ Shows marvelous character actress prospect /She towers above this teeny fray /But her humor and tartness are not lost yet.
Leigh is lovely, dewy and luminous /Her vocal imitation comes and goes/ Will someone unclench her jaw for us /So we can decipher her character's woes?
Leigh's smaller than a umbrella stand/ Matthew Broderick is a lovely pairing /The story only starts when he enters, grand /And sexy and strong and stirring.
Cambell Scott is the backbone of this /Screeching brood, he doesn't contest a fraction. /He calmly settles back in bliss/ And steals every scene, every action.
Parker fans, I think, would largely not/ Feel compelled to this trendy casting spread. / With this posey art, we can bet on spot/ That she's now even more happy that she's dead.