ZacharySmith

...that should be seen by every movie fan. It is cinema, as cinema should be, a story told through a moving picture, not revealed through cumbersome and expositional dialog. This film succeeds on the actions of it's characters, and the clear master craftsmanship of a director whose talent knows no limit. Zhang Yimou understands his characters and has the skill to capture them lovingly on film, and that translates to us, the viewer. Aside from "The Killing Fields", this might be the most powerful movie I've ever seen. It's certainly the most beautiful movie I've ever seen, and I suspect I'll never see one that tops it. The way Zhang Yimou films his heroine, I don't know, it's almost beyond words. He caresses her with the lens. Anyone with a heart should see this wonderful, top notch masterpiece. People mention "Raise The Red Lantern" and "Red Sorghum" as Yimou's best work. I couldn't agree less. This is perhaps THE film of my lifetime.

L.A. CONFIDENTIAL is one of the best films ever made. This one isn't, but if you see it under the right auspice, it can be a positive experience for you. You have to forget the title. It's very misleading. Very early on I realized that this film had little to do with the actual "Black Dahlia" murder. If this film were billed as a film noir detective murder mystery omitting all references to "The Black Dahlia", first of all, it would have been fitting, secondly, I think it would have been more well-received. As a 40's era L.A. murder mystery, it's super. Tons of red herrings and twists and turns and sinister silhouetted faces in dark alleys. Lots of Spillane tough-guy cop talk and quick repartee. Endless twists. Shot beautifully, especially Scarlett Johansen who is carefully shot with Hollywood starlet glamour lighting and soft focus. Sex and seediness and bad guys and insane characters and plot twists, some which are far-fetched and don't work as well as others but who cares? Don't like one twist? Don't worry, another one, even more bizarre and out of left field is right behind it. If you go see this film expecting to see what really happened to "The Black Dahlia", I can promise you you'll be disappointed. But if you go in hoping to see a beautifully shot time-warp suspenseful murder mystery, you'll get every pennie's worth. Some people will undoubtedly call this film a mess. Fan's of Ellroy's and DePalma's will enjoy it. I did.

It is clear that Blake Edwards chose to forego the plot points that are in the book, for more of a character study, and frankly, it works. This is not to say that if the script had included all of the plot points, that it would have been a bad film, but the script went in the direction of focusing in on the characters, not the plot.

Eustes/McQueen's character idolizes Slaughter/ Gleason's character. Any suggestion that Slaughter was ever patronizing or condescending towards Eustes is inaccurate. Eustes worships the ground Slaughter walks on, and Slaughter returns the love, knowing that his friend is more of a simple mind, but he doesn't disrespect him at all.

Jackie Gleason gives us the full "Great One" in this film, albeit in an understated mode. There's no "Bang Zoom" or "Hardee har har", but there is plenty (who am I kidding, there can never be enough) of what made The Great One so great, his vulnerability and his uncanny ability to put us inside his head, making us dream what he dreamed, letting us hurt the way he hurt, and allowing us to be a part of the oh so larger life that The Great One lived, if only for an hour or two.

This is a wonderful film. Capping on Steve McQueen for "overacting" is not fair. His character was written as over-the-top, and that's the way he played it. His wacky expressions and blatant actions in the film were beautifully offset by Gleason's calm and wordly demeanor. It's the Yin/Yang, salt/pepper, sweet/sour, and it goes together perfectly.

I'm so glad my friend sent me this movie. Otherwise, I might've never known about it. Two closing thoughts... If you want to see another perfect fat man role, played with simliar vulnerabilities, look no further than John Candy's role in "Planes, Trains, & Automobiles". John Candy took his Great One lessons. Know that. Finally, if you like this movie, you obviously enjoy buddy movies. If you're ever lucky enough to get a hold of a copy of "Looking To Get Out" 1982 starring Jon Voight, Burt Young, & Ann Margaret, don't miss it. It is the buddy movie to end all buddy movies.