kelicom
Joined Nov 2000
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kelicom's rating
I just watched this movie on AMC and I was struck by how similar it was to the cartoon "Speed Racer". I loved that cartoon as a child, and I wondered how Peter Fernandez (voice, writer and talent behind the cartoon) veered so completely from the more violent Japanese Anime original, to focus on a much more "Americanized" theme (Peter Fernandez wrote the scripts). It is interesting to see the cartoon's probable genesis.
James Darren plays a character just like Speed Racer--a young man totally focused on cars and racing, and how to make a car engine better, faster. He even has a white race car with the number five painted on it. His character, Casey Owens, is hard working and relentless, someone who would rather spend his talents creating than sitting in a college classroom. He wants to do things his own way, with or without help, so he drops out of college to satisfy his dreams of building a faster engine.
But he learns (by family and friends pushing him into it) that hard work and talent are not enough in the real world-- you have to have an edge (i.e. money). Eventually, with the support of friends and family, Casey builds the revolutionary turbine engine.
According to AMC, the film uses the real turbine engine that Chrysler pioneered. Three hundred were made and they ran on almost anything--perfume, alcohol, whatever. The engines were eventually destroyed, but at the time, they were ahead of their time, a hint of the technology to come.
Just like "Trixie" in the cartoon, Casey has a wonderful brunette sidekick in the way of actress Pamela Tiffin. She is a beauty, reminiscent of actresses Karina Lombard and Catherine Zeta-Jones, with a great comedic flair. Her character, Eadie Manning, knows about cars, and tolerates Casey's obsession. At first, all she wants is to marry Casey, then just to be his bud--she genuinely wants him to win, to help make his dreams come true.
Who can resist that kind of support? Casey isn't stupid--he doesn't, they marry and he wins the race of course. The only thing missing from this entertaining movie, is a small boy and a monkey. :-)
Great race scene at the end--but remember, this was made in the sixties.
James Darren plays a character just like Speed Racer--a young man totally focused on cars and racing, and how to make a car engine better, faster. He even has a white race car with the number five painted on it. His character, Casey Owens, is hard working and relentless, someone who would rather spend his talents creating than sitting in a college classroom. He wants to do things his own way, with or without help, so he drops out of college to satisfy his dreams of building a faster engine.
But he learns (by family and friends pushing him into it) that hard work and talent are not enough in the real world-- you have to have an edge (i.e. money). Eventually, with the support of friends and family, Casey builds the revolutionary turbine engine.
According to AMC, the film uses the real turbine engine that Chrysler pioneered. Three hundred were made and they ran on almost anything--perfume, alcohol, whatever. The engines were eventually destroyed, but at the time, they were ahead of their time, a hint of the technology to come.
Just like "Trixie" in the cartoon, Casey has a wonderful brunette sidekick in the way of actress Pamela Tiffin. She is a beauty, reminiscent of actresses Karina Lombard and Catherine Zeta-Jones, with a great comedic flair. Her character, Eadie Manning, knows about cars, and tolerates Casey's obsession. At first, all she wants is to marry Casey, then just to be his bud--she genuinely wants him to win, to help make his dreams come true.
Who can resist that kind of support? Casey isn't stupid--he doesn't, they marry and he wins the race of course. The only thing missing from this entertaining movie, is a small boy and a monkey. :-)
Great race scene at the end--but remember, this was made in the sixties.
I was alternately surprised, impressed, and repelled by this film. This is not actually a gay love story, but the story of a family, and how they deal with (and not deal with) the truth. Both the father and the son are gay, and the mother, Rose (Eileen Atkins), lives in denial for years, until her son, Philip (Angus Macfadyen), bravely tears the walls down.
Rose is sharp as a tack, but so tightly controlled, she doesn't allow the truth to sink in. Not much goes over her head, but when the information doesn't fit into her plans, she simply ignores it. When she finally faces the reality of her marriage, it falls apart.
Owen (Brian Cox) is the father-- his whole life, he has lived a lie. His character is weak and not very bright, but he means well. He does his duty in caring for his family, and it's clear he genuinely loves them. Unfortunately, he's the most childlike in the family--he reacts, rather than initiates, and he remains childlike till the end.
Philip is the catalyst in the family--he brings the secrets out in the open. His character shows a lot of wisdom and initiative, both in his family and love relationships. This was Angus Macfadyen's first major film, although it was originally a BBC production. He is young, lean and amazingly sensitive in his performance. He is so good in this role, I was convinced he is gay.
The writers of the film (David Leavitt, Sean Mathias) suggest that homosexuality is the result of both environment and genetics. Elliot, Philip's lover, is the adopted son of two gay men. Philip is the biological son of a man who is gay. Elliot's housemate, a social worker, reveals that a child's life is shaped by his environment after he is neglected and left alone--he begins to imitate a crane, the only stimulation he has. Another case is revealed, of two twins who have their own secret language. It's a fascinating subject to speculate on if you like to figure out what makes people tick (I do).
The acting all around is phenomenal. The director too (Nigel Finch), did a wonderful job. So much is said with looks and gestures, volumes are communicated with eyes alone. Nothing was glossed over in this film--each character has his/her own strengths and weakness, both gay and straight. How refreshing, especially in a film about intimacy.
The music is also good. The whole atmosphere is one of loneliness and desperation, and it's fascinating to watch, from an American perspective, because we just don't make movies like that. Our films are usually much more glamorized or dramatized, so this film was especially magnetic to me.
Rose is sharp as a tack, but so tightly controlled, she doesn't allow the truth to sink in. Not much goes over her head, but when the information doesn't fit into her plans, she simply ignores it. When she finally faces the reality of her marriage, it falls apart.
Owen (Brian Cox) is the father-- his whole life, he has lived a lie. His character is weak and not very bright, but he means well. He does his duty in caring for his family, and it's clear he genuinely loves them. Unfortunately, he's the most childlike in the family--he reacts, rather than initiates, and he remains childlike till the end.
Philip is the catalyst in the family--he brings the secrets out in the open. His character shows a lot of wisdom and initiative, both in his family and love relationships. This was Angus Macfadyen's first major film, although it was originally a BBC production. He is young, lean and amazingly sensitive in his performance. He is so good in this role, I was convinced he is gay.
The writers of the film (David Leavitt, Sean Mathias) suggest that homosexuality is the result of both environment and genetics. Elliot, Philip's lover, is the adopted son of two gay men. Philip is the biological son of a man who is gay. Elliot's housemate, a social worker, reveals that a child's life is shaped by his environment after he is neglected and left alone--he begins to imitate a crane, the only stimulation he has. Another case is revealed, of two twins who have their own secret language. It's a fascinating subject to speculate on if you like to figure out what makes people tick (I do).
The acting all around is phenomenal. The director too (Nigel Finch), did a wonderful job. So much is said with looks and gestures, volumes are communicated with eyes alone. Nothing was glossed over in this film--each character has his/her own strengths and weakness, both gay and straight. How refreshing, especially in a film about intimacy.
The music is also good. The whole atmosphere is one of loneliness and desperation, and it's fascinating to watch, from an American perspective, because we just don't make movies like that. Our films are usually much more glamorized or dramatized, so this film was especially magnetic to me.
I fast forwarded my way through most of this movie. Violent is not the proper adjective--cruel, black hearted meanness is much more descriptive. The story transcends time and place, and doesn't even try to seem plausible. Maybe that's why the emotions and the events just don't ring true. This is Shakespeare at his most violently dramatic and unrealistic.
Despite the horrific story, the film is a spectacular display. The colors and clarity are vibrant and crystal clear, the lighting perfection. The musical score is expertly haunting at times, light and fun at others. The director, Julie Taymor, is an impressively talented, individual. She has a unique sense of style in much the same way that John Woo does. This film contains stunning visuals, elaborate sets, and great acting.
The whole cast is terrific. Jessica Lange and Anthony Hopkins throw themselves into the script wholeheartedly and give stunning performances. Harry Lennix and Alan Cumming are two especially amusing, talented actors, and Laura Fraser is also impressive.
If you are a Macfadyen fan, you're in for a special treat. He's a hunk, with very short hair, and he looks amazing in black leather or bare chested under a waterfall. You'll see some great close-ups of his strange blue (green?) eyes. As far as his performance goes, he's good, but not entirely convincing. I had a hard time seeing his character Lucius as leader of an army. In the story, he is more reactive than aggressive, and despite a powerful physique, he does not appear dangerous. But if warrior Lucius doesn't intimidate, he is a capable protector. He gets the job done.
Get the DVD--it's a two package set, one for the movie and voice over narrations, and the other with interviews and a fascinating behind the scenes look at the rehearsals for the film. You see the actors sans costume and makeup, discussing the script, giving their impressions before start of the film. Interesting and unique perspective, a real treat for any actor/director/screenwriter wannabe.
Despite the horrific story, the film is a spectacular display. The colors and clarity are vibrant and crystal clear, the lighting perfection. The musical score is expertly haunting at times, light and fun at others. The director, Julie Taymor, is an impressively talented, individual. She has a unique sense of style in much the same way that John Woo does. This film contains stunning visuals, elaborate sets, and great acting.
The whole cast is terrific. Jessica Lange and Anthony Hopkins throw themselves into the script wholeheartedly and give stunning performances. Harry Lennix and Alan Cumming are two especially amusing, talented actors, and Laura Fraser is also impressive.
If you are a Macfadyen fan, you're in for a special treat. He's a hunk, with very short hair, and he looks amazing in black leather or bare chested under a waterfall. You'll see some great close-ups of his strange blue (green?) eyes. As far as his performance goes, he's good, but not entirely convincing. I had a hard time seeing his character Lucius as leader of an army. In the story, he is more reactive than aggressive, and despite a powerful physique, he does not appear dangerous. But if warrior Lucius doesn't intimidate, he is a capable protector. He gets the job done.
Get the DVD--it's a two package set, one for the movie and voice over narrations, and the other with interviews and a fascinating behind the scenes look at the rehearsals for the film. You see the actors sans costume and makeup, discussing the script, giving their impressions before start of the film. Interesting and unique perspective, a real treat for any actor/director/screenwriter wannabe.