The Lord of the Rings.
During the Second Age of Middle Earth, smiths forged three Rings of Power for the Elven-kings, seven for the Dwarf-lords and nine for Mortal Men. The Dark Lord Sauron, however, crafted the One Ring, a ring more powerful than the others, and intended to use it to conquer all of Middle Earth. When Sauron is defeated in battle by Prince Isildur, the Ring is taken then lost, rediscovered and again misplaced, before ending up, thousands of years later, in the hands of a hobbit, Bilbo Baggins of the Shire. On his 111th birthday, Bilbo is instructed by the wizard Gandalf to leave the Ring to his nephew Frodo. Years later, Gandalf learns that evil forces know of the Ring’s current owner and therefore sends Frodo, and the Ring, away from the Shire, planning to guide the hobbit to a council meeting in Rivendell, where representatives of elves, dwarves and men will decide the fate of the Ring. Ralph Bakshi’s The Lord of the Rings is a bold adaptation of the Tolkien classic that, for the most part, engrosses and entertains. It is impossible for me to assess whether the plot of Bakshi’s film is sufficiently fleshed out or even comprehensible given my familiarity with the story. I felt as though my mind may have filled in gaps that a first time viewer’s may not have; details and dialogue feel rushed, which is to be expected since what Peter Jackson told in over seven hours (if one considers the extended editions (as one should)) is here condensed into a little over two. In spite of this, Bakshi attempts to stay as close to the source material as possible and, rather daringly, utilises rotoscoping and solarisation to create a bold, unique, animated visual style that works particularly well in the early segments of the Shire, as well as showcasing some beautifully drawn landscape artwork. It is easy to criticise the animation looking back, but it simply wouldn’t have been possible to create the necessary scale of Tolkien’s work at the time otherwise. The Lord of the Rings ends unfortunately prematurely, Bakshi fully expected a sequel in order to conclude the story with The Return of the King and aspects of The Two Towers missing from this iteration, however the production studio would not acquiesce. An enjoyable retelling, though Peter Jackson’s version will likely remain the definitive article.
The Warriors.
This is a story of courage. Sometime in the future. Cyrus, the leader of the Riffs, the most powerful gang in New York City, calls a summit of all of the city’s gangs. Among them are the Warriors, a modest, leather vest clad gang from Coney Island. Cyrus delivers a plan to the assembly: unite as one gang and takeover the city. During the rapturous applause that follows Cyrus’ speech, Luther, the leader of the Rogues, shoots Cyrus and, noticing that one of the Warriors witnessed him pull the trigger, accuses them of the assassination. In the panic caused by a police raid of the summit, the Warriors escape with the exception of their leader, Cleon, who is attacked by the vengeful Riffs. Second in command, Swan, assumes leadership and concocts a plan to return to their own Coney Island turf via subway, unsure of whether the truce is still in effect and unaware they have been accused of Cyrus’ murder. Martha Reeves & The Vandellas’ “Nowhere to Run” plays over the radio, signalling a hit has been placed on the Warriors by the Riffs. Inspired by Ancient Greek legend, The Warriors is a gritty, tense action thriller whose pulsating soundtrack and stunning visuals are offset by often clunky dialogue. The realism of gang culture depicted helped garner a cult following that has kept people invested in The Warriors for more than forty years, and is still as relevant today as it was back then. Can you dig it?
Days of Heaven.
One day in the early 20th century, Bill, a manual labourer in a Chicago steel mill, lashes out at his boss, striking him with a shovel. Fearing the repercussions of his actions, Bill flees to Texas with his girlfriend, Abby, and young sister, Linda; Bill and Abby pose as brother and sister in order to avoid unwanted gossip. The three are hired, along with dozens of others, as seasonal farmhands by a lonely, rich landowner, who, after a time, begins to show an interest in Abby. While stealing ointment from a doctor’s wagon, Bill overhears that the farmer has only a year to live and so, fed up with his current way of life of working too much for too little pay, encourages Abby to marry the farmer in order for them to inherit his vast fortune when he dies. A simple enough plan. Terrence Malik’s Days of Heaven is a visually stunning, pioneering piece of exemplary cinematography. Rightly awarded an Academy Award for his efforts, Néstor Almendros photographs such beautiful, dusky images by utilising the natural light available in the short time between sunset and night. As the opening credits roll and Ennio Morricone’s name emblazons the screen, the expectation is that of a terrific score: and he does not disappoint. The film is told somewhat through the perspective of young Linda, and, since she is not involved with the emotions or motivations of the other characters, the plot evolves almost entirely through Almendros’ imagery and Morricone’s compositions. A unique cinematic experience.
The Castle of Cagliostro.
Master gentleman thief, Lupi n, and his associate, Jigen, flee a Monaco casino carrying bags stuffed with cash; as they drive away, Lupin realises that the bills are counterfeit. Though the forgeries are realistic enough to fool a state owned casino, and surely then still usable if so desired, Lupin disposes of them, seeking instead the challenge of discovering their source. No sooner than the pair of anti-heroes arrive in the small country of Cagliostro, believing this to be the origin of the counterfeit money, they are involved in a death defying rescue attempt of a bride pursued by armed goons, that leaves all vehicles, and passengers, a little worse for wear. Though the damsel is initially saved, she is soon recaptured, leaving behind a ring emblazoned with an emblem Lupin recognises (from a previous adventure to the country) from the recently burnt down royal palace; the Prince who resided there has consequently been usurped. The bride is brought to Count Cagliostro’s seemingly impenetrable castle, from which Lupin once escaped many years ago, where she is to be married against her will to the Count; that is unless the master thief has anything to say about it. Inept inspectors, mysterious cat burglars, disguises, hidden passages, secret doors, trickery and booby traps galore in Hayao Miyazaki’s feature film debut. The quirky, bright and bold The Castle of Cagliostro is an enjoyable escapist fantasy with subtle commentary on corruption and international politics. Though rather crudely animated, which can be forgiven for 1979, there are aspects of Miyazaki’s craft here that will reoccur throughout his career in the more acclaimed Studio Ghibli titles.
Autumn Sonata.
Eva is a lonely woman. She is married to the village pastor, Viktor, though she is unsure whether anyone will ever truly love her as she believes she is incapable of loving others, her husband included; Viktor does indeed love her, though he is unable to express it in such a way that Eva will believe him. Eva invites her mother Charlotte, whom she hasn’t seen for seven years, to stay, following the death of her husband, Leonardo. The pair seem to be getting along amicably, until Eva mentions that her disabled sister, Helena, lives with them at the parsonage, at which point her mother becomes visibly shocked and upset. Charlotte, a world-renowned pianist, listens to Eva’s rendition of Chopin’s Prelude No. 2 in A minor, through which their relationship is revealed; Charlotte is critical of her daughter’s performance evoking agitation in Eva, betraying a resentment for her mother that has festered for years. That night, Charlotte awakens from a nightmare and attempts to calm herself in the kitchen, Eva follows her having heard her mother’s screams. As mother and daughter discuss their painful shared past, secrets and truths are unearthed that will have a lasting effect on their relationship. Ingmar Bergman’s devastating depiction of a dysfunctional human relationship is utterly grossing, due in no small part to the incredible performances of the two leads, Liv Ullman and, in her final film role, Ingrid Bergman. Low budget, simple concept, simple photography and yet no less impactful, Autumn Sonata resonates as one of Bergman’s best bodies of work.
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