O captain, my captain! ... before you leave
Robin, I think I speak for everyone here when
I say... we'll miss you.
// Thank you boys... thank you.
// This isn't going to be easy... but this
is Movie Night!
Hello and welcome to Movie Night, in-depth
spoiler-free reviews in under four minutes.
I'm your host Jonathan Paula.
Tonight we'll honor the wonderful life and
work of the late Robin Williams, a man was
unfortunately no stranger to suicide.
A number of his films, including The Fisher
King, What Dreams May Come, and World's Greatest
Day focus on death as a central plot element...
but I don't actually want to talk about those
movies, they're all very good and worth watching,
sure - but tonight I want to review my favorite
Robin Williams films.
Although I don't have any specific or personal
connection to Williams - I have always been
a big fan, and his death definitely hit me
pretty hard, as it has affected many others.
I spoke about all my thoughts and emotions
last this week in an episode of "The World
According To Jon", if you'd like to hear more.
But for now, we celebrate his life by reviewing
some of his best performances, beginning with
"Good Morning Vietnam".
Released just before Christmas in 1987, this
good-natured comedy film set against the backdrop
of the escalating Vietnam crisis of the mid-1960's
managed to gross nearly ten times its small
$13-million dollar budget.
In the first of his four nominated-roles,
television icon turned dramatic actor Robin
Williams stars as a boisterous radio DJ for
the fledging Armed Forces radio station in
Saigon.
The unstructured plot follows his attempts
to inject humor and American rock-and-roll
into his hugely popular daily broadcasts,
at the chagrin, and later direct orders of
his infuriated superiors.
Simultaneously, we follow Williams as he adjusts
to life in the middle of a war-zone, while
he attempts to win the affection of a local
Vietnamese girl played in a rather unmemorable
performance by Chintara Sukapatana.
Forest Whitaker is along for the ride in a
yes-man sidekick type role, whereas Bruno
Kirby and J.T.
Walsh walk around with a permanent stick-up-their
ass, constantly acting like a wet-blanket.
The 120-minute picture was directed by Barry
Levinson... but since so much of Williams'
manic performance was reportedly improvised
on the spot, perhaps "wrangled" is a more
apt description of Levinson's duties.
Set during a time and place when radio deejays
had influence and power, Williams embraces
his position as he attempts to entertain and
inform the troops of current events - beginning
each broadcast with his trademark phrase,
"Good Morning Vietnam!" ... the titular greeting
piercing the pre-show silence like a bullet
from a gun.
Before this, Robin seems like a quiet and
reserved individual... but once the mic is
hot, and the red light is on, he transforms
into an energized improvisational machine...
spitting out dozens of jokes, voices, and
sound effects every minute.
His timing and skill flow so naturally, it's
hard not to watch in awe as he bounces from
a loud Ethel Merman impression to doing a
spot-on Walter Kronkite.
The R-rated story is loosely based on the
experiences of a real Armed Forces DJ... and
while this is an interesting and unique angle,
it just isn't a particularly dramatic one,
even after our protagonist narrowly survives
a bombing attack.
Indeed, while enjoyable, the film never quite
kicks into second gear... with little resolution
to the film's biggest conflicts, or any real
theme or message.
That being said, a violent montage of riots
and death is hauntingly juxtaposed against
Louis Armstrong's "Wonderful World", creating
a powerful moment late in the film.
Although the script meanders a bit, and the
romance-angle never really works - the politics
of radio in a war zone is decently fascinating,
if only because I'm reminded of my own time
working as an on-air radio DJ in Boston.
An entertaining comedy that works because
of its impressive leading man, this isn't
a movie I'll be re-watching anytime soon...
but I'll rate "Good Morning Vietnam" a SEVEN
out of ten.
Oh, you may have noticed I skipped right past
my five-word summary, comment reviews, and
the factor-facts there.
In an effort to simplify and streamline the
show, I've decided to remove those elements...
but as we continue the show, let me know what
you think of the changes.
Second up tonight, my review for "Dead Poets
Society".
This Peter Weir drama film was released in
June of 1989, which shares the seemingly uncomplicated
story of an English teacher who inspires his
students with poetry.
Produced on a budget of $16-million, the PG-rated
film would score four Oscar nominations, and
$220 million in profit.
In his second nominated performance, Robin
Williams is graceful as the kind, patient,
and motivational leader... who instructs his
adolescent troops to "make life extraordinary",
and "seize the day."
Robert Sean Leonard, Ethan Hawke, John Charles,
and a dozen other young actors make up the
group of prep school students at the elite
Welton Academy, who overcome their hesitations
and begin craving everything life has to offer...
by throwing parties, reading sonnets, and
reveling in each other's camaraderie.
Weir even had the young actors all room together
during production, to strengthen their on-screen
chemistry.
And it certainly worked, their charm and eagerness
make their characters easy, and believable
to root for.
Meanwhile, Norman Lloyd and Kurtwood Smith
play older gentlemen, who despite being reasonable
in their own actions, only serve as an obstacle
for the growing desires of the teens.
A confrontational scene between Leonard and
Smith, as father and son, is particularly
powerful, bordering on difficult-to-watch
a times.
It's easy to empathize with the dutiful child,
afraid to disappoint a loving father who doesn't
understand what his son really wants.
It goes without saying that both individuals
give brilliant performances in that scene,
as well.
The unrushed narrative unwinds throughout
a single-school year, as we learn more and
more about these interesting and nuanced characters.
Without any showy cinematography, action scenes,
or memorable music... the entire 128-minute
picture rests on its writing and characters:
and thankfully, the film more than excels
here.
This is light-hearted, but serious look at
adolescence, self-discovery, and challenging
authority.
The marvelous script gives us insight into
their fictional lives, but what makes the
film stand out is how it allows, and practically
asks the audience to reflect on their own
lives.
The qualities these men embody will surely
resonate... when you wonder if you're doing
enough to make your own life extraordinary.
A wonderful, moving, and uplifting experience
that should be required viewing for all students,
I loved this film when I first saw it in my
early twenties... and still do today.
"Dead Poets Society" only gets better with
age, and I strongly consider it to be an AWESOME
film.
Now this next film is one I've already reviewed...
but for competitions sakes, here again are
my thoughts on "Aladdin".
Released just before Thanksgiving in 1992,
this $28-million dollar animated musical fantasy
was the most successful of the year, eventually
grossing over half a billion at the worldwide
box office.
Ron Clements and John Musker adapt the ancient
Arab folktale for the big screen with a cast
of familiar voices, led by Scott Weinger of
"Full House" fame.
The 90-minute story follows Weinger as the
title character, a poor street urchin who
uncovers a magical genie after falling in
love with a beautiful princess.
He's motivated early by a passing prince who
reminds him, "You were born a street rat,
you'll die a street rat."
As one of the all-time great animated characters
in cinema history, Robin Williams is perfectly
cast as the bright blue genie - hilariously
rattling off a string jokes, sight-gags, anachronism
impersonations, and even singing a song or
two.
In fact, the famous comic improvised so much,
the movie recorded over 15 hours of material
for his role, and prevented the script from
being eligible for a Best Adapted Screenplay
nomination.
It may seem common place today, but twenty
years ago, having a major movie star voice
an animated character was a relatively new
concept - but thankfully it paid off, Williams'
manic and memorable performance alone makes
this worth seeing.
Particularly fantastic is his introductory
song and dance number, "Friend Like Me"...
which flies by with some extremely unique
and inventive animation, backed by Alan Menken's
wonderful music.
Jonathan Freeman, Linda Larkin, and the annoyingly
foul-mouthed Gilbert Gotfried portray the
rest of the colorful, if stereotypical cast.
Special mention needs to be made for Frank
Welker, an extremely talented, but generally
unknown voice-over artist who has nearly 1,000
credits to his name... mostly all specializing
in animal sounds and other unique vocal effects.
Here, he provides personalities and voices
for Abu the monkey, and Rajah the tiger, among
other characters.
His career has been so prolific that the combined
gross of all his projects is second all-time
behind only Samuel L. Jackson.
Back to the film though... at its heart, it's
a fun adventure set in an exotic location
with likable characters, a simplistic romance
plot, and plenty of goofy high jinks.
As expected, Disney's trademark animation
style is vibrant and beautifully rendered,
especially in the film's Oscar-winning sequence
for "A Whole New World".
As has been my faux-criticism of all children's
films... the quickly paced story is a touch
heavy-handed at rushed at times, but the characters
and music provide for a lovely experience
that reminds kids it's important to be true
to yourself, and not get wrapped up in materialistic
endeavors.
Eventually spawning two sequels, a TV series,
toys, video games, merchandise, and a Broadway
play, this G-rated movie is a timeless classic
people of all ages can enjoy again and again.
Since it's so hard to separate this picture
from my childhood, I simply won't.
I loved it then, and I still do today.
"Aladdin" is a wonderful fable with hilarious
moments... and an AWESOME film.
For tonight's poll question, which of Robin's
many films is your favorite?
Mine are still coming up... but leave your
response as a comment below.
Fourth up tonight, let's talk about Mrs. Doubtfire.
Loosely based on Anne Fine's novel, "Alias
Madame Doubtfire", this comedy drama film
by director Chris Columbus was released in
November of 1993 where it earned over $440
million against its small $25-million dollar
budget.
Funnyman Robin Williams stars as a recently
divorced father who disguises himself as the
title character, an old English nanny, so
he can spend more time with his family.
He must undertake this ridiculous and unorthodox
approach only because of his stubborn ex-wife,
played by Sally Field.
Although she dresses like a grandmother attending
a funeral, her character is nothing but an
unreasonable bitch - pointlessly vindictive
towards the father of her children, seemingly
just to spite him, confiding to her new nanny,
"The truth is, I didn't like who I was when
I was with him.
I would turn into this horrible person."
Williams however is endlessly patient and
adorable in the dual role... fun-loving and
wacky as the modern 90's dad, while acting
loving, nurturing, and reassuring as his elderly
female counterpart.
Following a humorous make-over montage that
includes a great bit part from Harvey Fierstien,
we get our first glimpse at the Academy-Award-winning
make-up, that honestly works surprisingly
well.
Which is important, as the entire believability
of the PG-13 rated narrative rests on the
disguise's ability to trick this man's own
family.
The ease and speed at which Williams is able
to remove, and re-apply the costume is a bit
far-fetched though, as the real make-up took
over four hours to apply each day.
A scene where Williams slams his face into
a frosted cake to maintain the Mrs. Doubtfire
rouse to an inquisitive court liason, played
in amusing turn by Anne Haney, remains an
iconic and absolutely hilarious scene to this
day.
Even beneath an old-lady body suit, Williams'
mile-a-minute energy and charisma pour out
of the screen, elevating the talents and timing
of everyone around him - especially Pierce
Brosnan as the Field's new handsome boyfriend,
who isn't normally regarded for his comedic
abilities.
The actors playing the three children however
leave a bit to be desired, Lisa Jakub looks
like she's constantly pouting, Matthew Lawrence
had a bit habit of entering closed doors without
knocking, and Mara Wilson's film debut allows
her to look cute and even swear, but none
of them contribute much - they're mostly just
there as a means to an end.
The 125-minute story moves along at an amble
pace, culminating with a terrific dinner scene
that has Williams attempting to be in two
places, as two people simultaneously.
The scene is as amusing as it is memorable,
rife with loads of dramatic irony and gags.
Howard Shore's light and flutely music provides
a suitable score, and the plain photography
style never distracts from the film's heavy
emotional swings.
A true favorite from my childhood, and a very
re-watchable experience, it's the final coda
of the film that truly resonates, as Williams
explains the importance of family, regardless
of their circumstances or uniqueness.
Perhaps a bit dated today, this is a fun,
moving, and enjoyable film everyone will love.
"Mrs. Doubtfire" is an AMAZING film.
Advancing another year forward in Robin Williams'
career, let's review Jumanji.
Released on December 15, 1995 - this fantasy
adventure film by director Joe Johnston quadrupled
its $65-million dollar budget.
Based on Chris Van Allsburg's 1981 children's
book of the same name, the 104-minute story
opens with back-to-back prologues (the first
of which could have been removed completely),
where we learn of a mysterious wooden board
game capable of producing magical dangers
from an unseen jungle environment.
After our pluky, down-his-luck protagonist
gets trapped inside the titular adventure,
we pick up the story twenty-six years later
when Kirsten Dunst and Bradley Pierce stumble
upon the game and inadvertently release the
trapped boy - now a grown man, portrayed by
the affably hilarious Robin Williams.
From there, the tight PG-rated script quickly
flows from one exciting set-piece to the next;
from a violent animal stampede, to avoiding
crocodiles in a flooded mansion.
Although he doesn't appear until over 30-minutes
in, Williams dramatically turns from elation
to despair in a layered role only he could
off so effortlessly.
Meanwhile, much of Dunst's delivery seems
as wooden as the game itself... but her line-reading
can be forgiven seeing as how she was only
13 when this was filmed.
Bonnie Hunt, David Alan Grier, Jonathan Hyde,
and Bebe Neuwirth round out the talented cast
- with largely exaggerated, if somewhat appropriate
performances - they are being chased by scary
lions and poisonous mosquitoes after all.
Hyde is especially fun in the dual role of
Williams' father, and a merciless hunter...
who ends up on the receiving end of some of
the more goofier, Home-Alone inspired moments.
A recurring theme of bravery is echoed late
in the film when Robin remarks to a threatening
adversary, "I'm terrified.
But my father says you should always face
what you're afraid of."
Although some of the computerized visuals
look too "animated", their integration into
the live-action environment was revolutionary
for the mid-90's, and holds up considerably
well some 20 years later.
Using flutes and woodwinds, the jungle-inspired
score from James Horner provides an eerie,
otherworldly atmosphere to the story, especially
the incessant drum beat that signals the nearby
presence of the game itself.
Given the outlandish sequence of events, some
of the dumber, more curious character decisions
can be overlooked, but a number of glaring
conveniences that advance the story are a
bit irksome.
It's a tragic family drama, a hilarious comedy,
and an action-packed adventure for all ages...
wrapped into one unique, and entertaining
package.
Thanks to some steadfast direction, capable
visual effects, and excellent acting, this
film has left a lasting legacy.
In fact, where the movie was filmed in Keene,
NH - an advertisement for the movie's fictional
shoe company still exists as a mural there
today.
An absolute favorite from my childhood, I
must have watched this movie at least a half-dozen
times, and it's just as memorable as ever.
"Jumanji", is an AWESOME film.
A reminder now to check out the Movie Night
Archive channel for an organized collection
of all our reviews, and to hear my thoughts
on upcoming releases - earlier this month,
I examined six separate movie trailers.
Next up, another repeat-review, but I've actually
decided to change my final rating on this
one.
Here again, my review for "Good Will Hunting".
Released during Oscar season of 1997, this
Gus Van Sant drama film not only scored itself
nine nominations, it also made $225 million
against its modest $10 million dollar budget.
In the role that'd make him a household name,
Matt Damon stars as the title character: a
math prodigy who is wasting his life away
living in South Boston, and working a janitor.
The involved plot involves his quarrelsome
relationship with his court-ordered therapist,
dealing with his townie friend Ben Affleck,
his budding romantic involvement with Minnie
Driver, and studying under a renowned MIT
professor.
The infinitely versatile Robin Williams is
positively brilliant as the physiatrist, who
challenges and battles Damon with long emotional,
soul-searching monologues in an Oscar-winning
turn.
Their adversarial contention begets a loving
friendship, and his the absolute bedrock of
this 126-minute picture's story.
The original screenplay by Damon and Affleck
famously won the two young boys from Boston
an Academy Award - and rightly so: the dialogue
and writing here is nearly unparalleled...
one of the all-time best scripts, with Van
Sant doing a fantastic job bringing it all
to life, framed by extremely lengthy close-ups,
and beautiful repetition and imagery.
Perfectly paced, this movie flows effortlessly
from one long sequence to the next, each one
showcasing the magnificent acting talent of
the tight-nit cast, and highlighting another
dramatic moment from each of them, especially
an overwhelmingly powerful exchange where
Williams repeatedly reassures Damon that his
troubled past is "not his fault".
The R-rated movie is also wickedly funny - particularly
if you're from the Boston area, and can relate
to the antics and camaraderie between Damon,
Affleck, and their Southie buddies, like in
a marvelous scene where they confront a Harvard
student at a bar, hilariously schooling him
in front of a potential female conquest.
Or, when Affleck serves up sophisticated sounding
malapropisms to trick an interviewing board
into believing he's Will, the math genius.
Danny Elfman's mellow score winds in and out
of the picture beautifully, occasionally accompanied
by some wonderful acoustic ballads from singer-songwriter
Elliot Smith.
Taken from afar, the over-arching plot here
rarely surprises... but the small moments
littered throughout is what makes this experience
so rewarding and powerful.
An examination of trust, compassion, and finding
your true purpose in life - this is a relatable
and enjoyable film that resonates with me
the more I watch, and the older I get.
"Good Will Hunting", is a refreshing, emotional,
and uplifting experience with phenomenal acting
and writing - I'm updating my earlier score
to an AMAZING.
Finally tonight, a review of "Bicentennial
Man".
Released just two weeks before Y2K, this science-fiction
drama film reunites director Chris Columbus
with Robin Williams, this time for an adaptation
of a classic Isaac Asimov novella by the same
name.
Sadly however, the $100-million-dollar production
failed to earn a profit, which Williams attributed
to unfavorable budget cuts from Disney.
The 132-minute plot follows Williams as the
title character, as a metallic android who
endeavors to become more human as he gradually
discovers his uniqueness over the decades.
In a performance that is incredibly reminiscent
of Brent Spiner's 7-year-turn as "Data" on
Star Trek, Williams' portrayal mayn't be the
actor's most memorable role, but it's a delicate
and nuanced one.
Despite his robotic mannerisms, our protagonist
remains decently expressive thanks to some
flexible eyebrows that help him emote.
The supporting cast includes Sam Neill, Embeth
Davidz, Wendy Crewson, and Oliver Platt who
all do a great job undergoing massive make-up
changes as the age and pass on during the
course of the leisurely paced 200-year story.
The first act of the PG-rated film unravels
like a playful sitcom, as Neil's family humorously
deals with their live-in robot nanny.
However, the movie makes a departure from
this playful first act, and morphs into an
almost completely different story - as the
title character attempts to adapt to his changing
surroundings and circumstances, with his owner
Neill defending his uniqueness by declaring,
"There is no price for individuality."
A particularly effective scene has Davidtz
asking for relationship advice from her android
friend, while simultaneously hiding her own
affections for him.
Columbus's slow and steady directorial style
lets all of the talented actors and dramatic
moments really sink in.
Although taking place in a futuristic setting,
we only catch the occasional glimpse of the
world outside Williams' existence: filled
with some of the films' more ambitious visual
effects work.
While we understand through plot clues that
Williams' is one-of-a-king, and world-famous,
the story never expands beyond its limited
scope to really show us how the rest of society
feels about a learning, adaptive, and emotionally
capable robot.
James Horner provides some light and sporadic
piano themes to the reasonably believable
narrative.
And there's something to be said for a compelling
story that succeeds without any sort of traditional
antagonist.
Rather overtly tackling themes of humanity,
and what it truly means to love, live and
die... this is inspiring, if overly sentimental
experience.
The sappy and poetic ending may not work for
everyone, but I've always been a fan of Asimov's
stories... and "Bicentennial Man" is a wonderful
adaptation, I thought it was GREAT.
Before we're done, let's take a quick look
at what you're saying about films currently
playing in theaters.
If you see a new movie in theaters, Tweet
your review with the #JPMN hashtag.
I'll be back next month with another summer
special, as I review seven of my favorite
comedy satire films, but until then, keep
an eye out for more fun videos here on the
Jogwheel channel, and on Jon's World.
And don't forget, Movie Night's sixth season
will premiere around Halloween.
If you'd like to watch more Movie Night reviews,
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Once again, my name is Jonathan Paula, thank
you for watching and listening.
Until next time, have a good Movie Night!
