Pirates of the Caribbean: At World's End

At a sprawling 168 minutes, it seemed that PIRATES OF THE CARIBBEAN: AT WORLD’S END would suffer the same fate as the previous film; bloated with excess, too many storylines to keep track of and a dreary sense of heavy drama that would make one long for the spirited comedy of the first film. But luckily, the filmmakers subconsciously corrected most of the mistakes of the second film and have produced a completely enjoyable and worthy conclusion to the series thus far.

This film sees all the supporting characters from the first two films (including Keira Knightley, Orlando Bloom and Geoffrey Rush, among others) traveling into the purgatory-like abyss that is Davy Jones’s Locker to rescue Captain Jack Sparrow (Johnny Depp, once again in tip-top shape). Though that only proves to be the starting point of the film, as it seeks to wrap up storylines involving Will Turner’s father, the invasion of the East India Trading Company, the issue of Davy Jones’s heart and the romance between Elizabeth and various other characters, including introductions to a new fleet of pirates (led by Chow Yun-Fat) and the idea of the sea goddess Calypso, who plays a vital part in this film.

With all these subplots, it seems nearly impossible that the film would successfully balance itself. And it does have difficulties at times; the film can be a jumbled, confusing mess for those not paying close enough attention, and at certain times, some characters are completely ignored in favor of producing memorable (if continually improbable) action sequences. In the final battle, one major character completely disappears from the film when he should be holding just as important a place as the others. Though they have wisely cut down the plodding drama scenes in favor of more comedy and thrills, they are still present, occasionally making the film the equivalent of a sugar high; rising excitement to a sudden drop.

But throughout all this, the film maintains the fun and adventurous spirit that was sorely lacking from the previous installment. Even if the viewer has no idea what is happening, they are content just to watch the spectacle. And what a spectacle it is; the action sequences grow with grandeur every passing time, leading to a giant maelstrom finale that is mesmerizing. The heavy drama that plagued the first film, most notably the long, dull extended sequences with Will and his father, have been trimmed in order to focus on more interesting characters. This not only cuts down on the bland Bloom’s screen time, but gives an opportunity for the more dynamic performers to show their stuff. Knightley, Bill Nighy (as Davy Jones), Naomie Harris and Geoffrey Rush all give their roles everything they’ve got, making it a joy whenever they are seen onscreen. And again, Depp is masterful. His introduction is a fantasy of truly Depp-ian proportions; an art-house-European-film-inspired nightmare that is wickedly weird and delightful in the most macabre of senses. Whenever the film is devoid of these characters, it tends to sink back into the doldrums of the second film. But luckily, Jerry Bruckheimer and company wisely realized where their strongest assets were and focused on them as much as they could.

The film is definitely a long haul, but one that is completely worth it. It manages to wrap up all the storylines from the previous two films in the most satisfactory way possible, managing to keep a door open for a potential sequel. And since this is likely to be the biggest movie of the summer (since it is definitely the most worthy three-quel of all the May three-quels), expect to see Captain Jack return in a few years. And while thoughts of the third film were mixed following the release of DEAD MAN’S CHEST, this exciting and enjoyable ride shows that the filmmakers still have it in them to deliver a crowd-pleasing blockbuster that is a cut above the rest.

***

Black Book

In his first film in six years (and his first Dutch film in 23), director Paul Verhoeven has crafted a surprising and disturbing portrait of war-era Holland in BLACK BOOK. A World War II drama may not seem like the kind of film the director of BASIC INSTINCT and STARSHIP TROOPERS would be suited for, but Verhoeven’s trademark sense of heightened drama and vivid imagery find a suitable home in the film, even if it is a bit jarring at first.

The film tells the story of Rachel Stein (Carice van Houten), a young Jewish woman who has successfully evaded capture by hiding with various allies. When her hiding place is destroyed in a freak accident, she is forced to flee to Belgium with the help of the family lawyer. She is even reunited with her family in the process. But her escape vessel is caught by a German gunboat, and she barely survives the massacre that follows. Now alone, she joins the Dutch resistance movement, transforming herself into the idealized image of the Aryan race in order to infiltrate the Nazi system.

This leads her into the arms of Nazi officer Ludwig Muntze (Sebastian Koch), whom she must seduce in an attempt to free jailed resistance fighters. The film gets more complicated from this point, throwing several twists at the viewer; some of which are expected, others which are infuriating and horrifying in manner. Muntze is far from the typical personification of a Nazi officer; it is his characterization that is most likely the most complex aspect of the film, accomplishing the improbable: creating a sympathetic member of the Nazi party.

This character alone demonstrates that the characters cannot be easily determined as ‘good’ or ‘bad.’ There is the usual representation of the Nazi as pure evil (played here by Waldemar Kobus), but the members of the resistance are far from saintly freedom fighters. As the film goes on, the characters’ true motives are revealed, and nearly all previous perceptions of them are challenged.

This is especially true of Rachel (alias Ellis), mostly due to van Houten’s brave and mesmerizing performance. As she begins to develop feelings for Muntze, a man who has ordered the deaths of hundreds, her own motives become questionable, and the levels of sacrifice she is willing to accept are unsettling. But sympathy for her never disappears and van Houten imbues herself with a deeply layered sense of self-disgust, alternately accepting her feelings and bemoaning them, agonizing over whether she went too far. And as the world of the film moves into the post-war era, her sheer determination to survive elevates her portrayal into a truly mesmerizing performance.

Verhoeven mixes his usual trademark style with a sense of melodrama that hearkens back to film noirs of the 1940s, most notable through its bombastic musical score. The film is explicit, with several graphic depictions of sex (and since the film is directed by Verhoeven, lots of nudity) and episodes of extreme, almost cartoonish violence. It’s quite a different method for a WWII drama, melding techniques and values from yesteryear and today.

It also raises an issue that is undeniably unsettling and controversial: the humanization of certain Nazi characters. In some cases, Ellis’s enemies prove to be more trustworthy and honorable than those she has aligned herself with. While the romantic relationship between Ellis and Muntz is vague and forced, it raises many intriguing questions. And once the war is over, a shocking portrayal of the survivors of both sides begins. Those who were the victims become as vile and cruel as the people who oppressed them. Verhoeven shines an unforgiving light on those who feel revenge is the only solution; those who are so obsessed with vindication that they unknowingly stoop to their enemies’ level.

The film ends on an ambiguous note, indicating that wars never end, they are just put on hold. BLACK BOOK is a difficult film to watch; it presents several ideas and images that deviate from the perceived norm. But nonetheless, Verhoeven has crafted a thrilling and compelling portrait of people whose pain and suffering do not end because a war does.

***1/2

Welcome!

This is the first post of many, I hope. This is NEWMAN'S OWN MOVIE CORNER (all my respects to Paul Newman and his fine brand of sauces, cookies, etc.) I will be using this blog to, not surprisingly, review films and further my skill as a critic. Yes, that's right, I hope to become a film critic and earn my living off ridiculing other people's work. But I will only ridicule work if it deserves it; I am open to all kinds of film and do not hold a grudge against anything or anyone. Well, that's not entirely true, but we'll just gloss over that.

I really have no idea how often I'll update this... it really depends on how often I see films I think are worth reviewing and how often I actually sit myself down to write. I already have a review ready for posting, which I will do shortly, but after that, it's anybody's guess.

So, welcome to my blog. Enjoy reading what I have and PLEASE give comments or suggestions on how I can improve. I'm in this for the learning experience. I also accept compliments, in case anyone is wondering. I really enjoy them, as a matter of fact.

And with that... I'll see you at the movies! *Cheesy play-out*