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When I was young, I saw a film titled, "Man in the Wilderness" (1971), which I still remember. "The Revenant" is based upon the same story (also titled "The Revenant," but written nearly 30-years after "Man in the Wilderness" was filmed). Of the two, the latter is *way* more spectacular, and - from what I remember - just plain better: a lot, lot, lot better. Leonard DiCaprio's performance won him an Academy Award for Best Actor, and from the other performances I've seen in 2015, it is fully deserved. Both DiCaprio and Supporting Actor Tom Hardy give two of the greatest performances I've ever seen in a single film - off the top of my head, I can't think of one movie with two better performances. "Midnight Cowboy," maybe, or "Rush?" If you enjoy films dealing with the human struggle to survive against all odds (and don't mind a bit, okay, a *lot* of graphic oomph), you'll really like "The Revenant" - it's not condescending at all. It even mentions Pawnee! Is Emmanuel Lubezki the best Cinematographer in the world? Don't be so sure he's not. Unless you've seen the film, you'll have no idea what this is, but it's a clear homage to prehistoric cave art, and just a beautiful shot: How good is "The Revenant?" I'm going to try and find, and watch, "Man in the Wilderness" - right now, knowing full well that I'm going to be disappointed. And there's no way that "Spotlight" - good as it was - should have taken Best Picture honors from "The Revenant." --- ETA - Make sure to watch "Man in the Wilderness" *afterwards*, and don't make the mistake of assuming that "The Bear" scene will be any less troubling.
My knowledge of mid-19th-century Manhattan is something approaching zero. I had absolutely no idea about the gang wars of the 1840s (likewise Five Points), nor Blackwell's Island, nor the nefarious activity that occurred during the 1860s (some of it also at Five Points), and in this regard, "Gangs of New York" does a good job at teaching this important, yet little known, part of American History. I can't sit here and claim it's faithful to the truth, when I don't even know what the truth is, but it seems like it's at least trying to be. Yes, Martin Scorsese is going to throw in some drama, but that doesn't mean the history lesson is worthless; just embellished. Let me warn you, before writing any spoilers, that this is a very long and difficult film to follow - you'll be doing yourself a favor to write down names, positions, actors, or have the Wikipedia window open if you're watching it on your computer - otherwise, you might easily get confused. I did all this and *still* got confused, so be mindful. If you get lost (and don't be ashamed if you do), there's a very thorough synopsis on IMDB.com. *** SPOILER ALERT *** It's surprising that Liam Neeson ("Priest" Vallon, Amsterdam Vallon's (Leonardo DiCaprio's) father) is killed off so early in the film, but that does set the stage for the rest of the movie. Plus with other major stars such as William Cutting (Daniel Day-Lewis), and Jenny Everdeane (Cameron Diaz), this might have saved some on what must have been substantial salary costs (*) Speaking of history, I find it both fascinating and timely that Abraham Lincoln's Conscription Act of 1863 - the first-ever mandatory draft for American men - could be circumvented either by paying $300, or by finding a suitable substitute (this is both in the film, but also occurred in real-life). Needless to say, this caused a great deal of civil unrest, as accusations were made that wealthier people could avoid the draft, whereas poorer people were stuck with it - the more things change, the more they stay the same. It's amazing to me how Amsterdam had the wits about him to sell the recently killed corpse to medical science (it's even more amazing to me how that ended up in the papers, considering the transaction was made in complete secrecy). Notice the tribute paid to Nosferatu in the newspaper article - the drawing of the man second-from-the-right - even the man on the far-right has similar ears: My goodness - I just realized I'm only forty minutes into this film, and I have over two hours remaining. Ha! I knew when they were talking about Jenny (Cameron Diaz) being a "turtledove," that it was Martin Scorsese making a cameo as a wealthy homeowner. (*) Interesting - when I was confirming that about Scorsese, I also read that both DiCaprio and Scorsese both took salary reductions to preserve the budget. Huh! And shortly afterwards, Horace Greeley (Michael Byrne) makes a formidable appearance. Here's an interesting piece of information about the 1872 Presidential Election (it's too important to be called "trivia."). Likewise, P.T. Barnum (Roger Ashton-Griffiths) makes a significant appearance in the movie. Wikipedia describes "Gangs of New York" as an "epic period drama," and that it certainly is. Who would know that the New York City Draft Riots of 1863 were the largest civil and racial insurrection in American history, aside from the Civil War - I certainly didn't, and wouldn't have if I hadn't watched this film. For this reason alone, the film is worth watching - I'm not even sure I knew this film even existed (it was released four months after Karen died, and I only have a vague recollection of the Space Shuttle Columbia explosion - I mean, I have a memory of noticing the headlines when it happened, but I didn't care, and know almost nothing about it (contrast to the Space Shuttle Challenger explosion, which was one of the few incidents during my lifetime that I remember where I was when I heard the news (some others being the O.J. Simpson Trial, the World Trade Center attacks, the Apollo 11 moon landing, and Martin Luther King's assassination). "Gangs of New York" may not be to everyone's taste, but there's no denying that it's an important, historical film, and one which I will remember for a long time. It's so long (2'45") that you *must* be dragged into its atmosphere if you're going to watch it, and you're unlikely to forget it for that reason alone. To show how out of touch I was with life during that time period, I've never even heard of "Chicago," which won the Best Picture Academy Award that year.
I've never been a fan of Quentin Tarantino because I'm very much against the use of gratuitous violence in film. That said, I've only seen "Pulp Fiction" and (probably all of) "Reservoir Dogs," which are 12 and 14 years old, respectively: There's something about "Django Unchained" which called out to me, despite me suspecting it would probably be Tarantino-esque; violence was terribly real in the days of slavery, and so here was a film in which I could perhaps justify it - perhaps even enjoy it, in a vengeful sort of way - depending on how it was used, and for what purposes. I also had a rough week at the office, and needed some mindless escapism - Tarantino is about as mindless as it gets: A bloodhound gift-wrapped as an intellect. Maybe Django (played by Jamie Foxx) will get some sort of revenge at the end of all this, and shoot the bastards who deserve it. That's the kind of week it has been for me. *** SPOILER ALERT *** It's a safe bet that I'll be discussing things from this point forward that will ruin the movie for you - as usual, I'm writing while watching, so my comments will arrive in mostly chronological order. As usual, I'm writing this as I go, and so far, Dr. King Schultz (played by Christoph Waltz, who won an Academy Award for Best Supporting Actor), worries me. He has been almost superhuman in killing the Speck brothers, and now he has taken on an entire town, killing the sheriff in cold blood, and getting everything he wanted in the process. He's a little too good to be true, I'm afraid, though I admit it was satisfying to see the poor, chained-up slaves have the final say against the remaining Speck brother - I only hope they followed the North Star as recommended by Schultz. The scene where they were arguing about the eye-holes in the KKK masks was the first time I've ever seen comedy surrounding a KKK meeting, and it was brilliantly done, too - acting both as comic relief, a suspense-builder (for what we dread is about to happen), and most importantly, foreshadowing - for what actually happened. This guy Schultz is no dummy. With almost two hours remaining in the film, Schultz and Django have just partnered, and I'm afraid that things are going a little *too* good - there's plenty of time left for lots of terrible things to happen. I sure hope Schultz isn't guilty of a last-minute betrayal; he sure seems like a decent fellow so far. Okay, this Mandingo fighting is making me physically sick to my stomach (some movie fans will remember the 1975 Blaxploitation Film, "Mandingo"). This is the side of Tarantino I don't like - there's nothing left to the imagination, and if he could do it in 3D, he would, if he could do it so that you could smell the blood, he would, if he could do it so that you were there in the room with fighters, he would, if he could do it so that you felt the pain, he would. There's no subtlety with Tarantino - even in this film, over a decade later, he's still doing body horror under the very thin veil of "high art" - he is the most contemptible of directors: the kind that substitutes gross-out shock value for true artistry. When Leonardo DiCaprio perks up upon hearing the outlandish amount that Schultz and Django are willing to pay for a top-level Mandingo fighter, he just goes to show that even the most heinous, sadistic people will gladly sell their principles if the price is right. This is a universal theme. Tarantino could have made the dog-killing scene much worse, but then the film would have carried an NR-17 rating - I honestly wonder if that's the reason he chose to make most of it impressionistic. Assuming there *were* slave owners as sadistic as Calvin Candie (DiCaprio) - and I assume there were - this is just 165 years ago, and we, as a species, haven't evolved all that far from this. In fact, genetically, we've scarcely evolved at all - there are still people, Americans, who would be doing this if given the right. Maybe Tarantino is a better director than I give him credit for, because he's being quite successful at making me hate people. --- Comic Relief: The Candyland plantation is located in Greenville, MS (trivia: there are more towns and cities named "Greenville" in the 50 United States than with any other name - at least, that's what I remember reading about ten years ago). Greenville is near the Mississippi Delta, and not far from both Arkansas and Louisiana. Some real-life people born in Greenville that you may have heard of are Jim Henson, Shelby Foote (these two men alone have provided PBS with a disproportionate share of talent), George Scott, Frank White, and Mary Wilson. These are the ones I know, but there are others whom you may know that I'm not familiar with. Well, I guess this wasn't really "comedy," but at least it wasn't someone getting ripped to shreds by three angry dogs - back to the film. --- The best scene in the movie so far is when they ride into the Candyland estate, and the elderly butler gives Django the biggest eat-shit look I've ever seen. [Edit: Hoo boy was I wrong, and I had *no idea* this was Samuel L. Jackson at first, either.] Vintage Quentin Tarantino: A director with finesse wouldn't have felt any need to see Broomhilda graphically pulled from the hotbox; (s)he would have simply shown Django's facial expressions the entire time, and let viewers use their imagination. Any excuse for gore, violence, and shock value: That's Quentin Tarantino. I know, I know, it'll make Revenge Time all the more sweet to watch, right? That said, the scene at the dinner table with the wise old butler is suspense at its finest, and I mean it is *masterful*. The entire course of events, from the hotbox up until the handshake was masterful - a flash of brilliance from a sadistic provocateur. Oh, look! A bloodbath juxtaposed with rap - how intellectual. And ... I just stopped watching the film before the potential castration scene - I have no need for this in my life, and shame on Hollywood for a Best Picture nomination for this piece of sadistic garbage. Since I try to always finish what I start, I may or may not finish the film later, but I will most certainly read the synopsis of the plot before I do, because at this point, I no longer care what happens: they can castrate Django ... or not. They can kill Django ... or not. They can kill Broomhilda ... or not. The two can magically escape and ride off into the sunset ... or not. I couldn't care less. Franco Nero in a cameo: