Five Star Elements: Tone, Writing, Story Concept

I am hard-pressed to name another psychological thriller that so intimately and effectively explores the evil side of man's dichotomous nature.  The somber, extremely dark direction melds perfectly with a generally interesting script to create, in my opinion, one of the most disturbing movies ever filmed.  The only things I've ever laid eyes on that even come close were music videos by Tool, NIN, and Marilyn Manson; obviously, a three-minute segment on MTV can't touch this movie for depth of exploration, overall tenor, and frightening simplicity.  If you know anything about me, you know that I have nothing but deepest affection for this sort of disturbing experience.

This movie includes award-worthy performances by both Morgan Freeman and Kevin Spacey, no surprise in either case.  Freeman serves as one of Hollywood's most talented, consistant, and underappreciated actors — having never won an Oscar despite more than a half-dozen award-worthy performances (UPDATE: Freeman was finally recognized by the Academy in 2005 for his performance in Million Dollar Baby).  Spacey has, of course, come to be recoginzed over the past decade as extremely intelligent and dedicated, and his performance here — though brief — is especially compelling; so much so, the thinking viewer may actually find herself sympathizing and agreeing with his character's motives.  Brad Pitt proves slightly better than his typical effort, but stiil comes off as flat and generally unmoving.  An almost unknown Gwyneth Paltrow adds a hint of normality to this otherwise surreal mystery.

As always, we will address some of the MYAMST standard questions.  If you have not seen the movie, please do so with these questions in mind and do not read my responses until you have reflected and formed your own opinions.  My responses to the questions may provide details which would spoil the movie!  After watching the movie, answering the questions on your own, and then reading my responses, please write to me with your opinions.

With what character(s) are we intended to identify in this movie?  Why?
As with any film, we can identify an empathize with a number of characters in this film.  Paltrow's portrayal of loving young wife Tracy Mills, torn between her husband's lust for his career and her own hatred of city living, is certain to remind us of our own past dilemmas.  Detective David Mills (Pitt) — a simple and honest man, interested mainly in making the world a better place for humankind — is placed in a position where he must choose between the law he strives to uphold and what some certainly see a “just” vengeance; even as a non-violent man, I have to wonder if I could have made the decision differently.  Even Spacey's sadistic serial murderer may spark some level of empathy, as he explains his disgust with our society's tolerance for corrupt and immoral behavior.  While his methods of dealing with social ills may be evil and inappropriate, one serious look at our own culture and we certainly can't fault his motivations.

We are meant, however, to learn most from Freeman's jaded yet somehow compassionate veteran homicide detective, William Somerset.  Days from retirement, he constantly reminds us and the people around him of his disdain for the world in which we live.  In every comment, he looks forward to leaving the force and removing himself from the emotional pain associated with facing violence every day.  Yet every action demonstrates that compassion and desire to protect the innocent overwhelm him.  He postpones his scheduled retirement to work the serial murder case to its conclusion, and the end of the movie gives us the veiled impression that he will continue to work homicide.  Detective Somerset is an excellent hunter.  He is intelligent, insightful, educated, and methodical.  Despite his claims to the contrary, he cares deeply about

What is the tone of this movie?  Was it an intentional choice of the director?  Why would she or he make this choice?

What significant actions take place in this movie that makes it relevant to our lives?

What message are we to take from this movie?  What is the moral of the story?

What allusions to other artwork, theories, philosophies, or significant movements can be found in this film?  What significance can be deduced of these connections?

“Hemmingway once said, 'The world is a fine place and worth fighting for.'  I agree with the second part.”

Learn more about “Seven” at IMDb, the web's most comprehensive and best database of movie information: “Seven” at IMDb <http://us.imdb.com/Title?0114369>

Release: 1961
Writing: Jerome Robbins, Arthur Laurents, Ernest Lehman, Stephen Sondheim, Leonard Bernstein
Director: Jerome Robbins, Robert Wise
Talent: Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno

Five Star Elements: Music, Visuals, Message

As always, we will address some of the MYAMST standard questions.  If you have not seen the movie, please do so with these questions in mind and do not read my responses until you have reflected and formed your own opinions.  My responses to the questions may provide details which would spoil the movie!  After watching the movie, answering the questions on your own, and then reading my responses, please write to me with your opinions.

With what character(s) are we intended to identify in this movie?  Why?

What is the tone of this movie?  Was it an intentional choice of the director?  Why would she or he make this choice?

What significant actions take place in this movie that makes it relevant to our lives?

What message are we to take from this movie?  What is the moral of the story?

What allusions to other artwork, theories, philosophies, or significant movements can be found in this film?  What significance can be deduced of these connections?

“Hemmingway once said, 'The world is a fine place and worth fighting for.'  I agree with the second part.”

Learn more about “Seven” at IMDb, the web's most comprehensive and best database of movie information: “West Side Story” at IMDb <http://imdb.com/title/tt0055614/>

Release: 2000
Writing: Michael Chabon, Steven Kloves
Director: Curtis Hanson
Talent: Michael Douglas, Tobey Maguire, Frances McDormand, Robert Downey Jr.

Five Star Elements: Message, Writing, Direction

As always, we will address some of the MYAMST standard questions.  If you have not seen the movie, please do so with these questions in mind and do not read my responses until you have reflected and formed your own opinions.  My responses to the questions may provide details which would spoil the movie!  After watching the movie, answering the questions on your own, and then reading my responses, please write to me with your opinions.

With what character(s) are we intended to identify in this movie?  Why?

What is the tone of this movie?  Was it an intentional choice of the director?  Why would she or he make this choice?

What significant actions take place in this movie that makes it relevant to our lives?

What message are we to take from this movie?  What is the moral of the story?

What allusions to other artwork, theories, philosophies, or significant movements can be found in this film?  What significance can be deduced of these connections?

“Now, that is a big trunk; it holds a tuba, suitcase, a dead dog, and a garment bag almost perfectly.”

Learn more about “Seven” at IMDb, the web's most comprehensive and best database of movie information: “Wonder Boys” at IMDb <http://imdb.com/title/tt0185014/>

Though we will not necessarily study the same questions for every movie, here are what have come to be the canonical queries in my explorations.  In other words, these questions tend to resurface time and time again as I watch movies, so they seem worth exploring here on the site:

“With which character(s) are we intended to identify?  Why?”

“What is the tone of this movie?  Was it an intentional choice of the director?  Why would she or he make this choice?”

“What significant actions take place in this movie that makes it relevant to our lives?”

“What message are we to take from this movie?  What is the moral of the story?”

“What allusions to other art, theories, philosophies, or significant movements can be found in this film?  What can be deduced of these connections?”

In its inception, this site never considered the question, “should I bother watching this film?”  As the name implies, only exceptional films will be reviewed here.  To best use this site, you should first watch the film (watch it again, if you have not seen it recently) and answer the standard questions listed above on your own.  Only then should you read my analysis.  I implore you to do so in this order, because aspects of my commentary could spoil the movie if you have not already seen it.  The final step in the process comes when you join the discussion board to share your opinions on the film.

As I mentioned, only films which I consider to be exceptional—with a powerful and important message—will be included on this site.  This is not to say that other films are not worth watching.  In fact, new films will be added over time, as I discover them.  There are other films which I find to be great diversions or worth watching for other reasons.  It would be impossible, however, to provide commentary on every film I enjoy.  I've had to intentionally limit the number of films that appear here, so only those that are most important to me will be listed.  Please don't take the absence of your favorite movie as a slight against it or you.  In fact, take the opportunity to write to me and politely recommend it; I would appreciate your suggestions.

In my experience, the films that have come to be known as “classics” are typically black and white movies made in the 1950s or earlier.  I have never been able to deduce why most of these movies were considered classics, other than the fact that they were made “a long time ago.”  To me, the word classic denotes a standard of excellence toward which all other films should aspire: the epitome of fine filmmaking.  Almost all of the films commonly referred to as classics are horribly flat, predictable movies, with excessive appeals to romance or other emotive qualities, and yet acting that yields nothing if not the stereotypical “cardboard characters.”  God bless Stanislavski.  (Now, this paragraph, you may take as a slight.  Just my opinion, so try not to be offended.)

Five Star Elements are those aspects that set the film apart from the masses.  These elements are simply what “draw me” to the movie, based sometimes on logic and sometimes on instinct.  At most, I will select what I feel to be the three most important Five Star Elements for each film, and often, fewer than three will be listed.  The Five Star Elements are:

Writing: Something about the screenplay is clever or powerful.
Dialogue: The dialogue is witty, unique, or clever in its approach to the subject matter.
Message: The moral of the story is important for the potential development of human existence.
Story Concept: The idea behind the movie is powerful, interesting, or witty.
Subtle Attention: Small details are carefully attended to in the movie writing and/or execution.
Epic Potential: The film has a “feel” which lends itself to longevity.
Tone: The film has a “feel” that is disturbing, morose, frightening, or dry in its humor.
Visuals: The special effects, camera work, staging, and/or costuming is appealing.
Direction: The director has provided a sense of clarity to the movie and its message.
Action: The movie holds your attention with interesting or very exciting action sequences.
Music and Sound: The aural aspects of the film make important contributions to its effectiveness.
Interpretation: The film provides a new and unique interpretation to a common story.

As I write these commentaries, I sometimes notice commonalities that run from movie to movie.  For example, the same talent may appear in several of the films.  Likewise, I might notice a director or producer reappears, sometimes tied to films with similar themes.  As I notice these connections, I will add them to the Threads listing in the right column of every page.  Fell free to write to me with your own thread discoveries.

Nothing.  Let me modify that: nothing official.  Unlike many of those prestigious film critics who provide the “five star” and “thumbs up” ratings I mentioned previously, I do not have my Doctorate in Film.  Or any degree in Film.  Or even formal training of any kind related to Film.  So, if you are the sort who likes to place her faith in the “experts,” you may as well just leave now.  If, however, you believe that any human can engage in the serious contemplation and reflection which leads to thoughtful debate and insight, you may feel right at home here.  Here, you will find only thoughtful and reflective discussion, never the reactionary flame so common on the internet these days.  Welcome aboard, and I hope you find these pages useful.