Tuesday, September 27, 2011

The Ides of March

Mike Morris, the governor of Pennsylvania in “The Ides of March,” is an image of the liberal heart’s desire, and not only because he is played by George Clooney. Morris, who keeps his cool while inflaming the passions of Democratic primary voters, is a committed environmentalist and a forthright secularist who sidesteps questions about his faith by professing that his religion is the United States Constitution. He is against war and in favor of jobs, though the economy figures much less in his fictitious campaign than it will in the real one just around the corner.











In spite of Morris’s party affiliation and expressed positions — which are tailored to sound both vague and provocative — “The Ides of March” is not an ideological fairy tale. It is easy enough, while watching Morris in action, to substitute a different set of talking points and imagine the governor as a Republican dream candidate, smoothly defending low taxes and traditional values in the same seductive whisper. (Who is the right-wing George Clooney? Is Tom Selleck still available?)

But it is difficult, really, to connect this fable to the world it pretends to represent. Whatever happens in 2012, within either party or in the contest between them, it seems fair to say that quite a lot will be at stake. That is not the case in “The Ides of March,” which is less an allegory of the American political process than a busy, foggy, mildly entertaining antidote to it.











Morris, locked in a battle for the nomination with a colorless (and barely seen) Senator Pullman (Michael Mantell), is a bit of a cipher, or perhaps a symbol. He stands for an ideal of political charisma that the film, directed by Mr. Clooney and based on the play “Farragut North” by Beau Willimon, sets out to tarnish. And yet it seems doubtful, after more than a decade of scandal, acrimony and bare-knuckled media brawling, that this noble fantasy exists anywhere but in the minds of writers and actors who look back fondly on the glorious make-believe administrations of Henry Fonda and Martin Sheen.

“You stay in this business long enough, you get jaded and cynical,” one campaign staffer says to another. “The Ides of March” sets out first to rebut this bit of conventional wisdom, then to reaffirm it. It is in large part the tale of a professional politico’s loss of innocence. Not Morris’s, but that of Stephen Meyers, a young hotshot on the governor’s campaign staff who is played, with sad-eyed intensity, by Ryan Gosling. His prodigious talents are mentioned rather than shown, but we can accept that he is both a dazzling tactical brain and, what’s more, a true believer, working for Morris because he thinks Morris is the last, best hope for America.











Stephen’s boss is Paul Zara (Philip Seymour Hoffman), whose counterpart in the Pullman campaign is Tom Duffy, played by Paul Giamatti. “The Ides of March” feels most alive and truest to its ostensible subject when these two soft-bellied, sharp-tongued schlubs do battle, with the angelic Stephen in the middle. Hovering around him like a crow circling carrion is Marisa Tomei as Ida Horowicz, a New York Times reporter who might be the only journalist covering the campaign or at least the only one with a speaking part in the movie. (Go team!)

But what political drama there is in this film — will Morris win the Ohio primary? Will his staff cut a deal with a vain and imperious North Carolina senator (Jeffrey Wright)? — is scaffolding rather than substance. As the Shakespearean title suggests, “The Ides of March” has loftier, less time-bound matters on its mind: the nature of honor, the price of loyalty, the ways that a man’s actions are a measure of his character.

These themes, swathed in Alexandre Desplat’s dark-hued score and Phedon Papamichael’s chocolate-and-burgundy cinematography, come into relief as Stephen encounters turbulence in his career and his personal life. He stumbles into a professional flirtation with Duffy, and almost simultaneously into some hot campaign sex with Molly Stearns (Evan Rachel Wood), a young woman who is — no points for guessing right — an intern. She also has a powerful daddy and a secret in her past that has the potential to send Stephen’s career and the Morris campaign into a tailspin.

Mr. Clooney handles the plot complications with elegant dexterity. As an actor, he works best in long, understated scenes that allow him to play with nuances of charm and menace, so it is not surprising that, as a director, he gives the rest of the cast room to work. But the parts of “The Ides of March” — quiet scenes between Mr. Gosling and Ms. Wood; swirling, Sorkinesque exchanges of banter; any time Ms. Tomei or Max Minghella (as a campaign worker grooming himself to be the next Stephen Meyers) are in the room — are greater than the whole.

Somehow, the film is missing both adrenaline and gravity, notwithstanding some frantic early moments and a late swerve toward tragedy. It makes its points carefully and unimpeachably but does not bring much in the way of insight or risk. Powerful men often treat women as sexual playthings. Reporters do not always get things right. Politicians sometimes lie. If any of that sounds like news to you, then you may well find “The Ides of March” downright electrifying.

Thursday, September 15, 2011

Captain America : The First Avenger

Captain America: The First Avenger is a 2011 American superhero film based on the Marvel Comics character Captain America. It is the fifth installment of the Marvel Cinematic Universe. The film was directed by Joe Johnston, written by Christopher Markus and Stephen McFeely, and stars Chris Evans, Tommy Lee Jones, Hugo Weaving, Hayley Atwell, Sebastian Stan, Dominic Cooper, Neal McDonough, Derek Luke, and Stanley Tucci. The film tells the story of Steve Rogers, a sickly man from Brooklyn who is transformed into super soldier Captain America to aid in the war effort. Captain America must stop Red Skull, Adolf Hitler's ruthless head of weaponry, and the leader of a mysterious organization that intends to use a tesseract energy-source for world domination.











Captain America: The First Avenger began as a concept in 1997, and was scheduled to be distributed by Artisan Entertainment. However, a lawsuit, not settled until September 2003, disrupted the project. After Marvel Studios received a grant from Merrill Lynch, the project was set up at Paramount Pictures. Directors Jon Favreau and Louis Leterrier were interested in directing the project before Johnston was approached in 2008. The principal characters were cast between March and June 2010. Production of Captain America: The First Avenger began in June 2010, and filming took place in London, Manchester and Liverpool in the United Kingdom, and Los Angeles in the United States. The film was converted to 3D in post-production.











Captain America: The First Avenger premiered in Hollywood on July 19, 2011, and was released in the United States on July 22, 2011. The film became a critical and commercial success, grossing an estimated $348.5 million worldwide as of September 2011.











In the present day, scientists in the Arctic uncover a circular object with a red, white and blue motif. In March 1942, Nazi officer Johann Schmidt (Hugo Weaving) and his men invade Tønsberg, Norway, to steal a mysterious tesseract possessing untold powers. In New York City, Steve Rogers (Chris Evans) is rejected for World War II military duty due to various health and physical issues. While attending an exhibition of future technologies with his friend Bucky Barnes (Sebastian Stan), Rogers again attempts to enlist. Having overheard Rogers' conversation with Barnes about wanting to help in the war, Dr. Abraham Erskine (Stanley Tucci) allows Rogers to enlist. He is recruited as part of a "super-soldier" experiment under Erskine, Colonel Chester Phillips (Tommy Lee Jones), and British agent Peggy Carter (Hayley Atwell). Phillips is unconvinced of Erskine's claims that Rogers is the right person for the procedure but relents after seeing Rogers commit an act of self-sacrificing bravery. The night before the treatment, Erskine reveals to Rogers that Schmidt underwent an imperfect version of the treatment, and suffered side-effects.











In Europe, Schmidt and Dr. Arnim Zola (Toby Jones) successfully harness the energies of the tesseract, intending to use the power to fuel Zola's inventions. Schmidt, having discovered Erskine's location, dispatches an assassin to kill him. In America, Erskine subjects Rogers to the super-soldier treatment, injecting him with a special serum and dosing him with "vita-rays". After Rogers emerges from the experiment taller and muscular, one of the attendees kills Erskine, revealing himself as Schmidt's assassin, Heinz Kruger (Richard Armitage). Rogers pursues and captures Kruger but the assassin commits suicide via cyanide capsule before he can be interrogated.

With Erskine dead and the super-soldier formula lost, U.S. Senator Brandt (Michael Brandon) has Rogers tour the nation in a colorful costume as "Captain America" to promote war bonds rather than allow scientists to study him and attempt to rediscover Erskine's formula. In Italy 1943, while on tour performing for active servicemen, Rogers learns that Barnes' unit was lost in battle against Schmidt's forces. Refusing to believe that Barnes is dead, Rogers mounts a solo rescue attempt with Carter and Howard Stark (Dominic Cooper) flying him behind enemy lines. Rogers infiltrates the fortress belonging to Schmidt's HYDRA organization, freeing Barnes and the other captured soldiers. Rogers confronts Schmidt who reveals his face to be a mask, removing it to display the red, skull-like face that earned him the sobriquet, the Red Skull. Schmidt escapes and Rogers returns to base with the freed soldiers.