THE JUSTICE
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TUESDAY, November 13, 2012
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OFF CAMPUS FILM review
Bond continues his reign in action movies ■ Starring in his third Bond
installment, Daniel Craig once again puts out an action-packed release. By Yehuda harel JUSTICE contributing WRITER
In 2006, Casino Royale introduced Daniel Craig as the new James Bond in a story that accurately reflected the novel of the same name. The film tells how James Bond got his two zeros and expresses the movement from an independent James Bond to an operative who serves MI6. By Skyfall, Bond is already aging. He enters the world of cyberterrorism, and his role has been reduced from an intelligent operative to a killer-on-call. He has become the blunt instrument thrown into difficult situations, as described in Ian Flemings’ stories. While he fights on a moving train, his
Columbia Pctures/MCT
STEALTH ACTING: Daniel Craig stars as British spy James Bond, along with Judy Dench and Javier Bardem.
ear piece serves as a reminder that he is subject to orders from his superiors. This movie tempers basic human relations and care with loyalty to an agency and mission. As opposed to recent Bond films, M (Judi Dench), has to face her struggle between her maternal love for Bond and her duty to complete the job as cleanly as possible. For once, M appears like a person who harbors personal concerns, in addition to being the one who commands Bond. This in turn allows Daniel Craig to reflect Bond’s respect and trust in her judgment. Craig was able to balance the ruthless and direct nature of Bond with a sense of allegiance, not only to MI6, but to M herself. Sam Mendes, the director, tells a sharp story while paying homage to the rich history of 007. He understands that there have been 22 films, countless novels and even an attempt at a television series. Mendes makes sure to cover all the bases of a Bond film from the Aston Martin to the women. The filmmakers traveled to exotic locations, from Istanbul to Shanghai and Macau, to stage the chase scenes and fighting sequences. Roger Deakins, the cinematographer, remembered for The Shawshank Redemption and No Country for Old Men, filmed these cities to exhibit their range of colors. Deakins appeals to the natural color of each city. He captures the glow of neon lights in Shanghai while seeking the earthy browns in a misty English countryside. This provides the viewer with enhanced spectacle and immersion in these distinct environments.
Javier Bardem plays the villain, Silva, who uses a disturbing form of humor to hide his haunted past. His nature may remind the viewer of the Joker from The Dark Knight because his humor involves playing games with real weapons. His hatred for authority and loyalty, in addition to his playfulness, makes him the prefect antagonist for Bond. Yet, the villain is not the most innovative part of this film. What sets Skyfall apart from previous Bond films is the return to the UK. At least half the film takes place in England, and the story is anchored there. The public court examines MI6 under a lens to question the existence of the organization. M, the director of MI6, faces a possible trial to account for the dangers caused by the leak of vital information. M is targeted in a terrorist attack, bringing Bond back home, because the conflict appears to rest in MI6. The climax is felt in a greater magnitude in Skyfall because rather than being in Jamaica or the Swiss Alps, the action happens on the streets of London and the Scottish Highlands. Skyfall captures those who wait in the shadows. The pockets of dark space not only hide the desires of the villains but also hide the very villains themselves. Bond knows how to walk and hide in this type of space with experience and confidence. It is where the earpiece is out of range and the computers lack hands and eyes to grasp. “Sometimes the old-fashioned way is the best,” a character remarks, suggesting that one has to keep the knife ready in case the gun fails. Nothing can replace a proper confrontation between opposing forces, and Skyfall pays tribute to the timeless pleasure of being there for the action.
FILM review
‘Lincoln’ evokes a powerful message about leadership ■ Based on the presidency of
Abraham Lincoln, the selftitled movie is one of Stephen Spielberg’s most successful film releases in recent years. By jess linde JUSTICE STAFF WRITER
My dearly departed grandpa was an unshakable admirer of Abraham Lincoln. To him, Lincoln was the best American president and possibly the best American to have ever lived. And while I was often skeptical of my grandpa’s undying adoration, seeing him gush about Lincoln is something that I miss a lot. The film Lincoln, directed by Steven Spielberg, gives me some solace knowing that my grandpa would be as happy with it as I am. Welcome to 1865: America is in its fourth year of the Civil War, and Abraham Lincoln (Daniel Day-Lewis) has just been reelected President of the United States. The country is desperate for peace, and both sides struggle to deal with the war’s climbing death toll. Although the president is under constant pressure to make a deal with the Confederacy, his mind is also occupied with passing the Thirteenth Amendment of the Bill of Rights to abolish slavery. To do so, Lincoln
needs at least 20 Democratic votes, something that Secretary of State William Seward (David Strathairn) and the rest of the presidential cabinet are worried about. So while Abe also must be a husband, a father and a friend, he must also be a president, and, well, Abraham Lincoln. Before watching the film, I was surprised to learn that Lincoln had a rather high, squeaky voice, and I was worried that it wouldn’t work well on screen. But I was completely wrong. Day-Lewis is stunning as the 16th president; his body language, facial expressions and speech all bring the man to life. As the movie began, there were three girls behind me chatting loudly,but as soon as Lincoln spoke the whole theater went silent. He is commanding and legendary but also human and fragile. The magnificent script by Tony Kushner never gets too melodramatic; it is written with amazing authenticity and emotion. With Lincoln, Spielberg is in top form. He paces everything incredibly well, and the gorgeous cinematography shows off the perfect production design. There are moments when the story drags on a little, but the performances and direction keep an amazing tension; I got nervous about what was going to happen, even though I already knew most of the history.
The supporting cast, including Jared Harris as Ulysses S. Grant, Jackie Earle Haley as Alexander Stephens and Sally Field as Mary Todd Lincoln are also incredible. Tommy Lee Jones in particular deserves an Oscar for his portrayal of abolitionist Thaddeus Stevens. The film is so well researched (Spielberg, Kushner and the actors and crew did research for two years before even beginning production) and put together; I enjoyed every minute of it. I admit, Lincoln made me cry. Just a little, but it did. Partly because it reminded me of my grandpa, but mostly because it’s just so moving. It reminded me that no matter how fed up I get with American politics or the state of the country, good can be achieved when the right leader brings the right people together. Lincoln is a film about an extraordinary man who, in the end, was just a man who managed to be extraordinary. He loved to tell stories and to be with his friends, and more than anything he believed in human dignity and the power of the American ideal. Although he compromised, he never quit fighting for the equality that he knew America could achieve. So go see Lincoln, and remember how good we’ve got it because of one man and his determination to achieve equality in the American state.
DreamWorks/MCT
PRESIDENTIAL FIGURE: Daniel Day-Lewis stars as President Abraham Lincoln in the highly acclaimed film on his life.