Archives for posts with tag: ed harris

MV5BYWFlY2E3ODQtZWNiNi00ZGU4LTkzNWEtZTQ2ZTViMWRhYjIzL2ltYWdlXkEyXkFqcGdeQXVyNTAyODkwOQ@@._V1_UX182_CR0,0,182,268_AL_We begin in a boy’s youth, as his grandfather teaches him to shoot wolves. He hesitates, and the wolf disembowels their horse.

We then launch in medias res, as Soviet recruits are ferried across the Volga to fight the Nazis in what you can already say is the ruins of Stalingrad. Vassily Zaitsev (Jude Law) is among them. He is the boy of the earlier incident, but he is not one of the lucky few to be given a rifle before being sent into the hell between the German guns and those that ensure he will not retreat. Vassily starts out with a convincing expression of terrified panic on his face, but somehow Mr. Law manages to escalate as the film goes on.

After that first abortive offensive, Vassily is avoiding the Nazi mopping-up by hiding in a fountain full of corpses. There he is joined by the young political officer Danilov (Joseph Fiennes), whose car has just blown up, whose glasses are broken, whose competence with a gun is merely nominal, and who is generally having a really bad case of the Mondays. He fumbles with a rifle he finds until Vassily takes it from him and rapidly kills every Nazi he can see. Danilov, in true Soviet style, makes Vassily into a Hero of the Motherland, with a new fancy sniper rifle, fanmail, and slightly exaggerated rustic bona fides. They become fast friends, but Danilov also sells the heroism to a young(ish) Nikita Khrushchev (Bob Hoskins).

Two complications emerge. The first is a beautiful woman, Tania Chernova (Rachel Weisz), who can both read German and shoot, and thus bounces back and forth awkwardly between Danilov’s staff and Vassily’s band of miracle-workers. The second is a Nazi sniper, a Major König (Ed Harris), who has come all the way from Berlin to kill Vassily.

It doesn’t seem as though many saw this film, perhaps because in early 2001 it was still fashionable to imagine that we had solved the problem of war. It was particularly unpalatable at the time to consider a war in which neither side was hunky freedom-loving good guys. To be sure, Enemy at the Gates never for a moment questions that the Nazis must be stopped, but it also pulls no punches about the miseries of Soviet life–the wolf has already taken everything you love, the film tells you, but you must continue to fight.

Overlooking this movie, however, was a collective failure in judgement, because it’s rather good. It is affecting without being emotionally manipulative, unlike the vast majority of WWII movies. Everyone, particularly Hoskins and Harris, is well cast; it is difficult to believe that Ed Harris has only played a Nazi officer in one other film, as far as I can tell. You want to like Fiennes, but political officers are necessarily squirrelly. Weisz and Law are impossibly beautiful, and impossibly young, but they are carefully encrusted in dirt, so it isn’t jarring. They joke adorably about how Vassily’s crisp new uniform will probably be taken back directly after a photo-op.

Heads up, though, an entirely plausible number of people die.

Director: Jean-Jacques Annaud
Rating: R
Length: 131 minutes
Score: 4/5

This came out in between A Few Good Men and Interview with the Vampire, and that feels about right. And apparently there was a time when you could cast David Strathairn as Tom Cruise’s black sheep of a brother. The early nineties were weird.

Mitch McDeere (Cruise) works his way through Harvard Law by waiting tables. He is married to Abby (Jeanne Tripplehorn), who is from a well-off family and gave up everything to be with him. This comes up a lot but never pays off. Every law firm wants to hire him, but despite Abby’s Stepford heebiejeebies, he takes a job at a small family outfit in Memphis. They assign him Avery Tolar (Gene Hackman) as his mentor.

MV5BMTgxMjM5NDYwM15BMl5BanBnXkFtZTgwODkzMzk5MDE@._V1_UX182_CR0,0,182,268_AL_Abby’s reservations do not go away, and then people start dying in the Caymans, which, in the nineties, was probably the most suspicious place for inconvenient people to die. To stir the pot unnecessarily arrives an FBI agent in the person of a bald Ed Harris. He wants Mitch to help the FBI take down the eponymous Firm, which launders money for the Chicago mob. But this interferes with Mitch’s honest lawyering! Disclosing those documents would violate lawyer-client confidentiality, which sounds less bad than laundering money for a crime family, but I’m not a lawyer, so I could be wrong.

Meanwhile Mitch’s mom lives in a trailer park and his brother is in prison and he hires Eddie Lomax (Gary Busey) to investigate things. Tammy (Holly Hunter) works for Lomax, because of course she does. And everyone is being hunted by a near-albino man.

Obviously this will proceed in the manner which will allow Tom Cruise to set his jaw the most righteously. And apparently everyone just had Mickey Finns lying around all the time back then, and few qualms about using them. Basically, most of the people in this movie play painfully close to type, which works because most of the plot in this movie is a series of painful clichés. I’d cut it slack for being the Casablanca of overwrought legal dramas, thereby exonerating it from the charge of banality, but it’s not that good even if you correct for that.

Director: Sydney Pollack
Rating: R
Length: 154 minutes
Score: 3/5