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Written by Matthew Toomey

Created: 30 March 2003

As I learnt as part of the primary school curriculum, Kelly was born in Victoria 1854.  Growing up, he saved the life of a drowning boy and was presented by the boy’s parents with a green silk sash.  The death of his father in 1867 resulted in Ned leaving school and finding work in the bush to support the family.  The police were not kind to the Kelly clan who were equally resentful.  In 1871, Ned was sentenced to gaol for being given a stolen horse by a friend.

Released in 1874, his relationship with the authorities had not improved.  Some horses had been stolen and sold in New South Wales and an officer by the name of Alexander Fitzpatrick turned up at the Kelly property to question Ned and his younger brother Dan.  With Ned not home, Fitzpatrick waited and made a pass at Ned and Dan’s sister, Kate.  A fight then broke out, and Fitzpatrick accidentally shot himself.  Back at the station, he claimed Ned had shot him and hence the trouble began.

Ned and Dan fled to evaded police but soon learned their mother had been charged and sentenced to three years herself for assisting in the murder.  Ned sought revenge and began a long campaign against the police.  Robbing banks to fund his activities, the Kelly gang found notoriety in the papers but were loathed by the authorities who soon offered a massive reward.  A massive man hunt began and he was finally caught in a massive shootout at Glenrowan in 1880.

Gregor Jordan, the director of the AFI award winning Two Hands, seems overwhelmed by the subject material and shows snippets of Ned’s life which don’t give the story a flowing feeling.  He includes many unnecessary references to Australian flora and fauna which I can only assume are to help overseas viewers appreciate our country.  I guess he overlooked the important point that it adds zero to the story.

The music from Klaus Badelt is extraordinarily bad and doesn’t suit the film’s style at all.  It looks like a small independent Australian film and yet the score would be more appropriate in a multi-million dollar action blockbuster.  Speaking of appropriateness, where did they find these supporting actors?  Stars Heath Ledger (who needs a good role soon or else) and Orlando Bloom are bearable but as for the remainder… yeesh!  At one point there’s a kid who sees Ned riding in a horse and cries out “look, it’s Ned Kelly!”  If you’ve seen it, you’ll understand just how hammy many of the lines are.

Also note that this is an “interpretation” and shouldn’t be declared as hard truth.  It is very one-sided towards Ned and whilst I’m sure he was harshly treated, the film includes few references to the bad things he did and the innocent people who were killed.  Don’t be too quick in swallowing the story.

For such a renowned Australian icon, you’d think the film would be more exciting.  I was bored stupid and completely uncaring towards these folk.  I fear many others both at home and abroad will be united on this opinion.  I just hope they don’t subject those influential primary school kids to this nonsense when teaching the Kelly legend in the future.

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Written by Matthew Toomey

Created: 16 March 2003

We meet Antwone Fisher (Luke) as a 25-year-old working in the navy.  Provoked, he lashes out at a fellow crew member and (after a rather silly hearing) winds up in the hands of psychiatrist Jerome Davenport (Washington).  As you’d expect, Antwone isn’t initially forthcoming in sharing his deep thoughts with a total stranger but Jerome uses his experience to get Antwone to open up and reveal the reasons for his anger.

You see, Antwone is angry because he had a rough childhood.  His father was murdered before he was born and his mother was in prison with no need for him.  We spent his first few years in an orphanage before being taken in by a foster family who treated him like dirt.  He was constantly looked down upon, treated like dirt, and yep, even sexually abused.  It’s time to start feeling sorry for Antwone. Boo hoo.

The film takes a slightly different path at this point.  Instead of focusing on Antwone getting his navy career back on the rails, Jerome suggests he go in search of his mother who abandoned him long ago to find closure on the matter.  Travelling with his new girlfriend, Antwone has success and all ends happily ever after.  Before I forget, I need to mention that Jerome and his own wife are currently having troubles of their own and his friendship with Antwone helps him fix all that ails him.

This is sugary tale is too sweet for its own good.  You can’t help but feel manipulated.  I wasn’t even slightly touched emotionally by this true story.  Perhaps if told with more realism I could speak more highly but Antwone Fisher’s own screenplay has the Hollywood touch and has borrowed from many other films.  In fact, after 20 minutes into the film, I thought I was watching an African American version of Good Will Hunting.

Denzel Washington’s directorial debut is a little rough around the edges.  He treads familiar territory and some lukewarm editing makes the storytelling look a little sloppy - there are too many gaps in this story.  Parts of the film which seemed of most interest were unexplored and kept short.  I was also unimpressed by the ease at which Jerome coaxes the bad memories from Antwone’s heavily guarded mind.

Antwone Fisher needed more work.  I mean no disrespect to the man himself as I’m sure his triumphant story is something to behold.  But after seeing this interpretation on screen, I’m not interested.

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Written by Matthew Toomey

Created: 23 March 2003

To all, the identity of the Daredevil remains hidden but we all know he is Matt Murdoch, a blind lawyer by day, and superhero by night.  Like all such heroes, there’s a story as to how they became so “super” and writer/director Mark Steven Johnson begins accordingly.  Matt’s father, Jack Murdoch, was an aging boxer, who at the age of 42, was trying to resurrect his once illustrious career.  Known in boxing circles as “the devil”, his advice to his son was to not follow in his footsteps and study hard.

Riding his skateboard home from school, Matt’s life is changed in a freak accident.  A hazardous chemical is spills onto his eyes and he is blinded forever.  For reasons which aren’t exactly made clear, his other four senses become super-enhanced which compensate for his loss of vision.  Finding his feet again, Matt’s life takes downward twist when is father is killed by gangsters and Matt is left an orphan.

Next thing we know, Matt has become Daredevil, a guy in a costume who roams the streets at night trying to avenge his father’s demise.  I’d like to think the theatre projectionist inadvertently forgot to show a reel of the film at this point but sadly, not so.  In their haste to get to the guts of the adventure, valuable lead-up information has been overlooked.  How did he learn to harness his powers?  How did he come up with all the weaponry he uses?  How did he make his secret hiding place with the locks and secret compartments?  How did he first begin his quest for removing evil from the streets?  And um, how did he become a lawyer?  The film didn’t need to dwell on these points but a quick series of scenes showing his “evolution” wouldn’t have gone astray.

Moving on to the current time frame, Matt meets his token female interest, Elektra, played by the stunning Elizabeth Garner.  Elektra is soon to be an orphan herself when her billionaire father is killed by a mystery “kingpin” who seemingly controls the streets of the city.  Putting two and two together, they understand the same person was responsible for each of their father’s deaths – it’s the wealthy Fisk (played by Michael Clarke Duncan) who has sent his best henchman, Bullseye (Colin Farrell) to finish them off.

To continue my criticism, there are further inconsistencies through this part of the film.  Daredevil is able to jump off 50-story buildings and land safely on his feet without explanation.  He’s also got an ability to dodge bullets and other projectiles by swerving all over the place and doing back flips.  It’s silly and is just an excuse for director Mark Steven Johnson to use more special effects (heavily borrowed from other films) and flashy editing.

Speaking of the film’s editing, the fight scenes are poorly cut and with an insanely large number of individual shots and a feeble mix of slow/fast motion.  The soundtrack doesn’t work either – there are at least two moments in the film when the pace of the story is broken only to show a montage of scenes backed solely by the soundtrack.  This technique is best served in a music video and not a major motion picture.

Amongst the mess, there are positives.  One particular side character of interest was a news reporter played by Joe Pantoliano who is trying to gain information on the Daredevil for his newspaper.  But like so much of the rest of this story, he isn’t fully explained and we have no sense of whether the public, as a result of his articles, are pro or anti Daredevil.

There’s very little “daring” about Daredevil.  The screenplay mirrors everything expected of the genre, which to a limited extent is pleasing, but it doesn’t offer any chance of growth.  And with superhero films being churned out at their fastest rate ever, this doesn’t make the grade.

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Written by Matthew Toomey

Created: 15 March 2003

It occurred to me that there’s an increasing number of foreign language films being released here in Brisbane.  Cinemas such as the Palace Centro and the Dendy are rewarding more discerning filmgoers with treats from all over the globe.  Later this month, the Centro is screening a range of unseen films as part of its French Film Festival.  So if you’re tiring of American culture, the opportunities are there to see something new.  Given I fit into this basket, I took the chance to see my first ever film from Brazil, City Of God.

The film begins in the late 1960s in a community outside of Rio De Janeiro known as the City of God.  It’s a housing project for the poor with tiny homes and few utilities.  Teenage gangs roam the streets day and night.  With nothing better to do, they steal from everyone and have established a roaring drug trade to generate power and money.

After establishing the characters, we move into the 1970s where the kids have become young adults but little else has changed.  A leader had emerged from the gangs, Lil’ Ze, and his influence had differing effects on this city.  Crime was down and people lived less in fear as no one dared go up against Lil’ Ze and his growing army of supporters.  Conversely, his rule was become something of a dictatorship and more and more people became disenchanted by his brutality.  He would slay meaningless people in the streets.  A rival group was building and a massive gang war was looming to reclaim control of the city…

Knowing nothing of its cast and crew, the film’s website provides a wealth of supporting information to this engrossing story.  City Of God is based on a true story and the actual city itself is still a troublesome area in Brazil.  In making the movie, duals directors Katia Lund and Fernando Meirelles used actual people from the city who had never acted before.  Over 100 children were used in feature roles and they all became close friends thanks to the numerous acting workshops that were held to help them prepare.  Their closeness to the story, and the fact the film is shot in the actual town, heightens the realism.

Subtitles will guide you through the Portuguese dialect and take you into a world you never knew existed.  The film is narrated by one of it’s characters who speaks from the present looking back on the scary past with the thankful joy that he lived to tell the tale.  A common film technique is used where we are given a sneak peak of the end at the beginning and then look back to show the lead up to this point.  The directors wonderfully use this method and tease the audience with hints of events to follow in the story.

The film only took nine weeks to make and has now become the highest grossing film to emanate from Brazil.  It featured on the top 10 lists from a host of overseas critics last year and the film seemed a virtual shoe-in for the Oscar for foreign language features.  But given the Academy’s heavily criticised policy on only allowing a select few to vote in this category, the film was overlooked and an outcry soon followed.  I’d advise you not to follow their trend in passing over this violently entertaining marvel.

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Written by Matthew Toomey

Created: 18 March 2003

“Great aspiration without contribution is of insignificance.  What will your contribution be?  How will history remember you?”  The words of teacher William Hundert as he addresses his class for the first time at the St. Benedicts School For Boys.  As assistant headmaster, Mr Hundert passionately preaches the importance of honour and virtue in living one’s life.  Teaching his students the valuable lessons learnt in classical history, he aims to mould the character of his students into something they can be proud of.  This is his contribution.

In the summer of 1972, a new arrival to the school would leave Mr Hundert questioning his ideals for the rest of his life.  The son of a senator, Sedgewick Bell was a disruptive brat (marginally over-played by newcomer Emile Hirsch) who used his smart mouth to ridicule teachers and earn popularity from his classmates.  Drawing on his own personal experiences, Mr Hundert sensed the unspoken pressures being applied to Sedgewick by his famous father and reached out to help him.

Mr Julius Caesar is a title bestowed on the student of the school who demonstrates the best knowledge of Roman history.  The competition has been in existence for almost a century and photos of the winners line the walls of the long corridors.  A series of challenging essays are set to determine the three top students before these finalists compete in a public shootout with increasingly difficult questions being posed by Mr Hundert until one man remains standing.  Could the improving Sedgewick make the final cut and satisfy Mr Hundert’s belief in his ability.

What begins as a beautiful woven feel-good drama then takes an incredible (yet totally believable) series of shocking twists.  Most modern-day filmmakers put little thought into “twists” - they think an audience will be impressed by something startling despite the fact it doesn’t fit the story, makes little sense and lacks in realism.  This crafty screenplay from Neil Tolkin keeps luring the audience into a satisfied sense of comfort before having them suddenly revaluating their position on the virtue of these characters.

Kevin Kline is at his brilliant best in the leading role.  It’s such a controlled performance – he speaks with exuberant vigour in his classroom, clinging to his deeply held principals and transfixing them onto those in front of him.  He utters invaluable quotes based on decades of experience – the kind of advice which few teens are exposed to.  Mr. Hundert will leave a lasting impression on his students but so to will these students leave a lasting impression on Mr. Hundert.

The stylish Michael Hoffman (Restoration, A Midsummer Night’s Dream) uses his soft, precise direction to textbook effect.  Hoffman himself has a background in the subject having studied the classics at Oxford University, and in fact is a Rhodes scholar.  But his true attraction to the project I couldn’t agree with more – in his own words “the film has the ability to turn the genre on its ear”.

The script itself is based on a short story penned by Ethan Canin known as The Palace Thief.  Backed by Hungarian cinematographer Lajos Koltai (Malena), Academy Award winning production designer Patrizia Von Brandenstein (Amadeus), and the underrated composer James Newton Howard (My Best Friend’s Wedding) the director effortless takes us into this picture-perfect 70s campus and the world of Mr. Hundert.  We are the students in Hoffman’s cinematic classroom.

No more highly can I recommend The Emperor’s Club but expect the unexpected.  A valuable reference Mr. Hundert leaves his class is that “it is not living that is important, but living rightly.”  To see this film, would be living rightly.