Amadeus

Posted on December 13, 2002 at 5:17 am

Antionio Salieri (F. Murray Abraham in an Oscar-winning performance), the court composer, should have been Mozart. He followed all the rules, worked hard, and cared deeply. Music was his life. Mozart (Tom Hulce) arrives, a bawdy, bratty, foolish boy whose music could enchant the angels. Salieri, ironically the only one who understands music well enough to realize Mozart’s genius, is consumed with jealousy.

Teens will be interested to learn that this movie was written by a man whose twin brother was for a time the more commercially successful of the two, both playwrights, which surely influenced his choice of subject and his approach.

Families who enjoy this movie should see Ingmar Bergman’s movie version of Mozart’s The Magic Flute.

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Based on a true story Drama

Amistad

Posted on December 13, 2002 at 5:17 am

Plot: In 1839, a group of Africans sold into slavery were being transported to the United States on a Spanish ship. Off the coast of Cuba, they escaped from their shackles and attacked the crew, leaving two crew members alive to take them back to Africa. The Spanish sailors tricked the Africans and sailed up the coast of the United States until an American naval ship off the coast of Connecticut captures them. The Africans were brought into court to determine their fate. They were claimed as property (“like livestock”) by both the Spanish crew and by the American captors.

Roger Baldwin (Matthew McConaughey), a property lawyer persuades abolitionists Theodore Joadson (Morgan Freeman) and Lewis Tappan (Stellan Skarsgård) that he has a theory that will help the Africans. He argues that it is not a property case at all. The law provides that only the child of slaves can be a slave. Since the Africans were not born slaves they are free, and their actions were merely self-defense in aid of restoring their freedom. If Baldwin can prove that they were born as free people in Africa, and not, as their captors alleged, slaves in the West Indies, they would not be considered property; they would be considered human beings.

The trial attracts the attention of President Martin Van Buren (Nigel Hawthorne), who is in the midst of a campaign for re-election and very aware that he will need the support of Southern voters to win. He is under additional pressure from the eleven-year-old queen of Spain, Isabella II, and her ambassador, who raise claims on behalf of the Spanish fleet. When the judge and jury appear sympathetic to the Africans, Van Buren arranges for a new judge to hear the case without a jury.

Meanwhile, the Africans try to understand what is going on around them. Baldwin and Joadson are able to find a man who speaks Mende, the language of Cinqué (Djimon Hounsou) and some of the other Africans. They win in court and the government appeals. Former President John Quincy Adams (Anthony Hopkins) represents them before the U.S. Supreme Court, where seven of the nine Justices are slaveholders. In a moving and eloquent argument, he persuades the Justices (with one dissenter) that the Africans were free, and that if they had been white, they would have been called heroes for rebelling against those who tried to take that freedom away.

Discussion: Adams explains that in court the one with the best story wins. Indeed, we hear many different stories in the course of the movie as each character tries to explain why his view is the right one. In the first courtroom scene we hear several different “stories” about what should happen to the Africans. All of those stories assume that the Africans are property; the only question is whose property they are. Interestingly, as “property,” they can not be charged with murder or theft. One cannot be both property and capable of forming criminal intent. The only issue before the court is where the Africans will go.

As Baldwin begins to tell Joadson and Tappan his “story” of the case, we see them slowly becoming aware of what had always been obvious to us. The Africans cannot be property. They were free, in which case their actions were not only honorable but heroic, in the same category as America’s founding fathers, our own “story” about who we are as Americans. Despite the attempts of Van Buren to subvert the legal system established just decades before, the essential commitment to freedom is so much a part of the story that, at least in this one brief moment, justice triumphed. Adams, the son of the second President, made that his story.

Questions for Kids:

· Why was it important to prove where the Africans were from?

· What was Calhoun’s justification for slavery?

· Why does Tappan say that the death of the Africans may help the cause of abolition more than their freedom?

· Why does Spielberg organize his story this way, taking the audience from the confrontation to the courtroom and only later providing the background about the capture of the Africans?

· What does it mean that there is no Mende word for “should”?

Connections: Chief Justice Storey is portrayed by real-life former Supreme Court Justice Harry Blackmun.

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Based on a true story Drama

The Chocolate War

Posted on December 13, 2002 at 5:17 am

Plot: While Jerry Renault (Ilan Mitchell-Smith) a freshman at Trinity Prep boy’s school, is belittled by the football coach, two boys, Archie (Wally Ward) and Orbie (Dough Hutchison) sit high up in the stands watching them. Archie determines the “assignments” to be given to those boys selected for the school’s elite club, the Vigils, and Orbie is the club secretary. Jerry, whose mother has recently died, is selected for an assignment.

At home, Jerry’s father is remote, still overcome by grief. In school, teacher Brother Leon (John Glover) is tough and imperious. He brutally berates an outstanding student, then tells him, “You passed the toughest test of all — you were true to yourself.”

Brother Leon tells Archie the boys have to sell 20,000 boxes of chocolates for their annual fund-raiser, twice the number from previous years, and at twice the price, to help ensure that he will become headmaster. He won’t refer to the Vigils by name, but acknowledges Archie’s “influence.” Each boy must sell 50 boxes. All of the other boys agree, but Jerry refuses. Brother Leon says that selling is voluntary (“that is the glory of Trinity”), but tells the class that “the true sons of Trinity can pick up your chocolates in the gym. The rest — I pity you.”

It turns out that refusing to sell the chocolate was the “assignment” given to Jerry to prove his worth to the Vigils. But after the time period of the assignment expires, he continues to refuse to participate, despite harassment by the other boys. It gives him a feeling of strength and independence, not just from Brother Leon, but from the Vigils as well. Brother Leon says that sales are poor because the boys have become “infected” by Jerry. Brother Leon tells Archie that “if the sale goes down the drain, you and the Vigils go down the drain. We all go down the drain together.”

The Vigils decide to make the chocolate sale a success by making it popular. “We make it cool to sell the things.” The head of the Vigils tells Archie his position depends on his making his plan work.

At last, all of the chocolates are sold, except for Jerry’s quota. Archie arranges an assembly, with a raffle, the prizes the chance to select the punches in a boxing match between Jerry and a tough boy named Janza. But Archie has to take Janza’s place, and Jerry beats him. Jerry says, “I should have just sold the chocolates, played their game anyway.” Archie is now secretary, and Orbie has taken over assignments for the Vigils.

Discussion: Mature teenagers, especially fans of the popular book by Robert Cormier, will appreciate this dark story, a kind of “Dangerous Liaisons” for teenagers. Archie says that “people are two things, greedy and cruel,” and devises his plans to take advantage of those qualities.

Although the story is exaggerated for satiric effect, much of it will seem true to teenagers, who often feel a heightened sense of proportion. The movie shows us some of Jerry’s dreams or fantasies, which add to the surreal and claustrophobic feeling of the movie.

The movie provides a good basis for a discussion of the different ways that people get other people to do what they want, the exercise of power, and the ways that power is maintained — and lost. The interaction between Brother Leon and Archie is especially interesting, because of their uneasy interdependence. As powerful as both of them seem, they ultimately lose their power without much of a struggle.

Questions for Kids:

· What are the tools that Archie uses to maintain and exercise power? What tools does Brother Leon use?

· How can anyone or any group decide to make something “popular” and “cool” as Archie does with the chocolate sale?

· Why does Archie tell Janza to “use the queer pitch” on Jerry?

· Why does the screenplay have Archie holding an impaled butterfly when he talks to Janza on the phone? Why does Jerry tell the girl she was right?

· What is the significance of the Vigil’s marble test for the person who gives the assignments?

Connections: Read the book by Robert Cormier, and his other popular novel, “I Am the Cheese” (filmed in 1983, and remade in Canada as “Lapse of Memory,” (also known as “Memoire Tranquee”) in 1992. Compare this story to other books and movies about power struggles in a school context, including “Perfect Harmony,” “Lord of the Flies,” “School Ties,” and, for mature high school and college students, “The Lords of Discipline” (rated R), the surrealistic “If…” (1968, rated R) and one of its inspirations, the French film “Zero for Conduct” (1933).

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Based on a book Drama High School

All About Eve

Posted on December 13, 2002 at 5:17 am

Margo Channing (Bette Davis), a Broadway diva beginning to show her age, meets the young fan who stands outside the theater after every performance (Anne Baxter as Eve Harrington). Taken by her devotion, humility, and hard luck story, Margo gives Eve a job as a gofer/secretary. At first, she is delighted, but later comes to realize that Eve is ruthless and will stop at nothing to steal Margo’s career — not to mention her fiancé (Gary Merrill as director Bill Simpson). Eve manipulates Margo’s friends and colleagues, becomes her understudy, and finally, after scheming to keep her away from the theater, goes on in her place, after arranging for critics to be at her performance. She takes the starring role in a new production that would have been Margo’s, and wins an award for it. But by then, Margo and her friends are back together, Eve is tied to a critic who is as ambitiously manipulative as she is, and as the movie ends, she too meets a devoted young fan who could be another Eve.

This movie, with one of the most literate scripts ever written (by Joseph L. Mankiewicz, who also directed) is not just the finest backstage drama ever filmed, but also a compelling parable of ambition and loyalty. Bette Davis is brilliant as Margo, bringing both the ferocity and the vulnerability of Margo to life. No one can forget her at the beginning of her party: “Fasten your seatbelts, it’s going to be a bumpy night.” She is the first to notice that Eve is not what she seems, but her friends assume it is just petty jealousy, and it only makes them want to protect Eve. That is just what Eve needs to get them to do what she wants, and it almost results in the break-up not only of Margo and Bill, but also of their best friends, playwright Lloyd Richards and his wife Karen. Ultimately, the loyalty of all four friends keeps them together. And ultimately, Eve is reigned in by someone who is her equal, acidic columnist Addison De Witt (a silky George Saunders).

This is a good movie to use to discuss how to determine what actions are appropriate to realize ambition. Compare it to movies like “Rudy” also about the achievement of a dream. It is not the dream that differs here as much as how it is achieved. Eve lies and has no compunctions about creating misery for others, while Rudy is scrupulous about meeting every requirement and doing everything with honor and integrity. Indeed, that is part of his dream; without that, it would not mean anything. “National Velvet” is another example. Velvet bends some rules (mostly by competing in a race in which girls are not allowed to ride), and relies on faith a good deal, but has enormous integrity in defining her dream and in her treatment of others.

“All About Eve” won six Academy Awards, including Best Picture, Best Supporting Actor (George Sanders), Best Screenplay, Best Direction, and Best Costume Design. There have been many other fine movies that offer a glimpse of life backstage. A very serious one is The Country Girl with Grace Kelly married to alcoholic former star Bing Crosby but falling in love with director William Holden. Some of the more light- hearted backstage movies include, “Mother Wore Tights,” “There’s No Business Like Show Business,” “Footlight Serenade,” “Royal Wedding,” “Footlight Parade,” “Kiss Me Kate” and “The Barkleys of Broadway.”

Joseph L. Mankiewicz and his brother Herman (co-author of “Citizen Kane”) were responsible for many of the finest scripts ever produced. And that is Marilyn Monroe in one of her earliest appearances, as “Miss Caswell.”

It might be fun for kids to talk about the theater, and how it differs from movies. Take them to a local production, or get a book of plays for children from the library and help them produce one.

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Classic Reviews

The Little Mermaid

Posted on December 13, 2002 at 5:17 am

A+
Lowest Recommended Age: Kindergarten - 3rd Grade
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Some scary scenes, characters in peril
Diversity Issues: None
Date Released to Theaters: 1989
Date Released to DVD: September 30, 2013
Amazon.com ASIN: B0036TGT2A

little mermaid diamondAfter some lackluster years, Disney came back into the top rank of animated features with this superbly entertaining musical, based loosely on the fairy tale by Hans Christian Andersen (but with a happier ending).

Ariel was the first in a series of refreshingly plucky Disney heroines. Instead of dreaming about the day her prince will come, or waiting for a fairy godmother or a Prince’s kiss, Ariel is a spirited and curious mermaid who is willing to take action in order to meet Prince Eric, the man of her dreams, though she is gullible and impetuous in agreeing to the terms demanded by the seawitch in exchange for making it possible for her to go on land.

She goes to the seawitch (Pat Carroll, first rate as Ursula the octopus) to ask her to turn her tail into legs. But Ursula has two conditions. Ariel has to give up her voice. And if Eric does not kiss her within three days, Ariel will become Ursula’s slave forever. She agrees, and has to find a way to persuade Eric to fall in love with her without using her voice, despite Ursula’s crafty plans to prevent it.

NOTE: In addition to the “normal” scariness of the sea witch, some children may find the casual bloodthirstiness of the French chef upsetting, especially in the musical number in which he tries to turn Sebastian into crabmeat.

The wonderful voice characterizations in this film include Buddy Hackett (“The Music Man”) as Scuttle the scavanging seagull and Samuel E. Wright as Sebastian, the calypso-singing crab. The first-class musical score by Alan Menken and Howard Ashman (who worked together on the off-Broadway hit, “Little Shop of Horrors”) ranks with the best of Broadway and won Oscars for Best Score and Best Song (“Under the Sea”). Some viewers criticize the movie for providing yet another wasp-waisted Disney heroine whose whole world revolves around a man. But Ariel is adventuresome, rebellious, and brave. It is true that she makes the mistake of giving up her voice to the sea witch (a very strong female character, to say the least), which provides a good opportunity for family discussion.

A straight to video sequel about Ariel’s daughter called The Little Mermaid II: Return to the Sea is exceptionally good, with first-class animation and a lot of heart and humor.

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Animation Based on a book Classic DVD/Blu-Ray Pick of the Week Fantasy For the Whole Family Musical Romance Talking animals
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