Word: filming
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Dates: during 1980-1989
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...Sean Penn. "Tom is at a disadvantage," says Barry Levinson, his Rain Man director. "He's got a pretty face, so his abilities are underestimated. And he's not working a rebel image, which is associated with being a good actor." But he does have the image, in the films that made him famous, of an intense young man with a mission: the total workhorse, the ultimate party animal. His job -- flying planes, shooting pool, mixing drinks -- is his life. And he is vulnerable as well as volatile. His thin, high voice helps him here: it locates a little...
...Cruise has his best shot in a sprawling, squalling film on Hollywood's favorite serious subject. Born on the Fourth of July, directed by Oliver Stone (Platoon), is a Viet Nam melodrama pitched at high decibel level for 2 hr. 23 min. The movie is a jeremiad not just against the war but also against the cultural authorities who encouraged it from the pulpit, the blackboard, the dining-room table and the movie screen. This is an anti-Hollywood movie too; everything that was terrific in, say, Top Gun -- the war, the sex, the male bonding -- is found...
...just slips under the wire as the first large-scale Civil War film of the decade. And it may be the last of the millennium, so far out of favor (and economic viability) have historical epics of all kinds fallen. Maybe one's good response to Glory derives from the sheer novelty of the thing and from admiration for the producers' gumption in flinging it in the face of the movie audience's indifference to the pretelevised past...
...entirely. For the specific historical events the film narrates -- the formation, training and terrible blooding in battle of the 54th Massachusetts Regiment, the first black fighting unit enlisted in the Union cause -- are little known yet resonant with high symbolic significance. The 54th, led by an idealistic 25-year-old white man, Colonel Robert Gould Shaw (Matthew Broderick skillfully blending shyness and tenacity), had to fight to fight. Their white comrades-in-arms were full of contemptuous prejudice against them, and the high command was afraid to arm black men who had their own bitter racial grievances (many were runaway...
Kevin Jarre's script makes no direct comment on these matters, and a squad of fine actors ground the film in felt reality: Denzel Washington is a proud and badly misused troublemaker; Driving Miss Daisy's Morgan Freeman a steadying influence; Andre Braugher a Harvard student who finds Emersonian idealism of small help in mastering the bayonet. It is the movie's often awesome imagery and a bravely soaring choral score by James Horner that transfigure the reality, granting it the status of necessary myth. Broad, bold, blunt, Glory is everything that a film like Miss Daisy, all nuance...