Turn trailer

I kinda forgot all about AMC's upcoming Turn series, despite the presence of oh, hello, Jamie Bell, and hello again Burn Gorman, and hello most of all, JJ FEILD, until my friend Kaye started posting images to one of her History on Screen Pinterest boards. Premieres April 6th!

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Captain America: The First Avenger

This summer has been an extraordinarily good one for Marvel. First they gave us Thor (my review), which was a delightful little surprise, and now the star-spangled Captain America, which, for a World War II history nut like myself, was pretty much a guaranteed win. Happily it delivered on all fronts, and now I really can't wait for the star-packed Avengers film next summer. That, my friends, promises to be EPIC.

A period superhero flick could have easily fallen flat on its face. Thankfully the team that crafted Captain America hit all the right notes character and nostalgia-wise while providing plenty of flash and spectacle to keep things interesting. It feels a bit like the 21st-century equivalent of Indiana Jones in Raiders of the Lost Ark. I am an admitted comic-book movie geek, but I never thought I'd have my love of 1940s history so gloriously mashed-up with the superhero film genre. It's a fantastically realized dream come true, one that I didn't even quite realize I had. *wink*

Chris Evans just owns this movie as Steve Rogers, a.k.a. Captain America. I am seriously crushing on the man now. :) His all-American good looks and boyish earnestness are pitch-perfect for the role and the time period. His turn as Steve manages a delicate balance between the conventions of modern superhero movies and the innocence and idealism of Hollywood flicks from the 1940s, when "men were men," if you will, fighting against the unfathomable might of the Nazi war machine. The special effects that transform Chris Evans from the 90 lb weakling version of Steve into the unstoppable hunk that becomes a patriotic symbol of the American war effort are, quite frankly, amazing. It would be easy for the CGI to overshadow the characters, and it is a credit to Evans and director Joe Johnston that they don't allow the on-screen magic to usurp the kindness that is the bedrock of Steve's character. Steve's never-say-die determination and gentle spirit are what set him apart, and ultimately it are those qualities that transform him into a leader of men.

As I mentioned in my Thor post, I find myself getting educated on the "standards" of the Marvel comic universe a little more as each film releases. This is probably the way to go, for me anyway, as keeping things straight in the 21st-century film universe is job enough (when compared to reconciling the sprawling, over-lapping, and in some cases contradictory comics canon). The focus of the power struggle in Captain America is a "cosmic cube" stolen by Nazi/HYDRA big bad Johann Schmidt (Hugo Weaving), a source of unlimited power that he refers to as "the jewel of Odin's treasure room." With that you have the Thor tie-in (the cube is briefly seen in the bonus scene at the end of the credits), and prior to Thor, the cube was seen in Howard Stark's notes in Iron Man 2. HYDRA is apparently the evil-terrorist version of S.H.I.E.L.D., which I suspect will be the crux of the conflict in The Avengers.

I absolutely LOVED the film's recreation of 1940s New York. It's chock-full of delicious period detail, from the clothing to the props to the cars, that all work together to set this film apart from your typical superhero flick. All through Steve's multiple attempts to enlist in the army, his best friend is the dashing and confident James "Bucky" Barnes, played by Sebastian Stan. Stan first came to my attention in the all-too short-lived television series Kings, where he played Jack Benjamin. I really loved the friendship between Steve and Bucky, and their later role-reversal - when Steve becomes the guy women swoon over, a reality he does not know how to handle - is really quite humorous to watch play out. Barnes, and indeed the whole motley crew Steve assembles to take down Schmidt, have this great Band of Brothers-style vibe, a bit reminscent of the elites that took on the Nazis in classic films like Von Ryan's Express or The Great Escape. More on the rest of the team in a bit...

Much has been made in the blogosphere of Richard Armitage's appearance in this film as the evil Heinz Kruger. Kruger is a small but pivotal role in the movie, and if you overlook Armitage's gosh-awful take on an "American" accent he does make the most of his screentime. :) Kruger infilitrates the top-secret lab where Steve is turned into a super soldier, and after Steve's treatments prove successful Kruger starts to wreak havoc right and left, blowing things up, shooting secret agent old ladies, and threatening plucky small children (all in his best Guy of Gisborne fashion *wink*). When Kruger flees, Steve gives chase, and the ensuing action sequence is a great introduction to Steve's new powers - and I'm not gonna lie, I kinda enjoyed watching Evans throttle Armitage, and I couldn't help but chuckle at his death scene with a mouth full of foam. However, for as nice as Richard looked with his slicked-back hair and 1940s-era suit, I do wish he'd been one of the good guys. Maybe next time... :)

In a stroke of genius the filmmakers cast Dominic Cooper as Howard Stark, a.k.a. Iron Man's daddy. Cooper's been extremely busy since his break-out turn as Willoughby in the 2008 Sense & Sensibility - he's also appeared in films like The Duchess and An Education. Here, Cooper has the retroactive advantage of being able to watch Robert Downey Jr. as Tony Stark in the two Iron Man films, and it's a great deal of fun seeing him bring the cocky, brilliant Tony's precursor to life, while bringing his own unique charisma to the legendary Stark family name. It was especially great fun watching Cooper mack for the audience at the 1940s equivalent of the Stark techonology expo seen in Iron Man 2.

I can't neglect mentioning Stanley Tucci's turn as Dr. Abraham Erskine, a refugee from Nazi Germany and a one-time colleague of Schmidt. Erskine is the one responsible for the super-soldier formula, and having seen the horror of the technology mis-used firsthand, he wisely picks Steve as the ideal candidate for the army's experiments because of his heart and great capacity for compassion. I love Tucci, and he does a great job playing Steve's surrogate father-figure. Tucci brought just the right amount of kindness and gravitas, I guess you could say to the character of Erskine, and I loved his mentorship of Steve.

Hayley Atwell plays Steve's love interest, Peggy Carter - a British member of the Strategic Scientific Reserve responsible for the program leading to Steve's transformation. Atwell worked with Cooper in The Duchess, and has also appeared in the Masterpiece productions The Ruby in the Smoke and Mansfield Park. Most of the time Atwell had a touch too much of the whole Brit "stiff upper lip" thing going on, which squashed any chemistry she could have with Evans pretty effectively for most of the film. However, she was made for the trappings of the time period - with her looks, curves, and hair she looks like she stepped out of a classic Hollywood film. And I did love how Steve's atypical background and the respect he exhibits for Peggy in her male-dominated military field start to win her over well before he proves himself on the battlefield.

Captain America is packed with great acting talent, but believe it or not I saved a favorite for the last. JJ Feild plays the British beret-wearing member of Steve's elite commando unit, James Montgomery Falsworth. Feild was just seen in the Marple episode The Pale Horse, and his upcoming appearance in Austenland can't come soon enough to suit me. Falsworth only gets a few lines, but he gets several nice close-ups, and Feild exhibits a nice intensity and heretofore unimagined flair for fight scenes that I really appreciated. *wink* Plus, the moustache was ADORABLE. FREAKING ADORABLE. Thank you for that, JJ. :) I also can't neglect to mention Neal McDonough (from the Tin Man series) as the moustache-gone-bad, bowler-hat-wearing "Dum Dum" Dugan. According to the IMDB, it looks like Marvel has green-lit Nick Fury's (Samuel L. Jackson) origin movie, and it's rumored Dugan will appear in it - that's something to look forward to, hmm?

So, just in case the length of this post didn't make it clear, I loved this movie. For a little over two hours I got to revel in the movie's glorious recreation of 1940s New York and the accompanying wartime ideals of heroism and patriotism. The trappings of the war bond rallies are a fantastic example of the film's nostalgic flavor, and Steve's first stage costume is a nice nod to the character's original look. The "Star-Spangled Man" theme song was a little slice of retro heaven, recalling the sound of acts like The Andrews Sisters, etc. The vibe of the stateside rallies stands in stark contrast to the newly-minted Captain America's first gig to overseas troops, who don't respond well to a rallying cry from a guy who has yet to see combat. Things like war bond rallies were feel-good shows for the homefront, far removed from the reality faced by troops on the ground. Steve's response to that reality, and his desire to prove himself, is just a small part of what makes his character one to cheer for.

I simultaneously loved and hated the ending of this movie - it's a fantastic set-up for Captain America's introduction to The Avengers team, but Steve's noble sacrifice that puts him in stasis for seventy years just killed me. K-I-L-L-E-D ME. Just as Steve is finally seeing Peggy's heart thaw, just as he's finally on the verge of getting the girl for the first time EVER, he has to crash-land in the Artic Circle. Life ain't perfect in superhero-land. *sigh* While I ultimately think Steve can do better than Peggy, he was so sweet being sweet on the unattainable girl my heart turned to MUSH MUSH MUSH. MUSH, I tell you. On the plus side, Steve's overwhelming angst at losing Peggy and waking up in the 21st-century should make for an interesting character arc in future films. :)

Full of heart, warmth, action, and adventure, Captain America has sky-rocketed to the top of my favorite superheroes movie list (top five at least). Be sure and stay through the end of the credits - the first part of the credits roll over some fantastic wartime American propaganda poster art, but the real treat is seeing the first trailer for The Avengers on the big screen. That, my friends, kicked the fangirl radar into overdrive. It's gonna be awesome. :) Captain America is a perfect summer movie  - brimming with humor, heart, and adventure, and  set apart by a fantastically realized period setting, it's a bit of a throwback movie, in the very best sense of that term. Highly recommended, and let me tell you I can't wait to see it again.

Miss Marple: The Pale Horse

Masterpiece Mystery concluded the Agatha Christie portion of its season with a Miss Marple episode entitled The Pale Horse. For some reason, Masterpiece elected to hold this episode in reserve from the 2010 season, so this is the only Marple episode we're getting this year which feels a little odd. But that aside, The Pale Horse was one of Julia McKenzie's better outings as Miss Marple in my opinion, and an enjoyable ninety minutes of 1950s period drama bliss. Here's the story summary from the PBS website:

Fair is foul and foul is fair in the hamlet of Much Deeping, where the Pale Horse Inn is run by a trio of entrepreneurial witches, and the annual celebration of the town's witch trials of 1664 is about to commence. Arriving just in time is Miss Marple (Julia McKenzie, Cranford), who has set her knitting aside to pursue the murderer of her old friend, Father Gorman. Armed with a cryptic list of names sent to her by the good clergyman just prior to his death, Miss Marple follows clues as she joins the assemblage of eccentric guests and infiltrates the witches' sanctum santorum. But when a fellow guest at the Pale Horse Inn is found dead, the tidily tailored and unassuming sleuth must determine whether black magic or something even more sinister is at work. The Pale Horse is based on the novel by Agatha Christie. (One episode; 90 minutes)

The Pale Horse is another case of filmmakers taking a standalone Agatha Christie novel and inserting Miss Marple into the storyline. Sometimes this plot device works better than others. :) I haven't yet read The Pale Horse, so I have nothing with which to compare the film adaptation - and that said, I really enjoyed watching the mystery unfold. The story opens with Father Gorman (Nicholas Parsons) called to the bedside of a dying woman (Elizabeth Rider), tormented by guilt and knowledge of "wickedness." She entrusts Father Gorman with a list of names and dates, which he immediately mails to his old friend (HAHA so convenient) Miss Marple for safe-keeping, with a promise of a phone call the next day. Father Gorman's only addendum to the list is a biblical reference - Revelation 6:8 ("And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him.") - a cryptic clue for Miss Marple to decipher as the next day she receives the news that the priest was brutally murdered.

Miss Marple cannot, of course, leave her friend's murder investigation to the police, no matter how capable or interested in the case the assigned detective, Inspector Lejeune (Neil Pearson) seems to be. Pearson is another Inspector Lewis veteran, having appeared in the episode And the Moonbeams Kiss the Sea (my review). I really  enjoyed Lejeune's interactions with Miss Marple. Whether face-to-face or through the telephone, his befuddlement and exasperation at Miss Marple's insistence on getting involved in the investigation provided some of the episode's most humorous moments. I cackled when Miss Marple played the old "bad phone connection" gag on him - one doesn't expect that in 1950s-era films. :) Pearson had a great rapport with McKenzie, definitely one of the better Marple/Inspector pairings in this film series.

The investigation leads Miss Marple to The Pale Horse Inn, which she discovers is run by a pair of self-styled (and stylish - HA) witches, Sybil (Susan Lynch) and Thyrza (Pauline Collins). It was great to see Collins on-screen again - she gave a memorable turn as Queen Victoria in Doctor Who, as well as playing Miss Flite in Bleak House and most recently, an appearance in the BBC series Merlin. Led by Thyrza, the witches have made a business of their reputation to "will people to death." This fits in nicely with the atmosphere of their town, Much Deeping, which makes a living drawing tourists for re-enactments of their version of the Salem witch trials. Individuals place "bets" with Thyrza's lawyer, Mr. Bradley (Bill Paterson), on whether or not the unlucky target will live past a certain date. If they don't, the death is credited to their "black magic" and the wager is paid off. It was fantastic to see Paterson on Masterpiece again - he's appeared in Wives and Daughters, Amazing Grace, Little Dorrit, and Doctor Who, to name just a few of his credits. And I really got a kick out of Collins's scenes with McKenzie - hedging around the issue that Thyrza is convinced Miss Marple has come to The Pale Horse to take advantage of her little "murder club," they dance around the issue in conversation resulting in Thyrza's hilarious puzzlement.

I was really looking forward to seeing JJ Feild's return to Masterpiece, even if he didn't play quite the heroic role I expected. :) Feild is a longtime favorite of mine, as I think he's just too adorable for words. He's appeared in a slew of Masterpiece productions, starting with The Railway Children, the Poirot episode Death on the Nile, The Ruby in the Smoke, and Northanger Abbey (my review), as well as the oustanding film O Jerusalem (my review). Looking forward, we'll get to see Feild in Captain America as Montgomery Falsworth/Union Jack and Austenland (squee!). Feild's character, Paul Osbourne, is introduced as an early investigative ally for Miss Marple - and he so adorable in his 1950s clothes, and so cute and respectful towards Marple, you can't help but like him - even if he seems a little *too* nice, if you know what I mean. :) All things considered, by the end of this episode it was a real treat to see Feild "flip" in his portrayal of Osbourne and play against his good guy, heroic image.

On the other hand, Jonathan Cake gave a much more satisfactory appearance as Mark Easterbrook, the godson of one of the names on Father Gorman's list. Cake is notable for having one of my all-time favorite guest stints on Chuck, playing spy Cole Barker in a two-part story arc. Considering Easterbrook's character is the hero of the actual novel, I was a bit surprised by just how much the script sidelined him in this production. I would've liked to have seen his reasons for "shadowing" Miss Marple's investigation better articulated - that way, when he jumps in to stage a death request, his willingness to participate would have seemed more organic to the storyline. But what the heck does Mark care about motivation, since he gets a love interest (Amy Manson)? :P

I can't forget to mention the appearance of Tom Ward as the unlucky Captain Cottham, staying at The Pale Horse with his wife and secretary after being displaced by a fire. Ward made an indelible impression on me in the A&E miniseries The Lost World (based on the Sir Arthur Conan Doyle novel), where he played the dashing adventurer Lord Roxton. It's been ages since I've seen him in anything, so his appearance in this episode was a real treat. And if you've never seen that version of The Lost World, I highly recommend it - it's highly watchable and wildly entertaining.

The whole "murder, inc." storyline was wildy intricate, and by its very nature threw red herrings left and right at the viewer, doing its best to leave you unsure of the identity of the man behind the curtain, pulling the strings of the suspicious deaths found on Marple's list. I thought the idea of using consumer research surveys to collect ideas for how to kill people was really terribly, fiendishly clever - the idea that an anonymous killer strikes with poisoned everyday products is rather unsettling, no?

This episode of Miss Marple was colorful, fast-paced, and nicely atmospheric. Despite the fact that Miss Marple was inserted into this storyline, I think this was one of McKenzie's better outings as the venerable sleuth, and one of the more effective examples of reworking a Christie plot to include one of her iconic characters. I loved watching this story unfold. McKenzie seemed genuinely, emotionally invested in her quest to bring justice to Father Gorman  - and since I have no idea if new episodes are going to be produced for this film series, if this is McKenzie's last appearance as Miss Marple it's a fitting coda to her tenure in the role. Though I sincerely hope that we'll see Miss Marple back on our screens as part of Masterpiece Mystery sooner rather than later!
 
If you've read the novel, I'd love to hear your take on how this film adaptation stacked up to the book. And if you're a Miss Marple film fan, where does this episode stand in your series ranking?

• Watch The Pale Horse online through 8/10/11
• Order the original novel from Amazon
• Order the DVD from Amazon

Miss Marple returns to Masterpiece

I can't believe I almost forgot to mention this. :) Miss Marple returns to Masterpiece Mystery tomorrow night with a brand-new episode entitled The Pale Horse (based on a non-Marple Agatha Christie novel). Here's a bit about the story:

Julia McKenzie (Cranford) is back as Miss Marple in the all-new The Pale Horse, premiering Sunday, July 10, 2011 on MASTERPIECE MYSTERY! Miss Marple's old friend is found murdered, and when she receives a list of names sent by the victim before his death, Miss Marple seeks justice.

What the above blurb neglects to mention is that this episode features a favorite of mine - the one and only JJ Feild of Northanger Abbey fame!

Austenland MOVIE NEWS!

Thanks to Charleybrown for posting about this - I had NO IDEA Shannon Hale's Austenland was being made into a film! Via ComingSoon.net, the cast includes Keri Russell, JJ Feild (SQUEE!!!), James Callis, Jennifer Coolidge, and Jane Seymour.

I cannot WAIT. :)

Northanger Abbey revisited

Since Northanger Abbey was rebroadcast last week on Masterpiece Classic, I thought it might be time to pull out my DVD and revisit the film and my initial impressions of it. I originally reviewed the film in January 2008, when it aired as part of the Jane Austen season on Masterpiece. So without further ado, here's my original post on the movie:

"Perhaps after all it is possible to read too many novels."— Henry Tilney in Northanger Abbey

Time to rehash Northanger Abbey, and no surprise here, but I LOVED it. It's got everything going for it - a smart script (courtesy of the inimitable Andrew Davies), excellent direction and pacing, and a spot-on, practically perfect cast all giving sparkling performances. This is the first film adaptation of this story that I've seen - and while I have nothing to compare it to movie-wise, I have a feeling that it is leaps and bounds better than the previous BBC version.

At the moment I'm feeling too lazy to write a decent summary of the story, so thanks to Kaye for letting me borrow her version.

The daughter of a country clergyman, Catherine Morland has a passion for gothic romance novels and a vivid imagination. She gets the opportunity to go to Bath for the season with family friends. While in Bath, she makes the acquaintance of the Thorpe family, specifically Isabella, who is engaged to Catherine’s brother, and John. Isabella teaches Catherine the fine art of flirtation, and soon John is showing romantic interest in Catherine.

Catherine, however, isn’t interested in the wild John, but in the quiet Henry Tilney. Henry’s father, General Tilney, under the misinformation that Catherine is wealthy, invites Catherine to come spend some time at their ancestral home, Northanger Abbey. The Abbey answers all of Catherine’s gothic imaginings; and as soon as she arrives, the fun begins.

Felicity Jones delivers a wonderful performance as the highly imaginative Catherine. Her wide-eyed ingenue is wholly believable (and, wonder of wonders, I didn't find her annoying...LOL). The scenes where her imagination gets caught up in some outlandish, Gothic romance are hilarious and oh so much fun to watch.

Catherine's friend, the flirtatious Isabella Thorpe, is played by Carey Mulligan - she's an actress to watch IMO. She played Kitty Bennett in the 2005 version of Pride and Prejudice, as well as appearing in Bleak House and the forthcoming My Boy Jack (co-starring Daniel Radcliffe, to air on Masterpiece Theatre later this year). She reminds me a bit of Romola Garai (most recently seen in Atonement), who I tend to like, but occassionally gets on my nerves by coming off as rather vapid. I like Mulligan...she always seems to have a great deal of spunk and sparkle in her performances.

Our hero, the noble Henry Tilney, is played by JJ Feild. I love JJ (yeah we're on a first name basis like that...LOL...in my dreams, I know, I know...) and thought he was perfectly cast for this role. He struck a nice balance between the serious and the teasing as regards his relationship with Catherine. JJ's got a slightly nerdy edge to him, but that just makes him all the more endearing, doesn't it? He's also going to be an actor to watch...he's appeared in The Railway Children (made quite an impression on me even then, LOL!), Poirot: Death on the Nile, The Secret Life of Mrs. Beeton, and Ruby in the Smoke.

The director, Jon Jones (also directed Mrs. Beeton) is to be applauded for his work - the pacing of the film was excellent. I loved the costumes and sets - the shots of Northanger Abbey were wonderful, with a deliciously creepy feel. The camera work and lighting all succeeded in striking the right balance between Catherine's imagination and reality - the Abbey scenes and just enough of a suspicious feel that Catherine's imaginings don't seen entirely unfounded. And I loved the score & main theme by Charlie Mole - he also scored Mrs. Beeton, as well as An Ideal Husband and The Importance of Being Earnest. His work succeeds in striking the right balance between suspense and the comic elements of the story.

My one very slight quibble is with the ending...it seemed a tad abrupt. Of course, that's probably due to the restriction of a ninety-minute running time. Also, I would've much rather ended on a picture of Henry and Catherine, instead of old man Tilney, but that's just a personal preference (LOL). Other than that, which I really wouldn't classify as a complaint at all, I thought this film was just about as perfect as can be. It strikes just the right tone and pace in bringing to life Austen's gentle parody of the Gothic fiction so popular in her time.

The DVD of Northanger Abbey is available for purchase here.

***I will say this, my opinion of Romola Garai as an actress has improved somewhat since I wrote this post back in 2008! ;-)

Northanger Abbey encore

Just a reminder, if you haven't seen the latest film adaptation of Jane Austen's Northanger Abbey, PBS is airing an encore presentation tonight on Masterpiece Classic. I thoroughly recommend this film, it's so much fun - plus, JJ Feild plays the hero! *swoon* :) Here's a bit about the story from the PBS website:

Catherine Morland (Felicity Jones, Meadowlands) has an ordinary life and a feverish imagination. When she gets invited to Bath, Catherine is immersed in a world of elaborate balls and handsome men. When one suitor takes her to his family estate, Northanger Abbey, Catherine becomes mired in a world of fact and fantasy. Is there a dark mystery behind the locked doors of Northanger Abbey? Why has her budding romance suddenly been cut short? Also starring JJ Feild (The Secret Life of Mrs. Beeton), Andrew Davies adapts Austen's gentle parody of gothic fiction.

O Jerusalem

I discovered a little gem of a film this week – O Jerusalem starring one of my favorite up-and-coming actors, JJ Feild (The Ruby in the Smoke, Northanger Abbey). I haven't been able to stop thinking about this film since I watched it. Based on the book of the same name by Larry Collins and Dominique Lapierre, it's an account of the events surrounding the birth of the State of Israel following the U.N. mandate to partition Palestine in 1947. The film takes some license and using the historical fact presented within the book tells the story of Bobby Goldman (JJ Feild), an American Jew and World War II veteran, and Said Chahine (Said Taghmaoui), a Palestinian Arab, who meet in New York and become fast friends in spite of their different backgrounds, views, and the antagonism brewing between their respective cultures halfway across the world. With the vote on the partition pending and the withdrawal of the British occupation imminent, Said’s family calls him to Jerusalem and Bobby follows given his own long-standing interest in the establishment of a Jewish homeland.

The transition from America to Palestine, and what that means for Bobby and Said’s friendship, is both fascinating and heartbreaking to watch play out. America is a “safe” ground where they can debate and vehemently disagree with each other, but friendship always trumps their differences. However, once they arrive in Palestine and are confronted with the reality of the simmering, primed to explode conflict, it’s crushing to see what that does to their friendship. As Said’s mother tells Bobby when he first arrives, for years many Arabs coexisted peacefully with their Jewish neighbors – each honoring the other’s holidays, etc. But in the aftermath of the Nazi attempt to wipe out the Jews, and with partition looming, battle lines are drawn, forcing tension between former friends and neighbors.

JJ Feild as Bobby Goldman

O Jerusalem makes an excellent companion film to Exodus, which stars Paul Newman and is based on the novel by Leon Uris (one of my all-time favorite movies, an absolute classic), since the timelines overlap. That movie also features an Arab-Jewish friendship that is tested and ultimately sacrificed to the conflict. It’s also interesting to compare the way each film portrays the Jewish resistance fighters (the Irgun, the more extremist terror group, and the Haganah, the more moderate, government-sanctioned fighting force). O Jerusalem probably does an even better job that its predecessor of giving equal screen time to both the Jewish and Arab perspectives. No one side is portrayed as fully right or wrong; rather, each culture’s belief in their respective cause is compellingly portrayed.

Taghmaoui and Feild as Said and Bobby

The film has an almost documentary feel to it, and that style brings both pros and cons. The scene editing is fast and choppy but that only serves to enhance the raw intensity of the events unfolding onscreen, the effect aided by the black and white newsreel footage inserted throughout the film. The documentary style of the film also translates into a lack of character development overall. Bobby and Said are the only characters you really get to know and feel for - but that focus, in this case anyway, really works. I was also extremely impressed with Stephen Endelman’s score. He never went for bombastic action cues, more often than not it was the softer pieces played over or in the aftermath of action sequences that tugged at the heartstrings and upped the emotional impact of the scenes. According to the movie’s IMDB page, it was filmed in Liverpool and Rhodes, and that considered I was very impressed with the location shots which appeared quite authentic – there was apparently some nice attention to detail at work throughout the production.

Ian Holm as Ben Gurion (looks a little crazy, no?) and Tovah Feldshuh as Golda Meir

One could argue that the way Bobby and Said keep encountering each other as enemies in the field is contrived, however, I appreciated the way their encounters kept the enormous cost of the fighting at the emotional forefront of the film. These are the characters we really get to know, witnessing every fateful decision, the tremendous cost that the fight over partition exacts on their lives. That’s where the hope lies, in viewing their struggles – and this film does end on a hopeful note (though I would have preferred going without Feild’s voiceover drumming the point home – the actions of the characters speak for themselves in my view). Despite multiple opportunities on each side, when it came right down to it, Bobby and Said could not kill each other. That’s the crux of why I found this movie to be so powerful – at its heart it’s not about nations or politicians, it’s about the choices made by average, everyday people on the ground caught up in events beyond their control. It's about the cyclical, consuming nature of violence, and how terrifyingly "easy" it is to get caught in that cycle. Because if any real change is going to happen, it’s not going to come about as the result of some government mandate to fight or keep the peace – a heart change is required. Seeing the ways in which Bobby and Said honor their friendship, even after both suffer through fighting and horrific losses, is a powerful reminder of how, though the trappings may differ, there is a universality to the human experience that *should* foster compassion and understanding, if only those traits are allowed room to grow.

“If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.” (Psalm 137: 5-6 KJV)