Baraka * * * * *

Director: Ron Fricke.
Concept: Ron Fricke, Mark Magidson.

Released in 1992, it’s took me a while to get around to this one. It’s director, Ron Fricke, had previously contributed writing, editing and cinematography duties on the similarly themed and outstandingly powerful “Koyaanisqatsi” by Godfrey Reggio before embarking on this (his own) journey ten years later.

I wouldn’t even call this a film. I’d call it more a series of moving images. But what stunning beauty there is to behold here. It was filmed by a five person crew over a period of 14 months in 24 countries across 6 continents and there are a plethora of images that will instil a myriad of emotional responses; they will enlighten and disturb, they will force you to ponder and wonder. In short, they are images of evolution and life and they will leave you in absolute awe of our natural world and the direct involvement we have in it. It explores different cultures and tribal rituals, it marvels at cloud formations and stunning sunsets. This is the flora and fauna of our environment in all it’s most natural beauty. If you can imagine Terrence Malick directing a dialogue free, documentary then you have a idea of what to expect here. It does contain a certain, loose, narrative structure and like the sublime, BBC, David Atteborough nature programs it is stunningly captured and assembled. As mentioned, it contains no dialogue whatsoever, relying solely on sounds and an ethereal music score, featuring the haunting and angelic vocal talents of Lisa Gerrard.

Anyone familiar with the aforementioned and absolutely amazing, visual documentary “Koyaanisqatsi” or it’s follow up “Powaqqatsi” will know how much of treat they are in for here. If you haven’t seen any of these, then I urge you to do so.

There isn’t much else I can say to describe this other than… the meaning of the word ‘Baraka’ is an ancient Sufi word that translates to “a blessing, or the breath, or the essence of life from which the evolutionary process unfolds.”
This and the extra photos I include speak a thousand more words that I ever could.

It simply has to be seen to be believed.

Mark Walker

Scent Of A Woman * * * *

Director: Martin Brest.
Screenplay: Bo Goldman.
Starring: Al Pacino, Chris O’Donnell, James Rebhorn, Gabrielle Anwar, Philip Seymour Hoffman, Richard Venture, Bradley Whitford, Rochelle Oliver, Frances Conroy.

Al Pacino is one of the most respected and talented actors in the history of filmmaking. So why did it take him over 20 years in the business before he finally got his hands on one of those golden little baldies, that go by the name of Oscar? It’s a question that will confound many but at least now, with this performance in 1992, it can, proudly, rest on his mantelpiece.

In order to make some money for a Christmas trip home, impoverished college-student Charlie (Chris O’Donnell) agrees to look after Frank (Al Pacino), a blind retired Colonel for Thanksgiving. Babysitting takes on a whole new dimension when Frank decides he wants to spent the weekend living it up in New York City.

At the time of this films release Pacino had had 4 nominations for Best Actor and 3 nominations for Best Supporting Actor. He had produced such sterling work in classic films like “The Godfather”, “Serpico”, “Dog Day Afternoon” and “Scarface”. This is only a few in a long list but, finally, no-one could argue with his bravura portrayal of a blind, hard drinking, ex-Army colonel. This isn’t the type of film you’d tip for Pacino receiving an award but it’s a performance that can’t be ignored. Yes, grandstanding does ensue, but hey! It’s Pacino, he’s allowed. There’s an unsettling intensity to his performance that’s so powerful, it’s hard to take your eyes off him. Ironically, he plays a blind man but his performance allows the audience to see. To see, what an actor can encapsulate. The film itself is a tad lighthearted and despite being overshadowed considerably, a young Chris O’Donnell handles himself well in such company. But it feels like the story itself is only a vehicle, or series of scenes, in which to allow Al to chew up. It’s enjoyable stuff nonetheless and at a running time of 2hrs 30mins, you wouldn’t know. The time flies by as it’s so much fun. A major demerit is the Hollywood perfect, rousing, finale though. The schmaltz factor goes through the roof, leaving you feeling a bit embarrassed at the audacity in even attempting it and it seriously sells the film short.

If I was to rate this based on Pacino’s performance, it would be an unquestionable 5 stars. However, the flimsy material brings the film down a notch.

Mark Walker

Glengarry Glen Ross * * * * *

Director: James Foley.
Screenplay: David Mamet.
Starring: Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris, Kevin Spacey, Alan Arkin, Jonathan Pryce.

Writer David Mamet is known for his sharp and natural dialogue but when you combine this with sharp and natural actors, you get nothing less than an intense and searing drama where every word sizzles and every performance lights up the screen. It’s a perfect match.

Set entirely within the office of a handful of real estate salesmen, where business is tough and the threat of unemployment looms. The ruthless boss has them all competing with one another and the prize of a Cadillac for finishing top of the leader board. The bottom of the board, however, will be fired. This leads the desperate men to pull out all the stops in swindling their way to safety.

First of all, have a look at the cast and ask yourself… Does this look good? The answer should be a resounding, Yes! The line-up itself is enough to sell this film and despite having a dodgy title, the cast do not disappoint. This is the type of film that allows you to appreciate good acting. Based on David Mamet’s Pulitzer prize winning stageplay, it’s a very basic premise… One room; Six greed infused salesman; Limited jobs. The perfect melting pot for top actors at the top of their game to spout profanities and act their little cotton socks off. The world that these vile characters inhabit and the cruel and manipulative way in which they operate is torturously played out. There really are no depths to which these people will not stoop. Not only do they vie to take money from unsuspecting, ordinary people, they vie to outdo each other.
Ensembles like this are few and far between and, as always, Al Pacino is great but it’s Jack Lemmon who really shows his class here, as a desperate, bumbling fool who has past his best in this cut-throat business. A 10min cameo from Alec Baldwin though, almost steals the show, informing us of what’s needed to sell Real Estate… “Brass Balls”.

This enables you to sit back, in the comfort of your own home, and view a marvellous ensemble as if being treated to a night at the theatre.
If you appreciate great actors working with great dialogue, then this is one of the best. Top Quality.

Mark Walker

The Last Of The Mohicans * * * * 1/2

Director: Michael Mann.
Screenplay: Michael Mann, Christopher Crowe.
Starring: Daniel Day-Lewis, Madeleine Stowe, Wes Studi, Russell Means, Maurice Roeves, Steven Waddington, Eric Schweig, Jodhi May, Patrice Chereau, Terry Kinney, David Schofield, Dylan Baker, Jared Harris, Colm Meaney, Pete Postlethwaite.

Director Michael Mann’s vast canvas is normally urban with a keen eye for a sprawling cityscape. Here though, he shows his vision is just as effective when his surroundings are the sweeping forestry and mountain ranges of North America.

1757, the French and British battle for control of North America in the French and Indian war. Travelling through these lands are mohawk ‘Chingachgook’ (Russell Means), his son ‘Uncas’ (Eric Schweig) and his adopted white son ‘Hawkeye’ (Daniel Day-Lewis). They want no part of the war but when they happen to become a rescue party to ‘Cora’ (Madeleine Stowe) and ‘Alice’ (Jodhi May) daughters of Scottish Colonel Edmund Munro (Maurice Roeves) they gradually become embroiled.

During the making of this, Mann was forced by the studio to cut his +3 hour long film. Despite this, it still feels like the intended epic at just under two hours. That’s thanks to his assured pacing, the beautiful cinematography and the stirring music combining to marvellous and rousing effect. It’s a magnificent modern adaptation of James Fenimore Cooper’s classic novel brought vibrantly to the screen by Mann’s skillful direction and his ability to stage superb action set-pieces. The quietly thrilling and powerful Shakespearean finale is something to behold and one of the most tragic, yet most satisfying endings you’re ever likely to see. The acting is flawless throughout, with Day-Lewis delivering a charismatic central performance and despite having very little dialogue, Wes Studi is a standout as the native ‘Magua’, one of cinema’s greatest villains.

A sweeping epic with breathtaking cinematography, gripping action scenes and a rousing music score all coalescing for a kinetic and powerful romantic adventure. One of Mann’s finest.

Mark Walker