My Favorite Films: The Bourne Ultimatum

     In the final chapter of the Bourne Trilogy Jason Bourne completes his journey to rediscover his origins and confront those who made him into a living weapon.

     The Bourne Ultimatum has the best action in the series. This makes sense as its the most action driven. One scene, involving Bourne jumping over the rooftops only to finally crash trough a window and engage an assassin in a hand to hand fight is one of the most breathtaking and well executed set pieces I've ever seen in a movie. The hand-held camera work gives the action scenes a real visceral impact.

     If the first film had a somewhat meandering pace which suggested Bourne's own confusion and lack of identity and the second film had more deliberate pace which went along with Bourne's newfound confidence and sense of purpose, the pacing in this film is relentless, as Bourne gets ever closer to discovering where he came from.

     Ultimatum is also more informed than the previous two by 9/11 and the war on terror. It is revealed that Treadstone was part of a larger project called Black Brier which allowed the government to send in covert agents to carry out assassinations without any oversight or accountability. This is very reflective of the post 9/11 debates over government surveillance, water-boarding and the general ignoring of legal restraint in favor of security. While Supremacy was released after 9/11 (Identity was as well but finished it production before these issues started heating up) these themes were not as prevalent. The reason for this is that Ultimatum spends much more time exploring the world Bourne comes from.

     This film builds on the previous two and in some cases makes them more interesting in retrospect. It is revealed that Bourne (who's real name is David Webb) volunteered for Black Brier and underwent intense behavior modification which explains a lot of the identity loss explored in the first film. It is also revealed, in a wonderfully subtle scene, that Nicky Parsons, a minor character from the first two films, had a relationship of some kind with Bourne. Bourne is reluctant to open up to her because of what happened to Marie and they part ways much sooner. By the time the film ends Bourne has come full circle and can finally fully reject his old life of violence. After giving Pamela Landy information that will put the leaders of Black Brier in prison he tells an assassin who's life he spared earlier, "Look at us. Look at what they make you give" echoing the words of a different assassin he killed in Identity. The film closes as that filmed opened, with Bourne falling into the water, evoking baptism and symbolizing rebirth but this time instead of being fished out by someone else he swims away himself. He now knows he is is and has taken control of his own destiny.

     With solid performances across the board, particularly from Damon and returning co-stars Joan Allen and Julia Stiles, naturalistic direction from Greengrass, and a nuanced screenplay that smartly updates Ludlum's source material, The Bourne Ultimatum is the best of the Bourne films and my personal favorite.

The Bourne Supremacy (2004) Review

[WARNING: SPOILERS]
   

     
     The Bourne Supremacy was released to theaters in 2004. Paul Greengrass replaced Doug Liman as the director. In this film Jason Bourne is prompted out of hiding when he is implicated in the theft of classified information and an assassin is sent to kill him but kills Marie instead. Thinking Treadstone is behind the assassination Bourne sets out to bring them to justice. Meanwhile CIA Deputy director Pamela Landy (Joan Allen) investigates the robbery and tries to take down Bourne once and for all.

     Overall this film is less character driven then the first one. Maria's death early on in the film causes Bourne to seek vengeance and I think part of the reason that there is less character exploration here is that she is not around to interact with him. With that said Supremacy does build on Bourne's arc in the first film in a few important ways. For one thing he is no longer content to live out his life in obscurity and ignore his past. He now sets out to confront both his enemies and his inner demons. By the end of the film he also shows a certain impulse to atone for his past sins, which are expounded on in this movie.

     If the first film had somewhat problematic action scenes this one is much worse in that regard. While the car chase at the beginning and Bourne's escape from hotel in the middle of the film are fairly coherent his fight with Jarda and the chase at the end are pretty muddled and hard to follow. At the same time Supremacy feels more confident than Identity which is appropriate I suppose as Jason himself feels more confident and efficient than in the first outing. It has tighter pacing and doesn't stretch suspension of disbelief as much. It also has better intrigue with the addition of Pamela Landy, played with steely resolve by Joan Allen who butts head with Ward Abbott, Brian Cox's slimey, perpetually nervous Deputy Director returning from the first film. Finally Supremacy features the most emotionally resonant (and overall awesome) ending to any of the films in the series. Moby's Extreme Ways was never put to better use.

     Though, in my opinion, not quite as good as it's predecessor, Supremacy is still a solid sequel which expands upon the original and, in some ways, even improves upon it.

Score: 8.5/10

The Bourne Identity (2002) Review

Since Jason Bourne is coming out at the end of July I decided that I would rewatch and review the first three Bourne movies. I'll probably skip Legacy because really who cares...

[WARNING: MINOR SPOILERS]

     The Bourne Identity is directed by Doug Liman and was released in 2002. It tells the story of Jason Bourne (Matt Damon) who is rescued from near death by the crew of a fishing boat only to find that he has amnesia and can't remember who he is. Using information found on a laser projector sewn beneath his skin he sets out to discover who he really is with the help of Marie (Franka Potente), a young, wandering, German woman in need of some cash. Meanwhile the leader of Treadstone, the organization Bourne works for, misinterpreting his erratic behavior as desertion, tries to track him down and kill him.

     The film has a very down-to-earth realistic feel thanks both to Doug Liman's direction and the script, adapted from the novel by Robert Ludlum. Liman's prowling camera work imbues the film with a real sense of urgency making the viewer constantly on their toes the same way Bourne himself is. There is one scene in particular that really illustrates this feeling. Bourne and Maria arrive at his apartment and Bourne becomes tense as an unseen assassin prepares to kill him. This scene is intentionally awkward as Bourne isn't sure why he's worried and tries to hide his apprehension from Maria who's oblivious to what going on. Maria's character helps to ground both Bourne and the film in general. Neither she, the audience, or even Bourne himself really know who he is or what's going on and that opens the door for some really interesting character study.

     This film is rife with themes of identity loss both figurative and literal. Obviously Bourne does not know who he is and so has lost his identity in a literal sense. But in a figurative sense he lost his identity a long time ago when he joined Treadstone and became an assassin for them. His life up to this point has consisted of killing people for this organization. Everything in between has been some form of deception. Ultimately Bourne's quest to rediscover his identity is so difficult because he had no real life to begin with. Only by remembering the moment he when rejected his role as an assassin does he begin to really piece together who he was.

     Both Damon and Potente give strong, naturalistic performances while Brian Cox and Chris Cooper are, as usual, good villains, or perhaps anti-villains is a better description. John  Powell's score fits tone of the film perfectly and is used sparingly. Many of the action scenes are not accompanied by music relying instead on the rhythm of the editing and the ambient sound to drive them forward. With that said that action is limited at times by Liman's stodgy editing choices. While his use of "shaky cam" fits the tone of the film sometimes its just confusing for no reason. There are also some minor plot contrivances and certain scenes stretch credulity. For instance the first Treadstone assassin decides that the most effective way to kill Bourne is to smash through his apartment window firing a machine gun! There's also a bit of a bait and switch at the end which always takes me out of the film and is rather anti-climatic to boot. With that said, these flaws are easily overlooked.

     The Bourne Identity is one of the best action films of the last decade. It's exploration of the dehumanizing effects of espionage along with its down-to-earth tone and solid performances have made it stand the test of time.

Score: 9/10

Short Review - Warcraft

     I'm not sure what to say about this movie. Not being much of a gamer I've never played any of the Warcraft games and have only a passing familiarity with them. But because I'm a geek and want movies based on properties like this to succeed (something Hollywood has largely failed at so far) I went into this movie with a certain amount of good will, especially since it is being helmed by a respected director like Duncan Jones.

     So does the movie deliver? Well, overall it's a bit of a mixed bag. It has some decent performances. The battle scenes are really well done. The visuals are gorgeous and, to my limited knowledge, capture the look of the games really well. Unfortunately though, the characters are not very interesting. There are a few nice moments but the script is filled, mainly, with tiresome expository dialogue. Basically the movie is just alot of empty spectacle, and that's really a shame.

     Warcraft might not be the breakthrough for video game movies that alot of people were hoping for but it has enough exciting sequences and good visuals to be passable entertainment at least for fans of the sword and sorcery genre.

Score: 6/10

Independence Day (1996) Review

"And should we win the day, the Fourth of July will no longer be known as an American holiday, but as the day the world declared in one voice: We will not go quietly into the night! We will not vanish without a fight! We’re going to live on! We’re going to survive! Today we celebrate our Independence Day!"

     So says President Whitmore (Bill Pullman) in Roland Emmerich's Independence Day released 20 years ago today. I'm not going to claim that this movie is very deep or even very clever but the film does work, in retrospect, as an embodiment of what President George Bush Sr. called a "new world order", for all the good or ill that may portend. The idea behind this "new world order" was that the world's super-powers, lead by the United States, would cooperate internationally to protect human rights and ensure economic and political stability around the globe. What made people question this idea was the emergence of U.S. hegemony (dominance in world affairs) after the end of the Cold War. What Bush and his supporters saw as international collaboration others saw as American interventionism.

     In Independence Day the various nations around the world unite to face a common threat: annihilation from an alien race. Thus we see Bush's "new world order" in action. At the same time this is an example of U.S. hegemony as it's President Whitmore and the American military who take the lead in combating the aliens. The other military forces seem to just wait around for the U.S. to tell them what to do. Indeed we don't even see these nations beat the aliens. After President Whitmore and the American military takes down the ship over Area 51 General Grey (William Loggia) tells the radio operator to inform the other forces "how to bring those sons of bitches down". In other words these countries don't seem to have much agency on there own. In any case, regardless of political affiliation or where you may stand on the idea of U.S. hegemony and international cooperation, I think that this film is an interesting showcase of 90's optimism.

     Besides it's historical resonances Independence Day offers some pretty fun if also somewhat brain-dead entertainment. The script often resorts to cheap tricks and contrivances to move the plot forward and many of the characters feel more like archetypes than people. But the film never takes itself too seriously and the performances, particularly from Will Smith and Jeff Goldblum, are able to add some levity and humanity to what might otherwise be a mindless explosion fest. It's also nice that an African American (Smith's Captain Steven Hiller) and a nerdy Jewish guy (Goldblum's David Levinson) are the one's who save the day. The action is fun, the effects (mostly) hold up and David Arnold's score is appropriately stirring.

     Independence Day is a dated film but in many ways I feel that this is is greatest strength. If your looking for a dumb/fun 90's movie that also gives you a peak into the cultural milieu of the time you could certainly do worse.

Score: 8/10

Zootopia Review (Minor Spoilers)

So I finally saw Zootopia...

     Zootopia is a movie about social prejudice but it should not be taken as a direct allegory. Indeed any attempt to connect certain groups in the movie with real world counterparts could result in reinforcing paranoia and negative stereotypes. The film avoids this through it's protagonist, Judy Hopps. Judy is a character who, initially, is a victim of stereotyping as she attempts to navigate the Zootopia police force, a world dominated by larger animals. Later though she becomes a perpetuator of the same stereotypes herself when predators begin reverting to their instinctual, "savage" selves and her own deep-seated fears come to the fore. By revealing the protagonists preconceptions and prejudices the film challenges us to look in the mirror and question our own. More broadly the film is a cautionary tale about the dangers of stereotyping and fear which can lead to widespread paranoia and discrimination.

     The film commits a bit of a misstep in the climax however. It is revealed that a certain character is responsible for the predators going savage and that this was done in order to perpetuate a conspiracy against predators. On one hand this reflects how political rhetoric and fear mongering can be used to ostracize certain sections of the population. On the other hand this might back fire and lead some conspiracy minded audience members to blame mysterious, nefarious organizations for societies problems instead of trying to recognize and combat their own prejudices and preconceptions about other groups of people. What makes this worse is that everyone involved in the conspiracy is from the same species and there are no positive characters of this species to counterbalance this. (Wow, that sentence sounds really strange)

     The movie works pretty well despite this problem. Partly because it handles its themes so well up to that point but also because it has other things going on thematically. The film provides subversive commentary on the idea that you can be anything you want to be (hint: you can't) but offers the optimistic message that you can still be successful and find fulfillment despite your own shortcomings and despite societal forces that try to keep you down.

     Aside from interesting thematic elements Zootopia also features solid performances from it's voice actors, eye-popping animation and well written, compelling characters. Ginnifer Goodwin is a perfect fit for the spunky, independent Judy Hopps as is Jason Bateman for the cynical but kind Nick Wilde. Though it succeeds despite it shortcomings, its a bit awkwardly paced in addition to the thematic problem already discussed, and is probably the most inherently political film Disney Animation has ever produced, it still falls short of their best offerings from the Golden Age and the Renaissance, though it does give me hope that they might make another great film eventually.

8.5/10

Why I Love Westerns

     “The cow-boy is now gone to worlds invisible; the wind has blown away the white ashes of his camp-fires; but the empty sardine box lies rusting over the face of the Western earth.”
-Owen Wister, "The Virginian"

Fight for the Water Hole by Frederic Remington

     The Western is not a very popular genre today, some even say it's dead. All one need do to confirm this is to look at how many prominent westerns are coming out now. Last year we got only one and this year the only one that is on peoples radar is a remake that has people more trepidatious then excited. So it may come as a surprise that the western is actually my favorite genre. There are are variety of reasons why this is true but, in the end, it comes down to just one.

     The Western is America's Mythology. It might not involve supernatural elements or mythological creatures but its mythical none the less. Though it takes place in a clearly defined historical period it portrays it in an exaggerated and, at times, completely fictitious way. The idea of western towns constantly plagued by violence and crime or frequent clashes between settlers and Indians are based on a relatively small number of actual historical events. But it goes deeper than that. Wikipedia states that "mythology helps convey belonging, shared and religious experiences, behavioral models, and moral and practical lessons" and this is exactly what the western does particularly through the examination of the archetypal western hero.

Gene Autry

     The western hero bears resemblance to other heroic mythical figures, in particular the Knights of the round table. If you compare the chivalric code of Arthur's knights to Cowboy Code developed by Gene Autry you will find many similarities. For example both demand truthfulness, respect for women and the protection of the weak. Also, like King Arthur's knights, the western hero and, in particular, the gunfighter, is a paladin like figure. Someone who fights for what is right but is not averse to using violence to stop evil. A paladin tends to see the world in black and white terms, for the evil there is no chance of redemption and violence is necessary in order to stop them. The western hero is often shown to be the only one capable of bringing order because they are the only one's willing and able to do what is necessary. This separates them from society. Symbolically they are a part of two worlds the physical realm which makes them vulnerable and subject to death and temptation and the spiritual realm which places them on a higher moral plane where they can dispense justice as they see fit. As a result of this, any attempt to crossover to the physical world completely and to try and "settle down" and seek worldly happiness usually spells doom for the hero. So, contrary to popular belief, the western hero rarely "gets the girl." Again parallels can be drawn to Arthurian mythology where, whenever the knights have relations with a women they end up getting in trouble.

Gary Cooper and Grace Kelly in High Noon (1952)

   Owen Wister's "The Virginian" helped to establish many traditional elements of western mythology.  The central character in the book follows most of Gene Autry's rules. He is also shown, mostly, as a man apart though it should be noted that he does settle down and get the girl in the end. In some ways this presents a slightly different take on the mythological paradigm outlined above. In the story the Virginian must face down Trampas, a cattle thief and a general nuisance who demands satisfaction when the Virginian accuses him of stealing. The Virginian feels that he must face Trampas not just to save face but because he feels he has a duty to put an end to Trampas evil, corrupting influence on society. In a plot point later borrowed by High Noon the Virginian's bride-to-be, Molly, threatens to leave him if he goes through with it but of course he does it anyway. Despite this, Molly forgives him in the end and the two get married and "ride off into the sunset." Here the hero can find happiness but only after going through a crucible where he risks losing that happiness completely and when he does find happiness he enters our world completely and ceases to be a paladin. In Jack Shaefer's "Shane", by comparison, the hero tries to live a normal life only to find himself caught up in a violent conflict and called to use his skills with a gun once again. In this story there is no escaping fate and Shane proclaims "A man is what he is, Bob, and there's no breaking the mold. I tried that and I've lost."

Alan Ladd and Van Heflin in Shane (1953)

     Another major element in western mythos is the idea that violence is a natural part of history which is necessary in order to pave the way for civilized society. The cowboys and pioneers who cleared the wilderness and fought the Indians would make way for the homesteaders and farmers and finally the railroads would bring towns, cities and industry. The real history, of course, was much more messy but western stories often portray it as a series of violent conflicts which would ultimately lead to the birth of civilization. The Indians resist the pioneers and cattlemen, corrupt cattle barons resist the homesteaders and farmers and finally bank-robbers and outlaws threaten the development of towns and cities. The west is a wild place which attracts violent and wild men who, ultimately must make way for civilized men and, especially, women, to tame it. This cycle, the passing of the untamed west to the roll of progress and civilization, is often shown in a tragic light, though it is still seen as necessary. As Olive Carey's Mrs. Jorgensen say's in John Ford's seminal film The Searchers "Some day, this country's gonna be a fine good place to be. Maybe it needs our bones in the ground before that time can come." This idea creates a dichotomy in the western mythos. The key thing which separates heroes from the villains is their acceptance or rejection of this idea. The western hero accepts that he is part of a dying world and is willing to surrender his supremacy to civilized society while the villains refuse to do so. This is perhaps best illustrated in John Fords The Man Who Shot Liberty Valance where John Wayne's character Tom Doniphon allows James Stewart's Ransom Stodard to take credit for killing Liberty Valance so that he can be elected to represent the Texas territory in Washington and bring about a more civilized society. George Steven's film adaption of Shane sums up these themes perfectly in this exchange between Shane and the evil rancher Ryker:

Shane: Yeah, you've lived too long. Your kind of days are over.
Rufus Ryker: My days! What about yours, gunfighter?
Shane: The difference is I know it.

John Wayne and Clair Trevor in Stagecoach (1939)

     With that said there are Westerns that don't fit into the traditional Mythological mold and instead seek to reexamine western tropes in a more critical fashion. Henry King's film The Gunfighter is about a more amoral kind of man who, when he was young, made a reputation as a fast gun, a reputation he is now trying to run away from. The main character in this film, Jimmy Ringo, is not a heroic righter of wrongs but rather a man who, despite his best efforts, leaves violence and death in his wake. Ironically these stories also follow the mythological trope of the hero who can never find happiness, as Ringo's attempts to reunite with his former love ultimately lead to his death. But here it's not the character's heroism or sense of righteousness that separates him from society but rather his violent lifestyle. There are also films like Stagecoach, which use the genre and its portrayal of the west as an idyllic land plagued by violent conflict as a vehicle for social commentary. In the case of Stagecoach the west is ultimately a place for the films outcast characters to escape social prejudice.

     Westerns can explore mature themes of violence and provide relevant social commentary but it's always done beneath the veil of the uniquely American mythological world that the genre creates. As a history buff, a fan of mythology, and something of a lapsed patriot the western resonates with me in a way no other genre can.

Sources
http://nieveroja.colostate.edu/issue2/shane.htm
http://www.wyohistory.org/encyclopedia/owen-wister
http://tvtropes.org/pmwiki/pmwiki.php/Main/ThePaladin
http://www.lordsandladies.org/knights-code-of-chivalry.htm
http://www.geneautry.com/geneautry/geneautry_cowboycode.html
http://www.cracked.com/article_20372_5-ridiculous-myths-everyone-believes-about-wild-west.html