O captain, my captain!
... before you leave Robin, I think I speak for everyone here when I say... we'll miss
you.
// Thank you boys...
thank you.
// This isn't going to be easy... but this is Movie Night!
Hello and welcome to Movie Night, in-depth spoiler-free reviews in under four minutes.
I'm your host Jonathan Paula.
Tonight we'll honor the wonderful life and work of the late Robin Williams, a man was
unfortunately no stranger to suicide.
A number of his films, including The Fisher King, What Dreams May Come, and World's Greatest
Day focus on death as a central plot element... but I don't actually want to talk about those
movies, they're all very good and worth watching, sure - but tonight I want to review my favorite
Robin Williams films.
Although I don't have any specific or personal connection to Williams - I have always been
a big fan, and his death definitely hit me pretty hard, as it has affected many others.
I spoke about all my thoughts and emotions last this week in an episode of "The World
According To Jon", if you'd like to hear more.
But for now, we celebrate his life by reviewing some of his best performances, beginning with
"Good Morning Vietnam".
Released just before Christmas in 1987, this good-natured comedy film set against the backdrop
of the escalating Vietnam crisis of the mid-1960's managed to gross nearly ten times its small
$13-million dollar budget.
In the first of his four nominated-roles, television icon turned dramatic actor Robin
Williams stars as a boisterous radio DJ for the fledging Armed Forces radio station in
Saigon.
The unstructured plot follows his attempts to inject humor and American rock-and-roll
into his hugely popular daily broadcasts, at the chagrin, and later direct orders of
his infuriated superiors.
Simultaneously, we follow Williams as he adjusts to life in the middle of a war-zone, while
he attempts to win the affection of a local Vietnamese girl played in a rather unmemorable
performance by Chintara Sukapatana.
Forest Whitaker is along for the ride in a yes-man sidekick type role, whereas Bruno
Kirby and J.T.
Walsh walk around with a permanent stick-up-their ass, constantly acting like a wet-blanket.
The 120-minute picture was directed by Barry Levinson... but since so much of Williams'
manic performance was reportedly improvised on the spot, perhaps "wrangled" is a more
apt description of Levinson's duties.
Set during a time and place when radio deejays had influence and power, Williams embraces
his position as he attempts to entertain and inform the troops of current events - beginning
each broadcast with his trademark phrase, "Good Morning Vietnam!"
... the titular greeting piercing the pre-show silence like a bullet from a gun.
Before this, Robin seems like a quiet and reserved individual...
but once the mic is hot, and the red light is on, he transforms into an energized improvisational
machine...
spitting out dozens of jokes, voices, and sound effects every minute.
His timing and skill flow so naturally, it's hard not to watch in awe as he bounces from
a loud Ethel Merman impression to doing a spot-on Walter Kronkite.
The R-rated story is loosely based on the experiences of a real Armed Forces DJ... and
while this is an interesting and unique angle, it just isn't a particularly dramatic one,
even after our protagonist narrowly survives a bombing attack.
Indeed, while enjoyable, the film never quite kicks into second gear... with little resolution
to the film's biggest conflicts, or any real theme or message.
That being said, a violent montage of riots and death is hauntingly juxtaposed against
Louis Armstrong's "Wonderful World", creating a powerful moment late in the film.
Although the script meanders a bit, and the romance-angle never really works - the politics
of radio in a war zone is decently fascinating, if only because I'm reminded of my own time
working as an on-air radio DJ in Boston.
An entertaining comedy that works because of its impressive leading man, this isn't
a movie I'll be re-watching anytime soon... but I'll rate "Good Morning Vietnam" a SEVEN
out of ten.
Oh, you may have noticed I skipped right past my five-word summary, comment reviews, and
the factor-facts there.
In an effort to simplify and streamline the show, I've decided to remove those elements...
but as we continue the show, let me know what you think of the changes.
Second up tonight, my review for "Dead Poets Society".
This Peter Weir drama film was released in June of 1989, which shares the seemingly uncomplicated
story of an English teacher who inspires his students with poetry.
Produced on a budget of $16-million, the PG-rated film would score four Oscar nominations, and
$220 million in profit.
In his second nominated performance, Robin Williams is graceful as the kind, patient,
and motivational leader... who instructs his adolescent troops to "make life extraordinary",
and "seize the day."
Robert Sean Leonard, Ethan Hawke, John Charles, and a dozen other young actors make up the
group of prep school students at the elite Welton Academy, who overcome their hesitations
and begin craving everything life has to offer... by throwing parties, reading sonnets, and
reveling in each other's camaraderie.
Weir even had the young actors all room together during production, to strengthen their on-screen
chemistry.
And it certainly worked, their charm and eagerness make their characters easy, and believable
to root for.
Meanwhile, Norman Lloyd and Kurtwood Smith play older gentlemen, who despite being reasonable
in their own actions, only serve as an obstacle for the growing desires of the teens.
A confrontational scene between Leonard and Smith, as father and son, is particularly
powerful, bordering on difficult-to-watch a times.
It's easy to empathize with the dutiful child, afraid to disappoint a loving father who doesn't
understand what his son really wants.
It goes without saying that both individuals give brilliant performances in that scene,
as well.
The unrushed narrative unwinds throughout a single-school year, as we learn more and
more about these interesting and nuanced characters.
Without any showy cinematography, action scenes, or memorable music... the entire 128-minute
picture rests on its writing and characters: and thankfully, the film more than excels
here.
This is light-hearted, but serious look at adolescence, self-discovery, and challenging
authority.
The marvelous script gives us insight into their fictional lives, but what makes the
film stand out is how it allows, and practically asks the audience to reflect on their own
lives.
The qualities these men embody will surely resonate... when you wonder if you're doing
enough to make your own life extraordinary.
A wonderful, moving, and uplifting experience that should be required viewing for all students,
I loved this film when I first saw it in my early twenties... and still do today.
"Dead Poets Society" only gets better with age, and I strongly consider it to be an AWESOME
film.
Now this next film is one I've already reviewed... but for competitions sakes, here again are
my thoughts on "Aladdin".
Released just before Thanksgiving in 1992, this $28-million dollar animated musical fantasy
was the most successful of the year, eventually grossing over half a billion at the worldwide
box office.
Ron Clements and John Musker adapt the ancient Arab folktale for the big screen with a cast
of familiar voices, led by Scott Weinger of "Full House" fame.
The 90-minute story follows Weinger as the title character, a poor street urchin who
uncovers a magical genie after falling in love with a beautiful princess.
He's motivated early by a passing prince who reminds him, "You were born a street rat,
you'll die a street rat."
As one of the all-time great animated characters in cinema history, Robin Williams is perfectly
cast as the bright blue genie - hilariously rattling off a string jokes, sight-gags, anachronism
impersonations, and even singing a song or two.
In fact, the famous comic improvised so much, the movie recorded over 15 hours of material
for his role, and prevented the script from being eligible for a Best Adapted Screenplay
nomination.
It may seem common place today, but twenty years ago, having a major movie star voice
an animated character was a relatively new concept - but thankfully it paid off, Williams'
manic and memorable performance alone makes this worth seeing.
Particularly fantastic is his introductory song and dance number, "Friend Like Me"...
which flies by with some extremely unique and inventive animation, backed by Alan Menken's
wonderful music.
Jonathan Freeman, Linda Larkin, and the annoyingly foul-mouthed Gilbert Gotfried portray the
rest of the colorful, if stereotypical cast.
Special mention needs to be made for Frank Welker, an extremely talented, but generally
unknown voice-over artist who has nearly 1,000 credits to his name... mostly all specializing
in animal sounds and other unique vocal effects.
Here, he provides personalities and voices for Abu the monkey, and Rajah the tiger, among
other characters.
His career has been so prolific that the combined gross of all his projects is second all-time
behind only Samuel L. Jackson.
Back to the film though...
at its heart, it's a fun adventure set in an exotic location with likable characters,
a simplistic romance plot, and plenty of goofy high jinks.
As expected, Disney's trademark animation style is vibrant and beautifully rendered,
especially in the film's Oscar-winning sequence for "A Whole New World".
As has been my faux-criticism of all children's films... the quickly paced story is a touch
heavy-handed at rushed at times, but the characters and music provide for a lovely experience
that reminds kids it's important to be true to yourself, and not get wrapped up in materialistic
endeavors.
Eventually spawning two sequels, a TV series, toys, video games, merchandise, and a Broadway
play, this G-rated movie is a timeless classic people of all ages can enjoy again and again.
Since it's so hard to separate this picture from my childhood, I simply won't.
I loved it then, and I still do today.
"Aladdin" is a wonderful fable with hilarious moments... and an AWESOME film.
For tonight's poll question, which of Robin's many films is your favorite?
Mine are still coming up... but leave your response as a comment below.
Fourth up tonight, let's talk about Mrs. Doubtfire.
Loosely based on Anne Fine's novel, "Alias Madame Doubtfire", this comedy drama film
by director Chris Columbus was released in November of 1993 where it earned over $440
million against its small $25-million dollar budget.
Funnyman Robin Williams stars as a recently divorced father who disguises himself as the
title character, an old English nanny, so he can spend more time with his family.
He must undertake this ridiculous and unorthodox approach only because of his stubborn ex-wife,
played by Sally Field.
Although she dresses like a grandmother attending a funeral, her character is nothing but an
unreasonable bitch - pointlessly vindictive towards the father of her children, seemingly
just to spite him, confiding to her new nanny, "The truth is, I didn't like who I was when
I was with him.
I would turn into this horrible person."
Williams however is endlessly patient and adorable in the dual role... fun-loving and
wacky as the modern 90's dad, while acting loving, nurturing, and reassuring as his elderly
female counterpart.
Following a humorous make-over montage that includes a great bit part from Harvey Fierstien,
we get our first glimpse at the Academy-Award-winning make-up, that honestly works surprisingly
well.
Which is important, as the entire believability of the PG-13 rated narrative rests on the
disguise's ability to trick this man's own family.
The ease and speed at which Williams is able to remove, and re-apply the costume is a bit
far-fetched though, as the real make-up took over four hours to apply each day.
A scene where Williams slams his face into a frosted cake to maintain the Mrs. Doubtfire
rouse to an inquisitive court liason, played in amusing turn by Anne Haney, remains an
iconic and absolutely hilarious scene to this day.
Even beneath an old-lady body suit, Williams' mile-a-minute energy and charisma pour out
of the screen, elevating the talents and timing of everyone around him - especially Pierce
Brosnan as the Field's new handsome boyfriend, who isn't normally regarded for his comedic
abilities.
The actors playing the three children however leave a bit to be desired, Lisa Jakub looks
like she's constantly pouting, Matthew Lawrence had a bit habit of entering closed doors without
knocking, and Mara Wilson's film debut allows her to look cute and even swear, but none
of them contribute much - they're mostly just there as a means to an end.
The 125-minute story moves along at an amble pace, culminating with a terrific dinner scene
that has Williams attempting to be in two places, as two people simultaneously.
The scene is as amusing as it is memorable, rife with loads of dramatic irony and gags.
Howard Shore's light and flutely music provides a suitable score, and the plain photography
style never distracts from the film's heavy emotional swings.
A true favorite from my childhood, and a very re-watchable experience, it's the final coda
of the film that truly resonates, as Williams explains the importance of family, regardless
of their circumstances or uniqueness.
Perhaps a bit dated today, this is a fun, moving, and enjoyable film everyone will love.
"Mrs. Doubtfire" is an AMAZING film.
Advancing another year forward in Robin Williams' career, let's review Jumanji.
Released on December 15, 1995 - this fantasy adventure film by director Joe Johnston quadrupled
its $65-million dollar budget.
Based on Chris Van Allsburg's 1981 children's book of the same name, the 104-minute story
opens with back-to-back prologues (the first of which could have been removed completely),
where we learn of a mysterious wooden board game capable of producing magical dangers
from an unseen jungle environment.
After our pluky, down-his-luck protagonist gets trapped inside the titular adventure,
we pick up the story twenty-six years later when Kirsten Dunst and Bradley Pierce stumble
upon the game and inadvertently release the trapped boy - now a grown man, portrayed by
the affably hilarious Robin Williams.
From there, the tight PG-rated script quickly flows from one exciting set-piece to the next;
from a violent animal stampede, to avoiding crocodiles in a flooded mansion.
Although he doesn't appear until over 30-minutes in, Williams dramatically turns from elation
to despair in a layered role only he could off so effortlessly.
Meanwhile, much of Dunst's delivery seems as wooden as the game itself...
but her line-reading can be forgiven seeing as how she was only 13 when this was filmed.
Bonnie Hunt, David Alan Grier, Jonathan Hyde, and Bebe Neuwirth round out the talented cast
- with largely exaggerated, if somewhat appropriate performances - they are being chased by scary
lions and poisonous mosquitoes after all.
Hyde is especially fun in the dual role of Williams' father, and a merciless hunter...
who ends up on the receiving end of some of the more goofier, Home-Alone inspired moments.
A recurring theme of bravery is echoed late in the film when Robin remarks to a threatening
adversary, "I'm terrified.
But my father says you should always face what you're afraid of."
Although some of the computerized visuals look too "animated", their integration into
the live-action environment was revolutionary for the mid-90's, and holds up considerably
well some 20 years later.
Using flutes and woodwinds, the jungle-inspired score from James Horner provides an eerie,
otherworldly atmosphere to the story, especially the incessant drum beat that signals the nearby
presence of the game itself.
Given the outlandish sequence of events, some of the dumber, more curious character decisions
can be overlooked, but a number of glaring conveniences that advance the story are a
bit irksome.
It's a tragic family drama, a hilarious comedy, and an action-packed adventure for all ages...
wrapped into one unique, and entertaining package.
Thanks to some steadfast direction, capable visual effects, and excellent acting, this
film has left a lasting legacy.
In fact, where the movie was filmed in Keene, NH - an advertisement for the movie's fictional
shoe company still exists as a mural there today.
An absolute favorite from my childhood, I must have watched this movie at least a half-dozen
times, and it's just as memorable as ever.
"Jumanji", is an AWESOME film.
A reminder now to check out the Movie Night Archive channel for an organized collection
of all our reviews, and to hear my thoughts on upcoming releases - earlier this month,
I examined six separate movie trailers.
Next up, another repeat-review, but I've actually decided to change my final rating on this
one.
Here again, my review for "Good Will Hunting".
Released during Oscar season of 1997, this Gus Van Sant drama film not only scored itself
nine nominations, it also made $225 million against its modest $10 million dollar budget.
In the role that'd make him a household name, Matt Damon stars as the title character: a
math prodigy who is wasting his life away living in South Boston, and working a janitor.
The involved plot involves his quarrelsome relationship with his court-ordered therapist,
dealing with his townie friend Ben Affleck, his budding romantic involvement with Minnie
Driver, and studying under a renowned MIT professor.
The infinitely versatile Robin Williams is positively brilliant as the physiatrist, who
challenges and battles Damon with long emotional, soul-searching monologues in an Oscar-winning
turn.
Their adversarial contention begets a loving friendship, and his the absolute bedrock of
this 126-minute picture's story.
The original screenplay by Damon and Affleck famously won the two young boys from Boston
an Academy Award - and rightly so: the dialogue and writing here is nearly unparalleled...
one of the all-time best scripts, with Van Sant doing a fantastic job bringing it all
to life, framed by extremely lengthy close-ups, and beautiful repetition and imagery.
Perfectly paced, this movie flows effortlessly from one long sequence to the next, each one
showcasing the magnificent acting talent of the tight-nit cast, and highlighting another
dramatic moment from each of them, especially an overwhelmingly powerful exchange where
Williams repeatedly reassures Damon that his troubled past is "not his fault".
The R-rated movie is also wickedly funny - particularly if you're from the Boston area, and can relate
to the antics and camaraderie between Damon, Affleck, and their Southie buddies, like in
a marvelous scene where they confront a Harvard student at a bar, hilariously schooling him
in front of a potential female conquest.
Or, when Affleck serves up sophisticated sounding malapropisms to trick an interviewing board
into believing he's Will, the math genius.
Danny Elfman's mellow score winds in and out of the picture beautifully, occasionally accompanied
by some wonderful acoustic ballads from singer-songwriter Elliot Smith.
Taken from afar, the over-arching plot here rarely surprises... but the small moments
littered throughout is what makes this experience so rewarding and powerful.
An examination of trust, compassion, and finding your true purpose in life - this is a relatable
and enjoyable film that resonates with me the more I watch, and the older I get.
"Good Will Hunting", is a refreshing, emotional, and uplifting experience with phenomenal acting
and writing - I'm updating my earlier score to an AMAZING.
Finally tonight, a review of "Bicentennial Man".
Released just two weeks before Y2K, this science-fiction drama film reunites director Chris Columbus
with Robin Williams, this time for an adaptation of a classic Isaac Asimov novella by the same
name.
Sadly however, the $100-million-dollar production failed to earn a profit, which Williams attributed
to unfavorable budget cuts from Disney.
The 132-minute plot follows Williams as the title character, as a metallic android who
endeavors to become more human as he gradually discovers his uniqueness over the decades.
In a performance that is incredibly reminiscent of Brent Spiner's 7-year-turn as "Data" on
Star Trek, Williams' portrayal mayn't be the actor's most memorable role, but it's a delicate
and nuanced one.
Despite his robotic mannerisms, our protagonist remains decently expressive thanks to some
flexible eyebrows that help him emote.
The supporting cast includes Sam Neill, Embeth Davidz, Wendy Crewson, and Oliver Platt who
all do a great job undergoing massive make-up changes as the age and pass on during the
course of the leisurely paced 200-year story.
The first act of the PG-rated film unravels like a playful sitcom, as Neil's family humorously
deals with their live-in robot nanny.
However, the movie makes a departure from this playful first act, and morphs into an
almost completely different story - as the title character attempts to adapt to his changing
surroundings and circumstances, with his owner Neill defending his uniqueness by declaring,
"There is no price for individuality."
A particularly effective scene has Davidtz asking for relationship advice from her android
friend, while simultaneously hiding her own affections for him.
Columbus's slow and steady directorial style lets all of the talented actors and dramatic
moments really sink in.
Although taking place in a futuristic setting, we only catch the occasional glimpse of the
world outside Williams' existence: filled with some of the films' more ambitious visual
effects work.
While we understand through plot clues that Williams' is one-of-a-king, and world-famous,
the story never expands beyond its limited scope to really show us how the rest of society
feels about a learning, adaptive, and emotionally capable robot.
James Horner provides some light and sporadic piano themes to the reasonably believable
narrative.
And there's something to be said for a compelling story that succeeds without any sort of traditional
antagonist.
Rather overtly tackling themes of humanity, and what it truly means to love, live and
die... this is inspiring, if overly sentimental experience.
The sappy and poetic ending may not work for everyone, but I've always been a fan of Asimov's
stories... and "Bicentennial Man" is a wonderful adaptation, I thought it was GREAT.
Before we're done, let's take a quick look at what you're saying about films currently
playing in theaters.
If you see a new movie in theaters, Tweet your review with the #JPMN hashtag.
I'll be back next month with another summer special, as I review seven of my favorite
comedy satire films, but until then, keep an eye out for more fun videos here on the
Jogwheel channel, and on Jon's World.
And don't forget, Movie Night's sixth season will premiere around Halloween.
If you'd like to watch more Movie Night reviews, check out the "related videos" on the right,
or click SUBSCRIBE to be notified of all new content.
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episodes.
Once again, my name is Jonathan Paula, thank you for watching and listening.
Until next time, have a good Movie Night!