During the opening credits of this Roland Joffé (The Mission, Vatel) version of The Scarlet Letter, a certain snippet of text appeared that allowed me to forgive quite a lot of the nonsense that would follow. The text read: “Based Loosely on the Novel by Nathaniel Hawthorne”. Loosely. So what the hell — why not have the American Indians rescue Hester from the gallows? Alas, it is with deep shame that I confess I find this bastardization completely re-watchable.
I really like Oliver Stone about half the time, but the show-offy style he used with Natural Born Killers and J.F.K. doesn’t service Any Given Sunday. Those other films, with their multiple perspectives and drug-induced visions, felt right to employ rapid editing and multiple media. But Any Given Sunday is (or should have been) a reality-based ensemble drama about the rigors and tribulations of everyone who works in football. Freeze-frames, stock photography of rolling thunder clouds, and ecclesiastic Moby music don’t work here — they only serve to portray football as something holy and sacred, and the players as celebrities or gods.
Director Paul Verhoeven (RoboCop, Basic Instinct) continues his knack for combining violence, gore, dark humor and social commentary in this loose adaptation of Robert A. Heinlein’s serialized novel about humankind’s future war against a race of insect-like aliens. I can almost enjoy the movie for the action alone. It escalates beautifully, with plenty of exciting sequences and spectacular visual effects. But it’s the satirical edge that helps distinguish Starship Troopers. The whole movie is designed as a recruitment film for a fascist society. When our ‘heroes’ win in the end, the movie has its tongue firmly in cheek, dressing them as full-blown Nazis while Leni Riefenstahl-like propaganda leads us into the closing credits.
In pre-World War II Florence, a group of elitist British dames and a garish American art collector take in a small boy and raise him. When Britain and America enter the war several years later, the young man returns the favor by looking after the women when they’re interned by the Italian police — and helping to smuggle one of them out of the country when her nefarious husband plans to hand her over to the Gestapo. Tea with Mussolini is a semi-autobiographical tale from director Franco Zeffirelli (Romeo and Juliet, The Taming of the Shrew). The script could have gained a stronger perspective by sticking more to the young man’s point of view, but the sentiment comes across beautifully and I find it impossible to resist the cast of characters.
