Showing posts with label Jane Alexander. Show all posts
Showing posts with label Jane Alexander. Show all posts

Thursday, 2 July 2015

Movie Review: Brubaker (1980)


A slow burning prison drama, Brubaker portrays a noble fight against a corrupt system but lacks the depth of character needed to sustain its weighty intentions.

In the late 1960s, a new group of prisoners arrives at the derelict Wakefield State Prison in Arkansas. Among them is a quiet man (Robert Redford) who says little and observes a lot. He witnesses crumbling infrastructure, inhumane conditions and a brutal system of prisoners designated as trustees regularly abusing inmates with whippings and torture. Meanwhile the warden and his administrators are either absent or uncaring. When he stumbles upon a detainee in solitary confinement (Morgan Freeman) threatening to start a riot, the quiet man reveals himself to be Henry Brubaker, the new reformist warden of the prison, appointed with the help of politician Lillian Gray (Jane Alexander).

The idealistic Brubaker takes over the running of the facility, sets about to improve living conditions and appoints a couple of the more dependable prisoners as trustees, including Dickie (Yaphet Kotto) and Bullen (David Keith). He uncovers a racketeering operation based out of the prison grounds, and corruption that extends well outside the prison walls: the surrounding community depends on the prison for slave labour and a steady stream of revenue from contracted projects that are shoddily delivered. By disrupting the long-established status quo Brubaker finds himself at odds with state prison board officials, including chairman John Deach (Murray Hamilton). Things get a lot worse when a long-term prisoner reveals an ever darker secret about what goes on at Wakefield.

Director Stuart Rosenberg returns to the prison milieu he helped to make famous with Cool Hand Luke, but this time it is the warden rather than a prisoner who shakes up the system. Written by W. D. Richter, Brubaker is loosely inspired by the real-life experiences of warden Thomas Murton and the 1967 Arkansas prison scandal. The film settles down to 132 minutes of oppressive drama where prison life is either bad or worse, the mood is grim and prospects bleak. Brubaker's progressive energy represents a thin ray of hope. But gradually he comes to realize that as difficult as it is to make changes within the prison walls, it's the fight against the broader community, benefitting from the prison as a source of slave labour and fraudulent contracts, that represents the greater challenge.

Within the prison the film is dominated by a large number of desperate men abandoned in dilapidating conditions, while the businessmen and politicians on the outside are determined to leave an existing economically advantageous arrangement alone. Rosenberg and Richter successfully build up a system seemingly too entrenched for one man to take on, and then let their hero loose to try and knock down a sturdy wall built on exploitation and abuse.

Cinematographer Bruno Nuytten colours the film in dark blues, greys and black, creating a bleak, grimy and frequently damp environment whether the action is inside the old buildings, on the expansive grounds, or within the depressed community. This is a film drenched in the pessimism of a broken system, and the tone rarely varies.

While mentally engaging, Brubaker rarely stirs the soul. The central character is too monotonal in his quest to do good, and little is offered in the way of character depth or evolution. Redford's performance starts and stops with a dogged determination, and does not change in the face of insurmountable odds.

The trustees and prisoners are plentiful, and that is a problem. Rosenberg is unable to carve out any individual identities beyond the most rudimentary sketches, and in the absence of characters with compelling depth, the film does drag. While David Keith as Larry Lee Bullen comes closest to finding a personality, Murray Hamilton and Jane Alexander have plenty of screen time but not many opportunities to step beyond their predictable character boxes. In addition to Morgan Freeman in his first credited role, stalwarts M. Emmet Walsh and Wilford Brimley have relatively minor appearances.

Brubaker has the right intentions and a worthwhile story, but lacks the spark needed to truly break out of the prison walls.






All Ace Black Blog Movie Reviews are here.


Thursday, 22 March 2012

Movie Review: Kramer vs. Kramer (1979)


An emotional family drama, Kramer vs. Kramer explores the wreckage of a broken relationship and the collateral damage on a victimized child. In addition to three memorable acting performances, the film marks a turning point in the cultural perception of a father's role in child upbringing.

New York advertising executive and workaholic Ted Kramer (Dustin Hoffman) arrives home to find his wife Joanna (Meryl Streep) all packed up and saying good-bye: she is fed up with their life and is leaving him and their six year old child Billy (Justin Henry). Ted is initially shocked and is quick to accuse their neighbour and Joanna's friend Margaret (Jane Alexander) of prodding Joanna to leave him. But his most important priority is to take care of Billy: Ted has to learn the basics of physical and emotional parenting, starting from scratch.

Gradually, Ted learns to become a dad, and forms a deep bond with Billy. He comes to terms with Joanna's absence and even forges a friendship with Margaret. But Ted's work performance suffers due to his conflicting parenting duties, and the worst is yet to come: 15 months after abandoning her family, Joanna returns, seeking custody of Billy.

Robert Benton directed Kramer vs. Kramer and co-wrote the screenplay with Avery Corman, the book's author. Benton's loyalties and affection clearly lie with Ted's father character, and Kramer vs. Kramer helped to reorient societal perspectives on parenting duties. If a dad can be just as good a parent as a mom, why the default to granting the mother custody? And should a mother be punished forever for leaving her child to regain her sense of self-worth? The film exposes difficult questions, and the starkness of the circumstances demand that the debate be engaged.

Hoffman (Best Actor), Streep (Best Supporting Actress) and Henry (the youngest ever Best Supporting Actor nominee) were all nominated for Academy Awards, with Hoffman and Streep winning their categories. Kramer vs. Kramer is an acting showcase, and the three performances enhance each other in a self-nurturing cycle with Hoffman as the fulcrum.

The scenes between Hoffman and Henry are the emotional core of the film, as Ted learns on-the-job how to be a dad, starting with a series of failures and ever so slowly discovering the deep bond that ties father to son. Hoffman portrays Ted as all energy, a man who never met a challenge that could not be overcome by working hard, staying on the move and talking excessively. Fatherhood requires different skills, and Ted will learn most of them the hard way.

Just seven years old, Henry delivers a most memorable child performance, a boy whose most important human bond is severed when Joanna walks out the door. Overnight, Billy has to learn what it means to be cared for by a distracted dad, while mourning the absence of his mother. Benton extracts out of Henry a raw, touching performance, capturing both the trauma and resilience of a child going through a life-altering transition.

Benefiting from the misfortune of Kate Jackson, who had to turn down the role, Meryl Streep launched her stardom as Joanna. She bookends the film, departing to start and re-emerging at the end, and in both cases her actions impose catastrophic consequences on the lives of Ted and Billy. Streep's performance is the most delicate of glass, Joanna a woman so close to shattering at the beginning of the film that she abandons the one meaningful relationship in her life, and much more vulnerable than she believes 15 months later when she re-enters the life of her family. Streep's eyes search for meaning in a life gone sideways, and reveal gnawing self-doubt as she judges herself even more harshly than those whose expectations she has destroyed.

Kramer vs. Kramer is a film about conflict within a single, small family, with stellar performances highlighting the difficult, often painful choices and sacrifices that universally challenge the parenting task.






All Ace Black Blog Movie Reviews are here.