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Entries in Michael Caine (14)

Friday
May162014

Yes, No, Maybe So: Interstellar

Christopher Nolan's space-travel epic Interstellar finally reveals something of its plot (the Earth has depleted its natural resources. "time to die," a replicant might say but Michael Caine aint having it and suggests space travel instead.

In the first non-teaser trailer we get quick glimpses of the biggest names in the cast and spend lots of time with Matthew McConaughey, a former engineer with two kids, one named after Murphy's Law (but I don't quite remember Murphy's Law this way, do you?)

trailer breakdown after the jump

Click to read more ...

Wednesday
Feb052014

Is Jeremy Irons Put 'Out to Pasture' as Pennyworth?

[Editors Note: I am pleased to welcome new contributor Diana Drumm to The Film Experience. The benefit of fresh voices? They often have subjects to opine on that we haven't run into the ground already here at TFE. Like this consideration of Jeremy Irons, late in his career. Enjoy! - Nathaniel]


Last week, the internet announced, buzzed and trounced the news of Jesse Eisenberg signing on to play Lex Luthor in the upcoming Batman vs. Superman. (Insert maniacal mastermind Mark Zuckerberg joke.) Less buzzed about, but part of the same announcement, Jeremy Irons is set to play Alfred Pennyworth. Seriously. Jeremy “Scar is an unknowing introduction to masochism” Irons. Brushing aside millenial Disney hang-ups, Jeremy Irons is a glorious figure of bygone British manhood and Alfred Pennyworth is... A different sort of bygone British manhood. 

Lithe yet powerful, languid yet vital, vulnerable yet undeniably masculine. As an actor, Irons’s performances take on a seductive quality, with an earnest veneer covering an implicit rascaliness or vice versa or a muddled mix of both. With a bewildered look as powerful as a forceful growl, he (his innate talent, his RSC work, his Oscar) is being wasted.

Not that he’s the first thesp to be called in as a ringer for a blockbuster (or that this is his first time on the merry-go-round -- EragonBeautiful Creatures, etc.)...

Click to read more ...

Thursday
Mar142013

To Sir Caine, With Love

JA from MNPP here, wishing the great Sir Michael Caine a happy 80th birthday. I used pictures of him in Children of Men and as Alfred in Nolan's Batman movies mostly because they express his admirable range succinctly - can you imagine a conversation between Alfred and Jasper? - but they're also two of my favorite performances from him, at least from within the past decade or so. I'm not much of a Batman fan but Caine did some very good work therein. Looking further back his role in Dirty Rotten Soundrels was a favorite of mine when I was young, and then of course there's Hannah and Her Sisters, with that infamous Oscar tale of missing the ceremony so he could shoot Jaws: The Revenge. (Sad but true fact - I have seen Jaws: The Revenge more times than I have seen Hannah and Her Sisters. Stone me now. Jaws: The Revenge is just so entertainingly terrible!) And what about Dressed To Kill? It's tranvestitastic. And then all of his classics that modern stars have remade trying (and failing) to ape his effortless cool - Alfie and Get Carter and The Italian Job. What's your favorite Caine?

Wednesday
Nov302011

Music, Mistletoe and Michael Caine: 'The Muppet Christmas Carol'

Kurt here. If you love Christmas, odds are there's an incarnation of A Christmas Carol of which you take ownership. For me, it's a stage production performed annually at the McCarter Theatre in Princeton, NJ. For you, it might be the 1938 Joseph L. Mankiewicz classic with Reginald Owen. And for a special few, it's The Muppet Christmas Carol, a film that proves how effectively one beloved property can be used to refresh another. The worlds of Jim Henson and Charles Dickens intertwine rather beautifully in this 1992 musical dramedy, whose Muppet stars pull the Yuletide tale out of mothballs, but don't crank up the contemporary jabber so far as to brand it with a born-on date. The comedy is all about that distinct Muppet attitude, which, as the new Muppets film seems determined to emphasize, is as timeless as "Bah Humbug."

Charles Dickens is in fact a character in the film. He's played by Gonzo, who, along with Rizzo the Rat, narrates the story of Ebeneezer Scrooge (a game, sincere Michael Caine) and the spectral Christmas Eve that rids him of his jerkdom. You might think excessive hand-holding would result from having a pair of narrators guide you through a film that already sees its lead and his visitors guide you through second-act flashbacks, but that's never the case here, as Gonzo proves an entertainingly knowing voice and a funny teacher to Rizzo, who's ever-eager to listen and learn ("Why are you whispering?" Rizzo asks. "It's for dramatic emphasis," Gonzo tells him). It's a gentle form of un-dusty, all-ages comedy, and it's a far better rejuvenator than, say, a 3D shrunken-man rollercoaster

The narrating duo also add to a team element that seems to unfailingly manifest when it comes to the Muppets. Of course, the characters are their own traveling troupe (a factor that undoubtedly helps attract flesh-and-blood actors to work with them), but there are subsets of teams that appear within projects, and help to give the comedy that ultra-important communal feel. Jacob Marley, for instance, is given a brother, Robert (wink-wink), so the pair can be portrayed by the hysterical hecklers Statler and Waldorf, who may just offer the most enjoyable books-and-chains preliminary haunt the story has ever seen ("There's more of gravy than of grave about you," Scrooge says to the pair in his blame-it-on-the-food speech. "More of gravy than of grave?" they reply. "What a terrible pun! Where do you get these jokes?"). There's also Bob Cratchit's (Kermit the Frog) shivering team of bookkeeping colleagues, who famously initiate an impromptu Hawaiian dance when their request for more furnace coal is met with the threat of unemployment.  

Watching the film again, I was struck by just how many musical sequences it includes, and they're fine ones at that. The movie begins with the familiar marketplace bustle, through which Scrooge hurries home amid a whole town of scared and scorned onlookers. "There goes Mr. Humbug," they chant, "there goes Mr. Grim. If they gave a prize for being mean, the winner would be him." Even the Muppet-ized vegetables join in on the chorus, shaming the village grump. Later, the central cast members unite for "Thankful Heart," an ending tune that, like the others, was penned by Paul Williams (the score is credited to Miles Goodman). Off hand, I can't recall another Christmas Carol that presents itself as a musical, apart from the usual festivities at the house of Fezziwig (who, here, naturally, goes by "Fozziwig"). The story works great with the songs sprinkled in, and the music has an effect similar to the Muppet comedy: updated, but un-dated.  

What probably nets the biggest laughs is the recurring tendency of Gonzo and Rizzo to get physically involved with the story they're telling, be it by falling off an in-flashback shelf they describe as "old and decayed," or receiving a self-reflexive Christmas greeting from Scrooge himself. Gonzo, in particular, has fun with the different levels of fiction, playing an imaginary version of an author poking around in his own creation. "Great story, Mr. Dickens," Rizzo says at film's end. "You should read the book," says Gonzo.  

 

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