Top Ten Favorite Movies Set in the 1930s

Below is my current list of favorite movies set in the 1930s: 

 

TOP TEN FAVORITE MOVIES SET IN THE 1930s

1. “Indiana Jones and the Temple of Doom” (1984) – In this exciting second installment of the Indiana Jones franchise, the intrepid archaeologist is asked by desperate villagers in Northern India to find a mystical stolen stone and rescue their children from a Thuggee cult practicing child slavery. Directed by Steven Spielberg, the movie starred Harrison Ford as Dr. Henry “Indiana” Jones.

2. “The Sting” (1973) – Paul Newman and Robert Redford starred in this excellent Oscar winning movie about a young drifter who teams up with a master of the big con to get revenge against the gangster who had his partner murdered. George Roy Hill directed.

3. “Death on the Nile” (1978) – Peter Ustinov made his first appearance as Hercule Poirot in this superb adaptation of Agatha Christie’s 1937 novel about the murder of an Anglo-American heiress during a cruise on the Nile. John Guillermin directed.

4. “Chinatown” (1974) – Roman Polanski directed this outstanding Oscar nominated film about a Los Angeles private detective hired to expose an adulterer, who finds himself caught up in a web of deceit, corruption and murder. Jack Nicholson and Faye Dunaway starred.

5. “Gosford Park” (2001) – Robert Altman directed this Oscar nominated film about a murder that occurs at shooting party in 1932 England. The all-star cast includes Helen Mirren, Kelly MacDonald, Clive Owen and Maggie Smith.

6. “Evil Under the Sun” (1982) – Once again, Peter Ustinov portrayed Hercule Poirot in this entertaining adaptation of Agatha Christie’s 1941 novel about the murder of a stage actress at an exclusive island resort. Guy Hamilton directed.

7. “O Brother, Where Art Thou?” (2000) – Ethan and Joel Coen directed this very entertaining tale about three escaped convicts who search for a hidden treasure, while evading the law in Depression era Mississippi. George Clooney, John Tuturro and Tim Blake Nelson starred.

8. “Murder on the Orient Express” (1974) – Albert Finney starred as Hercule Poirot in this stylish adaptation of Agatha Christie’s 1934 novel about the Belgian detective’s investigation into the death of a mysterious American aboard the famed Orient Express. Sidney Lumet directed.

9. “Indiana Jones and Raiders of the Lost Ark” (1981) – Harrison Ford made his first appearance as Dr. “Indiana” Jones in this classic movie, as he races against time to find the iconic Ark of the Covenant that contains the Ten Commandments before the Nazis do in 1936 Egypt. Steven Spielberg directed.

“Seabiscuit” (2003) – Gary Ross directed this excellent adaptation of Laura Hillenbrand’s 2001 book about the famed race horse from the late 1930s. Tobey Maguire, Jeff Bridges, Chris Cooper and Elizabeth Banks starred.

Honorable Mention: “Road to Perdition” (2002) – Tom Hanks, Tyler Hoechlin and Paul Newman starred in this first-rate adaptation of Max Collins’ 1998 graphic comic about a Depression era hitman who is forced to hit the road with his older son after the latter witnesses a murder. Sam Mendes directed.

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“THE MURDER AT THE VICARAGE” (2004) Review

“THE MURDER AT THE VICARAGE” (2004) Review

I have another of my many confessions to make . . . I have never been a big fan of Agatha Christie’s 1930 novel, “The Murder at the Vicarage”. Never mind that it featured the first appearance of elderly sleuth, Miss Jane Marple, in a feature-length novel. I am just not a big fan.

One could assume that the novel’s setting – in the small village of St. Mary Mead – could be the reason why this particular tale has never rocked my boat. Not particularly. I can think of numerous Christie tales set in a small village – including St. Mary Mead – that really impressed me. The problem with “The Murder in the Vicarage” is that I never found it to be a particularly thought provoking tale. Nor did it include any special circumstances that made it unique. And my borderline apathy toward the 1930 novel even extended to the television movie adaptation that aired in 1986. Some eighteen years later, another adaptation of the novel aired on television. This particular version starred Geraldine McEwan as Miss Marple. And its running time was at least eight minutes shorter.

In “THE MURDER AT THE VICARAGE”, the citizens of St. Mary Mead are rocked by the murder of Colonel Protheroe, the local churchwarden and magistrate, whose body was found inside the study of the vicar, Reverend Len Clement. The man was disliked by many; including the vicar, the vicarage’s curate, Protheroe’s second wife Anne, her lover Lawrence Redding, Protheroe’s daughter from his first marriage Lettice, the vicar’s wife Grieselda Clement, and a mysterious new resident named Mrs. Lester who seemed to have produced a strange reaction from Protheroe. Not long after the vicar discovers the body, Lawrence Redding, who is a painter, confesses to the murder. Although he has been clashing with Colonel Protheroe over his painting of Lettice, it turns out that he has been Anne Protheroe’s lover for quite some time. Upon learning about his confession, Anne confesses as well. Miss Marple eventually points out to Inspector Slack that it was impossible for either to commit the murder and suggests that the latter search for the killer among other St. Mary’s Mead citizens.

As I had pointed earlier, I am not a big fan of Christie’s novel or its 1986 adaptation. But for some reason, I enjoyed this adaptation. For example, it is a bit more colorful than the previous version. I am aware that all of the Miss Marple television adaptations of the 1980s and early 1990s tend to look rather faded. But there are more reasons why I find this 2004 version more colorful. I realize that many tend to demand that a movie or television adaptation is faithful to its source novel. But I thought the changes made by Stephen Churchett made the production somewhat more lively for me. One, Churchett changed two characters (one of them an archeologist) by giving them a World War II connection to Protheroe and a reason to want him dead. And two, Churchett included World War I flashbacks of a brief love affair between Miss Marple and a married Army officer. At first glance, these flashback seemed irrelevant to the main story. In the end, they served as a tool in which Miss Marple managed to ascertain the murderer’s identity. But the best thing I can say about “THE MURDER IN THE VICARAGE” is its pacing. This is a well-paced film, thanks to Charlie Palmer’s direction. For me, this is an important element for a low-key mystery like “THE MURDER IN THE VICARAGE”.

But there are other aspects of the movie that I enjoyed. I was really impressed by Nigel Walters’ cinematography. It was sharp, colorful and perfect for the movie’s setting. The photography also enhanced Jeff Tessler’s production designs, which struck me as a perfect reflection of an English village in 1951. He also had the task of re-creating a London railway station circa 1915-1917. And he did a pretty good job. But I really enjoyed Phoebe De Gaye’s costume designs. I found them colorful and very spot-on for each particular character, based upon age, class, personality, etc. By the way, Ms. De Gaye had also served one of the two costume designers for the BBC’s “THE MUSKETEERS” and the 2002-2003 miniseries, “THE FORSYTE SAGA”.

The performances were first-class. I tried to think of one that seemed somewhat off. But . . . I thought they were all well-done. “THE MURDER AT THE VICARAGE” marked Geraldine McEwan’s second time at the bat as Miss Jane Marple. I feel this particular performance might be one of her better ones. I found her performance intelligent, sharp and particularly poignant. Other performances that impressed me came from Janet McTeer and Jason Flemyng, the adulterous couple, who found themselves at the center of village gossip and police inquiries following Protheroe’s murder. On paper, television viewers should have been outraged at their infidelity. But both McTeer and Flemyng gave such poignant and passionate performances that they managed to allow viewers to care about their fate.

Rachael Stirling gave an exuberant performance as the vicar’s outgoing wife, Grisielda Clements. At first glance, it seemed as if Derek Jacobi’s portrayal of the victim, Colonel Protheroe, would come off as a one-note blustering idiot. Thankfully, there were moments when Jacobi infused a good deal of humanity into his performance – especially in scenes involving the mysterious Mrs. Lester. Mark Gatiss’ portrayal of the vicarage’s curate Ronald Hawes, who seemed torn over his past actions involving the embezzling of funds at his previous assignment struck me as rather emotional and a bit sad. I also have to commend Stephen Tompkinson for his complex performance as the irascible Detective Inspector Slack. I enjoyed how he slowly allowed Slack’s character to develop an admiration for Miss Marple’s detective skills. The television movie also featured solid performances from Tim McInnerny, Herbert Lom, Christina Cole, Jane Asher, Robert Powell, Angela Pleasance, Miriam Margolyes and especially, Julie Cox and Marc Warren, who gave affecting performances as the younger Jane Marple and her World War I lover.

I may not be a fan of Agatha Christie’s 1930 novel. But I cannot deny that I rather enjoyed its 2004 television adaptation. Thanks to director Charlie Palmer and screenwriter Stephen Churchett, “THE MURDER AT THE VICARAGE” proved to be a colorful, yet emotional tale about love, passion and ghosts from the past. The production was also enhanced by some eye-catching behind-the-scenes artistry and excellent performances from a cast led by the incomparable Geraldine McEwan.

“GOSFORD PARK” (2001) Review

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“GOSFORD PARK” (2001) Review

In 1999, actor Bob Balaban had approached director Robert Altman with the idea of developing a film together. Altman suggested a whodunit set at an English country estate. The two approached actor/writer Julian Fellowes if he could take their concept and write a screenplay. Their collective efforts resulted in the 2001 comedy-drama, “GOSFORD PARK”.

In the movie, a group of wealthy Britons, a British actor/entertainer, an American movie producer and their servants gather at Gosford Park, the country estate of a wealthy industrialist named Sir William McCordle, for a shooting party over the weekend. Sir William is not a popular man. His wife and most of his in-laws despise him. And most of his servants (aside from one or two) dislike him. When Sir William is found murdered inside his study during the second night of the weekend, there seemed to be a list of suspects who have a very good reason to kill him:

*Lady Sylvia McCordle – Sir William’s bitchy wife, who despises him and had married Sir William for his money

*Commander Anthony Meredith – One of Sir William’s brothers-in-law, who is desperate for the industrialist’s financial backing in a venture regarding shoes for Sudanese soldiers

*Raymond, Lord Stockbridge – Sir William’s snobbish brother-in-law, whose wife might be having an affair with him

*Lady Lavinia Meredith – Sir William’s younger sister-in-law and devoted wife to Commander Meredith

*Mrs. Croft – Gosford Park’s head cook and former employee at one of Sir William’s factories, who despised him

*Mrs. Wilson – Gosford Park’s housekeeper, Mrs. Croft younger sister and another former employee of one of Sir William’s factories

*Lord Rupert Standish – a penniless aristocrat who wants to overcome Sir William’s opposition and marry his only child, Isobel McCordle

*Constance, Countess of Trentham – Sir William’s aunt-in-law, who is dependent upon a regular allowance from him

The weekend party include other guests and servants, such as:

*Mary Maceachran – Lady Trentham’s lady maid

*Elsie – Head housemaid whom Mary befriended, and who was definitely having an affair with Sir William

*Ivor Novello – Famous actor/singer and Sir William’s cousin

*Morris Weissman – Producer from Fox Studios

*Henry Denton – Weissman’s valet, who is actually a Hollywood minor actor studying for an upcoming role

*Robert Parks – Lord Stockbridge’s new valet

*Jennings – Major domo of Gosford Park, who has a secret to hide

*Honorable Freddie Nesbitt – A local impoverished aristocrat who had earlier seduced Isobel. At the shooting party, he tries to blackmail her into convincing Sir William to give him a job

*Mabel Nesbitt – The daughter of a self-made glove manufacturer whom Freddie married for her money, before spending the latter.

*Louisa, Lady Stockbridge – Sir William’s other sister-in-law, with whom he might have had an affair

*Probert – Sir William’s personal valet and one of the few who actually grieved him.

Needless to say, the list of characters is a long one. Following Sir William’s murder, the local police in the form of one Inspector Thompson and Constable Dexter arrive to solve the murder. Being incompetent and a complete snob, Inspector Thompson seemed to regard the higher class guests as worthy suspects for the murder of Sir William. Constable Dexter, on the other hand, seemed more interested in Jennings’ World War I past and the clues at hand. In fact, Dexter managed to ascertain that Sir William had been poisoned by one person, before another drove an ax into his back. But it was lady’s maid Mary Maceachran who managed to figure out the culprits in the end.

I cannot deny that after ten years or so, “GOSFORD PARK” remains a big favorite of mine. When the movie first reached the movie screens in December 2001, many admitted to enjoying the film, but predicted that it would age with time. There are perhaps some critics who believe this has actually happened. But I do not agree. Considering the increasingly bleak social landscape of today, I believe that the theme behind “GOSFORD PARK” has remained relevant as ever. Despite my love for the film, would I consider it perfect? Honestly? No. Other critics may be able to find more than two flaws in the film. On the other hand, I was able to find two that bothered me.

The pacing for most of “GOSFORD PARK” seemed to be on spot . . . at least for me. It possessed a great set-up for introducing the characters, the setting’s atmosphere and the revelation of the suspects’ motives for wanting Sir William dead. However, the murder did not occur until two-thirds into the movie. Once Inspector Thompson appeared on the scene, the movie’s pacing began to drag. And it did not pick up again until the movie’s last twenty minutes. For me, the pacing during the last third of the film struck me as merely a minor flaw. There was another that proved to be a bigger one for me – namely the Henry Denton character.

I have nothing against Ryan Phillipe’s performance as Denton. Trust me, I thought he did a superb job. But Julian Fellowes’ portrayal of the character left me shaking my head in confusion. According to the script, Denton was an American actor for Fox Studios who accompanied Morris Weissman as his Scottish valet in order to study British servants for a role in a“CHARLIE CHAN” movie. This little deception strikes me as something actors did for a role during the past thirty or forty years . . . certainly not in 1932. The deception ended when Henry admitted his true identity to the police. But the one thing that really disturbed me about the character was his attempted rape of Mary Maceachran during the first night of the weekend. Why did Fellowes include that scenario in the first place? Henry had already made a date for some nocturnal activity with Lady Sylvia McCordle, several minutes earlier. If he had already scheduled a night for sex with the mistress of the house, why have him assault Mary a few mintues later? I suspect that Fellowes wanted to establish a character that most of the characters – aristocratic and lower-class – would dislike. Both aristocrats and servants alike reacted with glee when one of the servants, portrayed by Richard Grant, dumped a cup of hot tea (or coffee) on Henry’s lap. With Henry being an American, I can only assume he made an easier target for the derision of everyone. I can only wonder why Altman and Balaban did not question this heavy-handed characterization of Henry. Regardless of Fellowes’ reason for vilifying Henry, I found the rape attempt as an example of clumsy and unnecessary writing on his part.

Thankfully, most of “GOSFORD PARK” proved to be quite a cherished gem. Not even the flaws I had pointed out in the above paragraphs can overcome my appreciation of this movie. Altman, Balaban and Fellowes took a classic literary device – “country house mystery” – and used it to explore the British class system of the early 1930s. “GOSFORD PARK”revealed the changes that affected Britain’s social landscape by 1932. Aside from Lord Stockbridge, most of the aristocratic characters seemed to be struggling to make ends meet financially in order to maintain a lifestyle they had been born into. Those from a middle-class or working-class background like Sir William McCordle, his “cousin” Ivor Novello, Morris Weissman and Mabel Nesbitt have become successful, wealthy or in the case of Mabel, the offspring of a self-made man. Their success and wealth has allowed them to socialize amongt the aristocracy and upper-class. But their origins continue to attract scorn from the likes of Lady Sylvia, her sister Lady Lavinia and their aunt, the Countess of Trentham. The servants featured in “GOSFORD PARK” seemed to be divided into three categories – those who are blindly loyal to their employers; those like Elsie, Robert Parks and Mrs. Croft, who despise their employers; and those like Mary, Jennings and Mrs. Wilson who do not love or hate their employers, but simply take pride in their professionalism.

What I found interesting about “GOSFORD PARK” is that both servants and guests possessed both positive and negative traits. The exceptions to the rule proved to be Mary, who struck me as a bit too ideal for my tastes; and of course, Henry Denton, whose portrayal I had already complained about. Most people would add that Sir William had also been portrayed as a one-dimensional villain. But the humiliations he endured under the snobbish Lady Sylvia and Elsie’s warm recollections of him saved the character from such a fate.

Another aspect about “GOSFORD PARK” that I truly enjoyed was its overall production design. Stephen Altman did a superb job of re-creating the atmosphere of a country manor home in the early 1930s. He was ably supported by Anna Pinnock’s set decorations, along with John Frankis and Sarah Hauldren’s art direction. For me, it was Jenny Bevan’s costumes and the women’s hairstyles that made me realize that the production team really knew what they were doing. I have rarely come across a movie or television production set in the 1930s that was completely accurate – especially in regard to costumes and hairstyles.

There were plenty of first-rate performances in “GOSFORD PARK”. But there were a handful that stood out for me. Both Helen Mirren and Maggie Smith earned Academy Award nominations for their portrayals of Mrs. Wilson and the Countess of Trentham, respectively. Mirren was superb as the no-nonsense housekeeper, whose stoic personality hid a passionate nature that would eventually be revealed upon a discovery she made. In my review of Season One of “DOWNTON ABBEY”, I had complained that Maggie Smith’s portrayal of the Dowager Countess of Grantham bore a strong resemblance to her Lady Trentham in “GOSFORD PARK”. I stand by that observation. But there is something about Smith’s portrayal of Lady Trentham that struck me as a lot more subtle and a little more poisonous in her class bigotry. Clive Owen gave a charismatic performance as the mysterious valet, Robert Parks, whose past attracts the attention of both Mary Maceachran and Mrs. Wilson.

Michael Gambon gave one of his more interesting performances as the mystery’s main victim, Sir William McCordle. Superficially, he was as crude and cold-blooded as many regarded the character. Yet, Gambon injected a certain charm into his performance that made it easier for me to see why Sir William had a way with the ladies. Bob Balaban provided some fine comic moments as the droll Hollywood producer that harbored a slight contempt toward his aristocratic hosts behind a polite veneer. I have already pointed out Ryan Phillipe’s portrayal of Henry Denton. I must admit that he did a first-rate job in conveying the portrait of a smooth hustler. Many have commented on Maggie Smith’s wit in the movie. However, I thought that Emily Watson’s portrayal of head housemaid Elsie was equally sharp and sardonic. Alan Bates gave one of his last best performances as the stuffy, yet likable major domo of the McCordle household, who harbored a secret about his past as a conscientious objector during World War I. At the same time, Watson was wonderfully poignant as one of the few people who not only mourned Sir William, but appreciated his friendship and words of wisdom to her. I found it surprising that the movie’s moral center proved to the be the sweet and eventually wise Mary Maceachran, Lady Trentham’s new personal maid. Kelly MacDonald was in her mid-20s when she did this movie and her character was not particularly flashy in compare to many of the other roles. Yet, not only did she held her own against the likes of Maggie Smith and Emily Watson, she did a great job in becoming the movie’s emotional anchor . . . even if her character was a bit too ideal for my tastes.

“GOSFORD PARK” earned a good deal of accolades after its release. It was nominated for seven Academy Awards and won a Best Original Screenplay for Julian Fellowes. It also earned five Golden Globe awards and Robert Altman won for Best Director. Would I have voted “GOSFORD PARK” as the Best Picture of 2001? Not really. I was more impressed by Peter Jackson’s adaptation of the first “LORD OF THE RINGS” movie. But thanks to a superb cast, Julian Fellowes’ screenplay and Robert Altman’s direction, it not proved to be one of the cinematic gems of 2001, but also of the entire decade.

“HEREAFTER” (2010) Review

 

“HEREAFTER” (2010) Review

Clint Eastwood reunited with Matt Damon for “HEREAFTER”, a fantasy drama about three people who are affected by death in different way in parallel stories. Damon portrayed a San Francisco factory worker named George who is able to communicate with the dead. Belgian actress Cécile de France portrayed a French television journalist who barely survived a tsunami, while on vacation. And twin brothers Frankie and George McLaren portrayed Marcus and Jason, an English boy and his elder twin brother, who is killed in a car accident.

I wish I could say that I loved ”HEREAFTER”, but I would be lying. I did not hate it. I found myself mildly interested in the stories of George, Marie and Marcus. Eastwood and screenwriter Peter Morgan provided enough pathos in their stories – especially Marcus’ story – to make me somewhat interested in their fate. ”HEREAFTER” had two outstanding scenes that knocked my socks off. One of the sequences centered on Marie’s harrowing experiences with a tsunami, which was featured in the movie’s opening scene. The other centered on the disastrous ending of a potential romance between George and a fellow cooking school student portrayed by Bryce Dallas Howard, when her curiosity over his ability forced her to face a dark secret from her past. I also found myself moved by Marcus’ inability to recover from his twin brother’s death. But despite these virtues, ”HEREAFTER” did not strike me as one the year’s more interesting movies.

The major problem I had with ”HEREAFTER” centered on the film’s pacing. I found it so damn slow. Really. About seventy minutes into the film, I found myself struggling to stay awake. I thought that Eastwood had finally overcome his penchant for directing slow-moving films. Apparently, I was wrong. Another problem I had with the film was that the three storylines really had nothing to do with one another. Each of the plotlines could have easily been a single episode from an anthology television series about death and the afterlife. The movie’s conclusion at a book fair in London held the three plotlines together. And quite frankly, I was not that impressed by it. The plot device that Morgan used to connect the three main characters struck me as incredibly contrived . . . and weak.

If there is one thing I can say about ”HEREAFTER” is that it lacked bad performance. The entire cast did a solid job, with one or two outstanding performances. Although they came off as a bit stiff in one scene early in the film, the McLauren brothers did a solid job in portraying the grieving Marcus and his dead twin, Jason. Cécile de France ably conveyed Marie’s emotional journey from the successful television journalist, to a traumatized woman, whose near death experience during a tsunami led her to slowly question her existence. Matt Damon gave an excellent performance as George, the factory worker who used to be a professional psychic, thanks to ability to communicate with the dead. I thought he was very subtle as a man desperate to live a normal and not deal with the emotional impacts of his clients’ reunions with dead loved ones and the exposures of family secrets. The best performance, in my opinion, came from Bryce Dallas Howard, who portrayed a fellow cooking school student name Melanie, to whom George becomes romantically attracted. She was emotional and superb as her character first goads George into reading her memories and eventually regrets her actions, when he unexpectedly exposes the sexual abuse her father had inflicted upon her as a child.

Like Eastwood’s 1997’s opus, ”MIDNGHT IN THE GARDEN OF GOOD AND EVIL””HEREAFTER” is interesting enough for someone to watch at home . . . on a rainy day. But its slow pacing, fractured storylines and utterly contrived ending made me realize that I would never consider it a masterpiece, let alone one of my favorite movies.

“HIS DARK MATERIALS: THE GOLDEN COMPASS” (2007) Review

“HIS DARK MATERIALS: THE GOLDEN COMPASS” (2007) Review”

I might as well make one thing clear . . . I have never read Philip Pullman’s fantasy trilogy, “His Dark Materials”. But this did not deter my interest in seeing the movie based upon the first novel, “THE GOLDEN COMPASS”. And quite frankly, I am glad that I had seen it.

Directed by Chris Weitz, “THE GOLDEN COMPASS” opened with the beginning of the “HIS DARK MATERIALS” saga. In it, a young girl named Lyra Belacqua (Dakota Blue Richards), lives at Jordan College (of Oxford University) in an alternate dimension of Great Britain. She saves er uncle, world explorer/scholar Lord Asriel (Daniel Craig) from being poisoned by the Magisterium (the dimension’s religious ruling body) after he has revealed his discovery of elementary particles called Dust – something that the ruling body consider a threat to their authority. After her uncle departs upon an expedition to the North to find more Dust, Lyra befriends another scholar and explorer named Mrs. Marisa Coulter (Nicole Kidman) during a dinner held at Jordan College. While visiting Mrs. Coulter in London, Lyra learns that her hostess is a member of the Magisterium and has participated in the kidnapping of young children, including two of her friends – a kitchen servant named Roger, and a Gyptian boy named Billy Costa. She also discovers that Mrs. Coulter wants her hands on the last alethiometer, a device that resembles a golden compass. This device, which was given to Lyra by Jordan College’s Master, is able to reveal the answer to any question asked by the user.

After escaping Mrs. Coulter’s London flat, Lyra is rescued by the Gyptians, who plans to rescue Billy and the other children. They take Lyra to the Norweigian town of Trollsund, where she meets an aeronaut named Lee Scoresby (Sam Elliot). She also meets Serafina Pekkala (Eva Green) who is a queen of the witches, and an armoured bear named Iorek Byrnison (voice of Ian McKellan). With her new friends, Lyra embarks upon an adventure that leads her to a conflict between her friend Iorek and the false king of the amored bears, Ragnar Sturlusson (voice of Ian McShane); and to Bolvangar, an experimental station in the North where the Magisterium are severing the Gyptian children from their daemons. Before the movie ends Lyra learns that Lord Asriel has been captured by Magisterium spies and that Mrs. Coulter plans to assassinate him. She, Roger, Scoresby and Serafina set out to rescue the endangered explorer by the end of the movie.

Like any other movie, good or bad, “THE GOLDEN COMPASS” has its flaws. There were three of them that I found noticeable. One, the movie’s plot seemed rather vague on Lord Asriel’s fate after he was captured by the Magisterium’s spies in the North. Serafina gave a brief explanation to Scoresby near the end, as they set out to find Asriel. But still . . . I found it vague. Two, the editing by Anne V. Coates seemed a bit choppy in a few spots. And most importantly, the movie’s pacing . . . at least in the first third, seemed very rushed. Some people have complained that too many aspects of the story had been stuffed in the script. I personally feel that Weitz had simply rushed the story. By the time Lyra and the Gyptians reached Trollsund, the director seemed to have finally found a natural pace.

However, I must admit that “THE GOLDEN COMPASS” had turned out to be a lot better than I had expected. Honestly, it is quite good. The story was intriguing. Chris Weitz did a decent job in adapting Pullman’s novel for film, even if he did rush the first third of the story. I simply adored Henry Braham’s photography and Ruth Myer’s costume designs – especially Nicole Kidman’s elegant, 1930s style costumes. But I must commend Richard L. Johnson. Chris Lowe and Andy Nicholson for their sumptious art direction – especially their view of London in Pullman’s world. And Dennis Gassner deserves an Oscar nomination for his production design, as far as I am concerned.

The actors were first rate. What does one expect from a cast with the likes of Nicole Kidman, Daniel Craig, Eva Green, Sam Elliot, Jim Carter, Tom Courtenay? I especially have to give kudos to Craig who seemed like the embodiment of the ruthless, yet enthusiastic scholar Lord Asriel. And Nicole Kidman brought great style, charm and ruthlessness to the role of the villainous Mrs. Coulter. But she also gave the character a much needed pathos, when the lady revealed to our young heroine that she was the latter’s mother. It was quite thrilling to see Eva Green as a woman of action in her portrayal of the queen witch, Serafina Pekkala. Ian McKellan and Ian McShane were excellent as the feuding armored bears. And Jim Carter (who is married to HARRY POTTER actress Imelda Staunton) was most intimidating as the Gyptians’ king, John Faa. Seeing Sam Elliot’s portrayal as the charming aeronaut, Lee Scoresby, reminded me why I have remained a fan of his for so long. His scenes with young Dakota Blue Richards really crackled. He seemed like the embodiment of a fine wine that has aged very well.

“THE GOLDEN COMPASS”‘s center . . . the character that held the movie together was none other than first-time British actress, Dakota Blue Richards. This young lady was a find. She was absolutely perfect as the charming, yet bold and cunning Lyra. Some Washington D.C. critic had compared her unfavorably to another actress named Dakota – namely Dakota Fanning. Granted, the latter is an excellent actress, but so is Miss Richards. She managed to convey all of Lyra’s complex traits without turning the character into an adult in a child’s body. She was simply superb.

I am sure there are fans of Pullman’s novels who are disappointed that the movie did not turn out to be an exact adaptation of the literary version. All I can say is I am sorry, but I have never heard of any movie being an exact adaptation of its literary source. And if you are hoping to find one in the future, you will be disappointed. Yes, “THE GOLDEN COMPASS” has its flaws. What movie does not? But it certainly has enough virtues, including a superb leading actress, that made it enjoyable . . . at least for me.