“BROKEN LANCE” (1954) Review

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“BROKEN LANCE” (1954) Review

Six years had passed since I last saw a movie based upon a William Shakespeare play. Needless to say, I was not that impressed by it. In fact, I went out of my way to avoid another cinematic adaptation of one of the playwright’s works for years. Image my surprise when I discovered that the 1954 movie movie, “BROKEN LANCE” proved to be another.

Although set in the Old West of the 1880s, “BROKEN LANCE” is based upon elements from Shakespeare’s 1606 play,“King Lear”. It is also a remake of the 1949 movie, “HOUSE OF STRANGERS”, but critics have found connections to the play a lot stronger in the 1954 Western. The latter told the story of an Arizona cattle baron named Matt Devereaux, who has tried to raise his four sons – Ben, Mike, Denny and Joe – with the same hard-working spirit that has made him a successful rancher. However, Devereaux had never learned to express affection to his three older sons, as a consequence. His marriage to a Native American woman resulted in a fourth son – the mixed-blood Joe, to whom he was affectionate. Matt’s “tough love” attitude and affection toward Joe led the other three sons to harbor resentment toward their father and racial prejudice toward their half-brother. After disrupting a cattle rustling attempt by his sons, Mike and Denny, Devereaux discovers that 40 of his cattle had died from a polluted stream. He and his sons also discover that a copper mine, located 20 miles away, is responsible for the pollution. Devereaux’s violent reaction to his discovery will not only lead to legal ramifications, but also further disruptions and tragedy.

I have never read “King Lear” or seen any of the screen adaptations of the actual play. Nor have I ever seen “HOUSE OF STRANGERS”. So, I have nothing to compare “BROKEN LANCE” with. All I can say that I enjoyed most of the film and was especially impressed by the film’s strong characterizations. Despite its Old West setting, “BROKEN LANCE” is not your typical Western. In fact, it is easy to see that it is basically a character drama. One might add there are plenty of Westerns that feature strong character drama. True. But aside from a minor gunfight and a brawl in one of the movie’s final scenes, this is no real action in “BROKEN LANCE”. This is a drama set in the Old West. I had no problem with this. Why? Because “BROKEN LANCE” is basically a damn good story about the disintegration of a family. What makes “BROKEN LANCE” a tragedy is that Matt Devereaux is responsible. That “hard-working” spirit that led him to become a wealthy cattle baron and dominate his family, also led his three older sons to dislike and resent him. Devereaux’s “spirit” also affected his business operation, took away three years of his youngest son’s life and in the end, even affected his oldest son.

I was also impressed by how the movie handled the topic of racism in this film. Granted, all of the non-white characters in the film seemed ideally likable – something that human beings of all ethnic and racial groups are incapable of being on a 24/7 basis. But at least they were not portrayed as simple-minded or childlike. Joe Devereaux came the closest to being naive, but that was due to his age. And even he developed into a more hardened personality. One of the best scenes that conveyed the racism that permeated in 1880s Arizona Territory featured Matt Devereaux being asked by the Territorial Governor to keep Joe from furthering any romance with the latter’s daughter, Barbara. It struck me as subtle, insidious, ugly and very effective.

The production values for “BROKEN LANCE” struck me as very admirable. Twentieth-Century Fox, the studio that produced and released the film, developed the CinemaScope camera to achieve wide lens shots – especially for their more prominent films between the early 1950s and late 1960s. Joseph MacDonald’s photography of Arizona and use of the CinemaScope camera struck me as very colorful and beautiful. Also adding to the movie’s late 19th Arizona setting were Lyle Wheeler (who won an Oscar for his work on 1939’s “GONE WITH THE WIND”) and Maurice Ransford’s art direction, the set decorations by Stuart A. Reiss and Walter M. Scott, and the scenic designs by an uncredited Jack Poplin. I also thought that Travilla’s costume designs for the film greatly added to the movie’s setting . . . especially those designs for the costumes worn by Jean Peters and Katy Jurado.

If there is one aspect of “BROKEN LANCE” that bothered me, it was the film’s last scene. I wish I could explain what happened, but I do not want to reveal any spoilers. Needless to say, I found it vague, unsatisfying and a bit unrealistic. I realize that writers Philip Yordan and Richard Murphy, along with director Edward Dmytryk, were more or less trying to follow the ending for “HOUSE OF STRANGERS”. But in doing so, I think they had failed to consider the film’s Western setting, along with the racial and ethnic makeup of the Joe Devereaux character. Otherwise, I had no real problems with the movie.

I certainly had no problems with the movie’s performances. Spencer Tracy was larger than life as the domineering Matt Deveareaux. He has always been one of those performers who can either give a subtle performance, or be very theatrical without chewing the scenery. He managed to be both in “BROKEN LANCE”. I have read a few review of the movie in which some were not that impressed by Robert Wagner’s performance as Deveareaux’s youngest son, Joe. Yes, I could have done with the slight make-up job to indicate Joe’s racial status. But I was impressed by Wagner’s performance. He did a very good job in conveying different aspects of Joe’s personality – from the enthusiastic young man, who is desperate to maintain peace within his family to the embittered man, who finally realizes how much his older half-brothers disliked him. Another excellent performance came Richard Widmark, who portrayed Deveareaux’s oldest son, Ben. There were times when Widmark almost seemed as larger than life as Tracy. Yet, he reigned in his performance a little tighter. But what I really found interesting about Widmark’s performance is that despite his character’s resentment of Deveareaux and racist dislike of Joe, he seemed to have a clear head on his shoulders and an awareness of how business had changed in the later years of the Old West. The only acting Oscar nomination went to Katy Jurado, who portrayed Deveareaux’s second wife, “Señora” Devereaux. I am a little perplexed by this nomination. Granted, she gave a very good performance as a Native American woman trying to maintain peace between her husband and three stepsons. But there was nothing about her performance that I thought deserved an Oscar nod. Frankly, I found her performance in 1952’s “HIGH NOON” a lot more impressive.

Jean Peters portrayed the Governor’s daughter and Joe’s love interest, Barbara. I thought she gave a spirited, yet charming performance. I was also impressed by how Peters conveyed Barbara’s strong-will and open-minded nature in regard to Joe’s Native American ancestry. Remember my comments about that scene between Deveareaux and the Governor? I believe what made this scene particularly effective were the performances of both Tracy and E.G. Marshall as the Governor. In fact, I would say that Marshall’s skillful conveyance of the Governor’s insidious racism in regard to Joe really sold this scene. Although their roles seemed lesser as Deveareaux’s second and third sons Mike and Denny, I thought both Hugh O’Brian and Earl Holliman gave effective performances. O’Brian’s Mike struck me as an insidious personality, who seemed to hover in the background, watching older brother Ben and their father battle over the family’s fortunes. And Holliman was equally effective as the gutless pushover Denny, who seemed more interested in clinging to whomever could make his life more easier than any resentful feelings toward his father and younger brother. The movie also featured solid performances from Eduard Franz, Carl Benton Reid and Philip Ober.

In the end, I rather liked “BROKEN LANCE” . . . a lot. I knew from my past viewing of the film that it was not a traditional Western, but more of a character-driven drama. And I thought director Edward Dmytryk, along with writers Philip Yordan and Richard Murphy did a first-rate job of translating William Shakespeare’s “King Lear” to this family drama set in the Old West. The movie also boasted first-rate performances from a cast led by Spencer Tracy and Robert Wagner. My only problem with the movie proved to be its last five minutes or so. I found the ending rather vague and lacking any consideration of the Old West setting and the racial background of the Joe Deveareaux character. Otherwise, I no further problems with the film.

“BIG BUSINESS” (1988) Review


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“BIG BUSINESS” (1988) ReviewBetween the mid 1980s and the early 1990s, Bette Midler was something of a box office power house for the Disney Studios. The latter released a good deal of her movies through one of its distribution labels, Touchstone Pictures. And one of those movie was the 1988 comedy that she co-starred with Lily Tomlin called “BIG BUSINESS”

Loosely based upon William Shakespeare’s 1594-95 play, “The Comedy of Errors”“BIG BUSINESS” is a comedy of errors with a financial twist that involves two sets of identical twins who were mismatched at birth. The movie begins in 1940s with a wealthy New York couple, Hunt and a very pregnant Binky Shelton being driven through the West Virginia countryside, searching for the summer house of a friend. When Mrs. Shelton goes into labor, a local worker named Garth Raliff direct them to the local hospital in the nearby town of Jupiter Hollow. After the Sheltons drive away, Mr. Ratliff’s wife Iona informs him that he is in labor. Mr. Shelton has to purchase a furniture producing store called Hollowmade in order to get medical attention for his wife, since the hospital is only for the company’s employees. The Ratcliffs arrive at the hospital and the doctor is forced to deliver a pair of twin girls from both of his patients. The hospital’s elderly nurse mixes up the twins, placing a Shelton and Ratliff twin in one bed for the Sheltons . . . and a second pair in another bed for the Ratliffs. Mr. Ratliff overhears the Sheltons deciding to name their daughters Rose and Sadie, and suggests the same names to his wife.

Some forty years later, the Shelton sisters are now co-chairwomen of the family’s conglomerate called Moramax. Sadie Shelton, a ruthless businesswoman, plans off-load Hollowmade to an Italian business raider with the approval of the conglomerate’s board of stockholders. Meanwhile, Rose Ratliff, now the ambitious forewoman of Hollowmade Factory and a union representative, learns about Moramax’s plans. She sets out to travel to New York City and stop the sale, dragging her sister Sadie along. When the West Virginia sisters arrive in New York, they are mistaken for the Sheltons and find themselves checked into the city’s famous Plaza Hotel, where the Moramax stockholders’ meeting is being held. Sadie Shelton learns of the Ratliffs’ intention to travel to New York and orders her more passive sister Rose and two Moramax executives, Graham Sherbourne and Chuck, to find the West Virginians and make sure they stay away from the stockholders’ meeting. With two sets of twins at the Plaza Hotel, a great deal of chaos ensues before the big showdown at the meeting.

I might as well lay my cards on the table. “BIG BUSINESS” is a silly movie. There is no doubt about it. Some of the humor written by Dori Pierson and Marc Reid Rubel struck me as so broad that it required a good deal of mugging from some of the cast. The two leads – Bette Midler and Lily Tomlin – certainly did their share of mugging. But silly movie or not, I also found it very entertaining. I cannot deny that “BIG BUSINESS” is a funny movie. It is not perfect. It certainly has its flaws. But dammit, it is funny! Every time I see the movie, it brings back memories of the excessive style of the 1980s. More importantly, aside from a narrative flaw or two, it is a good solid story about mistaken identity, family and high finance.

“BIG BUSINESS” featured some really funny scenes. One of my favorites is the movie’s prologue set in the 1940s. Thanks to some stellar performances – especially from Deborah Rush, who portrayed the Shelton family’s sharp-tongued matriarch – and cracker-jack pacing by director Jim Abrahams, the prologue is not only funny, but provided clear details on what led to the infant mix-up between the two families. Other first-rate scenes featured the Ratliffs’ arrival in New York City and their meeting with Italian businessman Fabio Alberici, Sadie Shelton’s encounter with her minions Graham and Chuck during her dinner with Signor Alberici, Graham and Chuck’s evening with Rose Shelton and Roone Dimmick (who happened to be Rose Ratliff’s boyfriend), Roone bunking with Graham and Chuck, and the four women’s first encounter with each other in one of the Plaza Hotel’s restroom. However, another first-rate scene that really benefited from Abrahams’ direction and pacing was the breakfast sequence, which occurred just before the restroom scene. I was amazed at how Abrahams’ direction, along with Pierson and Rubel’s script, allowed the Sheltons and Ratliffs interchange at one restaurant table without anyone realizing they were speaking to the wrong twin.

As much as I enjoyed “BIG BUSINESS”, it does have its flaws. There were times when the mugging got out of control. This was especially apparent in the bathroom scene. Speaking of that particular scene, although it seemed to start well, I thought it ended on a clumsy note when some of the hotel’s employees, along with the men in the four women’s lives spotted both sets of twins together. Even worse, the end of the scene featured too much mugging for my tastes. I had no problems with how Pierson and Rubel handled at least three of the four women’s love lives. New York Sadie developed a nice, lustful relationship with Signor Alberici. Jupiter Hollow Sadie developed a warm relationship with the ex-husband of her New York counterpart. New York Rose fell in love with Jupiter Hollow Rose’s boyfriend, Roone. But the one problematic relationship turned out to be the one between Jupiter Hollow Rose and the rejected fiancé of New York Rose, one Dr. Jay Marshall. The script allowed them to briefly meet outside of the hotel, with Dr. Marshall believing he had encountered New York Rose. They did not meet again until near the end of the movie. And I never understood why the script allowed them to hook up in the end, when their relationship was never explored in the first place. Talk about a badly written relationship.

I wonder how difficult it is for actors and actresses to portray twins. Both Bette Midler and Lily Tomlin did a fantastic job in this movie. Midler portrayed the two sisters born to the Shelton family – Sadie Shelton and Sadie Ratliff. As much as I enjoyed her warm portrayal of the good-hearted and slightly self-centered Sadie Ratliff, I really . . . really loved her portrayal of the ruthless and intimidating Sadie Shelton. Especially when she is allowed to shoot off sharp insults at the other characters. And Tomlin was not only marvelous as the warm and romantic Rose Shelton, who was both a homebody and slightly clumsy, she was a hoot as the sharp-tongued and suspicious Rose Ratliff, who was determined to protect the interests of her fellow workers and the citizens of Jupiter Hollow.

“BIG BUSINESS” also featured Fred Ward, who gave one of my favorite performances in his career. He was warm and sexy as the lovestruck and slightly dim Roone Dimmick. Edward Herrmann and Daniel Gerroll formed a hilarious screen team as New York Sadie’s Miramax minions, Graham and Chuck. It is a pity those two never worked with each other again. Although his appearances were brief, Michael Gross gave a funny performance as New York Rose’s frustrated fiancé, Dr. Jay Marshall. I read somewhere that Michele Placido had developed a reputation for action drama – either on television or in movies. It is a pity that his filmography did not include more comedies, because the man had a talent for subtle comedy – especially in reacting to madness around his character, Fabio Alberici. John Hancock, whom I have seen in both television and movies over the years, gave a funny performance as the Sheltons’ sarcastic chauffeur, Harlan. But my favorite supporting performance came from Deborah Rush, who was hilarious as Sadie and Rose Shelton’s sardonic and manipulative mother, Binky. Aside from Midler and Tomlin, Rush had some of the best lines in the movie. Sadie may have inherited her father’s name, but thanks to Rush’s witty performance, it is easily to see from whom she had inherited her personality.

Yes, “BIG BUSINESS” has its flaws, which included too much mugging, a badly written romance and some clumsy pacing in one major scene. But . . . it is still a very funny movie that handled mistaken identities and high finance rather well. Dori Pierson and Marc Reid Rubel wrote a very solid script. Jim Abrahams did justice to it, with the help of a very funny cast led by the always marvelous Bette Midler and Lily Tomlin. After twenty to thirty years, I feel it still holds up very well.

“MACBETH” (2006) Review

“MACBETH” (2006) Review

Over the years, a good number of filmmakers, novelists and playwrights have taken William Shakespeare’s plays and presented them in a different setting or with a twist. One such movie that comes to mind is the 1957 Broadway musical, ”WEST SIDE STORY”, which became an Oscar winning 1961 movie. The directors of both the play and the movie took Shakespeare’s ”ROMEO AND JULIET”, set it on the mean streets of Lower East Manhattan and gave it a different ending. Kenneth Branaugh’s 1996 version of ”HAMLET” was set in the late 19th century. And there have been two versions of ”THE TAMING OF THE SHREW” in which one movie was set at a Seattle high school and the other within an African-American family of sisters and their spouses. Director Geoffrey Wright did something similar with his 2006 adaptation of ”MACBETH”, which starred Sam Worthington and Victoria Hill.

In other words, what Wright did was retold the story of Macbeth as a crime story set in modern day Melbourne, Australia. Instead of a Scottish lord, Macbeth was an underboss of a powerful Melbourne gangster named Duncan. After leading Duncan’s gang in a drug deal that ended with the violent deaths of his boss’ rival – Macdonwald, Macbeth found a few pills inside of one of Macdonwald’s nightclubs and partook them. During Macbeth’s drug trip, he learned from three witches dressed as schoolgirls that he would one day assume total control of Duncan’s gang. But his wife, Lady Macbeth dismissed the prophecy, claiming that Macbeth lacked the ambition and drive to take control of the gang from Duncan. But when she learned that the gang leader would be staying overnight at their home, following a party, Lady Macbeth convinced her husband to kill Duncan, frame his bodyguards and assume control of the gang. Which is exactly what happened. After the other gang members elected Macbeth as their new leader, the new gang lord struggled with the suspicions of others, Lady Macbeth’s mental decline and his own paranoia and guilt.

”MACBETH” would have slipped my notice if someone had not mentioned it on a LIVE JOURNAL blog for actor Sam Worthington. And I am glad that someone did. ”MACBETH” turned out to be somewhat better than I had expected. It was not the best film adaptation of a Shakespeare play I have ever seen. But I thought that Wright and actress Victoria Hill (who also served as co-writer) did a solid job retelling the play in a more modern setting. Both Wright and Hill managed to achieve this without a long running time for the movie. They also did a solid job in creating a decent crime story about power, greed and betrayal.

I am certain that some of you have noticed that I have used the word ”solid” a lot to describe the movie. But that is how I feel about it. ”MACBETH” was certainly not a terrible film. However, I would never consider it to be a favorite of mine. I had some problems with it. One, Will Gibson’s photography seemed rather dark and a bit on the gloomy side. Aside from Macbeth’s first meeting with the three witches at a cemetery, most of the movie’s scenes seemed to feature interior shots or a night time setting. I really do not know what to say about John Clifford White’s score. That I barely noticed it? There were times I began to wonder if the movie actually had a score – except in two scenes that featured the party Macbeth held for Duncan and the final sequence featuring the gang’s attack upon Macbeth at his home. Earlier, I had congratulated Wright and Hill for writing a screenplay that did not result in a long running time. However, Wright’s direction still managed to drag the film with occasional slow pacing throughout the movie. Between the minimal score, White’s dim lighting and Wright’s pacing, there were moments when I found it damn hard to stay awake.

The cast seemed pretty solid (ah, there is that word again). I was impressed by the three actresses who portrayed the witches – Chloe Armstrong, Kate Bell and Miranda Nation. They harbored a surprising mixture of sexual allure and menace. Their orgy scene with Worthington seemed . . . hell, I do not know how to describe that sequence. All I can say that it seemed odd. Matt Doran gave an intense performance as Malcolm, son of the murdered Duncan, who had suspected Macbeth for killing his father from the beginning. But I might as well be frank. When it comes to”MACBETH”, only the actor in the titled role and the actress portraying Lady Macbeth matter to me.

I would have never considered Sam Worthington to portray a Shakespearian role. Honestly, I never would. Look, I am well aware that he is a talented actor with a strong screen presence. But he simply never struck me as the type to do Shakespeare. Yet, he did an admirable job in his portrayal of the underboss who managed to get over his head following his coup d’etat against his boss, thanks to his wife’s ambitions and his own paranoia. Mind you, there were times I thought Worthington seemed a bit too young for the role. He must have been 28 or 29 years old when he shot this film. I would have preferred for him to tackle the role in another three or four years – like now. And I must admit that I found his portrayal of Macbeth’s descent into madness in his last scenes not very convincing. However, he still did a pretty good job. And he must have been one of the few actors who were not inclined to perform Shakespeare in front of a camera at the top of his lungs – like many other performers seemed inclined to do. For that I am grateful.

And I am also grateful to Victoria Hill for refraining from indulging in any acting histrionics. Like Worthington, she managed to spout her Shakespeare without indulging in any theatrical hamminess. But I would also like to add that I found her performance as Lady Macbeth to be mesmerizing. Honestly. I really enjoyed the subtle manner in which her Lady Macbeth drew the lead character into a murder scheme that would prove to be overwhelming for them both. In fact, one of her best scenes featured Lady Macbeth manipulating Macbeth into committing murder. Another favorite scene focused upon her reaction to Macbeth’s failure to originally kill Duncan’s bodyguards. Again, she managed to convey a great deal of emotion and passion without any histrionics. But my favorite scene featured the one in which her Lady Macbeth not only helped her husband carry out the coup d’etat against Duncan, she seemed to be in control of the entire operation. And Hill performed that entire scene with an interesting, yet complex mixture of cool resourcefulness and wariness. I can honestly say that she probably gave the best performance in the movie. She seemed more suited for her role than Worthington did for his.

I will never consider ”MACBETH” to be a personal favorite of mine. I rather doubt that I would ever have an inclination to watch it again. Will Gibson’s photography struck me as a bit too dark and gloomy – probably unnecessarily so. John Clifford White’s minimal score nearly put me to sleep. And so did Geoffrey Wright’s pacing of the film. And despite Sam Worthington’s solid performance, he did seem a bit too young for the title role of Macbeth.

However, I must admit that Wright managed to do decent job in transforming the story’s setting from medieval Scotland to the ganglands of Melbourne. None of the cast members indulged in histrionic acting as many other actors tend to do, while performing Shakespeare in front of a camera. Worthington still managed to give a good performance. And he was supported by a superb performance by Victoria Hill as Lady Macbeth. In the end, I can honestly say that this version of ”MACBETH” was not a bad movie.

“NEW MOON” (2009) Review

 

”NEW MOON” (2009) Review

The sequel to last year’s box office hit, ”TWILIGHT” was released in theaters, last weekend. Based upon Stephanie Meyer’s 2006 novel and directed by Chris Weitz (2007’s ”THE GOLDEN COMPASS”), ”NEW MOON” continued the story of Isabella “Bella” Swan, the Washington State teenager and her love for vampire Edward Cullen.

”NEW MOON” began several months after the 2008 film, with Bella celebrating her birthday. However, her life underwent a drastic change when she cut her finger during a birthday party held for her by her vampire boyfriend Edward and his family, the Cullens. Her blood attracted the attention of Edward’s brother, Jasper Hale, and he attacked Bella. Not long after Jasper’s attack, Edward informed Bella that he and the rest of the Cullen clan plan to leave Forks. Following his departure, Bella succumbed to depression for several months, until she renewed her friendship with Jacob Black, the son of her father’s Quileute friend. Unfortunately, Bella’s relationship with Jacob threatened to fall apart, when he fell in love with her despite her feelings for Edward and when he began to manifest into a werewolf – a natural enemy of vampires.

I had not been particularly kind in my review of “TWILIGHT”.  And in ”NEW MOON”, I noticed that some of the aspects I had disliked in the 2008 film were also apparent in this latest film. The dialogue – especially between Bella and Edward – seemed as atrocious as ever. I found the movie’s 130 minute running time to be unnecessarily long. Bella and Edward’s relationship not only brought back bad memories of the romance between Buffy Summers and the vampire Angel during the first three seasons of Joss Whedon’s ”BUFFY THE VAMPIRE SLAYER”, it also made me realize that William Shakespeare’s play, ”ROMEO AND JULIET” might be overrated.

But what can one expect from adolescent love in fiction? If it caused young individuals to behave in the most ridiculous manner, then I can deal without it on my television screen or on a movie screen. And just to show how ridiculous adolescent angst was portrayed in this film, all I have to do is point out Edward and especially Bella’s behavior in ”NEW MOON”. For example, Bella sank into a depression for at least four to six months following Edward’s departure from Forks. Excessive much? She also risked her life with stupid acts that included accepting a ride a group of bikers that reminded her of the bunch that nearly accosted her in ”TWILIGHT”, rode a motorcycle before Jacob could teach her and engaged in bungee jumping without any elastic cord whatsoever. Why? Because Bella had discovered that thrill-seeking activities grant her visions of Edward. My God! What an infatuated moron! After Alice Cullen had a vision of Bella’s cliff jumping stunt, Edward assumed that his human ex-girlfriend had committed suicide and decided to kill himself by provoking the Volturi, a powerful coven of vampires, into killing him in Italy. What an idiot . . . and who wrote this crap?

And there were other aspects of the movie that bothered me. I never understood why Jacob and the rest of the werewolves in his pack found it necessary to walk around bare-chested, while in human form. If they were afraid of ruining their clothes, while transforming into werewolves, then they should have did without the shorts and tennis shoes as well. It would have made more sense. And I found the movie’s finale in Volterra, Italy to be a bore. Not only did I found Edward’s suicide attempt a waste of time, I also found his and Bella’s confrontation with the Voluturi vampire coven had seriously dragged the movie’s last half hour. Which also made me realize that using Michael Sheen and Dakota Fanning in this sequence as a waste of their time.

Surprisingly, ”NEW MOON” was not a complete exercise in torture for me. It had its moments. I have to give kudos to director Chris Weitz for the original way he had depicted Bella’s depression by revolving a camera around actress Kristen Stewart, as she sat in front of window that revealed views of the passage of time over a four to six month period. Javier Aguirresarobe’s photography of the Pacific Northwest was just as impressive as Elliot Davis’ in the first film . . . and just as atmospheric. I can also say the same about his photography of Siena, Italy that served as the town of Volterra. Many of the interactions between Bella and Jacob seemed like a breath of fresh air, following the overwrought angst fest between her and Edward. With Jacob, she seemed so . . . normal. So relaxing. Until Jacob manifested into a werewolf and declared his love for her. Still . . . Kristen Stewart and Taylor Lautner had a relaxing screen chemistry that made me wish that Bella had chosen Jacob, instead of Edward.

I had been somewhat tolerant of Stewart’s screen chemistry with Robert Pattison in the first film. But after viewing ”NEW MOON”, my tolerance went by the way of the Dodo bird. I just found it so difficult to endure Bella and Edward’s moments together. Without Pattison around and during Bella’s saner moments, Kirsten Stewart seemed pretty solid. And she also did a good job in carrying the film on her shoulders. Graham Greene gave a subtle performance as Harry Clearwater, a Quileute tribal elder and friend of Bella’s father, Charlie. I also found Billy Burke’s portrayal of Bella’s father, Charlie Swan, a little more impressive in this film – especially in a scene in which Charlie pleaded for Bella to break out of her depression. And Michael Sheen gave an entertaining performance as Aro, the leader of the Volturi coven, even if I found his appearance in the film a waste of time. However, the performance that really impressed me came from Taylor Lautner, who portrayed Bella’s friend and newly manifested werewolf, Jacob Black. If I have to be honest, Lautner struck me as the movie’s true bright spot in an otherwise unimpressive film. He seemed like a natural and very relaxed actor. I also thought that he brought out the best in Stewart, allowing her to be more natural, relaxed and a lot less constipated.

Upon leaving the movie theater, my eyes spotted a poster for the ”TWILIGHT” saga third film, ”ECLIPSE”. Apparently, it is due in theaters next summer. And already, I am not looking forward to seeing it. Then again, perhaps I should. According to my sister (a fan of the movie, who is also familiar with Stephanie Meyer’s novels), the Jacob Black role is even bigger than in this one. I hope so. But a small part of me suspects that this third film might be a continuation of the mediocrity and annoying angst fest already found in ”TWILIGHT” and ”NEW MOON”.