Tag Archives: classic films

SIX OF THE BEST #25 – FILM PLOT-HOLES!

SIX OF THE BEST #25 – FILM PLOT-HOLES!

One of the main reasons I watch films is because I love a good story. I especially like working out the ins and outs of the plot lines too. So, it stands to reason that some films may have inconsistencies in their story or even plot holes. I would define a plot hole as a gap in the story which remains unexplained by the writer or writers. Sometimes these can spoil the film, but more often than not it can add to the enjoyment. They may in fact be known to the writers, however, they may have left it as an enigma for the audience to work out. Either that or the writers made a mistake or they could not be bothered to, or were unable to close the hole. In fact, they may be hoping we don’t notice or care.

There are so many films out there and I’m sure one could nitpick holes in most stories. Here I have picked out six of my favourites. I have chosen well known films so as to differentiate between good and just plain bad storytelling. Moreover, I have also omitted horror films where people just make stupid decisions. Likewise fantastical, surreal and dream logic narratives are avoided. Lastly, the major Marvel franchise plot hole is skimmed. You know the narrative hole that occurs in the stand alone entries. E.g. in Spiderman: Far From Home (2019), if the world is being threatened why don’t the other Avengers help poor Peter Parker? Oh, they’re conveniently busy. . . hmmm. Anyway, here are six of the best plot holes I like. If you can think of more please let me know.

***CONTAINS MASSIVE SPOILERS***



KING KONG (1933 / 1978 / 2005) – how did they get King Kong back to New York?

This question is not always one that is brought up as an obvious plot hole. However, think about it. Kong is captured on Skull Island, but is suddenly revealed in New York. How did they manage to find a boat big enough to carry him to America? And what if he woke up? He would destroy any ship carrying him with a yawn and stretch. Plus, because we do not SEE him being transported a massive hole in the narrative occurs.


How King Kong quadrupled in size since 1933

HALLOWEEN (1978) – who taught Michael Myers how to drive?

It chills the bones when Donald Pleasance’s Dr Samuel Loomis finds on a dark evening on October 30th, the day before Halloween, his most feared patient, Michael Myers has escaped from a maximum security facility. Myers has stolen a car and sped off into the night. The big question is, given Michael was six when he committed the murder, how the hell did he learn to drive? Obviously given Myers is a manifestation of pure evil, he somehow mastered driving through psychic force.



STAR TREK: THE MOTION PICTURE (1979) – the V’Ger probe would be coded as Voyager!

Talking of William Shatner masks, Star Trek is a wonderful science fiction television series and film franchise. It’s loved by many and given the numerous narratives involving time travel and alien species there are no doubt more plot holes in there. I mean the number of aliens who talk English and look human is quite something. However, in Star Trek: The Motion Picture (1979), there is a major plot hole involving the “V-Ger” probe. Indeed, the entire twist of the plot centers around “V-Ger” actually being “Voyager,” as demonstrated by the corroded name plate on the probe. It seems weird though that nowhere in its programming (or anywhere else) did Voyager have its name recorded. It would be like if a label of a computer, say “Dell”, had the “D” covered up, the boot-up screen would not read, “ell” during post, it would still read, “Dell”! Thus, the plot hole is entirely illogical, Captain.



THE TERMINATOR (1984) – why not just destroy the time machine and stop Kyle Reese going back?

There are loads of plot queries in James Cameron’s classic sci-fi thriller. The one I like the most is more paradoxical than plot hole, but similarly this illustrates flaws in Skynet’s overall plan. Given Skynet and The Terminator have detailed files on everyone, why didn’t they know Kyle Reese was John Connor’s father? If so, just destroy the time machine to stop him going back. If killing Sarah Connor in the past stops John from ever being born, perhaps killing Kyle or stopping him time travelling would have the same effect.


SHAWSHANK REDEMPTION (1994) – when Andy escapes, how does he put the poster back so perfectly?

This is one plot hole I love and is in fact, given Andy Dufresne’s incredible struggle to escape, one you can certainly understand. I mean, thematically speaking, Andy is coded as a spiritual Christ-like figure throughout the film. It’s very subtle, but it is there. Thus, perhaps, he had some divine intervention during his escape. He definitely earned it. Lastly, I also love that it is literally a plot hole and Andy escaped right through it.



SIGNS (2002) – why did the Aliens raid a water-based planet when it hurt them?

While the director has had his fair share of critics, I generally enjoy most of his early films and some of the more recent ones. Signs (2002) is a fantastic sci-fi thriller with themes of faith, family and alien incursion. The major hole is the aliens have to be incredibly stupid to want to invade a planet that is 70% their biggest weakness. However, as some have pointed out, it wasn’t an invasion, but a raid to get some people. However, given people are made up of water and water is in Earth’s atmosphere, perhaps Shyamalan should have made their weakness alcohol or even actual acid. Still a very entertaining film though.



UNDER-RATED CLASSICS #7 – SECONDS (1966)

UNDER-RATED CLASSICS #7 – SECONDS (1966)

Directed by: John Frankenheimer

Produced by: Edward Lewis

Screenplay by: Lewis John Carlino – based on the novel, Seconds, by David Ely

Cast: Rock Hudson, Salome Jens, John Randolph, Richard Anderson, Will Geer, Karl Swenson, Jeff Corey etc.

Music by: Jerry Goldsmith


***MAY CONTAIN SPOILERS***


So, I continue my articles on films which have perhaps fallen off the radar and deserve more recognition. The rules are simple. An under-rated classic can be a film I love, plus satisfy the following criteria:

  1. Must not have won an Oscar.
  2. Must not have won a BAFTA.
  3. Must not appear in the AFI Top 100 list.
  4. Must not appear in the IMDB Top 250 list.
  5. Must not appear in the BFI 100 Great British films.
  6. Must not appear in the all-time highest grossing movies of list.

Seconds (1966) is a science fiction drama which is very much of its time, but also truly relevant today. It deals with identity and lifestyle transplants. The film explores notions of escaping one’s everyday existence and living out one’s dreams through plastic surgery and scientific procedure. However, it also contains an important message, that whatever physical, social and personal changes you make there are no guarantees your life will be better. Perhaps, it is best to accept what you have and work with what nature gave you. Make positive changes to your mind and body, but know that there is no such thing as a quick fix.

The character of Arthur Hamilton (John Randolph) certainly finds this out to his cost in the narrative of Seconds (1966). His life is reasonably good, but he is dissatisfied with his job, and love for his wife has dissipated. He discovers an outfit called ‘The Company’ can, at a price, exchange his body and life, allowing him to be reborn a new man. After the procedure that man happens to be called Tony Wilson, who has the movie star looks of Rock Hudson. Hamilton/Wilson settles into a creative and hedonistic life by the beach. Yet, the sand is always softer on the other side. Soon, holes begin to show in Hamilton/Wilson’s new life.

Seconds (1966), is a psychologically eerie body-swap-sci-fi-horror film. It’s shot in crisp black and white by influential cinematographer, James Wong Howe, and contains some psychedelic visuals, weird angles, mirrored images, fish-eye lens shots, and images of actual rhinoplasty during the transformation sequence. Brilliantly directed by John Frankenheimer, it is also thematically very powerful. Aside from the dystopic warnings about plastic surgery, it also explores the nature of cults and closed communities. Rock Hudson gives a career best performance as Tony Wilson. His desperate and paranoiac scramblings in the second half of the film are painfully stressful as the character realises he has not only lost his identity, but possibly also his mind. Overall, it’s important to reiterate that organic change in itself is a positive thing, however, as Seconds (1966) demonstrates, there are no shortcuts to happiness or success.


MY CINEMATIC ROMANCE #19 – DENZEL WASHINGTON

MY CINEMATIC ROMANCE #19 – DENZEL WASHINGTON

In all the excitement, I seemed to have forgotten about this feature, but will reignite it here. Essentially, I pick a favourite film actor or director or writer or composer or film craftsperson, who I have followed and admired for some time, and pick out five of their works which resonate with me. Usually it is difficult to stick to just five selections, however, I find writing with a rule or discipline sharpens the critical mind. Today’s choice is one of the greatest actors to have walked the boards, appeared on the box, and graced the silver screen. His name is of course, Denzel Washington.

Born in Mount Vernon, New York and having initially attended a military academy, Washington would later gain a BA in Drama and Journalism from Fordham University. He began by acting in Summer Stock theatre, but his first major break was in the television series, St Elsewhere. His performances as Dr Philip Chandler would lead to castings in prominent film roles, notably as Steve Biko in Cry Freedom (1987). In that film he would receive his first Academy award nomination. From then on Washington would go from strength to strength traversing stage and screen roles with incredible range and skill. As writer, director and actor he is an artist who can span genres and disciplines, equally brilliant in commercial projects and more arthouse productions. Here are just five roles which I very much think he excelled. But to be honest, there are many, many more I could have included.



GLORY (1989)

Glory (1989) was the first major Hollywood film to profile the fight of black soldiers to free themselves from slavery in the context of the U.S. Civil War. It is an excellent drama with some brutal battle scenes and memorable characters. None more so that Washington’s portrayal of Private Silas Trip. He is quite understandably an angry man determined to fight all the way against oppressors. Washington delivered a searing performance which would earn him a Best Actor in a Supporting role award. It is an outstanding portrayal full of power and strength.



MALCOLM X (1992)

Washington worked with Spike Lee on many film productions and Malcolm X (1992), is arguably their most significant and impressive film. It charts the life and death of a man born Malcolm Little who would grow to be anything but. After a troubled childhood he became a drug dealer and criminal in order to survive. Having converted to Islam he rejected his slave roots, going on to become one of the most outspoken voices against black oppression the world has ever known. Both Lee and Washington should have won Oscars for their work, and Washington’s intense performance stands as a fine cinematic tribute to a true spokesperson for a generation.



TRAINING DAY (2001)

Washington has played his fair share of heroic and complex anti-heroes trying to find their way in the world, but in David Ayer’s brilliant cop drama Training Day (2001), he revels in the role of bad-ass corrupt cop, Alonzo Harris. Washington and Ethan Hawke are both brilliant as the mentor and apprentice narcotics officers who are about to have a very intense day of plots and double-crosses. Washington spits and chews up Ayer’s meaty dialogue as Harris, who has a devilish plan up his dirty sleeves. Ultimately, the respect between the two erodes and a violent power game ensues with surprising twists ahead. Washington won the Best Actor award at the Academy Awards, and while it was well earned, it was arguably more for his body of incredible film performances overall.



MAN ON FIRE (2004)

While not necessarily the best film on Denzel Washington’s amazing acting C.V., Man on Fire (2004) is one of the more memorable films he made with uber-Hollywood genre filmmaker, Tony Scott. Washington clearly respected Scott as a man and director, and while Scott’s flashy and bombastic style could drown his actors, Washington’s talent always shone through. As John Creasy, Washington’s characterisation is that of a broken ex-military man who has killed for his country, and now realised it was all for nothing as he lost and alone. Alcoholic and suicidal, Creasy finds redemption in the guise of a young girl, portrayed brilliantly by Dakota Fanning, who following her kidnapping, goes on a vengeful kill-crazy-rampage-search-for-justice. Washington’s acting is both muscular and tender in equal measure as Scott delivers an explosive genre film of the highest quality.



FENCES (2016)

Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working-class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character, Troy Maxson, and his long-suffering wife, Rose; portrayed with significant humility by Viola Davis. Troy’s character is charismatic, and he delivers some hearty yarns from his past, but he’s also bullies everyone around him. Moreover, Washington directs brilliantly, “fencing” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall, the performances alone make the film feel cinematic.


fences

FILMS THAT GOT AWAY #6 – THE UMBRELLAS OF CHERBOURG (1964)

FILMS THAT GOT AWAY #6 – THE UMBRELLAS OF CHERBOURG (1964)

Written and Directed by: Jacques Demy

Produced by: Mag Bodard

Music by: Michel Legrand

Cast: Catherine Deneuve, Anne Vernon, Nino Castelnuovo, Marc Michel, Ellen Farmer, Mirielle Perrey etc.

**MAY CONTAIN SPOILERS**



I knew there were good reasons to get married. The obvious one is the positive nature of a caring relationship and not becoming a lonely, bitter old man. The other is that given my wife loves films too, she will introduce me to the occasional classic film I may have missed. Thus, we went to the BFI and watched the classic musical The Umbrellas of Cherbourg (1964). While she is a massive fan of the musical genre, I can take or leave it generally. Every now and then though I will really love a musical film. The Umbrellas of Cherbourg (1964) is now one of them.

Starting in 1957 and structured over three acts that end in 1963, we follow the lives and loves of two main protagonists, Genevieve (Catherine Deneuve) and Guy (Nino Castelnuovo). The ups and downs of their romance drives the narrative. The two struggle to keep their love alive amidst the obstacles of military conflict, social convention and family pressure. While the story is relatively simple, Jacques Demy’s wonderful script and direction warms you to the two young lovers. So much so, by the emotionally gut-wrenching ending, even a grizzled cynic like myself felt like crying.

The Umbrellas of Cherbourg (1964) is not your classic all-singing-all-dancing musical. It is more an opera of everyday life and love. The actors sing the dialogue all the way through and once I got used to this, the device really worked well for the story. Of course, Michel Legrand’s incredible score literally drenches the colourful sets and mise-en-scene with wonder. Moreover, Demy’s cinematographer, Jean Rabier, works miracles; his camera gliding around the actors in small spaces such as shops, garages, apartments and French cafes. Lastly, Catherine Deneuve and Nino Castelnuovo are such an attractive, but beautifully tragic screen couple. Clearly their touching story, amazing music and Jacques Demy’s cinematic brilliance had a massive influence of Damian Chazelle’s splendid La La Land (2016).

Mark: 9.5 out of 11