“THE MIRROR CRACK’D FROM SIDE TO SIDE” (2010) Review

“THE MIRROR CRACK’D FROM SIDE TO SIDE” (2010) Review

The 2010 television movie, “THE MIRROR CRACK’D FROM SIDE TO SIDE”, marked the third screen adaptation of Agatha Christie’s 1962 novel of the same title. This particular adaptation from the “AGATHA CHRISTIE’S MARPLE” series starred Julia McKenzie as the leading character, Miss Jane Marple.

Considering this is the third adaptation of Christie’s novel, I almost feel inclined to compare it to the 1980 and 1992 adaptations. Perhaps I might every now and then. Otherwise, I will try to focus on the 2010 movie itself. The story began with the arrival of Hollywood starlet Marina Gregg and her husband, director Jason Rudd to Jane Marple’s home village, St. Mary’s Mead, England. The pair is in England to film Marina’s latest film about the Egyptian queen Cleopatra. Marina and Jason have purchased Gossington Hall, the former home of Jane Marple’s recently widowed friend, Mrs. Dolly Bantry. The cinematic pair eventually Marina host a fête and reception for St. Mary Mead’s citizens. But due to a minor accident that left her foot sprained, Miss Marple was unable to attend. Among those guests that appeared at Gossington Hall for the fête were:

*Marina’s former husband and gossip columnist Vincent Hogg, who has a personal grudge against her
*Lola Brewster, Vincent’s current wife and Marina’s younger screen rival and Jason’s former lover
*Jason’s personal secretary, Ella Blunt, who happens to be infatuated with him
*Mrs. Heather Babcock, an annoying and self-involved St. Mary’s Mead citizen, who had first met Marina during World War II
*Local photographer Margot Pence, who happens to share a past connection to Marina

While Heather Babcock bores Marina with an account of their previous meeting during the reception at Gossington Hall, she drinks a cocktail meant for Marina and dies. Miss Marple and Detective-Inspector Hewitt discover that the cocktail had been poisoned. Both race to learn the killer’s identity before he or she can reach the true target – Marina Gregg.

I have always been surprised that “The Mirror Crack’d From Side to Side” is not that highly regarded by literary critics. Although some regarded as among the best of her later novels, it remains not as highly regarded as many of her earlier works. This is a pity, because I have always found the 1962 novel to be among Christie’s more interesting works.

There were aspects of “THE MIRROR CRACK’D FROM SIDE TO SIDE” that . . . well, irked me. The production cast actor Nigel Harman as Marina Gregg’s director/husband Jason Rudd. Harman is over twenty years younger than Lindsay Duncan, who portrayed Marina. May-December romances on screen are not as uncommon as one would think – regardless of whether the man or woman is older. If the two performers in question have the screen dynamics to overcome this age discrepancy, then fine. The problem is that Harman lacked the screen presence to keep up with the likes of Duncan. He was no Rock Hudson or Barry Newman. Come to think of it, I had the same problem with the Vincent Hogg-Lola Brewster pairing. Actress Hannah Waddingham is over thirty years younger than Martin Jarvis. And yet, she seemed to lack the screen presence to keep up with the likes of Jarvis. At least in this particular production. I have seen Waddingham in other productions in which she managed to project a very strong and memorable screen presence. So, I will chalk up her lackluster appearance in this film either to bad direction from Tom Shankland or lack of screen chemistry with Jarvis.

I had another problem with the Vincent Hogg character . . . namely his profession as a gossip columnist. Hogg is supposed to be one of Marina Gregg’s former husbands. If the Vincent Hogg character had met and married Marina before he became a gossip columnist, I could understand this. But a Hollywood star marrying a columnist? I just cannot see it. I also had a problem with the Heather Babcock character. I do not mean to be an ageist, but I feel the actress who had portrayed her, Caroline Quentin, had been too old at the age of 49-50 to portray Mrs. Babcock. Then again, I could be using age to hide from the fact that I did not find Ms. Quentin’s performance convincing.

Did “THE MIRROR CRACK’D FROM SIDE TO SIDE” live up to this interesting aspect of the novel? I honestly do not know. Perhaps. Perhaps not. Do not get me wrong. With the exceptions of a few changes regarding the story’s characters, the 2010 television adaptation is more than less faithful to Christie’s novel. Thanks to Lindsay Duncan’s superb performance and Tom Shankland’s direction, it did a great job in conveying Marina Gregg’s fragile, yet artistic and ruthless personality and how she managed to accumulate so many enemies. There were certain scenes in the movie that I enjoyed. They include Miss Marple and Mrs. Bantry’s initial meeting with Marina Gregg and Jason Rudd at Gossington Hall for tea; any scene with Victoria Smurfit, who gave a very sharp, yet entertaining performance as Jason’s secretary, Elsa Blunt; the rather hilarious social encounter between the citizens of St. Mary’s Mead and the Hollywood newcomers at fête, and the scene featuring Marina’s breakdown during her filming of a Cleopatra movie.

I certainly had no problems with the movie’s production values. Sheena Napier, who worked on her fifth (out of eleven) “AGATHA CHRISTIE’S MARPLE” movie, did an excellent job in re-creating the fashions of mid-20th century Britain. I can also say the same about Jeff Tessler, who skillfully took television viewers back to the same time period. And I felt somewhat satisfied with Cinders Forshaw’s photography. I say . . . somewhat. Although I found his photography beautiful and colorful, I felt annoyed by the soft focus style that hinted the production’s time period. So unnecessary.

I have already commented on those performances featured in “THE MIRROR CRACK’D FROM SIDE TO SIDE” – like Lindsay Duncan, Victoria Smurfit and Caroline Quentin. I might as well comment on the other performances that I had missed. Julia McKenzie gave a marvelous performance, as always, as the brilliant and observant amateur sleuth, Miss Jane Marple. I noticed, however, that her performance seemed a bit more subtle than usual. Was this due to working alongside the more ebullient Joanna Lumley? I do not know. But I did notice that the latter’s portrayal of Dolly Bantry seemed even more extroverted than she did in 2004’s “THE BODY IN THE LIBRARY”. I enjoyed Ms. Lumley’s performance, but there were times when I found it a bit grating. I may not have been impressed by Nigel Harman’s chemistry with Lindsay Duncan, but I thought he gave a solid performance as Jason Rudd. On the other hand, I enjoyed Hugh Bonneville’s skillful portrayal of the cool and slightly sharp-tongued Detective-Inspector Hewitt. He also had a surprisingly good screen chemistry with Julia McKenzie. Martin Jarvis nearly dominated every scene he was in as Marina’s resentful, yet malicious ex-husband Vincent Hogg. I wish I could say the same for Hannah Waddingham, but I cannot. Even in those scenes in which she did not share with Jarvis, she made a very disappointing Lola Brewster. Hmmm. So I can blame the director’s handling of her. I certainly was not disappointed with Charlotte Riley’s excellent, yet cool portrayal of the enigmatic photographer, Margot Bence. I can also say the same about Brennan Brown, who gave a very entertaining performance as Marina’s highly nervous secretary, Hailey Preston. The television also featured solid performances from Olivia Darnley, Samuel Barnett and Neil Stuke and Michele Doctrice.

“THE MIRROR CRACK’D FROM SIDE TO SIDE” is not the best Jane Marple movie I have ever seen . . . or even one of the best. Nor can I say that it is the best adaptation of Agatha Christie’s 1962 novel. But despite its flaws, I must admit that I still managed to enjoy it, thanks to Tom Shankland’s direction, Kevin Elyot’s screenplay and a first-rate cast led by Julia McKenzie.

“SHADOW OF THE MOON” (1957/1979) Book Review

“SHADOW OF THE MOON” (1957/1979) Book Review

I first became aware of British author, M.M. Kaye back in the early 1980s, when I read her famous 1978 bestseller, “THE FAR PAVILIONS”. Intrigued by the author’s portrayal of the British and Indian societies in 19th century, I read another one of her novels – namely “SHADOW OF THE MOON”.

First published in 1957, “SHADOW OF THE MOON” was re-released 22 years later to cash in on the success of “THE FAR PAVILIONS”. Like the latter, the novel was set in 19th century India. “SHADOW OF THE MOON” told the story of Winter de Ballesteros, the only daughter of an aristocratic Spaniard whose family lived in India and the beloved granddaughter of an English earl. Orphaned at the age of six, Winter is forced to leave India and live with her mother’s family in England for the next eleven years. Betrothed at an early age to Conway Barton, the nephew-in-law of her great-aunt and an official of the East India Company, serving as Commissioner of the Lunjore District, Winter finally leaves England to return to India in order to marry him. Barton’s military aide, Captain Alex Randall of the British East India Company (aka “John Company”), is assigned to act as escort for Winter’s return journey to the East.

Unfortunately for Winter, she encountered two misfortunes after her arrival in India – the discovery that her new husband is a debauched and overweight drunk who had married her for her fortune; and that she had fallen in love with Alex Randall. She is unaware that Alex has also fallen in love with her. While Winter struggled with her love for Alex and her unhappy marriage, events slowly came to a boil that lead to the outbreak of the Sepoy Rebellion in which the Indian soldiers of the Bengal Army rose against the British between May 1857 and June 1858. The violent outbreak of sepoy troops against the rule of the British East India Company forced both Winter and Alex to experience the violence that explodes throughout most of India and acknowledge their feelings for one another.

For a novel that is supposed to be about the famous Sepoy Rebellion of 1857-58, most of it seemed to be set before the rebellion’s actual outbreak. The novel’s first six chapters focused upon Winter’s parents and her childhood in both India and England. The next thirty-four (34) chapters focused upon Winter and Alex’s journey to India, the introduction of Anglo society in India, Winter’s marriage to Conway Barton in Lunjore, the growing tensions between the British rulers and those who have much to resent them, Winter and Alex’s growing feelings for one another . . . well, you get the picture. By the time Winter, Alex and other British residents encounter the rebellion in Lunjore, Chapter 40 had arrived. Only Chapters 40 through 51 featured the actual rebellion.

Ironically, this does not bother me. I suspect that “SHADOW OF THE MOON” is basically a romantic drama with a historical backdrop. M.M. Kaye was born in India to a family that had served the British Raj for generations. She spent most of her childhood and early years of marriage in India, which made her a strong authority on the Anglo-Indian and Indian societies of the British Raj. “SHADOW OF THE MOON” is filled with strong historical facts about Great Britain during the first five decades in the 19th century, the East India Company, the Anglo-Indian and Indian cultures in the 1850s, and the politically charged atmosphere leading up to the Sepoy Rebellion and facts about the rebellion itself.

Reading the novel made it easy for me to see why M.M. Kaye had gained such fame as a historical novelist. Along with Alexandre Dumas, Susan Howatch, John Jakes, George MacDonald Fraser, James Michener, Larry McMurty, Susan Kay, Ken Follet and Margaret Walker; I consider her to be among the best historical novelists. Not only is “SHADOW OF THE MOON” filled with interesting facts about the British Raj in the 1850s, it is a well-written romantic drama about two people who managed to find love despite the obstacles of a loveless marriage and political turmoil. The two main characters – Winter and Alex – are well written characters that managed to avoid the usual clichés found in many inferior romantic paperback novels. Well . . . Winter and Alex’s characterizations managed to avoid most of the clichés. There were a few clichés about them that seem very familiar:

*Winter’s age spans between 17 and 19 in most of the novel. Most heroines of historical fiction tend to span between between the ages of 16 and 21.

*The age difference between Winter and Alex is 13 years – which is typical for the heroine and hero of most historical romances.

*The heroine, Winter, spends most of the novel stuck in an unhappy marriage with a much older man.

Despite these minor clichés, Winter and Alex turned out to be two very interesting and well-rounded characters. Surprisingly, I can say the same of the supporting characters, whether they be British or Indian. A few characters stood out for me – notably Alex’s cynical Indian orderly Niaz; a sharp-tongued British socialite named Louisa “Lou” Cottar; an intelligent and intensely political Indian nobleman who becomes a dangerous enemy of the British Raj by the name of Kishan Prisad; Lord Carylon, an arrogant and temperamental English aristocrat with a strong desire for Winter; and Conway Barton, the latter’s corrupt and narrow-minded husband, who lacks a talent for political administration.

Aside from a few clichés that are a part of Winter and Alex’s characterizations, I have a few other quibbles regarding the novel . . . or Kaye’s writing style. First of all, she had a tendency to describe a historical event or character in a slightly grandiose manner. One example featured the death of a famous military figure named John Nicholson. Kaye also had a bad habit of announcing an important sequence before revealing it . . . taking away any moment of surprise for the reader. This was apparent in the following passage:

“‘Two more days to go’, thought Alex that night, leaning against the wall and watching a quadrille danced at the Queen’s Birthday Ball.

But there were no more days. Only hours.”

In the following chapter, Winter, Alex and a host of other characters experienced firsthand, the horror of the rebellion in Lunjore. I would have preferred if the beginning of the Lunjore rebellion had taken me by surprise.

Despite Kaye’s occasional forays into over-the-top prose, she created a sweeping and detailed novel filled with romance, adventure, historical accuracy and well-written characters. Although “THE FAR PAVILIONS” is considered her masterpiece, I must admit that “SHADOW OF THE MOON” remains my most favorite novel she has ever written.

“FAR FROM THE MADDING CROWD” (1967) Review

“FAR FROM THE MADDING CROWD” (1998) Review

To my knowledge, there have been five adaptations of Thomas Hardy’s 1874 novel, “Far From the Madding Crowd”. One of them is even a modern day adaptation. I have not seen this modern version of Hardy’s novel. But I have seen at least three adaptations, including the 1967 version directed by John Schlesinger. 

“FAR FROM THE MADDING CROWD” – at least the 1967 version – has been highly regarded by critics, moviegoers and fans of Hardy’s novel for nearly five decades. It is the adaptation that other ones have been measured against . . . much to their detriment.“FAR FROM THE MADDING CROWD” was a different direction for Schlesinger. It would prove to be the first of five period productions directed by him. Schlesinger and screenwriter Frederic Raphael stuck as closely to Hardy’s novel as they possibly could. The movie was not a hundred percent adaptation of Hardy’s novel, but it was pretty close.

Anyone familiar with Hardy’s novel know the tale. It begins with a young 19th century Englishwoman named Bathsheba Everdene, living on a farm with her aunt, Mrs. Hurst. She meets Gabriel Oak, a former shepherd who has leased and stocked a sheep farm. Gabriel falls in love with Bathsheba and eventually proposes marriage. Although she likes Gabriel, Bathsheba values her independence too much and rejects his marriage proposal. Gabriel’s fortunes take a worse for turn, when his inexperienced sheep dog drives his flock of sheep over a cliff, bankrupting him. Bathsheba, on the other hand, inherits her uncle’s prosperous estate. Their paths crosses again, and she ends up hiring Gabriel as her new shepherd. 

Bathsheba has also become acquainted with her new neighbor, the wealthy farmer John Boldwood, who becomes romantically obsessed with her after she sends him a Valentine’s Day card as a joke. He sets about wooing her in a persistent manner that she finds difficult to ignore. But just as Bathsheba is about to consider Mr. Boldwood as a potential husband, Sergeant Frank Troy enters her life and she becomes infatuated with him. Frank was set to marry one of Bathsheba’s former servants, a young woman named Fanny Robin. Unfortunately, the latter showed up at the wrong church for the wedding and an angry and humiliated Frank called off the wedding. Bathsheba finds herself in the middle of a rather unpleasant love triangle between Boldwood and Frank, while Gabriel can only watch helplessly as the situation develops into tragedy.

“FAR FROM THE MADDING CROWD” is a beautiful movie to behold . . . visually. One can credit the movie’s sweeping and colorful look to its iconic cinematographer Nicolas Roeg. Thanks to the latter, the English counties of Wiltshire and Dorset never looked lovelier. Not surprisingly, Roeg earned a BAFTA nomination for his work. The movie also benefited from Richard Macdonald’s production designs, which did an excellent job in recreating rural England in the mid 19th century. This was especially apparent in those scenes that featured Gabriel’s arrival at Shottwood, and his attempts to get hired as a bailiff or a shepherd at a hiring fair; the harvest meal at the Everdene farm; Bathsheba’s meeting with Frank in Bath; the rural fair attended by Bathsheba and Mr. Boldwood; and the Christmas party held by Mr. Boldwood. I will not pretend that I found Richard Rodney Bennett’s score particularly memorable. But I must admit that it blended well with the movie’s plot and Schlesinger’s direction. I also noticed that Bennett added traditional English folk songs in various scenes throughout the movie.

I have seen at least two movie versions and one television adaptation of Hardy’s novel. And it occurred to me that the main reason why I ended up enjoying all three adaptations so much is that I really liked Hardy’s tale. I really do. More importantly, all three adaptations, including this 1967 movie, did an excellent job in capturing the novel’s spirit. With a running time of 169 minutes, “FAR FROM THE MADDING CROWD” took its time in conveying Hardy’s story . . . with a few little shortcuts. And thanks to Schlesinger’s direction and Raphael’s screenplay, the movie not only recaptured both the idyllic nature of 19th century rural England, but also its harsh realities. More importantly, the movie brought alive to the screen, Hardy’s complex characters and romances. Hollywood once made a movie about a woman torn between three men in 1941’s “TOM, DICK, AND HARRY” with Ginger Rogers. But the complexity between the one woman and the three men was nothing in compare to this tale. Especially, when the leading lady is such a complex and ambiguous character like Bathsheba Everdene. Another aspect of “FAR FROM THE MADDING CROWD” that I enjoyed were the interactions between the movie’s leads and the supporting cast who portrayed Bathsheba’s employees. Like her relationships with Gabriel, Frank and Mr. Boldwood; the leading lady’s relationships with her employees – especially the women who worked inside her home – proved to be very interesting.

There was a good deal of controversy when Julie Christie was announced as the actress to portray Bathsheba Everdene. Apparently, the media did not consider her capable of portraying the tumultuous mid-Victorian maiden . . . or any other period character. Well, she proved them wrong. Christie gave a very skillful and nuanced performance as the ambiguous Bathsheba, capturing the character’s passion, vanity and at times, insecurity. Terence Stamp was another actor more associated with the Swinging Sixties scene in London, but unlike Christie, his casting did not generate any controversy. I might as well place my cards on the table. I think Stamp proved to be the best Frank Troy I have seen on screen, despite the first-rate performances of the other two actors I have seen in role. He really did an excellent job in re-creating Frank’s charm, roguishness and unstable nature. Thanks to Stamp’s performance, I can see why Schlesinger became so fascinated with the character.

Despite Christie and Stamp’s popularity with moviegoers, the two actors who walked away with nominations and an award were Peter Finch and Alan Bates. No matter how interesting all of the other characters were, I personally found the William Boldwood character to be the most fascinating one in Hardy’s tale. And Peter Finch, who won the National Board of Review Award for Best Actor did a superb job in bringing the character to life. Finch beautifully re-captured the nuances of a character that I not only found sympathetic, but also a bit frightening at times. Alan Bates earned a Golden Globe nomination for his portrayal of the stalwart Gabriel Oak, which I believe he fully deserved. I think portraying such a minimalist character like Gabriel must be quite difficult for any actor. He is a character that required real skill and subtlety. Bates certainly did the job. The actor managed to convey the passion that Gabriel harbored for Bathsheba without any theatrical acting and at the same time, convey the character’s introverted and sensible nature. The movie also benefited from some skillful and solid work from its supporting cast that included Golden Globe nominee Prunella Ransome, who portrayed the tragic Fanny Robin; Fiona Walker (from 1972’s “EMMA”); Alison Leggatt; John Barrett; and iconic character actor, Freddie Jones.

As much as I enjoyed “FAR FROM THE MADDING CROWD”, there were some aspects of the production that I found troublesome. Earlier, I had pointed out that Schlesinger had seemed so fascinated by the Frank Troy character. And while this contributed to Terence Stamp’s presence in the movie, Schlesinger’s handling of the character threatened to overshadow the entire movie. Quite frankly, he seemed a bit too obsessed with Frank for my tastes. This heavy emphasis on Frank – especially in two-thirds of the movie – also seemed to overshadow Bathsheba’s relationship with Gabriel Oak. At one point, I found myself wondering what happened to the character. Worse, the chemistry between Julie Christie and Alan Bates had somewhat dissipated by the movie’s last act to the point that it barely seemed to exist by the end of the movie. And Schlesinger allowed the “ghost” of Frank Troy to hover over Bathsheba and Gabriel’s future relationship by ending the movie with a shot of a toy soldier inside the Everdeen-Oak household. No wonder Stamp was credited as the male lead in this film. 

There were other aspects of “FAR FROM THE MADDING CROWD” that either troubled me or failed to impress me. I am at a loss on how Prunella Ransome earned a Golden Globe nomination for her portrayal of Fanny Robin. Mind you, she gave a very good performance. But she was on the screen for such a small amount of time that there seemed to be no opportunity for the narrative to delve into her character. Ransome’s Fanny came off as a plot device and a part of me cannot help but blame Hardy’s original novel for this failure. Although I cannot deny that Nicholas Roeg’s cinematography was visually beautiful to me; I also found myself annoyed by his and Schlesinger’s overuse of far shots. It reminded me of how director William Wyler and cinematographer Franz F. Planer nearly went overboard in their use of far shots in the 1958 western, “THE BIG COUNTRY”. I read somewhere that Alan Barrett had earned a BAFTA nomination for Best Costume Designs for this film. I do not mean to be cruel, but how in the hell did that happened? I have to be frank. I was not impressed with the costumes featured in this film. Although I managed to spot a few costumes that struck me as a well-done re-creation of fashion in the mid-to-late 1860s, most of the other costumes looked as if they had been rented from a warehouse in Hollywood or London. Not impressed at all.

Aside from my complaints, I enjoyed “FAR FROM THE MADDING CROWD” very much. A good deal of delight in the film originated with Thomas Hardy’s original tale. But if I must be honest, a good deal of filmmakers has screwed up a potential adaptation with either bad writing, bad direction or both. Thankfully, I cannot say the same about “FAR FROM MADDING CROWD”. Thanks to the first-rate artistry of the film’s crew, a well-written screenplay by Frederic Raphael, a very talented cast led by Julie Christie; director John Schlesinger did an excellent in bringing Hardy’s tale to the screen.

Favorite “WANDAVISION” (2021) Episodes

Below is a list of my favorite episodes from “WANDAVISION”, the Marvel Cinematic Universe (MCU)/Disney Plus limited series. Created by Jac Schaeffer, the series starred Elizabeth Olsen and Paul Bettany as Wanda Maximoff aka Scarlet Witch and Vision:

FAVORITE “WANDAVISION” (2021) EPISODES

1. (1.06) “All-New Halloween Spooktacular!” – Disturbances on Halloween separate Wanda Maximoff aka Scarlet Witch from her synthezoid lover/”husband” Vision, who looks into the anomalous activity in Westview during the late 1990s/early 2000s.

2. (1.04) “We Interrupt This Program” – Following her resurrection during the Blip, S.W.O.R.D. Agent Monica Rambeau is tasked with a special assignment in Westview regarding sentient weapons and goes missing.

3. (1.08) “Previously On” – Another witch in Westview named Agatha Harkness forces Wanda to embark upon a troubling journey, revisiting her past for insight into her present and future.

4. (1.03) “Now in Color” – Wanda’s pregnancy affects her powers as she and Vision prepare for an accelerated delivery in the 1970s.

5. (1.09) “The Series Finale” – While Wanda battles Agatha, Vision fights his counterpart, White Vision, who was created by S.W.O.R.D. Meanwhile, the agency’s director, Tyler Hayward, launches an attack on Westview.

“EVELYN PRENTICE” (1934) Review

“EVELYN PRENTICE” (1934) Review

“EVELYN PRENTICE” marked the third collaboration between William Powell and Myrna Loy in 1934. MGM Studios first had the pair co-star with Clark Gable in the hit crime melodrama, “MANHATTAN MELODRAMA”. Then the pair hit gold and became solidified as a screen team in “THE THIN MAN”. Following the success of the latter, MGM paired them in a melodrama called “EVELYN PRENTICE”.

William K. Howard directed this adaptation of W.E. Woodward’s 1931 novel about Evelyn Prentice, the neglected wife of a successful attorney, who drifts into dangerous waters when she becomes involved with another man. Although she loves her husband, John Prentice, Evelyn begins to despair of his long hours and begins to wonder if his career is more important to him than his family. John becomes engrossed in defending a young socialite named Nancy Harrison and has a brief affair with her before she is acquitted. Before Evelyn can celebrate his latest success, John is called to Boston for another case and during the train journey, encounters Miss Harrison. When Evelyn learns about Miss Harrison’s presence aboard the Boston-bound train, she commences upon a flirtation with a handsome man named Lawrence Kennard. Unfortunately, Lawrence proves to be a gold-digging gigolo, who blackmails Evelyn with a compromising letter. Just as Evelyn finds a gun inside a desk drawer, Lawrence’s girlfriend, Judith Wilson hears gunfire. But Evelyn manages to leave Lawrence’s room before being spotted by Judith. Evelyn eventually learns that Judith has been arrested for murder. And out of a sense of guilt, she convinces John to defend the younger woman.

I did not know what to expect with “EVELYN PRENTICE”. I had never heard of it, until recently. I knew it was a drama and did not expect any of the usual witty exchanges that highlighted the best of their “THIN MAN” movies and other comedies. Actually, screenwriters Lenore J. Coffee and Howard Emmett Rogers (uncredited) provided a good deal of witticism in “EVELYN PRENTICE”, but only for Una Merkel, who portrayed Evelyn’s best friend, Amy Drexel. I liked the costume designs created by Dolly Tree, who had served as Myrna Loy’s usual designer at MGM . . . even if I found them a tad over-the-top. Frank E. Hull’s editing proved to be valuable in the scene that featured Lawrence Kennard’s shooting. As for the performances, they proved to be solid, although not exactly dazzling. There were two or three performances that impressed me. They came from Merkel’s sharp-witted performance as best friend Amy; Isabel Jewell, who gave a passionate performance as Lawrence’s abused girlfriend, Judith Wilson; and even veteran actress Jessie Ralph, who gave a brief, yet lively performance as a charwoman who lived in the same building as the victim. Rosalind Russell made her screen debut as John Prentice’s lovesick client, Nancy Harrison. Mind you, I found her performance a bit theatrical, but at least she injected some fire into the movie.

Unfortunately, there was a good deal about “EVELYN PRENTICE” that made it difficult for me to really enjoy this film. I have nothing against melodrama. But there is good melodrama and there is bad. As far as I am concerned, “EVELYN PRENTICE” was not good melodrama. One, the performances of the two leads – Myrna Loy and William Powell – annoyed me. They did not give bad performances. But Loy spent a good deal of the movie utilizing enough pensive expressions that rivaled Evangeline Lilly from Season One of “LOST”. She almost bored me senseless. Powell, on the other hand, bored me. Although his John Prentice did not cheat on his wife during that train journey from New York to Boston, he did sleep with his client earlier in the film. I never realized that adultery could be so boring and I am afraid that Powell is to blame, not Russell. Cora Sue Collins portrayed the Prentices’ young daughter, Dorothy. She was sweet, cute and typical of the early 1930s child actors that I have always found nauseating. Shirley Temple made this kid look refreshing. And Harvey Stephens’ Lawrence Kennard proved to be one of the dullest gigolos in film history. This guy made sexiness seem like a bore.

In the end, it was Coffee and Rogers’ adaptation of Woodward’s novel, along with Howard’s direction that sunk this movie for me. For about the first fifteen or twenty minutes, I had no problems maintaining interest in this movie. But it did not take long for my interest to drift away from the plot. I was in danger of falling asleep. My interest perked again, following the death of the Lawrence Kennard character. I found myself wondering when Evelyn would tell the truth about what happened and save the girlfriend from a noose. I have never read the 1933 novel, so I do not know whether the solution to the movie’s plot came directly from the novel or was created by Coffee and Rogers. Needless to say, the legal solution to the Kennard murder took me by surprise . . . in a very negative way. I found myself disgusted by how the writers resolved the whole matter, when I first saw the film. And thinking about it later, I am still shaking my head in disbelief.

What else can I say about “EVELYN PRENTICE”? I have read some reviews of the movie and there are some movie fans who liked it. I had hoped to become a fan of the movie. But between the lackluster performances of the leads, the mind-boggling bad writing, and William K. Howard’s dull direction; I can honestly say that I hope to never lay eyes on this film again. I am a big fan of Powell and Loy, but I feel this movie was one of their major missteps during their tenure as a screen team.

Mary and Henry Crawford in “MANSFIELD PARK”

MARY AND HENRY CRAWFORD IN “MANSFIELD PARK”

Every time I read an article or review about Jane Austen’s 1814 novel, “MANSFIELD PARK”, the authors of these articles always comment on the unpopularity of the novel’s leading character, Fanny Price. I could say the same about most articles and reviews on the novel’s television and movie adaptations. Time and again, both critics and others claim that most Austen fans have a low opinion of Fanny Price. At the same time, these same commentators like to point out the popularity of the novel’s antagonists, Henry and Mary Crawford.

The first time I had come across such a statement about Fanny Price and the Crawfords, I decided to search for further articles that verified these claims. In all honesty, I have come across at least less than a half-a-dozen articles or blogs that either criticized Fanny or praised the Crawfords to the sky – especially Mary Crawford – or did both. But most of the articles and reviews I have discovered usually followed this structure:

1. Fanny Price is very unpopular with Austen fans.

2. The Crawfords – especially Mary – is very popular with Austen fans.

3. The authors claim that they harbor the same opinions, until recently.

4. The authors eventually state that they believe Fanny Price is a misunderstood character and praise her character to the sky as a paragon of virtue and courage.

5. Or the authors would point out Fanny’s personality flaws and claim that Austen used as some kind of metaphor for eighteenth century morality play, or etc.

6. Bring up the Crawfords and reveal how degenerate they really were, despite any virtues they may possess. Both characters have been called the worse names in an effort to make Fanny look good.

I like to call the above structure or formula – “The Defense of Fanny Price Campaign”. And most articles I have read about “MANSFIELD PARK” usually follow this formula. In fact, I have come across so many articles of this nature that I now have doubts that most Austen fans really dislike Fanny or even like the Crawfords.

I am well aware that Mary and Henry Crawford were flawed. And I believe that Austen did an excellent job of making their flaws rather obvious. On the other hand, I believe that she did a pretty good job in portraying their virtues, as well. Fanny Price was no different, in my opinion. Mind you, I found her rather dull at times. But I have never dismissed her on those grounds. Fanny did have her virtues. But I believe that she also possessed flaws. And like the Crawfords, she never overcame hers by the end of the novel. But whereas Austen literally ignored Fanny’s flaws by the end of novel . . . and gave her a wide berth, she castigated the Crawfords for failing to overcome their flaws. Many critics and fans who have posted articles in the very fashion I brought up, also did the same. And so did the movie and television adaptations.

This is the main problem I have about “MANSFIELD PARK”. If Austen had been willing to acknowledge Fanny’s flaws (let alone those of her cousin, Edmund Bertram), I would have never found it difficult to enjoy the story. I suspect “MANSFIELD PARK” could have easily been one of those novels that explored the complex nature of all of its major characters without labeling one or two of them as “villains”. Or . . . if she really wanted to vilify the Crawfords that badly, she would have been better off portraying them as superficial, one-note characters.

But what I find really frustrating is this so-called “Defense of Fanny Price” campaign that seemed to have swamped the Internet for the past four-to-five years. By utilizing the structure that I had earlier pointed out, these critics and fans seem willing to turn a blind eye to Fanny’s flaws; at the same time, castigate Mary and Henry Crawfords as villains on the same level as George Wickham of “PRIDE AND PREJUDICE”. Of all the articles I have come across about the characters featured in the 1814 novel, only one has seemed willing to view them all as morally complex and ambiguous. Unfortunately, I have not seen hide nor hair of it in a few years. If there are other “MANSFIELD PARK” articles of similar nature, I can only hope that someone would inform me.

“Crossroads of the Force” [PG-13] – Chapter Four

“CROSSROADS OF THE FORCE”

CHAPTER FOUR

THE VELM SYSTEM

Han and Anakin stood near the Javian Hawk’s boarding ramp, while they observed Mako converse with the Dreadnought’s captain. Both the Hawk and Mako’s ship, the Alastian Star, stood inside the Imperial cruiser’s shuttle bay, surrounded by stormtroopers. Han glanced at his partner’s face. Despite Anakin’s stoic expression, the young Corellian could sense the older man’s unease.

“Don’t worry,” Han whispered. “Mako seems to know what he’s doing. He probably knows this guy from the Imperial Academy or something. They seem a little friendly.”

Anakin muttered back, “I hope so, for our own sake. Because if this Captain Skafte insists upon inspecting our cargo, be prepared to run for it.” A sharp sigh escaped from his mouth. “I should have stayed aboard the Hawk. We both should.”

Han could not help but privately agree. It worried him that an Imperial ship had finally been able to catch them after ten years of smuggling. Perhaps Anakin had a right to complain about Mako’s route to Maldore. He stole another glance at the older man. Anakin’s expression now looked intense. The former Jedi seemed to be concentrating on Mako and Captain Skafte. “I wonder what they’re talking about,” Anakin commented in a dark tone. “Do you really think Spince will be able to convince the captain to let us go?”

With a shrug, Han replied, “I don’t know. Like I said, they seem to be a little friendly with each other.

“Right now, I don’t sense anything amiss,” Anakin continued. “But the moment I give the signal that something’s wrong, get aboard the Hawk as soon as possible. And start shooting at anyone who moves.”

Han saw a flaw in Anakin’s desperate plan. “Shouldn’t I at least wait for Mako to board his ship?”

Anakin shot a dark glance at Han. “Why bother? You honestly think he would make it in time?”

Slowly, Han turned to stare at his partner. Was Anakin actually willing to sacrifice Mako in order to escape from the Imperials? Before he could comment, his eyes fell upon a handcuffed Wookie entering the shuttle bay with flanking stormtroopers. “What’s he doing here?” Han whispered.

“Who?”

“The Wookie!” Han indicated the newcomer with a nod of his head. “Looks like he’s a prisoner.”

Anakin mumbled, “I’m not surprised. After Kashyyyk, the Imperials have been using captured Wookies as slaves.”

“Slaves!” Han felt a stab to his stomach. The idea of any Wookie being a prisoner sickened him. And this particular prisoner reminded him of Dewlanna. He wondered if she would have faced a similar fate if she had returned to Kashyyyk following her husband’s death. One glance at Anakin told Han that the former felt equally disgusted. After all, the two partners had endured some form of slavery during their respective childhoods. “I wish we could free him,” Han added. “The Wookie, I mean.”

“Right now, we should be worried about us,” Anakin muttered.

At that moment, Mako and Captain Skafte approached the partners. “So,” the latter commented, “you’re friends of Mako?”

“That’s right,” Han replied with fake cheerfulness.

Mako added, “I had just informed Captain Skafte that we’re shipping power converters to Maldore.”

Anakin asked, “Are you two familiar with each other?”

“Captain Skafte used to be one of my instructors at the Imperial Academy,” Mako explained. He added sheepishly, “Before I was expelled.”

The captain added, “Now that Mako has explained everything, you’re free . . .”

A loud roar filled the shuttle bay. The four men diverted their attention to the stormtroopers struggling with the Wookie captor. A frown darkened Skafte’s countenance. “Now what?” he muttered. “Treece! What is going on?”

A blond-haired junior officer replied, “I’m sorry sir. The Wookie is being difficult. Being an animal, I guess he can’t help himself.”

“You have a Wookie as a slave?” Anakin asked, surprising Han, Mako and Skafte.

The captain regarded Anakin warily. “Do you have a problem with this . . . uh, Captain . . .?”

“Horus. Set Horus.” Anakin shook his head. “No sir, I don’t. In fact, slavery is very common where I come from. I’m merely surprised that you would use Wookie labor. I’ve heard rumors that they can be difficult as slaves. Not that I actually believe such rumors.” Han noticed that Anakin had refrained from mentioning his homeworld by name.

A cool smile touched Skafte’s lips. “They’ve made pretty good slaves since the fall of Kashyyyk, ten years ago. And this slave,” he nodded at the Wookie, “happens to be a talented technician and pilot. The Trandoshans had captured him some three months ago. This Wookie tried to escape before he could be sold, but he failed and served under another Imperial commander before he was transferred to me.”

Anakin’s face expressed interest. “Really? A pilot and a technician? How long have you had him aboard this starship?”

With a shrug, Skafte replied, “Oh, about a week. I’m transporting this . . . creature to the Maw, where he is to work on one of the Empire’s new projects.”

“How much are you willing to sell for this . . . creature?” Anakin’s question surprised Han.

Apparently, Skafte also seemed surprised by Anakin’s request. He frowned at the former Jedi and asked, “You’re interested in buying this Wookie? Why? Didn’t you say that they don’t make good slaves?”

“I said that most people don’t consider them to be good slaves,” Anakin corrected. “I also said that I didn’t believe such nonsense. According to you, he’s a good mechanic and I can certainly use one.”

Han struggled to contain his excitement. Did Anakin actually plan to help free the Wookie? He noticed that Skafte had become pensive for a few minutes. Then the officer stared at Anakin. Han wondered if his partner had gone too far.

“How do you plan to keep him in line?” the Imperial officer finally asked.

A cruel smile curved Anakin’s lips. For the first time in years, Han could imagine him as a Sith Lord. “Let’s just say that I plan to use a more effective method other than a blaster or taser,” he coldly replied.

As the two men walked away to discuss the enslaved Wookie, Mako leaned forward to whisper in Han’s ear. “What’s going on?”

Han tried to play dumb. “Huh?”

“The Wookie!” Mako hissed. “Why is Horus suddenly interested in the Wookie?”

Han murmured back, “We need an extra mechanic for the Hawk.”

“Who are you kidding?” Mako retorted. “Horus could probably fix that ship of his, blind-folded. Or else he could simply buy a droid.” Realization gleamed in his eyes. “Oh no! Horus is trying to . . .” He broke off momentarily, as an officer passed by. Then he added in a lower voice, “He plans to free that Wookie, doesn’t he?”

Keeping his gaze fixed upon Anakin and Skafte, Han merely replied, “Why would any of us be interested in freeing some slave? Let alone a Wookie?”

At that moment, Anakin and Skafte returned to the younger men. The smiling Imperial commander was saying, “. . . to be of service, Captain Horus. I only hope that you realize what you’re going to be dealing with.” He turned to the blond-haired lieutenant. “Treece! Bring the Wookie over here! He will be leaving with our new friends.”

Lieutenant Treece and two stormtroopers forced the Wookie to join Han and Anakin. As Treece began to remove the Wookie’s shackles, Anakin barked, “What are you doing?”

Treece blinked several times. “Uh . . .”

“Treece, you idiot!” Skafte retorted angrily. “The Wookie is now Captain Horus’ property! Not some member of his crew! Keep the shackles on! And hand him over to the Captain’s co-pilot, so they can be on their way.”

The red-faced Treece handed the chains to the Wookie’s shackles over to Han. Who led the Wookie aboard the Hawk. The moment the pair were safely out of sight, Han unfastened the shackles. “Welcome aboard the Javian Hawk,” he greeted. “I’m Han Solo. And the captain . . .”

Anakin quickly boarded the ship. “Let’s go, Han!” he barked. “We’re out of here! Now!”

Han flashed an apologetic smile at the Wookie and followed Anakin to the cockpit. Less than five minutes later, the Javian Hawk finally left the Dreadnought, with the Alastian Star closely behind.

——–

Chewbacca stood in the middle of the starship’s narrow passageway and stared at the shackles near his feet. Why had the boy removed them? Why . . .?

The ship jolted before Chewbacca felt it move forward. He realized that the Corellian ship had just left the Dreadnought. At first, the Wookie felt a sense of exultation. After three months he had finally escaped his Imperial masters. Then he recalled the hard eyes of the ship’s captain. A nagging fear began to worm in the back of his mind that he had exchanged several masters for a new one. Once more, his eyes fell upon the shackles. If he was still a slave, why did the boy remove his shackles?

Slowly, Chewbacca began to move around. If he could find a weapon, perhaps he might force his new . . . companions to deliver him to the nearest inhabited system. And hopefully, he would find a way to reunite with the Drunken Dancer crew.

Ten years ago, Chewbacca and a group of fellow Wookies had been charged to aid a small band of renegade Jedi, led by Olee Sandstone, to find other Jedi being hunted by the Empire. Unfortunately, the mission led to disaster as Chewbacca, Sandstone and their band fled to Kashyyyk with the Empire and a Sith Lord named Darth Rasche, close behind. Following the fall of his homeworld, Chewbacca and the Drunken Dancer’s crew spent the next decade harassing Imperial ships and freeing any Wookie slaves they came across. Just three months ago, Chewbecca came across a fellow Wookie named Tvrrdko. Unfortunately, Tvrrdko’s son had been killed while fighting alongside Chewbacca during the Clone Wars . . . and blamed the latter for his son’s death. Seeking revenge, Tvrrdko betrayed Chewbacca to a Trandoshan slaver named Ssoh. A failed attempt to escape from Ssoh led the enslaved Wookie into the hands of an Imperial officer named Nyklas. The latter, a brutal and cruel taskmaster, set out to make Chewbacca’s life as miserable as possible. Once more, Chewbacca made another attempt to escape slavery. With the help of the Dreadnought’s crew, Nyklas managed to prevent Chewbacca’s escape. Captain Skafte, the Dreadnought’s commander had suggested he transport Chewbacca to one of the galaxy’s hell spots – the Maw – for work on one of the Empire’s new projects. One week later, the Dreadnought came across two Corellian freighters and Chewbacca no longer found himself in the hands of the Empire.

Quietly, the Wookie began his search for weapons. It did not take him long to find them in a storage cabinet near the ship’s port side. Not only did it possess blaster pistols and rifles, but also a Jedi lightsaber. Chewbacca frowned at the weapon. The sight of it reminded him of Olee Sandstone and the other former Jedi on the Drunken Dancer. The weapon also reminded him of the late Roan Shryne and the little green Jedi Master he had met during those last days of the Clone Wars. How did two smugglers managed to get their hands on a lightsaber? He reached for the weapon.

“I wouldn’t touch that if I were you,” a deep voice murmured. Chewbacca snatched a blaster pistol from the weapons cabinet and aimed it at the voice’s owner. Who happened to be the tall, blond pilot who had just purchased him from the Dreadnought’s captain. “Well, this is a new development.”

Chewbacca growled, “I want you to drop me off at the nearest inhabited system. Now!”

The pilot shook his head. “Sorry, but I don’t speak Shyriiwook or any other Wookie language.” Then he roared, “Han! Get in here! Now!”

Nearly a minute passed before the younger man – Solo – appeared. “What’s the problem?” The words barely came out of his mouth, when his eyes fell upon the blaster in Chewbacca’s grip. “Whoa! I mean . . . what the hell is going on?”

“This Wookie wants something . . .” the older pilot began.

Chewbacca interrupted, “I want passage to the nearest habitable system. Or else.”

“Or else what?” Solo shot back. “Why are you pointing that blaster at my friend?”

“Your friend had just bought me,” Chewbacca growled. “I don’t intend to hang around and make it worth his while.”

Solo contemptuously rolled his eyes. “My friend had bought you so that you can be free! Why else would I remove your shackles?”

Feeling slightly foolish, Chewbacca lowered the blaster. “Oh. I . . . Sorry.”

“What did he say?” the older pilot asked.

Solo replied, “He said that he was sorry.” He turned to Chewbacca. “Listen, we’re on our way to Maldore. We can drop you off there, if you like. Or perhaps take you somewhere else.”

Chewbacca had intended to search for the Drunken Dancer if he ever found himself free. Unfortunately, three months had passed since his capture. Since Sandstone and her crew were wanted by the Empire, he felt certain that the Drunken Dancer would remain on the move. Quite frankly, he had no place to go. Her wondered if the humans would allow him to join their crew.

The older pilot gave the Wookie a knowing look. “All alone in the world?” Chewbacca nodded. The two pilots exchanged a glance before the older one added, “I realize that this might be a spur-of-the-moment thing, but . . . you’re more than welcome to join our crew.”

The pilot’s offer took Chewbacca by surprise. The former seemed to have read his thoughts. Then he recalled the weapon in the locker. He wondered if the blond man was a former Jedi . . . or that these two were involved in activities against the Empire, like the Drunken Dancer’s crew. “Well?” Solo added.

Chewbacca nodded and growled, “I would be happy to.”

Solo translated his answer to the older pilot. Who broke into a grin. “Great! You’ve already met Han Solo and I’m . . . Set Horus.” He offered his hand. “Welcome to the Javian Hawk!”

——-

CORUSCANT

A loud buzz from the door announced a visitor. Darth Rasche switched off his lightsaber and ordered, “Come in!”

A stocky man of medium height entered the Sith Lord’s personal gymnasium. He wore the uniform of an inquisitor. “I have a report regarding Senator Dahlma,” the Inquisitor announced. “Yesterday, she and her aide boarded a transport for Maldore.”

Rasche sighed. “It looks as if she had been telling the truth, after all.”

The Inquisitor continued, “There’s more. The senator remained at her private home in Malag. She did not bother to travel to her family’s estate in the Dalgar region.”

“Interesting.” It looked as if the Emperor’s suspicions about a non-existent funeral might be well founded. “Tell your agent to keep an eye on the senator. See who goes in and out of her home.”

The agent bowed. “Yes, my Lord.” He immediately left the gymnasium.

Rasche took a deep breath and picked up his comlink. “Commander Abbas, summon the crew and prepare the Exactor for departure. I will be leaving for Maldore.”

END OF CHAPTER FOUR

“SHANG-CHI AND THE LEGEND OF THE TEN RINGS” (2021) Review

“SHANG-CHI AND THE LEGEND OF THE TEN RINGS” (2021) Review

I might as well put my cards on the table. I have not fully admired the Marvel Cinematic Universe (MCU) since the beginning of its third phase. Nor do I believe that its Phases Four and Five had improved matters. With the exception of a handful of movies and television series. One of those exceptions proved to be the franchise’s 25th film, “SHANG-CHI AND THE LEGEND OF THE TEN RINGS”.

The 2021 movie is not an exact adaptation of the Marvel Comics superhero, who had debuted in the comic books back in 1973. However, director-screenwriter Destin Daniel Cretton and his fellow screenwriters, Dave Callaham and Andrew Lanham, used elements from the comic books to create not only an interesting backstory for the leading character, but also a solid narrative for the film. “SHANG-CHI AND THE LEGEND OF THE TEN RINGS” began with a warrior named Xu Wenwu, who discovers a set of ten mystical rings that gave him power and immortality. Utilizing the rings and his army, Wenwu (who acquired the name of “the Mandarin”) created the Ten Rings criminal organization that conquered or toppled many governments throughout the centuries. In 1996, Wenwu engaged in a search for Ta Lo, a village said to harbor mythical beasts. While traveling through a magical forest to the village entrance, he was stopped by one of the village’s guardians, Ying Li. The two fell in love, and when the Ta Lo villagers rejected Wenwu, Li chose to leave with him. They married and conceived two children, Shang-Chi and Xialing. Wenwu abandoned his organization and locked away the ten rings.

The Xu family’s happiness did not last very long. Wenwu’s old enemies, the Iron Gang, murdered Li in an act of revenge when Shang-Chi was seven years old. Wenwu used the ten rings to massacre the Iron Gang members and resumed leadership of his old organization. Then he forced Shang-Chi to undergo a brutal training in martial arts but prevented Xialing from being trained. When Shang-Chi was fourteen, Wenwu sent him to assassinate the Iron Gang’s leader. After completing his mission, a traumatized Shang-Chi ran away to San Francisco, California and adopted the name “Shaun”. During his time in the United States, “Shaun” learned English, and eventually became a valet at an exclusive San Francisco hotel along with his best friend, Katy aka Chen Ruiwen. While riding a local bus, Shaun and Katy found themselves under attack by members of the Ten Rings organization. Wenwu had ordered them to steal Shaun’s pendant, given to him by his late mother. Despite a brutal fight that left most of the assailants unconscious and the bus seriously damaged; one Ten Rings warrior, Razor Fist, managed to steal Shaun’s pendant. Suspecting that his father might also want the pendant given to Xialing; Shang-Chi and Katy travel to Macau to warn his sister. And the trio eventually found themselves swept into a situation in which a threat larger than Wenwu, loomed ahead.

Many fans have declared either 2022’s “SPIDER-MAN: NO WAY HOME”, “BLACK PANTHER: WAKANDA FOREVER” or “SHANG-CHIAND THE LEGEND OF THE TEN RINGS” as the best movie of the MCU’s Phase Four. My choice? None of them. But I will admit that I enjoyed all three films. Especially “SHANG-CHI AND THE LEGEND OF THE TEN RINGS”. The latter film struck me as a poignant family drama at the heart of a movie filled with humor, pathos, action and magic. In fact, it occurred to me that the movie reminded me of the STAR WARS saga’s Skywalker Family Saga – at least the six films produced and directed by George Lucas. Seriously. The Xu Shang-Chi character is basically Luke Skywalker, his sister Xialing could be Princess Leia Organa (only not adopted) and his parents Wenwu and Li – Anakin Skywalker and Padmé Amidala. Only the Xu family’s family narrative differed . . . somewhat. Wenwu’s inability to recover from his wife’s death led to the family’s breakup, and an even more dangerous Big Bad to exploit his grief. Sounds familiar? However, the poignant flashbacks of Wenwu and Li’s courtship, those happy years before Li’s death, along with the drama that surrounded Shang-Chi and Xialing’s resentment and fear toward their father really cemented “SHANG-CHI AND THE LEGEND OF THE TEN RINGS” as a family drama.

However, the movie did have its share of action sequences. I had nothing against Shang-Chi’s reunion with Xialing, which resulted in a funny fight scene inside her Macau fight club; or the siblings’ attempt to prevent the Ten Rings from taking her pendant on the construction site outside of her club (a scene that produced memories of another from the 2001 movie, “RUSH HOUR 2”). Also, Shang-Chi’s fight against Wenwu in the movie’s final action sequence struck me as pretty solid. But I had to choose two sequences that really impressed me, they had to be the one in which Wenwu and Li first met, when she prevented him from entering Ta Lo; and Shang-Chi’s fight against the Ten Ring operatives aboard a San Francisco bus. What I really enjoyed about Wenwu and Li’s fight is that it started out as a serious confrontation and slowly developed into a sly, yet romantic dance between two people who had become attracted to one another. I believe Tony Leung and Fala Chen’s performances made this transformation both believable and very entertaining. For me, the movie’s most thrilling fight scene – hell, action scene – was Shang-Chi’s fight against some of the Ten Rings operatives aboard a moving San Francisco bus. I would say it was one of the best action sequences I have ever seen in a MCU film. Not only did leading man Simu Liu and the fight choreography team led by Andy Cheung and the late Brad Allan created an exciting fight, but leading lady Awkwafina and cast of supporting performers, cinematographer William Pope and especially director Destin Daniel Cretton all contributed to the sequence’s action, thrills and some very sharp humor.

I certainly do not have any complaints about the performances in “SHANG-CHI AND THE LEGEND OF THE TEN RINGS”. The latter featured solid performances from Randolph Fields, Charlotte Leonie, Jodie Long, Jayden Zhang, Arnold Sun, Wah Yuen,
Kunal Dudheker, a very imposing Florian Munteanu and Stephanie Hsu. The movie also featured cameos from the likes of Benedict Wong (as Wong), Tsai Chin (whom I have not seen since the Marvel series, “AGENTS OF S.H.I.E.L.D.”), Tim Roth (or perhaps I should say a CGI image of Abomination aka Emil Blonsky), and a surprising and funny Ronny Chieng. It was nice seeing Michelle Yeoh, who portrayed Shang-Chi and Xialing’s aunt Ying Nan. But if I must be honest, I found her performance solid and serviceable – nothing else.

The performances that stood out for me came from the likes of Meng’er Zhang, who portrayed Xu Xialing, Wenwu and Li’s only daughter. I thought Zhang did a first-rate job of conveying Xialing’s anger and resentment toward both her father and older brother. She also did an excellent job of revealing how the Xu family’s break-up had affected her family. Not many people approved of Ben Kingsley’s return as Trevor Slattery, the actor who had been hired to impersonate the Mandarin in 2013’s “IRON MAN 3”. I had no problems seeing Kingsley in the role again. He was funny as ever and it felt nice to see Slattery express remorse for his false portrayal of Wenwu and come out of his situation as a better man. Fala Chen gave an elegant, yet slightly sly performance as Ying Li, whose warmth and strong will kept the Xu family together, while she lived. Awkwafina proved to be as hilarious as ever with her portrayal of “Katy” Chen, Shang-Chi’s somewhat witty best friend. Not only was Awkwafina funny, I thought she did an excellent job of conveying Katy’s difficulty in finding a solid direction in her life and reactions to her friend’s past and the world of the Ten Rings and Ta Lo. If I had to give the award for the film’s best performance, I would hand it to Tony Leung’s portrayal of Xu Wenwu, Shang-Chi’s father and leader of the Ten Rings. Leung did a masterful job of portraying a complex man, whose decisions led him toward a path of a loving family man, feared parent, villainy and convenient tool for a bigger villain. More importantly, I found Leung’s performance skillful, subtle and worthy of a major acting award. You know, looking back at Leung’s portrayal of the “Mandarin”, I found myself wondering why Marvel Films/Disney had originally thought that casting an European actress was the only way to avoid any Asian clichés of the Ancient One character in 2016’s “DOCTOR STRANGE”.

Some film critic had expressed disappointment that actor Simu Liu’s portrayal of Xu Shang-Chi was not as charismatic as his true self. I found this criticism rather ridiculous, if I must be honest. Since when was Shang-Chi supposed to be a “charismatic” or extroverted personality in the first place? I certainly did not get that impression of the character as a young boy. Following my viewing of “SHANG-CHI AND THE LEGEND OF THE TEN RINGS”, I came away with the impression that Xu Shang-Li was a reserved child forced to tap into his aggression by a grief-stricken father, obsessed with revenge. I also came away with the impression that Shang-Chi’s time in the U.S. and his friendship with Katy gave him an outlet to forget his past and just enjoy life. But the return of Wenwu and the Ten Rings in his life forced him to realize he had to face his past. THIS is what I came away with Simu Liu’s portrayal of Shang-Chi. And I thought he did an excellent job in conveying every emotional beat of the character’s adult life through most of the film.

I wish I could end this review with a declaration that “SHANG-CHI AND THE LEGEND OF THE TEN RINGS” was a perfect movie. Or even one of the best in the MCU franchise. But I believe the movie possessed enough flaws for me to not come to that conclusion. My first complaint centered around the Wong-Abomination fight at Xialing’s fight club. What on earth were they doing there? Why did Wong break Abomination/Blonsky out of prison for a match in the first place? The Disney-Plus series, “SHE-HULK: ATTONEY-AT-LAW” actually provided an answer and it proved to be pretty lame in my eyes. However, I believe most of the film’s problems had materialized in the film’s second half – when Shang-Chi, Katy, Xialing and Slattery arrived at the mystical realm of Ta Lo. At this point, the film into the typical MCU film finale. The major protagonists prepare for a fight against a deadly foe. A battle ensues – first against the Ten Rings and later, against the film’s real Big Bad. And yes, the battle had its moments of the usual MCU humor – especially from Ben Kingsley and Awkwafina. I am only thankful that audiences were spared the usual Marvel wit. There is the issue of Katy’s participation in this battle. The movie had hinted her talent as a skillful driver. But can someone please explain how she had become a talented archer within a space of a few hours (or days)? You know, a part of me wishes Wenwu had turned out to be the film’s main villain. Unfortunately, the “the Dweller-in-Darkness” (which had originated in Marvel Comics) was no Emperor Palpatine. Instead of a demon, the Dweller-in-Darkness turned out to be a mystical soul-consuming dragon that used Wenwu’s grief and ten rings to break free and enter Ta Lo. And the battle between Dweller-in-Darkness, the main protagonists and another dragon called the Great Protector. Needless to say, I was not impressed by this final action sequence. I found it clumsy, overwrought and at times confusing. You know . . . the typical MCU grand finale.

I would never regard “SHANG-CHI AND THE TEN RINGS” as one of my favorite comic book movies or MCU films. But I still believe it was definitely better than average, thanks to director Destin Daniel Cretton. After all, the film did feature some top-notch action sequences, a decent narrative and first-rate performances from a cast led by Simu Liu.

TV TROPES on Grant Ward and Bobbi Morse

TV TROPES ON GRANT WARD AND BOBBI MORSE

I have been aware that for years, a good number of Marvel fans have been in a tizzy over the Grant Ward character from “AGENTS OF S.H.I.E.L.D.”. But I had no idea that this “celebration of masculinity” would lead to some misleading views or “facts” about him.

What brought about this article in the first place? It all started with the website known as TV TROPES. While reading the website’s page for “AGENTS OF S.H.I.E.L.D.”, it had this to say about Ward and his encounter with S.H.I.E.L.D. Agent Bobbi Morse aka Mockingbird in the series’ Season Two episode called (2.22/2.23) “S.O.S.”:

“(Ward) Has killed the most named protagonists on the show, including Victoria Hand, Eric Koenig, and Rosalind Price. Furthermore, he successfully tortures and comes very close to killing Bobbi, likely the team’s biggest badass (and Hunter as well, for that matter). While he ultimately fails in killing her, he succeeds in heavily injuring her to the point of breaking her morale in her job. It’s unlikely Bobbi has ever faced anything else like that in her career.”

Wow! Talk about a worship of uber masculinity! Apparently, the writer of this passage failed to remember that Ward who great difficulty with torturing Bobbi, let alone handling her. At least on his own. TV TROPES had also failed to recall that despite being a beaten prisoner, Bobbi managed to take Ward by surprise and attempt an escape from her imprisonment. Ward had great difficulty in putting her down and she nearly kicked his ass. He needed the help of his brainwashed girlfriend, former S.H.I.E.L.D. Agent Kara Palamas/Agent 13 to finally defeat the wounded Bobbi during their fight. Aside from Melinda May, Ward probably never met anyone like Bobbi Morse. And TV TROPES failed to realize this.

I do not know if the TV TROPES passage had been written by a man or a woman. Whoever wrote it, was obviously impressed by Ward’s testosterone level . . . to the point that it led to memory loss.

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