My first reaction to Richard Donner’s movie, second to ‘Nat’s Best Shot series is back! Yay!’ is that I have now learned where that hipster singer’s name comes from, assuming of course that all musicians get their names out of thin air unless stated or informed of otherwise. And fortunately, the movie Ladyhawke isn’t as bad as the electro-whaetever musician. Little Boots is better.
An actor’s blocking and personality changes an image in a movie despite of how the camera sticks to the same frame boundaries. This shot of a dirty wall and a hand desperately trying to stick out comes after one that shows three men getting hanged. The first thing that comes to my mind is that this man faced another execution, of getting cemented within a wall or something, suggesting a brutality that the movie might have. It cuts to a scene when knights search for an imprisoned Philippe Gaston to be hanged next and it cuts back to the same muddy surface we see earlier.
And then we realize that it’s just Cooter Burger breaking out of that wall and we realize that he and we are just going to be fine. We see and hear Matthew Broderick’s luminous face and first words – comparing his current state to that of ‘escaping mother’s womb.’ Despite his and everyone else’s wobbly accents, he brings whimsy and youthful physicality to a movie that we’ll discover is anachronistically yet enjoyably cartoony, a Medieval adventure story viewed under a modern lens and a good God soundtrack.
Those are my favourite shots although there were many from which to choose, the movie simultaneously bringing my tendencies to compare the natural compositions with Brueghel, which is coincidental because Philippe’s unlikely road buddy in the cursed Navarre is played by Rutger Hauer, who will eventually play the painter three decades later. Other shots and the colour within them also remind me of Cezanne, Powell, Poussin and Cameron although the silhouettes makes a Western trope into its own thanks to cinematographer Vittorio Storaro. The movie also features Michelle Pfeiffer as the titular love interest Ladyhawke/Isabeau and Alfred Molina as Cesare, a man who works for the three characters’ common and blasphemous enemy.
From what seems like ages ago I reviewed Lech Majewski‘s The Mill and the Cross (click on link for longer review), the perfect movie for aficionados and retentive history buffs, watching people suffer through period correct beauty. Getting top billing are veteran actors like Rutger Hauer, Charlotte Rampling and Michael York, adding gravitas to an already intellectual subject. It’s no longer in theatres in Toronto, I hope it wheels itself into your city. I was a little too nice on my review but it’s still worth checking out.
To paraphrase the divisive film writer Scott Weinberg, I wrote review for ANOMALOUS MATERIAL between March and November. My reviews were atrocious.
- Film: Movie Review: The Mill And The Cross (avclub.com)