Tag Archives: Charlayne Woodard

Hair-1979

Hair-1979

Director Miloš Forman

Starring John Savage, Treat Williams, Beverly D’Angelo

Top 250 Films #200

Scott’s Review #664

Reviewed July 14, 2017

Grade: B+

Hair is a 1979 musical film that, in addition to catchy singing and dance numbers, explores a serious theme: the Vietnam War.

This film is not your typical Metro-Goldwyn-Mayer-style musical from the 1950s. Rather, the entire experience is a unique, with an underlying dark tone, and is presumably a message film with a liberal slant.

Made in 1979, set in the late 1960s, Hair centers primarily on two young men and a bevy of hippie friends, with most of the action in New York City.

Despite the time, the film does not always succeed in the authenticity category- many of the costumes and hairstyles scream the late 1970’s.

The film also has the late 1970s “look”, on the cusp of the 1980s, with poofy hair associated with the times.

This forces the viewer to escape into a world largely of make-believe.

Claude (John Savage) is a naïve young man from folksy Oklahoma, having lived a sheltered, religious life, proper and away from big-city living.

He is drafted and sent to the Big Apple, where he will await his assignment.

Charismatic Berger (Treat Williams) and company befriend Claude after he gives them spare change, soon becoming the best of friends. Claude falls in love with socialite Sheila Franklin (Beverly D’Angelo), who is in town from neighboring Westchester County, NY, and a love story ensues.

When Claude, Berger, and company interrupt a lavish dinner party hosted by Sheila’s parents, a hilarious yet informative scene develops.

While Sheila is secretly gleeful at the arrival of her new friends, her parents are none too pleased, resulting in a standoff between Berger and Sheila’s family.

Partly comical, this scene also reveals the stark class distinctions among many of the characters.

The rest of the film centers on the friend’s antics involving drug use, relationship trials and tribulations, and culminates in a cross-country drive to see Claude before he is shipped to Vietnam desperately.

Multiple scenes involve songs concerning the turbulent race issues of the times- my personal favorites are the opening number, “Aquarius”, and the scandalous, “Black Boys” and “White Boys”, performed by Nell Carter.

Never one to be disappointed with a film set in Manhattan, Hair is a film basking in fantasy, and the entire production seems to be one big dream as the carefully crafted musical numbers are interspersed with the more dramatic elements.

Still, much of the film consists of the group prancing around Manhattan, with wonderful areas such as Washington Square Park featured, as well as several changes of season, giving the film a slice-of-life feel.

My favorite performance is that of Treat Williams as Berger. Part showman, part jokester, and part earnest, he fills the role with dynamic energy that comes full circle in the last act when he drastically changes his appearance for the sake of a friend.

The film’s ending is melancholy and an inevitable reminder of the coldness and finality of war in human life.

The encompassing song is “Let the Sunshine In”, a powerful and worthy conclusion to the film as the gang visits Arlington National Cemetery, to join an anti-war peace rally and say goodbye to a friend.

The film version of Hair (1979) may be drastically changed from the stage musical version,  a version I shamefully have yet to see. Still, on its own merits, the film is a poignant, powerful, and wholly entertaining musical adventure.

Unbreakable-2000

Unbreakable-2000

Director M. Night Shyamalan

Starring Bruce Willis, Samuel L. Jackson

Scott’s Review #1,260

Reviewed May 29, 2022

Grade: A-

Following the brilliant and massive critical and commercial success of The Sixth Sense (1999), M. Night Shyamalan hit his stride and became a household name for blending supernatural and psychological elements into a web of compelling storytelling.

Following 2002’s Signs, credibility tapered a bit, but Unbreakable (2000) is an overlooked gem falling in the shadows of The Sixth Sense, which everyone remembers best when they talk about the director.

The Sixth Sense and Unbreakable are also strong counterparts because they both star Hollywood legend Bruce Willis, who, it can be argued, began to gain respectability within the industry with the former.

He continues his superior acting and calm character approach.

Unbreakable is part thriller, science fiction, and superhero film, so I have categorized it accordingly.

It’s part of an Unbreakable film series and was followed by Split (2016) and Glass (2019), which took years to develop and were decent if underwhelming projects.

Unbreakable is by far the best of the bunch.

David Dunn (Willis) is a regular guy who works as a security guard at a college football stadium. He is a former star college quarterback whose dreams of stardom never materialized because of a car accident.

He lives a somewhat melancholy yet decent life with his wife, Audrey (Robin Wright), and son Joseph.

One day, David boards a train. The train experienced a devastating derailment with an enormous casualty number. David awakes in the hospital to find that he is the sole survivor of the wreck. He is left unscathed.

Elijah Price (Samuel L. Jackson) arrives on the scene as a mysterious comic book expert who takes a liking to David and his experience. He offers a bizarre explanation as to why David escaped without a single scratch that counters Elijah’s health- he is a frail man who is constantly at risk of breaking his bones.

Elijah and Joseph begin to believe that David is a superhero. At first, David rebuffs this notion but slowly begins to realize he has extrasensory perception.

What is the link between David and Elijah?

I’m not always a big superhero fan, and sometimes the storylines are riddled with cliches, stereotypes, and predictability.

But Unbreakable is fascinating and unpredictable. It’s also dark and cerebral, with a surprise ending, leaving me to summarize it as a different sort of superhero film with layers of cool elements.

It’s a non-traditional superhero film, and I love that quality.

There’s a suspension of disbelief, of course. The idea that one character can rig a train accident and other crimes is a bit of a stretch. Still, the characters David and Elijah are compelling enough that I forget those pesky little plot holes and enjoy the experience.

If the story sometimes falters, the riveting train sequence more than makes up for it. We see David quietly enjoying the train ride until all hell breaks loose.

The shattered glass, derailment, and chaos are fabulous entertainment, as well as a source of wonder about what comes next and what the sequence means for the rest of the story.

There are plenty of twists and turns in Unbreakable.

Almost as riveting, though in a different way, is the opening scene of Unbreakable, which will immediately grab the viewer.

It is 1961, and an African American woman is told that her baby’s arms and legs are broken. This is later a key to the story, but at this time, we know not what this intrigue has to do with anything.

Unbreakable (2000) is incredibly fresh and original. It can easily be watched as a double feature with The Sixth Sense, but it is nothing like that film except for its director and actor.

But, they are M. Night Shyamalan’s best films, and Unbreakable provides tremendous thought and conceptualization while creating daring camera work long remembered after the first viewing.