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REVIEW: Magic City (Season 2, 2013) September 25, 2013

Posted by Dragan Antulov in Television Reviews.
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Actor Jeffrey Dean Morgan at The Losers film p...

Actor Jeffrey Dean Morgan at The Losers film panel at WonderCon 2010. (Photo credit: Wikipedia)


SEASON 2 (2013)

A Television Review

Copyright Dragan Antulov 2013

When Starz announced cancellation of MAGIC CITY after its second season, few people were surprised, author of this text included. Making of Season 2 was actually announced even before airing of the very first episode of the entire show. Such decisions might reflect either great confidence among the creators or cheap attempt to create extra publicity. Based on what I saw in first season, I tended to believe the latter explanation. Second season did few things to clear such impression.

First sign that Season 2 wouldn’t be an improvement is in the opening titles, which used different and less impressive music that in Season 1. After that almost any change in the show was change for the worse. This could be explained with apparent loss of creative energy by showrunner Mitch Glazer. In first season he used fascinating setting and fascinating character; in second season he didn’t know what to do with them.

Both seasons – with eight episodes – were relatively short, but the second looked much longer. The main plot – conflict between hotel owner Isaac “Ike” Evans (played by Jeffrey Dean Morgan) and his bloodthirsty gangster partner Ben “The Butcher” Diamond (played by Danny Huston) – was resolved through not very convincing deus ex machina. Entry of James Caan as Diamond’s mentor and boss only reminded audience about THE GODFATHER, a film much better than a TV show MAGIC CITY could ever aspire to be. Those two main characters didn’t have much of development in next eight episodes; Ike is still a dedicated family man trying to do the right thing despite unsavory business and social connections; Butcher Diamond is just as evil and depraved as he was in Season 1.

The most interesting character of all was Ike’s new wife Vera, which nevertheless proved to be rather thankless role for Olga Kurylenko. Her character was badly served by dancing subplot which didn’t go anywhere. Other women fared only marginally better. Jessica Marais in the role of Diamond’s femme fatale wife was provided with some space to explore her past and make her character more interesting. This opportunity was squashed in predictably violent plot development. Yet the worst happened to character of Judi Silver (played by Elena Satine) an elite prostitute turned state’s star witness, who, for some not particularly convincing reasons, decided to stay in Miami only to provide Season 2 with new batch of scenes of sex and nudity.

It would be unfair to say that the show creators didn’t try to make at least some things in second season better. Character of Ike’s nemesis – crusading state attorney Jack Klein – was made more complex by adding  genuine care about daughter (and presumably about community’s wellbeing) as further and more convincing motives than mere political ambition. Even more interesting was an idea to have Ike play mobsters against Castro in an attempt to secure business empire in post-revolutionary Cuba. Although audience, at least those viewers familiar with Cold War history, could have known that such scheme ultimately wouldn’t work, this was a subplot that had some potential; transitional periods in history are known to provide best dramas. This subplot was even more promising with character of Ike’s father (played by GODFATHER veteran Alex Rocco) being implicitly  portrayed as socialist; it would have been even more interesting to see his reactions towards business alliance between Cuban leftists and his capitalist son.  Sadly, this opportunity was lost in the cancellation.

In the end, failure of MAGIC CITY is going to be as irrelevant as the show itself. It was interesting attempt to re-create the magic of a bygone era and success of other period shows, The concept was put on the screen half-heartedly and without much inspiration. MAD MEN or BOARDWALK EMPIRE showed that period drama require something more than “cool” setting.

RATING: 4/10

City of Ghosts (2002) September 16, 2005

Posted by Dragan Antulov in Film Reviews.
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A Film Review

Copyright Dragan Antulov 2005

In light of current events many would argue that famous American actor Matt Dillon had real misfortune of releasing his directorial debut CITY OF GHOSTS at least three years too early. The beginning on this thriller’s plot describes situation many of today’s Americans can relate to – a disastrous hurricane has wrecked East Coast and for numerous families the insurance seems to be the only way to get their lives back together. However, many get unpleasant surprise when it turns out that Capable Trust Co. was nothing but a clever con scheme. Jimmy Cremming (played by Matt Dillon) is one of company’s employees who, upon being interviewed by FBI, flees to Cambodia in order to find his boss and mentor Marvin (played by James Caan). Upon arrival, he slowly realises that Marvin has other problems than fleeing from authorities and that his quest for Marvin might get both men in trouble related to all sorts of nasty characters in and outside Cambodia.

CITY OF GHOSTS has dubious honour of being one of few low-budget films referred as box-office flops in recent memory. The critical response to the film wasn’t more favourable. There are many reasons for that, but the most obvious one is Matt Dillon’s directorial inexperience. It reflected itself in beginner’s mistake of being too much in love with his work to do some necessary cuts. Because of that CITY OF GHOSTS is overlong and, at times, confusing. Dillon is, however, in love not only with his film but also with the country that gave him inspiration years ago. Few films in recent memory has captured a sense of place, its exotic sights and customs, as well as bloody history and slightly more peaceful present, with such precision and care for details. CITY OF GHOSTS, often referred as the first Hollywood production in Cambodia since 1965 LORD JIM, can be criticised of many things, but wasting locations and local talent is not one of them.

On the other hand, those who watch this film may ask Dillon why didn’t he invest his talent into a documentary instead of injecting this fascinating setting with unconvincing plot and cliched characters. The acting is sometimes surprisingly good, especially when first-time actors Kem Sereyvuth (playing protagonist’s sidekick) and Chalee Sankavesa are paired with veterans like Dillon or Caan. On the other hand, actors, like Gerard Depardieu and Natascha McElhone are wasted in unecessary roles, especially McElhone who plays protagonist’s obligatory romantic interest. The ending, which appears too late, is predictable because it conforms to moralist and other storytelling principles of Hollywood. However, those who were patient enough to sit through this film are going to be awarded with memorable experience – sights and sounds seldom seen in contemporary Hollywood films.

RATING: 6/10 (++)

The Godfather (1972) September 12, 2004

Posted by Dragan Antulov in Film Reviews.
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A Film Review

Copyright Dragan Antulov 1998

Many years ago, when the author of this review had to rely only on cinemas and television as the source of cinematic knowledge, he was intrigued by the word “godfather”, featured in many movies and television shows as the synonym for organised crime. The use of the word didn’t stop there – many movies were branded “godfathers” by their distributors, in order to bring the audience hungry for intelligent and spectacular drama about gangster organisations. Fascination with the word and the movie who inspired their use grew with years. Unfortunately, I wasn’t able to see the first movie before being exposed to the second. Nevertheless, the first seeing of THE GODFATHER was memorable experience indeed – years of waiting actually paid off in a three hours of cinematic feast.

In many ways, THE GODFATHER follows the same pattern of many cinematic classics who used to be made in a time periods or circumstances that aren’t here anymore. It was made in a era when the Old Hollywood collapsed, and the new rules hadn’t been established. The studios were willing to experiment and to give the movie authors free reign over their projects. One of such authors was Francis Ford Coppola, who made one of the most intimate, yet most universally appealing movies of all times; the movie which earned its cult status by satisfying both the high standards of snobbish critics and the simple needs general audience. The greatness of the movie can’t be seen only in a success that followed him in a last quarter of century; it could be even more tangible in a series of references, imitations and hidden remakes created by Coppola’s colleagues through the years.

Almost every scene in a movie is memorable, but for many most effective is a beginning – in a dark room, Bonasera (Salvatore Corsitto), Italian undertaker, tells that he believes in America and its values; but only minutes later his speech gives another spin on the beliefs in life, liberty and pursuit of happiness – they shatter confronted with the humiliating and unpunished rape of his daughter. In order to see justice done, Bonasera is forced to ask favour from his godfather, powerful Mafia figure Don Vito Corleone (Marlon Brando), using the marriage of Don Vito’s daughter Connie (Talia Shire) as an opportunity to win over the mobster’s heart. That same wedding is a nice opportunity to meet Don Vito’s sons, family and friends. Don Vito has three sons – Sonny (James Caan), whose macho temperament is nicely combined with the calm wisdom of his adopted brother and family advisor Tom Hagen (Robert Duvall); hedonistic Fredo (John Cazale); and, finally, college educated Michael (Al Pacino) whose disgust with the violence and crime forced him to leave the family and come to the wedding as a decorated WW2 hero. However, Michael’s reluctance to engage in the family business gets tested soon after the wedding. Angered by Don Vito’s refusal to engage in narcotic operations, other Mafia families from New York organise the attempt on his life; simply by trying to protect his father, Michael gets drawn in the war and slowly becomes the rising member of his crime organisation.

Since both the real-world Mafia and numerous Italian American organisation actually tried to stop this movie from being made or distributed, it is quite ironic to see THE GODFATHER as a source not of numerous movie cliches that actually portray the Mafia as a social element more benign than in real life (mobsters as devout family men; violence exists only between its members and doesn’t affect general and innocent population; opposition to drugs etc.). It is even more surprising to see THE GODFATHER not only as an inspiration to other, less original, filmmakers, but also to the real-world gangsters who tried to imitate the appearance of his main characters. However, although the movie might seem a little bit apologetic towards Mafia, and definitely has insiders’ point of view, it still has the flavour of authenticity, necessary for the viewer to have a critical relations towards the characters and their morally questionable actions.

The authenticity of the movie isn’t just in some references towards real-life mobsters and mob-related stories and urban legends. Coppola worked very hard to capture the way of life in his native Italian American community, and also invested a lot of effort in order to have his epic story, that takes place in late 1940s and early 1950s, firmly set in that time period through production design, costumes, hairstyles and soundtrack that is well balanced with the original music of Nino Rota, that also became one of the identifying symbols of the movie.

The most memorable element of the movie are its actors. Marlon Brando, almost washed-up in the time when he made THE GODFATHER, gave the performance of his life by playing Vito Corleone – his role was so grand that the actor himself parodied it in THE FRESHMAN. Although obviously shadowed by Brando, the other actors were also impressive. Among them, Al Pacino, who had to work hardest by portraying slow transformation of lead character, shines most brightly and his role of Michael shone the path to his future as one of the best serious movie actors in contemporary American cinema. The calmness of Pacino’s character, calmness that crumbles under emotions only in brief moments of family crisis, is so in contrast with the emotional outbursts that would be Pacino’s trademark in a years to come.

The other actors might not be in Brando’s or Pacino’s league, but they benefited from Coppola’s good casting and also gave the roles of their life simply by being in this movie, so well-written and directed. The only exception to this is James Caan, who works well with the role given to him, but whose all-American appearance seems a rather out of place with the more or less ethnically pure Italian American cast. Despite that shortcoming (one and perhaps the only in the entire GODFATHER), the cast is really more than impressive, although many actors and actresses later didn’t live to the potential indicated by their performance in this movie.

Those who like analysing movies to death would probably ask why THE GODFATHER kept its cult status through the quarter of century. There were many well-made, well-directed and well-acted movies produced in the years before and after, but it seems that only THE GODFATHER stood the test of time and kept the imagination of the future moviegoers. The reason might probably be in the universal subject of the movie; although it shows rather obscure and ethnically isolated phenomenon the messages of THE GODFATHER can be translated on all the worlds languages and applied to other systems in different times and places. The movie portrays both the society and individuals who lost their freedom because they were too insecure or unprepared for responsibility; same as the poor Italian immigrants had to rely on Mafia to overcome the difficulties of New World (like Bonasera in the opening sequence), Michael is forced to join the family because he, despite all his efforts, can’t live in a insecure world outside his father’s omnipotent shadow. And even when he actually becomes his father (in a brilliant and most memorable last shot), the freedom is lost – omnipotence and freedom are just illusion, because with the power comes both the responsibility and the never ending task of keeping. The story of this movie could have taken place everywhere in the world, and that explains why the people will associate with its characters for many decades to come.

RATING: 9/10 (++++)

Review written on August 21st 1998