The Man Without a Face and Free Willy Would Be a Good Double Feature...

When my friend Dan and I went to the video store the other night in anticipation of our long-planned media marathon, one of the movies he ran past me was The Man Without a Face, the 1993 film that marked Mel Gibson‘s directorial debut. He explained that he’d wanted to see it ever since it hit movie theaters, and I agreed that it was best not to let this particular dream be deferred any longer. So it was that we found ourselves with bowls of buttery popcorn and icy cans of Pepsi at 3 in the morning, ready to make this touching but unsettling film the midpoint of our marathon.

The Man Without a Face stars wide-eyed Nick Stahl as Chuck Norstadt, an angsty young teen who is saddled with a learning disability, a dead dad, an irresponsible mother (Margaret Whitton) and two half-sisters, each with a different father. Ten-year-old Megan (Gaby Hoffman) idolizes her older brother, but her hyper-intelligence annoys him. Meanwhile, teenage Gloria (Fay Masterson) treats him with nothing but disdain.

All he wants is to get away, to go to boarding school like the father whose background remains shrouded in mystery. So desperate is he that when he finds out Justin McLeod (Mel Gibson), a creepy, disfigured loner who lives in a mansion on the outskirts of town with his intimidating German Shepherd, is a teacher, he entreats the man to help him, never informing his mother where he intends to spend his summer days. Reluctantly, McLeod agrees, and so begins the slow process of healing two broken lives.

In many ways, this movie reminds me of Free Willy, a previous Dan and Erin Movie Marathon selection. Both films came out in 1993, and each deals with a very troubled boy with little adult supervision who finds a kindred spirit in a similarly disturbed soul. In Free Willy, that friend is a whale separated from his family and forced into captivity, whereas here, it’s a man misunderstood by society and scarred in a multitude of ways by a tragic accident.

Additionally, Free Willy was a major vehicle for Michael Jackson, who wrote and performed the film’s theme song, and unfortunately, as the release coincided with the first murmurings of inappropriate contact between Michael and some of his young fans, the title inspired a flood of crude jokes. It’s easy to think of Michael as a “man without a face,” as his own handsome features were so dramatically altered through a combination of scarring and surgery, easy to compare him to a character who spends years in hiding from a town full of people who find him freakish. And when accusations of molestation enter into the movie, threatening to destroy all the good that has been accomplished with this relationship, it’s almost impossible not to think of Michael.

Stahl does an excellent job of conveying the conflicted emotions of a boy who could be headed for a dark future if someone doesn’t intervene, and Hoffman is endearing as the sister who at least tries to understand. But it’s Gibson who really kept me riveted. His complicated character starts out as surly as Dr. House, and in the beginning he seems to go out of his way to drive Chuck away. Eventually, however, it’s clear that he enjoys the boy’s company and relishes being able to make a difference in a young life. Whenever the corners of his mouth flicker upward ever so slightly, it’s natural to feel warmer toward this cranky bachelor. Incidentally, I love that the moment that really cements their friendship involves him introducing Chuck to the John Gillespie Magee, Jr. poem High Flight, which Ronald Reagan quoted in his speech commemorating those killed in the Challenger disaster.

Though this is in some respects a family film, there is a dark undercurrent to it that makes it more appropriate for teenagers. While not strictly a feel-good movie, The Man Without a Face is profoundly moving and highly recommended.

My Top Ten Movies of the Late '90s ('95-'98)

The 1990s were incredibly big years for me movie-wise. Half my childhood happened in the '90s, including most of my teenage years. While I didn't necessarily get out to the theater that often back then, the movies I saw at the cinema really stuck with me. And I've had lots of time to catch up with the others - though almost all of my favorites are ones I saw in the '90s themselves. It was such a big decade for me movie-wise, I have to split it up into two. This first list covers 1995 to 1998; I'm skipping '99 since I did a top ten list for that one already and I'm looking for any excuse to trim down my list.

Babe (1995) - This beautifully shot fairy tale about a pig who becomes an expert sheep-herder simply by being polite led me to an obsession with Dick King-Smith. For an entire summer, I read every book of his that I could find in the library. As much as I love his writing, I like the film version of Babe even better than the book. The sun-drenched cinematography, the folksy music, the special effects and, perhaps most of all, James Cromwell as Farmer Hoggett, the ultimate man of few words.

Braveheart (1995) - It took me until 2001 to see this one, just because I knew it would be extremely bloody, not to mention long. I finally watched it when my brother brought some friends home to see it at midnight one night. No matter; bloodthirsty battles have a way of keeping one awake... The music, the cinematography and the accents were glorious. And Mel Gibson was a tour de force on this one. I still had to avert my eyes many times, but on the whole, I was a little surprised by how much I liked it.

Mr. Holland's Opus (1995) - My dad saw this in the theater with a friend of his who happened to be a music teacher himself. They loved it, as did my freshman theology teacher, who took every opportunity she had to recommend it. I can definitely see why any educator would appreciate this movie, in which Richard Dreyfuss shows us the lifetime of a composer who discovers untapped talents as a teacher. Powerful demonstration of John Lennon's observation: "Life is what happens to you while you're busy making other plans."

Sense and Sensibility / Pride and Prejudice (1995) - Yes, I'm cheating and putting the Austens together, though if you really pressed me, I'd have to claim the first as my favorite. Emma Thompson's incredible screenplay makes it one of the most faithful adaptations I've seen, making Sense and Sensibility manage as well in a couple of hours as Pride and Prejudice does in five. This was the movie that introduced me to her and made me really fall for Alan Rickman and Hugh Grant. Excellent all around. Of course, the latter is considered by many to be the ultimate Austen adaptation, and it certainly is terrific, thanks to a screenplay that sticks close to the book and an amazing cast, with Colin Firth the clear standout as the dashing Mr. Darcy.

Toy Story (1995) - A dazzling movie that ushered in the era of computer-animated films. It would be nice if they all came close to the standard this set. Tom Hanks and Tim Allen lead a top-notch cast of voice actors that includes Wallace Shawn, Don Rickles and Pixar mainstay John Ratzenberger in this funny, touching tale of jealousy and cooperation in the playroom. This one was first recommended to me by my freshman English teacher, who couldn't say enough good things about it. She was sure I'd love it, and she was right.

Phenomenon (1996) - I'd been wanting to see this one but hadn't yet gotten around to it when we watched it as part of my senior theology class. I wrote a four-page-long paper about it, and I could have gone on longer. A fascinating film about a humble man played by John Travolta who suddenly finds himself with remarkable abilities. I loved the story, as well as the excellent supporting performances, especially by David Strathairn, Forest Whitaker and Robert Duvall.

That Thing You Do! (1996) - Who would've ever thought that my little town of Erie would pop up in a Tom Hanks movie? This movie came just a year after Forrest Gump made me fall head over heels for Hanks, who I'd enjoyed in several other movies already. His role as an actor in this is comparatively small, but he wrote and directed the film, which is a fun, family-friendly reflection on the meteoric rise and fall of many bands in the '60s. An exuberant movie with one of the catchiest title tracks around, it's a winner for anybody who loves this era of music.
 
Anastasia (1997) - One of my favorite animated films, this Don Bluth movie was one that my brother and I caught in the theater together. It 's a highly fictionalized version of the life of Russian princess Anastasia Romanov, who was long rumored to have survived the attack on her family; one of the places she supposedly came was Erie, where there is a house named after her. The recent revelation that she died along with the rest of her family doesn't ruin this movie's charm for me. It's a touching love story with a wonderful cast that includes Meg Ryan, John Cusack, Kelsey Grammer and Angela Lansbury, and I loved the music so much I bought the soundtrack and the sheet music.

Ever After (1998) - Speaking of fairy tales, this live-action version of Cinderella directed by Andy Tennant is one of my favorite adaptations of the classic story. Drew Barrymore is headstrong but lovable as Danielle, an intelligent young woman devastated by the loss of her beloved father and oppressed by her cruel stepmother and stepsister. One of my favorite touches in this version is making the second stepsister sympathetic; wonderfully played by Melanie Lynskey, she is sweet and marginalized because she is portly, giving her more empathy with Danielle. Also fun is the incorporation of Leonardo da Vinci, which helps the film almost feel more like historical fiction.

The Truman Show (1998) - Jim Carrey is surprisingly low-key in this thought-provoking movie about a man who unknowingly spends his life as the subject of a reality show. Everything about his life has been manufactured, but there is one person from his past who is determined to tip him off. The lengths these people go to in order to keep up the artifice is incredible; the scary thing is that it's not so terribly removed from reality. I loved the concept of the movie and its family-friendly execution, and for the first time, Carrey's character didn't give me a headache. This is probably still my favorite of his performances.

"They May Take Our Lives, But They Can Never Take Our Freedom!"

Being a life-long lover of Scotland, I have wanted to see Braveheart ever since it came out, but I never went out of my way to do it because I knew it was an extremely graphic film and I figured I'd have a lot of trouble stomaching it. It's the favorite movie of my cousin, who loves Scotland so much that he plays the bagpipes and has even acquired a kilt to match, so I always tell him I need to watch it with him so he can tell me when to close my eyes. It didn't work out that way, but I survived the experience nonetheless.

My brother just purchased this on DVD, and last week I was awakened at about 1:30 in the morning by a lot of racket downstairs and the lilting melody of a stirring soundtrack. "Gee," I thought, "sounds like they're watching Braveheart." My guess was correct, and when I crept down the stairs I announced that I was watching the movie too. I had missed only the first ten minutes, which I happened to have seen at school one time. So I was all set. One-thirty in the morning may seem like an odd time to embark on a three-hour-long movie, but sleep never threatened to consume me. I was wide-awake the entire time.

The movie begins in the hometown of William Wallace, future hero of Scotland. In this brief scene, Murran, a village girl, plants the seeds of romance for the rest of the film when she presents young William with a thistle. Shortly thereafter, the boy is whisked away to join his uncle in Rome, as his father, Malcolm, has just fallen victim to the cruelty of the British king Edward the Longshanks. The orphaned boy will not return until his adulthood, but he will always remember the circumstances of his father's death and the first love of his life.

Twenty years later, Scotland is still in turmoil as it remains under the heavy hand of Longshanks, who is played masterfully by Patrick McGoohan. His dry wit and regal air add to his icy aura, which was suited to a man known as one of the cruelest monarchs to ever sit on the British throne. (A side note: After my dad, a genealogy buff, watched this movie, he recalled that King Edward I was on our family tree. I would much prefer William Wallace for an ancestor!) He has forced his son, who comes off in this film as a spineless ninny cowering in his father's shadow, to marry a French princess (Sophie Marceau), effectively combining the two kingdoms. Meanwhile, in an attempt to entice the British nobles to take root in Scotland, he reinstitutes the old custom of prima nocta, "first night", a law stating that a noble may have full rights to a common girl on the night of her wedding.

William Wallace (Mel Gibson) returns to Scotland, to his hometown, in the midst of a wedding celebration. After being reaccepted into the clan after an amusing "test of manhood" with his former playmate, Wallace immerses himself in the joyous occasion, only to have it cut short by a noble demanding the new bride.

Throughout the festivities, William and Murran (Catherine McCormack) had been eyeing each other, so it's no great surprise when William shows up at her doorstop that evening requesting permission to go riding with her. It's pouring down rain, and her parents object, but Murran is too quick for them and she rides off into the rain with William. Once they are alone, William confesses his undying love for Murran, but he does so in another language so she does not yet understand that the depth of his devotion matches her own. When they part, however, William presents her with a gift: the thistle that he had kept ever since she gave it to him those long years ago.

Their courtship is brief, and the next time they go out, William asks Murran for her hand in marriage. They are married in secret that very night, and here is where the pleasant portion of the story ends.

The very next day, Murran is ambushed by a group of nobles who decide to have their way with her. William comes to her rescue as she is fighting off their brutal attempts, but when she flees to the forest on his horse, the nobles catch up with her and inflict the punishment required for attacking a noble. By the time William arrives, his new bride is dead and with her, his dreams of becoming a farmer and raising children in peace. There can be no turning back now. William Wallace is determined to lead his countrymen to freedom from the tyranny of the British king and his nobles.

And that is exactly what he does for the rest of the film. More and more Scots join his army, and his clever battle strategies and blazing bravery soon make him the most respected man in Scotland -- or in the case of the British and the Scottish nobles, who are content with the status quo, the most despised. Only one Scottish noble believes that William's uprising may be worth it. This man is Robert de Bruce, heir to the throne of Scotland. He has great regard for the commoner whose stirring speeches inspire men to fight and whose courage in the face of danger causes the bravest of opponents to shiver. His father advises him to side with William, but only as long as it looks like he is winning. He must do whatever is necessary to ensure that the throne will be his, even if it means betraying his own people.

In the first major battle of the film, the British troops set out with the intention of intimidating the Scots into submission, adding the incentive of lordship for William Wallace and the other leaders. Wallace, whose stirring call to patriotism just convinced his cowering countrymen not to flee, has no intention of giving in, and he tells the British commander so in no uncertain terms. Then he returns to his post to commence the activities in true Scotsman style. I can just see the headlines: Brave Bill and the Boys Begin Battle with Bemused Brits By Brandishing their Bare Buttocks. Yes, if you've ever "wondered if it's true what they don't wear beneath the kilt", as the song The Scotsman queries, then wonder no more. Of course, this unconventional show of solidarity isn't much of an effective offensive strategy; these tactics commence shortly thereafter, and though the Scots are greatly outnumbered, they manage to wipe out the entire Northern army.

Now the stakes are really getting high, and even Longshanks begins to lose heart when he gets word that "York has been sacked". He is so furious with his son's allowing this to happen in his absence that he tosses the prince's military advisor out the window, a scene of almost Python-esque absurdity. Did that actually happen? Well, probably not. As far as historical accuracy goes, Braveheart takes a lot of liberties. But it captures the spirit of the Scottish freedom movement beautifully.

The tide turns for Wallace's cause when de Bruce obeys his father's command to betray him. In this battle, Longshanks himself shows up, having failed to convince Wallace with his terms of peace presented by the Princess. In their brief meeting, however, Wallace gained a powerful ally; it was the sympathetic princess who tipped him off that Longshanks planned to attack Edinburgh. Although Wallace survives the battle and his army, aided by the Irish forces, is not vanquished, the cause is weakening. And de Bruce is consumed with guilt over his betrayal. Determined to make things right, de Bruce calls a meeting with Wallace. Wallace comes, but de Bruce is aghast to discover that he has been an unwitting accomplice in the capture of his friend and hero. Now, with Wallace in their possession at last, the British feel sure they can break his spirit, and that of his followers. But they have misjudged badly...

The music of Braveheart, composed by James Horner, is haunting and beautiful. It matches the beauty of that noble land, a beauty echoed in the lyrical tones of the very speech of its people. The acting is superb on all ends, and the mere scope of the film is impressive. To get a taste of what went into putting this film together, watch the DVD, which comes with an enlightening mini-documentary on the making of the film, containing commentary from participants in the movie of all capacities. This was indeed an impressive endeavor, and although the violence caused me to leave the room on several occasions, and although the historical facts have been tweaked a bit to obtain the most Hollywood-compatible story, the film is fantastic nonetheless.

This movie is a tragedy, with thousands of violent deaths enacted upon the screen. It is a gruesome history, full of heartache and defeat. But it is, in the end, a tale of the triumph of the human spirit, the tale of one man who dared to think that freedom was in his grasp and the countrymen who dared to believe him. It is, above all, a testament to the sentiment that "they may take our lives, but they can never take our freedom!"