16 posts tagged “civil war”
In honor of today's inauguration of the new U.S. president and vice-president, Barack Obama and Joe Biden, I decided to list my top ten favorite movies centered around American presidents - whether they be historical or fictional:
"PRESIDENTIAL MOVIES"
1. "My Fellow Americans" (1996) - Jack Lemmon and James Garner portray two former presidents and political enemies - Republican Russell Kramer and Democrat Matt Douglas, who become reluctant allies when they become the target of a conspirator in President Haney's (Dan Ackroyd) administration. Lemmon and Garner were absolutely hilarious as the two feuding ex-presidents forced to become allies in an investigation into a political scandal in this witty and very funny spoof on U.S. politics.
2. "Thirteen Days" (2000) - Roger Donaldson directed this first-rate historical thriller about the Cuban Missle Crisis through the eyes of President John F. Kennedy, Robert F. Kennedy, Kenneth O'Donnell and other members of the Kennedy Administration. An excellent historical piece that starred Kevin Costner as O'Donnell, Bruce Greenwood as JFK and Steven Culp as Bobby Kennedy.
3. "The American President" (1995) - Michael Douglas and Annette Bening star in this Aaron Sorkin comedy-drama about a widowed U.S. president and a lobbyist who fall in love. It's all aboveboard, but "politics is perception" and sparks fly - from both the President's staff and political enemies.
4. "Nixon" (1995) - Oliver Stone directed this biographical story of former U.S. President Richard Milhous Nixon, from his days as a young boy to his eventual presidency, which ended in shame. Both Anthony Hopkins and Joan Allen are superb as Richard and Patricia Nixon.
5. "All the President's Men" (1976) - Robert Redford and Dustin Hoffman are excellent in this outstanding drama about WASHINGTON POST reporters Bob Woodward and Carl Bernstein, who uncover the details of the Watergate scandal that leads to President Nixon's resignation.
6. "Lincoln" (1988) - Based upon Gore Vidal's novel, this excellent two-part miniseries tells the story about Abraham Lincoln's four years in office during the American Civil War. Sam Waterston and Mary Tyler Moore breathed life into their superb portrayals of Abraham and Mary Todd Lincoln.
7. "John Adams" (2008) - Paul Giamatti and Laura Linney deservedly won both Emmys and Golden Globes for their excellent portrayals of John and Abagail Adams in this excellent seven-part miniseries about the 2nd U.S. president.
8. "Head of State" (2003) - When a presidential candidate dies unexpectedly in the middle of the campaign, the Democratic party unexpectedly picks a Washington, D.C. alderman, Mays Gilliam (Chris Rock) as his replacement. Rock, Lynn Whitfield and Bernie Mac are hilarious in this first-rate comedy.
9. "Frost/Nixon" (2008) - Ron Howard directed this excellent dramatic retelling of the post-Watergate television interviews between British talk-show host David Frost and former president Richard Nixon. Michael Sheen and Frank Langella are superb in the title roles.
10. "Dave" (1993) - To avoid a potentially explosive scandal when the U.S. President goes into a coma, an affable temp agency owner with an uncanny resemblance, is put in his place. Kevin Kline, Sigourney Weaver and Frank Langella star in this warm comedy directed by Ivan Reitman.
Below is a list of my ten favorite political thrillers from the past 70 years. By the way, there are no James Bond, Derek Flint, Jason Bourne or Tom Clancy films on this list:
Ten Favorite POLITICAL THRILERS
"Foreign Correspondent" (1940) - This superb Alfred Hitchcock told the story of an American reporter (Joel McCrea) who tries to expose enemy spies in England during a series of events involving a continent-wide conspiracy that eventually leads to the events of a fictionalized Second World War. It starred McCrea and featured Laraine Day, Herbert Marshall, George Sanders, Albert Bassermann and Robert Benchley, along with Edmund Gwenn.
"Notorious" (1946) - This Alfred Hitchcock movie, which is a personal favorite of mine, is about two people - an American intelligence agent and the daughter of a convicted Nazi spy - whose lives become intimately entangled during an espionage operation in South America to infiltrate a group of Germans who have relocated to Brazil after World War II. The movie starred Cary Grant, Ingrid Bergman and Claude Rains.
"The Tall Target" (1951) - A discredited New York City detective tries, in the face of disbelievers, to foil a plot to assassinate Abraham Lincoln as he travels on the Ohio & Baltimore Railway to his inauguration in 1861. The movie starred Dick Powell, Paula Raymond, Adolphe Menjou, Marshall Thompson and future Oscar nominee, Ruby Dee.
"The Manchurian Candidate" (1962) - The original, and in my opinion, the best version of Richard Condon's 1959 novel about the son of a prominent, right-wing political family that has been brainwashed as an unwitting assassin for an international Communist conspiracy. Starred Frank Sinatra, Laurence Harvey, Janet Leigh, James Gregory and a superb Angela Landsbury, who was nominated for her performance as Harvey's manipulative mother.
"The Day of the Jackal" (1973) - Edward Fox starred in this excellent thriller based upon Fredrick Forsyth's 1971 novel about an assassin known only as "the Jackal", who is hired by French right-wingers to assassinate Charles de Gaulle in 1963. Michael Lonsdale co-starred as the French Police Commissioner assigned to stop him.
"The Peacemaker" (1997) - George Clooney and Nicole Kidman portray a U.S. Army intelligence colonel and his civilian supervisor who track down stolen Russian nuclear weapons before they are used by terrorists. This stylish film was directed by Mimi Leder.
"Ronin" (1998) - Directed by John Frankenheimer, this exciting and first-rate thriller starred Robert De Niro and Jean Reno as two of several former special forces and intelligence agents who team up to steal a mysterious, heavily guarded suitcase while navigating a maze of shifting loyalties and alliances.
"Thirteen Days" (2000) - Roger Donaldson directed this historical thriller about the Cuban Missle Crisis through the eyes of President John F. Kennedy, Robert F. Kennedy, Kenneth O'Donnell and other members of the Kennedy Administration. An excellent historical piece that starred Kevin Costner as O'Donnell, Bruce Greenwood as JFK and Steven Culp as Bobby Kennedy.
"Munich" (2005) - Steven Spielberg directed this superb, yet controversial Oscar nominated film about a semi-fictionalized account of the Israeli government's secret retaliation against the 1972 Munich massacre of Israeli Olympic athletes by Black September gunmen. The film starred Eric Bana, Daniel Craig, Ciarán Hinds, Mathieu Kassovitz, Hanns Zischler, Geoffrey Rush, Ayelet Zurer, Mathieu Amalric and Michael Lonsdale.
"Vantage Point" (2008) - Despite its mixed reception by critics, I truly enjoyed this unique movie about an assassination attempt on a U.S. president in Salmanca, Spain; during a 23-minute period. Told in a time loop from the perspective of different characters, this movie starred Dennis Quaid, Matthew Fox, Forrest Whittaker, William Hurt and Sigourney Weaver.
”GETTYSBURG” (1993) Review
In 1974, author Michael Shaara’s novel about the famous three-day battle at Gettysburg, Pennsylvania was published. Titled ”The Killer Angels”, it told the story of the Gettysburg battle from the viewpoint of certain military leaders – Confederates James Longstreet, Robert E. Lee and Lewis Armistead and Union leaders John Buford and Joshua Lawrence Chamberlain. The novel went on to win the Pulitzer Prize in fiction. But despite this accolade, Shaara never really made any money from the novel. Nor did he live long enough to reap the benefits of his creation in the years to come – including the movie adaptation called ”GETTYSBURG”.
Released in the fall of 1993, ”GETTYSBURG” starred Tom Berenger as Longstreet, Jeff Daniels as Chamberlain, Sam Elliot as Buford Richard Jordan as Armistead, and Martin Sheen as Robert E. Lee. The movie was directed by Ron Maxwell and produced by Ted Turner. And despite being over four hours long (the running time is officially four hours and fourteen minutes), managed to surprisingly maintain my interest without me falling asleep. And that is something that the 1939 Oscar winner, ”GONE WITH THE WIND” cannot boast. True, one could say that ”GETTYSBURG” is a movie filled with a great deal of combat in compare to Margaret Mitchell’s story, which featured no combat at all. But despite being a story about a famous battle, ”GETTYSBURG” featured a lot more narrative drama than it did combat action sequences. And yet, director Maxwell managed to keep the movie at a good pace – with the exception of one period in the story.Ronald Maxwell had not only directed ”GETTYSBURG”, but also wrote the screen adaptation of Shaara’s novel. I must admit that Maxwell did a pretty good job in closely following the novel. Although there were times when I wish he had taken a few short cuts. Actually that time occurred in the series of conversations leading up to the final action sequence – namely Pickett’s Charge up Cemetery Ridge on the third day. It simply lasted too damn long. I had found Chamberlain’s discovery of his first sergeant’s death, Longstreet’s instructions to Pickett and the latter’s brigade commanders, and Longstreet’s gloomy prediction about the Charge dramatically satisfying. But honestly . . . I could have done without Armistead’s speech about Virginians to the English observer – Lieutenant Colonel Fremantle (James Lancaster), Armistead’s last conversation with Richard Garnett, Chamberlain’s conversation with Hancock and the sequence featuring the Confederate troops cheering Lee. It was only during this last act that the movie threatened to bore me.
There had been complaints that ”GETTYSBURG” had failed to make any allusions to the slavery issue. Well, whoever made those complaints had obviously failed to see the movie. Not only did Longstreet commented about the slavery issue to Fremantle – before the latter immediately changed the subject – but an encounter with a runaway slave led to an interesting conversation about race, slavery and bigotry between Chamberlain and the 20th Maine’s First Sergeant Kilrain (Kevin Conway). There were other aspects of the movie that I had also enjoyed – Buford’s commentary about the importance of the Gettysburg location, the aforementioned Longstreet’s prediction about Pickett’s Charge and Lee’s ironic comments about being a military commander. And I also enjoyed some of the movie’s more comic moments – Chamberlain’s efforts to prevent his brother Tom (C. Thomas Howell) from being too informal in the presence of the 20th Maine men and the conversation between Pickett and his commanders about Darwinism.
But ”GETTYSBURG” is, first and foremost, a war movie about a specific battle. And like many other war movies, it is filled with battle sequences. On the whole, I found them pretty satisfactory. One must remember that this movie had been released at least five years before Spielberg’s World War II drama, ”SAVING PRIVATE RYAN”. Which meant one should not expect the battle scenes to be particularly detailed in its violence in the same manner as the 1998 movie. In other words, most of the battles seemed to feature a great deal of musket fire, explosions, and bodies either falling to the ground or being blown sky high – something one would see in television miniseries like ”NORTH AND SOUTH: BOOK II” or ”THE BLUE AND GRAY”. The most graphic scene I can recall occurred during a non-combatant scene that featured the field hospital filled with both bodies and body parts, where Longstreet visited one of his division commanders, John Bell Hood. However, I must commend at least two battle sequences. The actual charge up Cemetery Ridge had a great sweep, enhanced by Kees Van Oostrum’s photography from a helicopter. That effectiveness of that sweep was nearly ruined when the Confederate troops finally reached the Union position. There, the scene became nothing more than a confusing mess of both Union and Confederate troops merely shoving each other around. Too bad. Another memorable battle sequence featured Chamberlain and the 20th Maine’s conflict with the 15th Alabama regiment on Little Round Top. The battle started in a generic manner as the two regiments exchanged musket fire. But once the 15th Alabama came across the 20th Maine’s position, the violence became rather detailed and spilled into hand-to-hand combat and short-range firing. I can even recall one Union soldier slamming the butt of his musket into the crotch of a Confederate. And the 20th Maine’s charge down Little Round Top turned out to be as exciting as the charge made by Pickett’s division up Cemetery Ridge.
But it was the cast that really impressed me – especially the performances of Tom Berenger, Martin Sheen, Richard Jordan, Kevin Conway, Stephen Lang and especially Jeff Daniels. Berenger did an excellent job of portraying the very human James “Pete” Longstreet, Lee’s ”Old Warhorse”. But his most poignant moment occurred when his Longstreet regretfully ordered Pickett to commence his charge without uttering a word. I was amazed at how the actor allowed Longstreet to age within seconds during this sequence. Martin Sheen portrayed Robert Lee beyond the historic icon as a brilliant, yet obviously flawed man. Both Conway and Lang gave vibrant performances as the Irish-born Buster Kilrain and George Pickett. Lewis Armistead turned out to be Richard Jordan’s last role and many have claimed that it was one of his best. I heartily agree. In fact, one of his finest moments on screen occurred when his Armistead rallied his troops up Cemetery Ridge by sticking his hat on his sword (which actually happened, by the way). Unfortunately, Jordan died of a brain tumor nearly three months before the movie’s theatrical release. For me, the heart and soul of ”GETTYSBURG” turned out to be Jeff Daniel’s masterful portrayal of the talented Joshua Lawrence Chamberlain. Not only did he managed to portray the Union leader as a flesh-and-blood human being, he also gave one of the best speeches – in which he attempted to convince the remnants of the mutinous 2nd Maine to join his regiment – on the silver screen. It seemed a shame that Daniels had never received an acting nomination or award for his performance.
I would not go as far to say that ”GETTYSBURG” is one of the best war movies ever made. Quite frankly, it is not. But it is one of the better Civil War movies I have ever seen. Not only did director/screenwriter Ronald Maxwell managed to adhere closely to Michael Shaara’s novel, but maintain a steady pace for a movie that turned out to be over four hours long. It presented its historical characters as human beings and not waxwork dummies that seemed prevalent in a good deal number of other Civil War movies. And more importantly, it provided a history lesson on one of the most famous battles during that particular period. I heartily recommend it.
"NORTH AND SOUTH Trilogy" - Certain Topics
In the past, there have been questions regarding plot points for the three miniseries of the "NORTH AND SOUTH" Trilogy. I thought I would clear up a few matters.
Elkhannah Bent's Survival Following Fight with Orry Main
Some "NORTH AND SOUTH" fans have wondered how Elkhannah Bent (Philip Casnoff) had survived his fight with Orry Main (Patrick Swayze) in the second book, "Book II - Love and War". In the second novel, Orry and Bent had some sort of fight near the James River that ended when Orry shoved the latter over the falls and (at least I thought) to his death. Imagine my surprise when I read "Book III - Heaven and Hell" and saw that Bent never died after all. He ended up in an army hospital in Richmond.
In the second miniseries, North and South - Book II", Bent rushed inside that warehouse just before it blew up. I thought that was the end of that bugger - until I read the novel, "Heaven and Hell" one year later. When the miniseries, "Book III - Heaven and Hell" finally aired, Bent was alive at the beginning of the first, although scarred. How he had survived that explosion, I don't know. After Bent killed Orry, he and Ashton Main Huntoon (Terri Garber) quarrelled. Bent had said the wrong thing to Ashton and she did to him, what Orry did in the book - shoved him over the falls and into the James River. And just as in the book, Bent ended up in an army hospital, crazy as ever.
Orry's Swordsmanship in Book I
I must admit that I had a problem with Orry defeating Bent in that brief sword fight in Part I of the first miniseries. Especially since Orry was described as not being a talented swordsman. I had asked several people about sword fighting and according to them, brains and a solid understanding of strategy are required to be a good swordsman.
Since Orry was never that great with his studies (including military subjects), I never saw how he was able to defeat Bent, who was. The explanation that Patrick Swayze (who portrayed Orry) happened to be an excellent dancer did not seem much of an excuse. Nor did it seem like a good excuse to include that scene in the miniseries. This does not mean that all Northern cadets made better swordsmen than Southern cadets. After all, I can think of a good number of Southerners who had excelled academically at West Point - including Robert E. Lee, Pierre Beauregard and Porter Alexander.
Hanging in Book III
In the third miniseries, one of the characters - an ex-slave named Issac (Stan Shaw), ended up hanged by the local Ku Klux Klan. A "NORTH AND SOUTH" fan had believed that a similar hanging had taken place in the third novel, "Heaven and Hell". I am here to say that no such hanging scene in the third novel. Issac's literary counterpoint in the third novel turned out to be a former Mont Royal slave named Andy Sherman. Andy ended up being killed during the Klan's attack upon Mont Royal. Ironically, Andy's counterpoint in the second miniseries, was Ezra (Beau Billingslea), who happened to be in love with Semiramis (Erica Gimpel).
Mortgage on Mont Royal
In both the first novel and the first miniseries, Orry had put Mont Royal on mortgage, so he could pay back George for: a) the funds George gave to the Mains for construction of a steamship in the novel; and b) George's investment in a cotton mill he co-owned with Orry in the miniseries. For those who do not know, the character of Cooper Main - Orry's older brother - appeared in all THREE novels. However, the producers had decided to cut out his character in the first two miniseries. When Cooper finally appeared in Book III (in the form of Robert Wagner), the writers explained that he was the one who held the mortgage on Mont Royal. Where he had been all this time, they never bothered to explain. A moment of sloppy writing, if you ask me.
If you have any further questions regarding the plots of Jakes' three novels or the three miniseries, please do not hesitate to ask.
"GONE WITH THE WIND" (1939) Review
About a month ago, I had come across an article that provided a list of old classics that the author felt might be overrated. One of those movies turned out to be the 1939 classic, ”GONE WITH THE WIND”. Not only did the author accuse the movie of being both racist and sexist, he also claimed that the movie had not aged very well over the past 69 years.
Did I agree with the author? Well, let me put it this way. I would say that "GONE WITH THE WIND" has managed to withstand the tests of time . . . to a certain extent. As the author had pointed out, the sexism and racism are obvious and rather off-putting. The slaves came across as too servile for my taste. And although the slave Prissy was not the only dimwitted character in the story (think of Aunt Pittypatt, the Tarleton brothers and Charles Hamilton), she had the bad luck to spout that unfortunate line that must have been the bane of actress Butterfly McQueen’s life - ”Miz Scarlett, I know nothin’ bout birthin’ no babies.”. And the sexism was no better. I found Rhett’s determination to view Scarlett as his own personal child bride rather distasteful – along with his act of marital rape. But if I must be honest, I have seen movies that are just as bad or even worse. I had once seen ”GONE WITH THE WIND” at one of my local movie theaters when it had been re-released to celebrate its 50th anniversary in 1989. The first half of the film struck me as being well-paced and filmed. The dialogue sparkled and Vivian Leigh and Clark Gable, and the rest of the cast could not have been better. I could not say the same for the film’s second half.
The real problem with ”GONE WITH THE WIND” manifested in Part Two. Once Scarlett married Rhett . . . the movie simply fizzled. Oh sure, it had its iconic moments – Scarlett appearing at Ashley’s birthday party in the infamous red dress and Bonnie Blue Butler’s death. Unfortunately, it did not take me very long to fall asleep . . . even before poor Bonnie Blue’s death. I managed to wake up in time to witness Hattie McDaniel's brilliant monologue on the decline of Butlers' marriage. I do not think one can really blame the movie's credited screenwriter, Sidney Howard and the screenwriters who worked on the project. Margaret Mitchell's novel has the same problem as the movie. Namely, it started brilliantly and ended with me crying in despair for the story to end. I suspect that Selznick had decided not to risk earning the fans' ire by refraining from changing the novel's structure too much.
And the main reason why ”GONE WITH THE WIND” threatened to fizzle out in the end? Quite frankly, the story seemed unable to maintain the same pace throughout the film. Even worse, this seemed to have turned ”GWTW” into a movie with conflicting genres. I do not know whether to list it as a historical drama or a costumed melodrama. Most of the movie seemed like a historical drama – especially the first half that ends with Scarlett’s return to Tara. But once Scarlett’s second husband - Frank Kennedy – was killed during the Shantytown attack sequence, the movie became a costumed melodrama. This change in genre not only made the movie seemed slightly schizophrenic, it nearly grounded its pacing to a halt.
But . . . despite its political incorrectness and the dull last hour of the film, ”GONE WITH THE WIND” still managed to hold up pretty well. Despite being nearly 70 years old.
Second Look: "THE BLUE AND THE GRAY" (1982)
In 1982, CBS television aired a three-part miniseries about the experiences of two families during the Civil War. Sounds familiar? It should, for John Jakes had wrote something similar in three novels between 1982 and 1987 – namely the ”NORTH AND SOUTH” Trilogy. Jakes’ novels were adapted for television in 1985, 1986 and 1994. However this miniseries was produced by Larry White and Lou Reda. And despite the mildly similar theme to the ”NORTH AND SOUTH” saga, there are some vast differences.
”THE BLUE AND THE GRAY” had not been based upon any particular novel or series of novels. Instead, it was based upon a story concept by Bruce Catton, a famous historian who had written a book on the Civil War with the same title. As I had stated before, the miniseries told the story of two families and their experiences between 1859 and 1865. The two families in question are the Geysers and the Hales. The Geyers and the Hales are linked by two sisters portrayed by Colleen Dewhurst and Diane Baker. Although the miniseries revealed the families’ experiences via many characters, the two main characters in the story are John Geyser (John Hammond), who is the third son of the Virginia Geysers and Jonas Steele (Stacy Keach), a former Pinkerton agent and abolitionist who befriends John and marries the latter’s Pennsylvania cousin, Mary Hale (Julia Duffy).Many sagas about the Civil War – especially those on television – tend to focus upon wealthy families or those from exclusive families. Prime examples of this would be ”GONE WITH THE WIND”, the ”NORTH AND SOUTH” Trilogy, ”BEULAH LAND” and ”LOUISIANA”. ”THE BLUE AND THE GRAY” took another route in which its main characters hailed from a middle-class background. The patriarchs of the two families seemed to reek of the middle class. As I had earlier pointed out, John Geyer’s father was a middling farmer named Ben Geyser (Lloyd Bridges). And his uncle by marriage – Jacob Hale Sr. (Robin Gammell) – happens to be the owner and editor-in-chief of a small newspaper in Gettysburg, Pennsylvania.
Even after twenty-six years, I still enjoy ”THE BLUE AND THE GRAY”. It has not lost its allure one bit. It rarely played footloose with history. And aside from the miniseries’ last fifteen to twenty minutes, it managed to maintain a brisk pace despite being at least eight (8) hours. The two leads – John Hammond and Stacy Keach managed to create an excellent chemistry and it was easy to view the pair as close friends. And both men were ably supported by a first-class cast. But amongst them, I was especially impressed by the performances of Julia Duffy as Mary Hale – John’s cousin and Jonas’ wife; Brian Kerwin as Malachy Hale, Mary’s oldest brother; Cooper Huckabee as Matthew Geyser, John’s oldest brother; Dan Shor as Luke Geyser, John’s irrepressible younger brother; and Gerald S. O'Loughlin as the Hale brothers’ sergeant, O’Toole. I also have to commend upon Gregory Peck’s steady, yet humorous take on Abraham Lincoln and Sterling Hayden for refraining from an over-the-top performance, while portraying abolitionist John Brown.
Someone once complained that the battle sequences in ”THE BLUE AND THE GRAY” came off as rather bloodless. I found this complaint a little ridiculous, considering that this story was presented as an eight-hour television miniseries, rather than a theatrical movie. Besides, I saw plenty of blood in the miniseries. But two of the most chilling scenes in ”THE BLUE AND THE GRAY” barely featured any blood:
*John Geyser’s brother Mark (Michael Horton) found himself badly wounded during the Battle of the Wilderness, while the woods surrounding him burn from shellfire.
*John’s close friend, a free black named Jonathan Henry (Paul Winfield), is lynched for helping two runaway slaves by a local slave patrol led by a fanatical pro-slavery preacher (Warren Oates). What is amazing about this scene is that it happened partially off screen.
As much as I like ”THE BLUE AND THE GRAY”, it does have its flaws. My main complaint about the miniseries has a lot to do with the vast number of extras and minor characters in the story. Granted, there are some minor characters portrayed by veteran character actors like Rory Calhoun, Christopher Stone, Julius W. Harris and Geraldine Page. Unfortunately, their presence could not hide the number of amateur . . . or should I say very untalented actors and actresses in minor roles. A prime example would be a nameless actor who portrayed a patriotic Union officer that John Geyser met at the Willard’s Hotel. And there was the actor who portrayed Confederate general Barnard Bee, whose declaration of a famous line was at best hammy. I have no idea why producers White and Reda had hired these people in the first place. Perhaps they were desperate to fill as many roles as possible.
Another problem I had was the romance between John Geyser and the daughter of a Massachusetts senator named Kathy Reynolds, portrayed by Kathleen Beller. Quite frankly, they made quite a boring pair. There is nothing more boring than a couple consisted by two people inclined to be reserved. Superficially, they looked cute. Individually, both John Hammond and Beller gave very solid performances. But as an on-screen romantic pair . . . they bored the pants off me.
But ”THE BLUE AND THE GRAY” had some memorable scenes. Two of them featured actor Cooper Huckabee. Portraying the oldest Geyser sibling Matthew, I believe that he gave the best performance. And Huckabee had the opportunity to shine in the following scenes:
*A brief, yet emotional reunion between Matthew and John Geyser (Hammond) in the lines right outside Vicksburg, Mississippi.
*Matthew’s death, following a minor battle at the Geyser Farm (beautifully acted by Huckabee).
And there were other memorable scenes, as well. There was what I consider to be the two funniest in the entire miniseries – namely Malachai Hale’s hilarious encounter with a Confederate soldier, while both were trying to hide from a battle; and the barn dance behind enemy lines that the Hale brothers and John Geyser had attended at the invitation of John’s younger brother Luke (Dan Shor), a mischievous Confederate soldier. The latter scene also featured Canadian actor Duncan Regehr (”Zorro”) as a Confederate officer, affronted at the idea of two Union soldiers and a correspondent behind enemy lines at a barn dance. I also enjoyed the scene featuring the Hale family witnessing a speech by President-elect Lincoln at a whistle stop in Southern Pennsylvania. And both the lynching of Jonathan Henry and the entire Battle of the Wilderness sequence seemed both poignant, yet too harrowing to believe.
It seems a shame that ”THE BLUE AND THE GRAY” is barely mentioned by film critics or fans in regard to Civil War movies in the theaters or television. Quite frankly, it is one of the better ones I have ever seen. It gave a view of the late antebellum period and the Civil War through the eyes of the masses rarely seen in movies like ”GONE WITH THE WIND” or the ”NORTH AND SOUTH” trilogy. I heartily recommend it.
Below is a gallery of photos and publicity stills from the 1939 classic, "GONE WITH THE WIND", from the following two links:
"Tomorrow Is Another Day"
and "Scarlett Online":
"GONE WITH THE WIND" Photo Gallery
The Major Problems of “NORTH AND SOUTH: BOOK II”
In the eyes of many fans of the trilogy of miniseries based upon John Jakes’ saga, ”The NORTH AND SOUTH Trilogy”, the only miniseries not worthy of the entire saga is the third one - ”HEAVEN AND HELL: North and South Book III”. I wish I could agree with them. After all, the production values for ”Book III” had not been as impressive as the other two. And of the three miniseries, ”NORTH AND SOUTH: BOOK II” had the best costume designs. But looking at the three miniseries from the prospective of a writer, I have finally come to the conclusion that it was ”Book II” (set during the Civil War), and not ”Book III” that ended up being a lot more disappointing to me.
None of the three miniseries were exact copies of the novels from which they had been adapted. Changes were made in all three. Despite some flaws, I had no problems with most of the changes in ”Book I” and ”Book III”. But I found some of the changes in ”Book II” to be very questionable. In fact, some of these changes really did nothing to serve the miniseries’ story, except pad it unnecessarily in order to ensure that it would last six episodes.Below are some examples of the questionable plotlines I found in ”BOOK II”:
*Around the end of Episode I, Brett Main Hazard (Genie Francis) – a South Carolina belle who had recently married Pennsylvania-born army officer, Billy Hazard (Parker Stevenson) - and her maid, Semiramis (Erica Gimpel), had left Washington D.C. just before the Battle of Bull Run (July 21, 1861). The former had received a written note about Madeline LaMotte (Lesley Anne Down)’s kidnapping by her estranged husband (David Carridine) and the injuries that Brett’s mother – Clarissa Main (Jean Simmons) – had suffered following a barn fire at the Main’s South Carolina plantation, Mont Royal. Brett and Semiramis finally reached Mont Royal in November 1861. I have a lot of problems with this.
1) Why was the message about Clarissa and Madeline sent to Brett in
Washington D.C. and not to Brett’s older brother, General Orry Main (Patrick Swayze) in Richmond? It would have been easier to reach him, since Richmond was inside Confederate territory.
2) Would it have been easier for Brett and Semiramis remain in Richmond and wait for
Orry to depart for South Carolina? What was the point of them leaving him a message and continuing their journey south? They would have reached Mont Royal a lot sooner.
3) Why did it take them three to four months to reach South Carolina? It took them at least less than a week to travel from Washington D.C. to Richmond, Virginia – despite being delayed by Union troops. They were on horseback. So why did it take them an additional three-and-a-half months to reach Mont Royal in South Carolina?
*In Episode III, despondent over being unable to see Brett for two years, Billy decides to go AWOL, following the Battle of Gettysburg (July 1-3, 1863) and head south to South Carolina to see Brett. Upon his arrival at Mont Royal, he stays there less than 24 hours and leaves to return to the Army. He returned to duty in Hiram Burdam (Kurtwood Smith)’s Sharpshooter regiment in late April/early May 1864, in time to participate in the Battle of the Wilderness. And I had problems with this.
1) It took Billy less than a month to travel from Southern Pennsylvania (Gettysburg) to Mont Royal in South Carolina. Yet, it took him at least eight to nine months to rejoin his regiment, who were back in Virginia by the time of his arrival. Why did it take him longer to travel from South Carolina to Virginia, than it did for him to travel from Southern Pennsylvania to South Carolina? He was on horseback.
2) Billy had been AWOL from the Army for at least nine to ten months (July 1863 – late April/early May 1864). Why did Colonel Burdan fail to punish him for abandoning his post without permission . . . for so long? In the spring of 1864, the Union Army was not exactly desperate for an increase in manpower, unlike the Confederate Army. In fact, Billy never even faced a court martial or trial of any kind for his actions. His only punishments were a stern lecture from Burdan and being passed over for a promotion to the rank of captain. This is illogical . . . even for a fictional story.
*Charles Main (Lewis Smith) and Augusta Barclay (Kate McNeil) first met each other while the former was on a scouting mission for the Confederacy and the latter was smuggling medicine in July 1861. They met again, the following year, when Charles appeared at her farm, wounded. In the spring of 1864, following the Battle of the Wilderness, they began a love affair that lasted until they said good-bye for the last time in February 1865. Two months later, following the surrender of the Confederate Army at Appomattox, Charles returned to Barclay Farm and learned that Augusta had died while giving birth to his son. Charles learned that Augusta’s South Carolina relatives had taken custody of Charles Augustus Main and returned to Charleston. There, Charles took custody of his son for the first time. I have a problem.
1) Charles and Augusta saw each other for the last time in February 1865. When Charles returned to her farm, two months later, her former servant – Washington (John Nixon) – informed him that she had recently died from giving birth to Charles’ son. Yet, Augusta certainly did not look pregnant, during Charles’ last visit two months ago - when the unborn baby should have been at least six to seven months old. And she was wearing a corset.
2) Following his discovery that he was a father, it did not take Charles very long to return to South Carolina and claim his child. Yet, the recently Charles Augustus Main looked at least between one to two years old. If that had been the child’s real age, Charles and Augusta’s son would have been born a year earlier – before they had consummated their relationship in May 1864.
*After being driven from Mont Royal by the discovery of a family secret by Ashton Main Huntoon (Terri Garber), Madeline Main (Lesley Anne-Down) settles in Charleston around July-September 1863. The following spring in May 1864, she meets a former slave/refugee named Jim (Bumper Robinson) and his sick mother. Because of this meeting, Madeline decides to offer aid to many of Charleston’s war refugees – whether they are ex-slaves or poor whites. She also learns about Jim and his mother’s personal history. Apparently, they were Tennessee slaves who were freed upon the arrival of Union troops at their former master’s plantation, who decided to make their way to Charleston.
1) WHAT IN THE HELL IS THIS? Why on earth would recently emancipated slaves make their way deep into Confederate territory? Did the writers of the miniseries honestly believe that slaves were that stupid? Jim and his mother were from Tennessee. They could have made their way to any of the following cities:
*Nashville, Tennessee – which fell to Union troops in February 1862
*Memphis, Tennessee – captured by the Union in June 1862
*New Orleans, Louisiana – fell to Union troops in April 1862
*Louisville, Kentucky – which remained in the Union throughout the war
Any of the above cities were closer to the plantation owned by Michael’s master and could have provided safe refuge for him and his mother. Certainly not Charleston, South Carolina, which was too far and still Confederate territory by the spring of 1864.
2) The writers could have written Michael and his mother as South Carolina slaves. And yet . . . they would have been wiser to head for Hilton Head, the only safe refuge for runaway slaves in South Carolina, until February 1865.
