The Legend of 1900
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Movie Reviews of The Legend of 1900
Movie Review: Magical
Summary: 5 Stars
I am always delighted to discover a new Tim Roth film. Like most filmgoers, I first saw this amazing actor flaunting his talent in Quentin Tarentino's "Reservoir Dogs" a decade ago. Obviously, I haven't seen every Tim Roth film, but every one that I have seen him in is usually good. Even if the film itself isn't that great, Roth still shines. Consider his small but critical role in Tarentino's "Pulp Fiction." With barely any screen time he still managed to contribute something special to the scenes he appeared in. The same goes for Peter Greenaway's "The Cook, the Thief, His Wife, and Her Lover," which I think was Roth's first film role. He showed up in only a couple of scenes, yet stood out in a stellar cast that included Michael Gambon and Helen Mirren. Another great Roth movie is "Rob Roy," where he plays a depraved protégé of a character played by John Hurt. Again, this actor easily held his ground. All of this blather brings me to "Legend of 1900," a marvelous picture that shows Tim Roth can do the leading man thing just as easily as he can work in a supporting role. I guess I can understand some people not liking Roth, but I don't understand why they don't like this movie. It's a gem.
Most of the film takes place on one of those luxurious ocean liners so popular as a means of transportation in the late nineteenth and early twentieth centuries. One day, a grunt from the engine room named Danny (Bill Nunn) discovers an abandoned baby in the ship. Not knowing what to do about such a startling find, he decides to keep the little guy and raise him as his own son. With the help of some of his fellow employees, Danny also decides to name the infant 1900 as a tribute to the start of the new century. You would think a young baby on board an ocean liner might draw attention, but Danny keeps 1900 out of sight for years by keeping him in the engine room during work hours and in the sleeping quarters the rest of the time. The ship's crew is so busy dealing with the passengers that they hardly have time to notice one kid wandering around from time to time. But when a young 1900 hears a piano playing in the ship's lounge, he strolls inside for a closer look and ends up playing some tunes for the amazed passengers. When someone notifies the captain, he realizes the profit in having this young prodigy stay on and play the piano for the passengers. After Danny perishes in an accident, 1900 becomes a sort of mascot for the ship as well as its star music attraction. Most importantly, he never leaves the ship.
We learn about the story of 1900 through a series of flashbacks from his best friend and fellow musician Max (Pruitt Taylor Vince). His story positively enthralls the owner of pawnshop to whom Max is attempting to sell his trumpet. For example, when Max first signed up to play with the ship's band, his inability to acquire his sea legs led to long bouts of nausea until 1900 stepped into the picture. He took the trumpet player on a most memorable tour of the lounge--you need to see it to believe it--that miraculously cures his seasickness and turns the two men into fast friends. Max also relates a lengthy story about 1900's duel with legendary musician Jelly Roll Morton (Clarence Williams III). The jazz great, amazed and angered to hear that a white musician on this ship plays the piano better than he does, arrives onboard to show this upstart who is the boss. After a lengthy back and forth battle of the ivories, good old Jelly Roll retreats with his tail between his legs. The story never reaches a wider audience because 1900 won't leave the ship and he won't record his music. His failure to do both of these things, even for the girl he falls in love with (played by Melanie Thierry), leads to obscurity and ultimate doom.
I enjoyed this film. Roth does his usual bang up job as the melancholy yet supremely talented piano player 1900. His monologue delivered to Max towards the end of the film, explaining why he could never find it in his heart to leave the ship, is a wonderful piece of acting. Pruitt Taylor Vince was a good choice to play 1900's best friend and sometime confidant, and he also provides some much needed comic relief when the movie turns serious. The best part of the film, however, has to be the music, which should not come as a surprise considering this is a film where music essentially acts as a co-star. None other than the great Ennio Morricone scored "Legend of 1900," and he did his usual fabulous job. The movie, I think, even won Morricone a Golden Globe award. As good as these elements are, I did have one problem with the movie: the CGI effects. The filmmakers often used computers to create the ship, and they also used them to create a whole city when 1900 makes his lone attempt to leave the boat. You know how there are good CGI and bad CGI effects? "Legend of 1900" uses bad CGI. Still, this small difficulty rarely intrudes on the story and does not act as a deterrent to enjoying the film.
I also liked the extras on the DVD if for no other reason than hearing the song Roger Waters composed for the film. Called "Lost Boys Calling," it's always great to hear the former front man for Pink Floyd recording new music. Aside from the music video for this song, the disc offers us a trailer and filmographies. Give this one a shot if you like colorful, introspective European films.
Movie Review: Danny Boodmann T.D. Lemon 1900
Summary: 5 Stars
Upon searching through the long and windy halls of Netflix Watch Instantly one day, I came across this film with a premise that intrigued me. Two hours and five minutes later, speechless throughout most of the movie, I decided that it was not only one of the best dramas I had ever seen, but one of the best films I'd ever seen. Truly, The Legend is a 1900 is one of the most beautiful and moving films in modern film history, an overlooked classic, and a tribute to the Piano in every sense of the word.
Danny Boodmann T.D. Lemon 1900 was found orphaned, most likely born to and forgotten by immigrant parents, aboard the Virginian a luxury steamliner much like the Titanic, by a steam room worker. He took in the child as his own and named him Danny Boodmann (After himself) T.D. Lemon (After the advertisement on the box he was found in) 1900 (After the year he was found in). He is a man without a birthday, he is a man without a country, he is a man born to The Virginian. 1900 proceeds to live out his childhood in the ship, learning about the world and the languages of the passengers until one day, the crew discovers he's a piano virtuoso, and soon after that, he becomes part of the ships orchestra, as word of his talent is spread by anybody that has ever heard him. Occasionally, the film also flashes forward to around 1945, where The Virginian is being prepped to be scrapped after World War 2, but with 1900 still aboard, and his friend Max's efforts to get him off.
Being the only English-language film of the Italian filmmaker Giuseppe Tornatore, the film is incredibly beautiful to look at. The striking beauty of the ship is one of the most stunning aspects, choosing to accent backdrops and provide a unique setting for the proceedings. The cinematography of the film is so well-done, as is with the rest of the film, I'm very disappointed that this was Tornatore's only English work, since his use of the language of the film is also very well done, considering most of the crew, including the screenwriters I believe, were Italian. But not only is the film striking as a whole, there's just so many memorable scenes in here that are simply brilliant in the way they are composed and played out. And what do all but two of these 7 or 8 scenes that stick out in my mind have in common? All of them involve the piano. I'm not a big fan of classical music by any means, but the instrumental works, and the way they're shown on screen is unequivocally magnificent. Composed mostly by Ennio Morricone, this is truly one of the aspects that makes the film stand out for me.
Tim Roth leads out the cast played by relative unknowns to my mind, and he gives the performance of a career. After watching this film, I came out with a great deal of respect for Roth as he displayed acting talent I didn't even know he was capable of. He sells every aspect of 1900 perfectly. Whether it's the humorous side of the character, the quite side, the peaceful side, the cursing side, the romantic side, or the speech-making side, Roth makes you invested in the character, as if the character development in the movie weren't enough. I don't know if Roth actually learned to play the piano for this movie, but he sold me on that too. Pruitt Taylor Vince also plays the character of Max well, and even though he isn't asked to do all that much, he did a fine job portraying his lifelong friendship with 1900.
I don't want to use the word "beautiful" too much in this review, but it aptly describes this movie. Some have called it epic, but it's only epic in its emotions. This movie will valiantly attempt to bring tears to your eyes, laughter, and everything in between. There's a particular scene where 1900 comes to accept his fate the only way he knows how, by playing the piano. But in this scene, there is no piano to play, so he plays air piano. But instead of cheesy, it's touching. There's no words needed to tell the audience the gravity of this scene and this moment, but you feel it. And that's what a movie should do. It should make you feel. It's only a couple hours long, but those couple of hours were all that I needed to be turned into an emotional wreak.
Movie Review: An Incredible Movie
Summary: 5 Stars
This movie, which reeled me in with its mysterious premise- a baby found abandoned on a ship, who grows into a man who never steps a foot on land- turned out to be spectacular.
First off, the camera work was fabulous, the film sumptuously shot. This isn't a movie where you bounce from frame to frame. I love movies that take their time and explore what they've created, not zip through it once lines have been said. Virtually every shot, every frame has an essence, a feeling, be it gaiety, romance, sadness, etc. That alone made it a joy to watch.
Tim Roth was fabulous as 1900- those big, thoughtful eyes can convey such emotion. Though some will sight this movie as being too sad, with a terrible ending, I cannot agree. The only sadness comes from 1900's predicament- having lived his whole life on a finite ship that finally cultivated a paralyzing fear of the rest of the world. Other complaints have their merit- the girl for whom 1900 finally tries to get off the boat has really no relationship at all with him, making it odd to take such a big step for someone he hardly knows. Yet I like to chalk it up to her representing something to him- love, companionship, a home, and a family- even if she isn't the one, she brings up these feelings in him. There are logical gaps in the movie- where did this baby come from?, why in the world did one of the workers get to keep it?, 1900 could just sit down as a kid and play?, did the boat never go in for repairs, in which case 1900 would have to get off?, how did 1900 manage to survive when it was so decrepit and ready to be blown up? But the movie is mythical- after all, a legend. The details melt away in the grander vision of things. I cannot say that the movie will let you leave feeling good. It could have ended with 1900 finally getting off- maybe seeing the girl from the boat again somewhere- but it wouldn't have fit.
The movie is just so magical. I couldn't keep this silly grin off my face when the piano began to spin in the ballroom as the ship rocked and rolled, with 1900 playing- it was perfectly whimsical. I cheered when 1900 won the piano duel by lighting the cigarette with the strings hot from his playing. I loved the way he observed people and made up little songs to suit them. I gasped to hear him say "F*** the regulations." These little things just stick in my head. Watch this movie. You won't regret it.
Movie Review: Richly rewarding character study
Summary: 5 Stars
Director Giuseppe Tornatore (Cinema Paradiso) has lovingly crafted a bittersweet story about life, music and the intricate weave of one upon the other. Tornatore caresses the heart with characters steeped in emotion and sentimentality without descending into sappiness (okay, maybe just a little at the end). The setting is turn of the 20th century. On New Year's Day, a baby is abandoned on an ocean liner and adopted by one of the crew members who names him "1900". The boy never leaves the vessel and crosses back and forth for his whole life. As a child he learns to play piano and proves himself to be a genius at the instrument.
The story is interesting by itself, but Tornatore brings incredible feeling to the tale. 1900 has an amazing gift of being able to put not only his emotions to music, but characterizations of others he sees around the room. All his pieces are impromptu and as original as the people surrounding him.
Tim Roth is fantastic in the lead role, displaying extraordinary range. He renders a believable pianist, but more importantly, he simultaneously brings the character dynamism and depth. When he is playing the crowd he is the flamboyant showman, yet when he is alone or with Max (Pruitt Taylor Vince) he is reflective and moody.
Pruitt Taylor Vince also comes through with a strong performance as 1900's close friend and fellow musician. Vince plays the part with great empathy and the interactions between him and Roth are often moving. Clarence Williams III (yes, that's Linc from the Mod Squad TV series in the 60's) is electrifying as Jelly Roll Morton, the self proclaimed inventor of jazz. Williams steals the show for at least 15 minutes as he and Roth duel it out on the piano.
The music is exquisite. Ennio Morricone is a prolific composer whose career spans 40 years with five Oscar nominations. He has scored over 400 films including "The Good, The Bad and The Ugly", "The Untouchables", "Days of Heaven", "Disclosure", and "Twister". His ability to find the right music for the multiple moods in this film is astounding.
For viewers who enjoy complex character studies replete with unabashed sentimentality, this film is worth hunting down at the movie store. I rated it a 9/10. It is a richly rewarding experience.
Movie Review: And Eff Jazz Too!
Summary: 5 Stars
Since most of what needs to be said about this fine movie has already been said, I'll just give one example of why some professional critics who panned it just don't get it, not only in their dismissals of it as treacle in general (hey, we're too fashionably jaded for this!), but in the details.
From Stephen Holden's review in the NY Times--
"In the film's dramatic climax, Jelly Roll Morton (Clarence Williams 3d), who has heard rumors of Nineteen Hundred's genius, books a passage on the Virginian specifically to challenge him to a piano duel. But the piece (composed by Ennio Morricone) with which Nineteen Hundred defeats Morton is a whirling, twirling, fussy, ''Flight of the Bumblebee''-like finger-flying exhibition that has velocity but little coherence. It is no match artistically for Morton's propulsive meat-and-potatoes jazz."
Yep, Jelly Roll Morton was one of the greatest pianists of all time (and by all accounts just as much of a colossal jerk as portrayed in the film), though I doubt he would've been pleased by Holden's description of his music as "meat-and-potatoes jazz."
But Holden has no clue about what audiences expect, even demand, in such musical competitions-- head cutting contests, in jazz and blues jargon. They want exactly what 1900 gives them, a display of technique for the sake of technique. Artistry? Give me a break.
Ennio Morricone gets this. 1900 gets it. And you can bet Jelly Roll Morton himself, the real one, got it. Stephen Holden doesn't. He's the kind of guy who is overawed by the glories of REAL JAZZ.
You want to win a head cutting contest? How many notes can you play in one minute? How cleanly can you play them? Audiences eat this stuff up. 1900 understands this. He doesn't want to cut heads with Morton at all, and tries to avoid it until Morton ups the ante beyond recall.
"And eff jazz, too!"