I'm one of those film-goers who regards Heaven's Gate as a masterpiece. I have seen Deer Hunter many times, and greatly enjoyed Year of the Dragon and Desperate Hours. The Sunchaser is just a disappointment, but still worth watching. The Sicilian, on the other-hand. is the cinematic equivalent of a Michelin-star meal which has been frozen, and then partially reheated in the microwave. Between the terrible casting, voice dubbing and sound issues, lack of exposition, questionable editing and overall confusion; The Sicilian generally drags.
Right from the offset, you know you are in trouble when a film shot in Sicily about a Sicilian folk-hero; is played by a French actor speaking English. It is not only Lambert who looks and sounds out of place, as the same applies to the rest of the cast. I think Terrance Stamp exemplifies this malaise most succinctly, by generally looking confused and uninterested, during the majority of his screen-time.
There are fleeting moments of brilliance from Cimino, which are often nullified by awful dialogue and poor line delivery. Cimino's auteurist traits are ever present: wide angles/close-ups, landscapes/mountains, expensive interiors, classic cars/tailored suits; which is all very well, but alas, negated by the lack of engagement we feel towards characters in previous films: De Niro's Vronsky or Kristofferson's Averill. Replaced in this instance by a bland indifference towards every character, further muddied by poor direction. Scenes which should have an emotional impact fall flat and simply add to an overall sense of confusion. You find yourself having to fill in the gaps and piece together what should be a fascinating and engaging narrative, but instead sit there wondering what was going on between takes.
In The Sicillian's defence, there are some breathtaking lanscape shots, especially towards the end of the film, where the level of cinematography seems to elevate, and some masterful use of mise-en-scene and tableau.
Three stars allocated for art direction, costume design and cinematography.
Right from the offset, you know you are in trouble when a film shot in Sicily about a Sicilian folk-hero; is played by a French actor speaking English. It is not only Lambert who looks and sounds out of place, as the same applies to the rest of the cast. I think Terrance Stamp exemplifies this malaise most succinctly, by generally looking confused and uninterested, during the majority of his screen-time.
There are fleeting moments of brilliance from Cimino, which are often nullified by awful dialogue and poor line delivery. Cimino's auteurist traits are ever present: wide angles/close-ups, landscapes/mountains, expensive interiors, classic cars/tailored suits; which is all very well, but alas, negated by the lack of engagement we feel towards characters in previous films: De Niro's Vronsky or Kristofferson's Averill. Replaced in this instance by a bland indifference towards every character, further muddied by poor direction. Scenes which should have an emotional impact fall flat and simply add to an overall sense of confusion. You find yourself having to fill in the gaps and piece together what should be a fascinating and engaging narrative, but instead sit there wondering what was going on between takes.
In The Sicillian's defence, there are some breathtaking lanscape shots, especially towards the end of the film, where the level of cinematography seems to elevate, and some masterful use of mise-en-scene and tableau.
Three stars allocated for art direction, costume design and cinematography.