Harrison Ford stars as Rusty Sabich, a smart and ambitious prosecutor who is accused of murdering his former mistress, Carolyn Polhemus (Greta Scacchi).
A lot of people were taken by surprise when PresumedInnocent first came out in 1990. After a career of always being the hero and the type of person who took his fate into his own hands, PresumedInnocent featured a passive Harrison Ford whose fate was in the hands of his lawyer, Sandy Stern (Raul Julia) and in the prosecutors who are trying to send him to prison. For most of the movie, the audience doesn’t know if Rusty is innocent and a lot of what Rusty does makes him seem to be guilty. Just the fact that Harrison Ford was playing someone who would cheat on his wife (played by Bonnie Bedelia, who everyone had last seen sticking up for Bruce Willis in DieHard) was considered to be shocking at the time. It says a lot about Ford’s appeal as an actor that he remains sympathetic even though he’s playing a character who does a lot of bad things. He remains compelling, even though Rusty is forced to spend a good deal of the movie as a passive spectator. To anyone who underrates Harrison Ford an actor, this is the film to show them.
PresumedInnocent is a murder mystery but it’s also a sad-eyed look at a corrupt judicial system. Rusty is accused of murder largely due to the whims of fate. If Raymond Horgan (Brian Dennehy), Rusty’s former patron, had been reelected as district attorney, Rusty would never have been charged. When the trial moves to the courtroom, the Judge (Paul Winfield) himself is revealed to have been compromised by his own relationship with Carolyn, something that Sandy is willing to use to the defense’s advantage. John Spencer plays a detective who is willing to hide evidence to protect Rusty. Joe Grifasi plays a former detective who is motivated less by the evidence in the case and more by a personal grudge against Rusty. The idea of getting justice for Carolyn is pushed to the side by everyone’s personal drama. The ending challenges all of our preconceived notions about Rusty and the meaning of guilt and innocence.
Intelligently directed by Alan J. Pakula and featuring an excellent cast, PresumedInnocent is a top-notch legal thriller and also one of Harrison Ford’s best films.
As Guilty Pleasures go, The Shadow is a movie that has absolutely everything you need for a fun, campy ride. An Al Leong cameo, alongside James Hong? Check. Heroes and Villains taking time out to discuss their wicked plans (and how they’ll be stopped) over a glass of fine American Bourbon? Check. Early 90s Era CGI? Mark it down. Duel Wielding Pistol shooting action? Got it. Tim Curry just being there? Sweet.
After the wild success of Tim Burton’s Batman in 1989, Hollywood was scrambling to squeeze what they could out of the Superhero Movie. The Punisher, with Dolph Lundgren, would come out the same year. We’d end up with The Rocketeer (one of my personal favorites), BarbWire, Dick Tracy,The Crow, The Mask, and The Phantom, among others leading into the mid-90s. Among these was 1994’s The Shadow, based off the 1930’s character from Walter B. Gibson. Pre-dating all of the before mentioned characters (including DC’s Batman by almost a decade), The Shadow started as a series of radio stories before moving on to other forms of media. The movie didn’t do very well on it’s original release. Much like the magic that clouds men’s minds, audiences were more enraptured with The Crow months before and The Lion King. Some may remember a Shadow movie was made, but it was eclipsed by more popular films at the time.
At the same time, there were major advances happening in audio technology, thanks to a tiny Universal film called Jurassic Park. Jurassic Park helped to usher in an update in sound quality known as The Digital Experience (which we now know as DTS for short). As theatres coverted to the new sound system, various films in the early to mid nineties would make use of it, such as The Crow, The Mask, Timecop and The Shadow. By the time my family picked up their first Laserdisc player, DTS quality sound was available at home. My dad had a series of speakers lined around the living room of our house so that regardless of where you sat, the sound would move around you. One of the best tests of it was with John Carpenter’s The Thing, where Blair is standing off against the crew. The gunfire from his pistol would richochet from the front to the rear speakers, making the kids duck down.
The Shadow also made of use of this in certain areas, particularly with the way voices carried in a room. The part with Shiwan Khan’s voice moving over the city at night was amazing to hear with the right sound system. Just about any scene where The Shadow spoke had this sweet spatial effect that I loved.
The Shadow is the tale of Ying Ko (Alec Baldwin, The Getaway), a.k.a. Lamont Cranston. Living high in the Opium Fields of Tibet, he is a man of darkness, having inflicted great evil over time. Kidnapped and brought to a Tulku (a wise man) who has decided it’s time for redemption, Cranston is taught to cloud men’s minds, bending people to his will and to hide every aspect of himself save for one thing, his Shadow. He then returns seven years later to that “most wretched lair of villainy we know as” New York City, for we all know that the weed of crime bears bitter fruit.
Cranston spends most of his nights at The Cobalt Club with his Uncle Wainwright (Jonathan Winters, It’s a Mad, Mad, Mad, Mad World), who also happens to be the Police Commissioner. It allows him to keep up appearances while making sure the police don’t put The Shadow in their spotlight. When he meets the beautiful Margot Lane (Penelope Ann Miller, The Relic), he’s not only smitten, but finds her ability to read minds a dangerous threat to him.
When a metal casket from Tibet arrives at the New York Museum of Natural History, it reveals Shiwan Khan (John Lone, The Last Emperor), the last descendant of Genghis Khan. Gifted with the same abilities as Cranston, Khan has plans for the city and the world. He would rather have Cranston join him than to kill him. This turns the story into a classic Bond-like cliche where the hero and villain spend the bulk of the movie explaining their plans.
Enjoying the successes of Death Becomes Her and Jurassic Park, writer David Koepp was on a roll. The Shadow doesn’t take itself too seriously. Koepp and director Russell Mulcahy (Highander) splash moments of light comedy at just about every turn, mostly through the witty banter between characters. Some are over the top, particularly with Tim Curry’s character, while others are more subtle, like with Ian McKellan (The Lord of the Rings). If you’re looking for a serious drama in your superhero film, this isn’t it. Additionally, there are one or two elements that make no sense whatever. Mongol warriors walking around in full armor that no one ever seems to notice and taking rides in taxicabs (unless we assume they’re masked by Khan’s magic).
Most of the movie was filmed on the Universal Studios New York backlot, which explains why some scenes look like they were borrowed from Walter Hill’s Streets of Fire (that also used it years before). The mystical Tibetan Phurba dagger that echoes the disposition of its owner was a variant of the one used in Eddie Murphy’s The Golden Child in the late 80s.
if the movie’s climax between The Shadow and Khan feels a bit abbreviated, it’s because of a last minute change in filming. The original plan for the ending involved a series of mirrors, but an earthquake earlier in the year caused damage to the props the production team planned to use. So, what we get is a quicker scene, still falling in line with Mulcahy’s penchant for glass shattering, but leaving the audience to partially wonder what we could have had if everything worked out.
Finally, the real gem in all this is Jerry Goldsmith’s score. Although out of print, you can still find most of the tracks on YouTube, and the songs keep the immersion flowing. While I don’t see the film getting any kind of remakes in the near future, it’s nice to know everything came together (as well as it could) for this entry. Then again, who knows?
Rick Murphy (Scott Glenn) is a punch-drunk boxer who is hired to return an ancient sword to Japan so that it can be returned to its rightful owner, the honorable Toru (Toshiro Mifune). Once in Japan, Rick becomes involved in a battle between Toru and his corrupt brother, Hideo (Atsuo Nakamura). Hideo demands that Rick work as an undercover spy in Toru’s martial arts school or be beheaded. Rick decides to keep his head and be a spy but he soon finds himself truly wanting to learn the ways of the Bushido.
A martial arts film is the last place most people would expect to find Scott Glenn and considering how miscast Glenn is, that’s understandable. Scott Glenn feels very out-of-place as both a boxer and a modern-day samurai. Scott Glenn is a very good actor but the role of Rick Murphy called for someone who could mix comedy with drama and be convincingly desperate. That’s not Scott Glenn. Who would have been better in the role? Tom Berenger was already acting in 1982. Or maybe even someone like Jan-Michael Vincent. Vincent was a B-actor but, deep down, The Challenge is a B-movie.
The good thing is that the action often does make up for Glenn’s miscasting. John Frankenheimer struggled with making the human drama compelling but he knew how to film a good fight. John Sayles’s script is pulpy without ever being disrespectful to Japanese culture and, as always, Mifune looks like he could battle and defeat the entire world if he wanted to.
One final note: Steven Seagal worked behind-the-scenes on the film but we won’t hold that against it.
Harrison Ford stars as Rusty Sabich, a smart and ambitious prosecutor who is accused of murdering his former mistress, Carolyn Polhemus (Greta Scacchi).
Through the Shattered Lens 