Showing posts with label Tom Cruise. Show all posts
Showing posts with label Tom Cruise. Show all posts

Friday, May 1, 2015

Favorite Scene Friday! Magnolia: Just a little respect

For the month of May, here at To The Escape Hatch all our Favorite Scene Friday posts will be celebrating the best character introduction scenes. I'm kicking things off with a personal highlight of mine from one of my favorite movies of all time, Magnolia.


One of the joys of Magnolia is the wealth of well-drawn characters who many of us can relate to, most of whom are introduced via a masterful montage that perfectly encapsulates everything we need to know about them (especially John C. Reilly's nice-guy cop Jim, laughing to himself at the television, and with his motivational poster on the wall of his home). One of the perhaps least relatable, at least initially, characters from the film is all but missing from this montage, except glimpsed on a TV commercial, and that's Tom Cruise's Frank T.J. Mackey. He is the host of the self-help seminar Seduce and Destroy, aimed at men who want to be more successful at bedding women than they currently are, and Mackey's introduction is better than anyone could ever hope.


Let's break it down. That opening, with Cruise silhouetted from behind and Strauss' iconic 2001: A Space Odyssey score blaring out (essentially proclaiming Mackey as the pinnacle of male evolution, at least in his own mind), is perfect. His arms are raised, muscles taut as he lifts them and the spotlight illuminates his face. He does a couple of arm curls just to maximise the effect, and let's not forget that he's doing all this dressed in a skintight tan shirt, trousers that are a little too small, and a faux-leather waistcoat. A shiny, shiny waistcoat. No-one has ever worn a shinier waistcoat outside of a magic act or an especially glittery wedding. There is no doubt how great Mackey doesn't just think he is, but downright knows he is. When Freud wrote about the ego, he was describing Frank T.J. Mackey. Yet we know Mackey isn't all that. From the way whomever is controlling the intro music cuts the song short by a fraction of a second, to just how pathetic the banner that unfurls behind Mackey is, it's clear Mackey's opinion of himself doesn't quite match the scale of his venues. In his mind he's selling out sports stadiums and grand theatres, in reality it's more like a school gymnasium on a Saturday morning.

And then, of course, Mackey starts talking. I'm not going to quote the full speech, mainly because I can't remember Robert's policy with regards to swearing on here, but the level of misogyny on display is breathtaking, and not just the quantity and intensity of it spewing from Cruise's mouth, but also the fact that the crowd eats it up, whooping and hollering at everything Mackey is proclaiming they will soon be able to do. Cruise is nothing short of mesmerizing, and it's all but impossible to take your eyes of him, and he's managed to portray on screen just how much Mackey believes the words he is saying. There's a passion to him, a burning desire to pass on his knowledge in the art of sexual domination. The way he can't help but break into a smile at a particularly raucous response from the crowd, Cruise is in the zone, and personally I don't think he's ever been better.

What's your favorite scene from Magnolia? Is there a character introduction you prefer more?

Friday, January 10, 2014

Favorite Scene Friday! Minority Report: You Can Choose

If you knew your own future, could you change it?

Daniel Keane/Wolf Cadet

That’s one of the main questions in Minority Report, Steven Spielberg’s 2002 sci-fi flick. The film follows John Anderton (a very, very on point Tom Cruise, especially in this week's scene), a detective with the DC police department's “PreCrime” division in the year 2054. The unit operates by using a trio of psychics to predict murders to stop them before they can happen.

When Anderton sees himself supposedly murdering someone in the future - a man by the name of Leo Crow - he goes on the run to prove his innocence before he even commits the crime.

Our scene finds Anderton just after he’s tracked down Crow - mere minutes before his murder is set to happen. But Anderton’s hit by a curve ball - it appears that Crow is the man responsible for the disappearance of Anderton’s long-lost son.



What's great about this film - and any Steven Spielberg movie, really - is that the spectacle is always accompanied by a great human element. Even in Minority Report, a film filled with psychics, flying cars, and futuristic weapons (really it's the most fully realized cinematic future ever), Spielberg's characters deal with humanity's great challenges. Here it's the age-old question of free will versus pre-destination: can Anderton resist the urge to kill Crow and thereby change his own future? Or is he doomed to kill him? It's a tough one. Even if Anderton hadn't had the extra incentive of seeing himself murder Crow, he was as justified as a person could be for wanting to kill someone. But he resisted. But anyway, I'm kind of rambling. It's hard not to when you're talking about this sort of thing.

What's interesting is that you could argue Anderton didn't change much. Crow still dies. Maybe that's the cost of free will?