Top 5... Morgan Freeman Roles

Unbelievably, Morgan Freeman is 75 today! He is most famously known for his smooth, melifluous tones, making him easily the greatest narrator available for any story like to tug the occasional heartstring and culminate in an uplifting scene, but his lovable, greatest-grandfather-yoou-never-had persona has been perfectly suited to many other roles too. Let's have a look at the ones that fitted most perfectly.

Unlisted: Invictus

South Africa, May 1994. Nelson Mandela (Morgan Freeman) was released from prison 4 years ago, and has just been elected as the country's president. Amidst a nation-wide racial clash, Mandela believes that the key to a united country could lie within the national rugby team, the Springboks, and their captain Francois Pienaar (Matt Damon).

Mandela's plan, it seems, is for the Springboks - a team so despised by the black population that they instinctively root for whoever is playing against them, and who hadn't been doing terribly well before Mandela got involved - to win the Rugby World Cup in less than a year's time, though experts believe they'll get no further than the quarter finals at best. The Springboks, with only one black player and a uniform of apartheid's green and gold, find themselves in a position where their president wants them to be cheered on by the entire mixed nation, so embark on a PR campaign involving playing and teaching rugby to the poor black kids from the slums of the country. Going in, I thought his plan would have been to create a team comprised of 50% blacks and whites, thereby creating animosity as to whether the players were recruited for their skill or the colour of their skin, but in effect his plan was... nothing. Other than some inspirational speeches, standard marketing techniques, a slightly more intense training regime and an admirable cause, the aim seems to be just to will the team to win. Much like Million Dollar Baby, I could have done with some more time spent on the reasons behind the success, not simply showing it.

Million Dollar Baby

The second part of my Clint-Eastwood-directing-himself-and-Morgan-Freeman-in-a-supporting-role double bill see Clint take on a genre he's never really (that I know of) looked at before, the sports movie (please feel free to let me know if he has, I'm often wrong about these things and he's been working for an awfully long time).

If there's two criticisms that can be lauded onto Eastwood, it's that he doesn't direct happy stories or portray more than one character. He's not renowned for making lighter films with happy endings or playing people who aren't grumpy, stoic curmudgeons with their trousers too high, and his streak continues here. I know he's made a few lighter films (Paint Your Wagon, Every Which Way But Loose) but I haven't seen them, and I'm guessing he plays the grumpy, stoic, possibly singing straightman to a comically messy primate who never stops annoying him. Again, please let me know if I'm wrong and recommend any films where he flashes a smile, once.

Unforgiven

The first part of my double bill of Clint-Eastwood-directing-himself-and-Morgan-Freeman-in-a-supporting-role sees the American icon define the genre that not only made him the prolific star he is, but that he has almost singlehandedly kept alive since it's surge in popularity in the 60s and 70s; the western.

Unforgiven sees Eastwood as William Munny, a former hardened killer reformed by the love of a good women and the birth of his two children. With his wife dead and their herd of pigs stricken with fever, Munny accepts the offer from young upstart The Schofield Kid (Jaimz Woolvett) to kill two ruffians who cut up a whore after she laughed at one of them having a small penis. They team up with Munny's former partner Ned Logan (Morgan Freeman) and head out to the town of Big Whiskey, lorded over by Gene Hackman's occasionally violent 'Little' Bill Daggett, where other hired killers, including Richard Harris' English Bob, are also heading to claim the bounty.

Seven

A buddy cop movie with a seasoned old hand so close to retirement they're already scraping his name off the door and his hotshot, firebrand young replacement, this couldn't be further from another Lethal Weapon. Yes, one's a family man and the other's a loner, one is prone to anger and the other a methodical, careful detective clearly too old for this shit, but where Richard Donner's 80's staple is an entertaining, action-packed romp, this is something much darker.

After a disturbingly evocative opening credits sequence enriched with depth and meaning on repeated viewings, we meet Morgan Freeman's detective Somerset, picking up his last case, a sickeningly masterful serial killer with a penchant for the seven deadly sins, the same day as Brad Pitt's Detective Mills arrives to replace him. That's as much setup as there is, as we follow the mismatched detectives from crime scene to crime scene, via their headquarters and areas of research, with Somerset whiling a night away poring over books in the library, whilst Mills take a brief glance at the Cliff notes.

The Dark Knight

What can I say about the Dark Knight that a thousand others before me haven’t? Of all modern films, this seems to be the one pored over most closely and often, heralded as the saviour of the summer blockbuster, superhero movie and crime thriller, all rolled up in the tightest of scripts. So, to take a fresh perspective, I sought out some people who didn’t like the film (thank the lord for the Internet, it makes people who don’t like something so easy to find) and found myself furious after reading just one and a half 1/10 reviews on IMDb. The sheer level of nitpicking and miniscule plot-hole unravelling proves just how far people are willing to go to disagree with the masses and stand out from the crowd, even when the crowd is so undeniably correct.

Not that this is a perfect film. There are flaws, including the Joker’s plan being at times a tad too pre-emptive, some ominous camera angles and music cues hinting unsubtly a character’s true motives earlier than should have been done, and the bit with the cellphones, which is a bit silly, but is that really enough to warrant a 1-star rating? The fact that these reviewers (I won’t give them the satisfaction of names or links, only seek them out to feel the rage bubble inside you) fail to note even one positive point in a movie overflowing with brilliance negates any opinion they deem worthy of sharing. I personally find it impossible to find nothing good in a movie – The Adventures of Pluto Nash is an abomination unto film, yet Randy Quaid is a delight as Nash’s robotic assistant; Big Trouble in Little China is easily one of the worst films I’ve reviewed from the list so far, but it has imaginative (if insane) monsters and mythology, some dialogue that surpasses cheesy to being inspired, and features Kim Cattrall back when she was attractive. Therefore, with such damning reviews as these ‘people’ have offered, they are in fact unwittingly proving how good a film it is.

Leaping from the tantalising springboard ending of BatmanBegins – Gary Oldman’s Jim Gordon showing Batman a playing card left as the mark of a new criminal, calling himself The Joker, we dive headlong into a wonderfully executed bank heist, as six masked goons effortlessly separate mob money from the vaults it was stored in. Director Chris Nolan has made no secret that Heat, Michael Mann’s superb DeNiro/Pacino cat and mouse crime epic, was a huge influence on the Dark Knight, and it shows, from a William Fichtner cameo to a central meeting of the hero and villain, even mentioning a cup of coffee.

Nolan wisely improved upon some mild mis-steps made in Batman Begins here, replacing Katie Holmes with Maggie Gyllenhall as love interest Rachel Dawes, giving Batman’s mask a cowl so he can turn his head, and giving Batman himself (Christian Bale, good but no Adam West) a little less screen time, allowing alter ego Bruce Wayne and his various accomplices and nemeses some breathing room. Aaron Eckhart is spot-on as Harvey Dent, Gotham’s shining hope against the mob, and Morgan Freeman and Michael Caine remain on hand to add a touch of old school class and grandeur as Wayne’s dependable CEO nad curmudgeonly butler/moral compass, but justifiably most of the praise has been directed at the late Heath Ledger’s Joker. A creation for the ages, his layered performance of a truly maniacal genius reveals more with each viewing, and it is unfortunate that the role showcased the true acting abilities of a man previously thought of merely as a rom-com heartthrob only after he had passed. Plus, it gave us all another Hallowe'en costume to use.

Unusually for Nolan, the film is actually quite funny. It’s not exactly laugh-a-minute (there’s certainly less than 152 jokes here), the script is still a lot more humorous than you might remember. There’s also absolutely no filler, with every strand being integral to the plot; a true achievement when you consider just how engaging the story is, even when new elements are being added right up until the last few scenes.

As always with Nolan’s films, there’s a couple of cinematography moments that I’d have tried differently (see Inception), most notably the scene where the Joker leaves a hospital, which could have looked truly tremendous had it been one unbroken shot, without needlessly cutting away to some pedestrians nearby, but this is a small matter that is more of a personal niggle than a criticism.

Anyway, for those wondering if they should watch the film again before the upcoming trilogy closer The Dark Knight Rises this summer, the answer is a resounding yes. Even if you don’t intend to see part 3 (I assume you’re planning on gouging out your own eyeballs, just in case it isn’t any good, there’s no other reason not to see it) you should watch The Dark Knight again, just because it’s probably the best film to have been released in the last 5 years, if not more.

Choose film 9/10

Batman Begins

As the title suggests, this predominantly covers Batman’s origin story, from the death of his parents after he becomes scared at the theatre, through his training by Liam Neeson’s Ducard, his development of a crime-fighting persona and his confrontation with his former mentor in a city ridden with toxin-crazed criminals and madmen. This is arguably the most realistic, or at least vaguely plausible comic book movie ever made, with the only real superpowers on display being a gas that makes people insane and a ridiculously vast fortune to funs Bruce Wayne’s double lifestyle. Granted, the secret passage in Wayne Manor is operated by hitting a coded sequence of piano keys, but this can be forgiven, and is at least a variation from the classic sliding of a secret book on a shelf.

The film has become criminally underrated since the release of the cinematic behemoth that was the Dark Knight, but Begins gives more room for Christian Bale’s Batman to breathe, as opposed to battling for screen time with the Joker and Two-Face. Not that Begins is light on villains, as alongside the aforementioned Ducard there is Tom Wilkinson’s mob boss Carmine Falcony and Cillian Murphy’s malicious Scarecrow, whose mask is genuinely unsettling. Padding out the good guys are Morgan Freeman’s tech-wiz Lucius Fox, Gary Oldman’s police commissioner Gordon and, of course, Michael Caine’s introduction to a new generation of fans as Wayne’s butler Alfred.

Certainly at times it is easy to lose track of who’s hitting whom in the fistfights, director Chris Nolan’s Batarang approach to plotting seems to suit the film better than it does the audience and somebody really needs to tell Katie Holmes to just stop being in films, but this is still one of the better superhero films in an ever increasingly crowded genre. You should await the forthcoming Dark Knight Rises with a barely concealed level of glee.

Choose film 8/10

The Shawshank Redemption

This is one of the films I’ve seen more times than any other, up there with Armageddon and Die Hard with a Vengeance (criminally, neither of which appear on the list). Shawshank tells the story of Andy Dufresne (Tim Robbins), wrongly convicted of the murder of his wife and her lover. Really though, the film is about friendship, with Dufresne meeting Morgan Freeman’s Red, a man known to locate certain items from time to time, and the two form a firm bond. The film also shows how to make the best of a bad situation, as before imprisonment Andy was in a relationship with an unfaithful women, a successful but passion-less job as a banker and had few, if any, friends (none seem to visit him throughout his sentence), yet in prison he thrives, providing sound financial advice to the guards, making friends and finding peace within himself with the aid of a newfound routine and meaning. Andy never knew that all he wanted was freedom, until what little he had was taken away from him.

Choose film 9/10

R.E.D.

Do you want to see Morgan Freeman beat up Richard Dreyfuss? John Malkovich take out a rocket with a single bullet? Helen Mirren threaten to bury someone in the woods before unleashing Hell with a sniper rifle? Of course you do, so you should go and see RED. This movie is all about playing against type, with almost all of the principle cast not being well known for action roles. Bruce Willis, obviously, is the most well known for out-and-out balls to the wall action, and Karl Urban, perfecting his unemoting suit with balls ready for his next role as Judge Dredd, has done his fair share, but personally I’ve never seen Brian Cox unload an uzi on someone.

It’s refreshing too to see Hollywood actors playing their age, knowingly accepting put downs (“I wanted you to have hair”), and for the love interest to be a real, flawed person, albeit ten years younger than Willis, stuck in a dead end job, single with no prospects, plausibly forging a telephone relationship with someone she hasn’t met. It would have been easy to cast a younger, thinner, blonder identikit actress like Katherine Heigl or Rachel McAdams, but instead to use Mary Louise-Parker, more known for her TV work in Weeds and the West Wing, crows’ feet as defined as her comic timing and ability to hold her own with her more, ahem, experienced co-stars, is a welcome touch.

Thanks the heavens for the casting of Ernest Borgnine, deserving of my in-the-air fist-pump every time he came on the screen. The guy’s a legend.