Cinema Experts

“Be like a duck, my mother used to tell me. Remain calm on the surface and paddle like hell underneath."
When Caine first became an actor, he adopted the stage name "Michael Scott". His agent soon informed him, however, that another actor was already using the same name, and that he had to come up with a new name immediately. Speaking to his agent from a telephone box in Leicester Square in London, Caine looked around for inspiration, noted that The Caine Mutiny was being shown at the Odeon Cinema, and decided to change his name to "Michael Caine". He once joked to an interviewer that had he looked the other way, he would have ended up as "Michael One Hundred and One Dalmatians".
Caine's acting career began in Horsham, West Sussex. He responded to an advertisement for an assistant stage manager for the Horsham-based Westminster Repertory Company. This led to walk-on roles at the Carfax Theatre. After several minor roles, Caine came into the public eye as an upper-class British army officer in the 1964 film Zulu. This proved paradoxical, as Caine was to become notable for using a regional accent, rather than the received pronunciation hitherto considered proper for film actors. At the time, Caine's working-class cockney, just as with The Beatles' Liverpudlian accents, stood out to American and British audiences alike. Zulu was closely followed by two of his best-known roles: the spy Harry Palmer in The Ipcress File (1965), and the woman-chasing title character in Alfie (1966). He went on to play Palmer in a further two films, Funeral in Berlin (1966) and Billion-Dollar Brain (1967). Caine made his first movie in the United States in 1966, after an invitation from Shirley MacLaine to play opposite her in Gambit. During the first two weeks, whilst staying at the Beverly Hills Hotel, he met long term friends John Wayne and agent "Swifty" Lazar.
After ending the 1960s with the equally iconic The Italian Job, with Noel Coward, and a solid role as an RAF fighter pilot, Squadron Leader Canfield, in the all-star cast of Battle of Britain (1969), Caine entered the 1970s with Get Carter, a British gangster film. Caine was busy throughout the 1970s, with successes including Sleuth (1972), opposite Sir Laurence Olivier and The Man Who Would Be King (1975), costarring Sir Sean Connery. By the end of the decade, he had moved to the U.S., but his choice of roles was beginning to be criticised. Caine was averaging two films a year, but these included such failures as The Swarm (1978), Beyond the Poseidon Adventure (1979), The Island (1980) and The Hand (1981). Although Caine also took better roles, including a BAFTA-winning turn in Educating Rita (1983) and an Oscar-winning one in Hannah and Her Sisters (1986), he continued to appear in notorious duds like Jaws: The Revenge (1987) and Bullseye! (1990). Of the former, Caine famously said "I have never seen the film, but by all accounts it was terrible. However I have seen the house that it built, and it is terrific".
The 1990s were a lean time for Caine as he found good parts harder to come by. His early '90s output included a villain in the Steven Seagal flop On Deadly Ground (1994), two straight to video Harry Palmer sequels and a few television movies. However, Caine's reputation as a pop icon was still intact, thanks to his roles in films such as The Italian Job and Get Carter. His performance in 1998's Little Voice was seen as something of a return to form, and won him a Golden Globe Award. Better parts followed, including The Cider House Rules (1999), for which he won his second Oscar, Last Orders (2001), The Quiet American (2002) and others which helped rehabilitate his reputation. Several of Caine's classic films have been remade to appeal to new, younger audiences, including The Italian Job, Get Carter, and Alfie. In 2005, he was cast as Bruce Wayne's butler Alfred in the Batman film series. In 2006, he appeared in the films Children of Men and The Prestige.
Caine has been Oscar-nominated six times, winning his first Academy Award for the 1986 film Hannah and Her Sisters, and his second in 1999 for The Cider House Rules, in both cases as a supporting actor. He was appointed Commander of the Order of the British Empire (CBE) in 1993 for services to drama, and in 2000 he was knighted, becoming Sir Maurice Micklewhite. Unlike many actors who adopt their stage name for everyday use, Caine still uses his real name when he is not working.
Caine is a popular subject for impressionists and mimics, having a voice and manner of speaking that are distinctive, yet fairly easy to imitate. Most Caine impressions include the catchphrase "Not a lot of people know that”. In 1983, the remark really caught on, when Caine was given the line to say as an in-joke in the film Educating Rita. In 1984, he also put the name Not A Lot Of People Know That! to a book of trivial facts for charity.
Caine is one of only two actors to be nominated for an Academy Award for acting (either lead or supporting) in every decade since the 1960s. The other is Jack Nicholson.

“A week ago I bought a rifle, I went to the store - I bought a rifle! I was gonna, you know, if they told me I had a tumor, I was gonna kill myself. The only thing that might-ve stopped me - MIGHT'VE - is that my parents would be devastated. I would have to shoot them also, first. And then I have an aunt and uncle - you know - it would've been a blood bath.”
In "Hannah and her Sisters," Woody Allen has created a funny, poignant, and sweet film about three very different sisters. The focus is Hannah (Mia Farrow), a successful actress currently married to Elliot (Michael Caine) and divorced from Mickey (Woody Allen). She's more of a mother figure to her sisters, Holly and Lee (Dianne Wiest and Barbara Hershey) than their own mother (Farrow's real-life mother, Maureen O'Sullivan) an alcoholic performer who likes to flirt with younger men, to the fury of her husband. Hannah handles her mother, puts up with Holly constantly borrowing money and then picking fights with her in that mother/daughter fashion, but she doesn't know that her sister Lee is having an affair with Elliot. And so it goes, as Thanksgivings pass and the women attempt to straighten out their lives.
The film is not so much a comedy as it is a drama. The comedy that's in it fits, and is good: the humorous parts of the films are provided by Wiest and Allen, and some of the lines and situations are hilarious: Holly and Mickey's disastrous date ("I had a great time. It was just like the Nurenberg trials"), Mickey's contemplation of suicide, and Mickey's fear of a brain tumor. Allen is brilliant as a man who believes he's living in a godless world but wants to believe. Though Jewish, he decides to become Catholic, bringing home religious info with his mayonnaise and Wonder Bread; when that doesn't work out, he talks to the Hari Krishna in the park. Wiest is as adorable as she is fantastic as a manic-depressive who goes from acting (including auditioning for a musical when she can't sing), catering (until her partner, played by Carrie Fisher, steals the man she thinks is her boyfriend), and finally writing.
The rest of the cast is magnificent and tackle some of the more serious moments of the movie: Michael Caine as Hannah's husband, looking for love in all the wrong places; Max von Sydow, Lee's tortured artist boyfriend; and Lloyd Nolan and Maureen O'Sullivan as the sisters' parents, in an imperfect marriage filled with love, booze, and jealousy. Hershey is lovely as a confused woman who adores her sister but looks to Caine for a way out of her relationship with a controlling boyfriend.
Like most of Woody Allen's films, it is very well-made. His movies always have a simplistic, deadpan use of the camera that works quite well, a lot of the time keeping the camera stationary in the hallway as the characters leave and go from room to room, passing the camera by as it sits, almost as if it were the point of view of the house itself watching its residents go through life. In Hannah and Her Sisters, there are a few great moments where the camera is used to great and unpredicted comical effect. He also uses music very well in this film. The constant, old-fashioned, eclectic soundtrack plays in nearly every scene and when one scene jumps to another, the changing music will contradict the last piece of music from the previous scene.
It has it all; it's hysterically funny at times (the hypochodriac), it's incredibly painful (afternoons) at others and the blending of the characters paths (“Lucky I ran into you”) is just beautiful… 10/10

“The kid gets it all. Just plant us in the damn garden, next to the stupid lion.”

"Secondhand Lions" is a movie which has achieved excellence. The story line is fast-moving and packed with nuance. Various elements of the plot overlap and blend for a harmonious whole. It is not a series of action scenes played primarily for visual impact, but a compelling story which demands attentive viewing.
Flashback scenes are intentionally cartoonish, so that the audience, like the character of the boy Walter, is left wondering whether the fantastic tales of the old uncles' adventurous youth are really to be believed. Uncle Garth tells the stories, which we see through Walter's imagination. We see in the flashbacks what Walter envisions as he hears the stories, and Walter doesn't have the age and experience to see anything other than the caricatures which appear in the flashback scenes. It's not a photo-accurate rendition, it's what a youngster imagines while listening to oral storytelling. For instance, a twelve-year-old Texan in the 1950s wouldn't have been likely to know what a really angry Sheik would have looked like in the 1920s. These flashbacks, and the ways in which they are depicted, are central to the plot of the movie. Through his storytelling, without realizing it, Uncle Garth nurtures a creative potential in Walter (who will grow up to become a cartoonist).
Christian Kane is a magnificent casting choice as young Uncle Hub (the younger incarnation of Duvall's character), displaying just the right kind of spark for the daring adventurer. Kyra Sedgwick is eerily believable as Walter's shallow and self-absorbed mother. The family of hick relatives is superbly annoying.
Haley Joel Osment delivers a solid portrayal of Walter. Sometimes his voice sounds like that of a boy, sometimes like that of a young man, as would be expected in a male of Walter's age. Sometimes Walter cries like a child, sometimes he displays stoic maturity, as would be expected from a boy who is in the transition of becoming a man. We see Walter unsure of himself in the beginning, but later finding his footing. Not too sugary, not too hard-edged, Haley Joel Osment is ideal for the role. He may be overshadowed by Caine and Duvall, but actually holds his own reasonably well, working between these two living legends.
Michael Caine's accent as Uncle Garth is a perfect portrayal of a Texan who has lived outside Texas for much of his life. Garth is no bumpkin hick, but a man who has traveled the world, and in light of his experiences it would not have been credible to give this character a strong country drawl. Even though, as the plot progresses, we don't know how much of Garth's fantastic storytelling we should believe, there is never a question of whether Garth has ventured outside the Texas borders. Michael Caine gives Uncle Garth just the right combination of toughness and tenderness, and treads the fine line of allowing us to see Garth as a trustworthy character regardless of his adventurous stories.
The uncles are very realistic characterizations, and Texas holds many characters like them. The aging uncles had, as young men, gone away to find adventure, and lived on the edge for much of their lives. Then they returned home to retire in a rural Texas setting which they were finding to be just a little too tame, no longer remembering much about Texas country life except for acquiring the obligatory too many dogs. The uncles don't say much to each other because there is no need to say much, they understand each other perfectly. Confronted with age, they seek out reckless behavior, unwilling to sit still and get older, unable to overtly give up on life. Walter's presence suddenly requires them to adapt to new purpose, and to take care of themselves, too, as they are faced with the issue of providing appropriate male role models so that their young nephew might one day become an appropriate man.
The characters must make choices, and not always easy ones. The valiant tales of adventure don't always conclude with happily-ever-after fairytale endings. It is not purely a comedy, but instead probes the depths of emotion... 8/10

“Every great magic trick consists of three parts or acts. The first part is called "The Pledge". The magician shows you something ordinary: a deck of cards, a bird or a man. He shows you this object. Perhaps he asks you to inspect it to see if it is indeed real, unaltered, normal. But of course... it probably isn't. The second act is called "The Turn". The magician takes the ordinary something and makes it do something extraordinary. Now you're looking for the secret... but you won't find it, because of course you're not really looking. You don't really want to know. You want to be fooled. But you wouldn't clap yet. Because making something disappear isn't enough; you have to bring it back. That's why every magic trick has a third act, the hardest part, the part we call "The Prestige".
The Prestige is a 2006 period film directed by Christopher Nolan, with a screenplay adapted from the 1995 World Fantasy Award-winning novel of the same name by Christopher Priest. The story follows Robert Angier and Alfred Borden, rival stage magicians in fin de siècle London. Obsessed with creating the best stage illusion, they engage in competitive one-upmanship with tragic results.
The rivalry between Borden and Angier dominates the film. Obsession, secrecy, and sacrifice fuel the battle, as both magicians contribute their fair share to a deadly duel of one-upmanship, with disastrous results. Angier's obsession with beating Borden costs him Cutter's friendship, while Borden's obsession with maintaining the secrecy of his twin leads Sarah to question their relationship, eventually resulting in her suicide; in the end, Angier and Borden both lose Olivia's love because of their obsessions. Their struggle is also expressed through class warfare: Borden as The Professor, a working-class magician who gets his hands dirty, versus Angier as The Great Danton, a classy showman whose accent makes him appear American
Michael Caine took on this engineering role as Cutter, responsible for assisting Rupert Angier (Hugh Jackman) with loyalty and conviction that they could, as a team, beat Christian Bale's Alfred Borden. I thought the cast in general were superb, with Christian Bale leading the charge. Hugh Jackman too showed that he could play a dark character, as the two leads tackled their characters' theme of sacrifice, arrogance, and ultimately redemption, especially for Rupert Angier. I thought he did what he did towards the end was a kind of penance to what happened in the beginning, hoping to kill two birds with a single stone, to exact the sweetest revenge he could possibly muster. What also was intriguing about the two lead characters was that there is no right or wrong, no hero or villain. It's always a shade of grey in what they do, and for Alfred Borden, I felt it's more for survival and the provision for family, which is a strong subplot running through the film. A movie with the power of becoming a cult classic, ''The Prestige'' is magical. In every sense of the Word. 9/10