"ARGO" (2012) ReviewBen Affleck must be at a lucky point in his career. His third directorial effort had recently been released in theaters and is already a commercial and critical hit . . . like his two previous films. And he never struck me as the type who would direct and star in a film about the CIA rescuing American diplomats from the Middle East, let alone co-produce it. But he did and the result is the movie, "ARGO". "ARGO" began in early November 1979, when Iranian militants stormed the U.S. Embassy in Tehran, Iran and took most of the civilian and military staff hostage in retaliation for American offering refuge for the deposed Shah of Iran. At least six staff diplomats managed to get out of the embassy and seek refuge at the home of Canada's ambassador, Ken Taylor. With the six diplomats' situation kept secret, the C.I.A. assigns one of their operatives, one Tony Mendez, to find a way to get the diplomats out of Iran before they could be discovered. After dismissing several proposals, Mendez creates a cover story that the escapees are Canadian filmmakers, scouting "exotic" locations in Iran for a science-fiction film.Mendez and his C.I.A. supervisor Jack O'Donnell, contact John Chambers, a Hollywood make-up artist who has previously crafted disguises for the C.I.A., in addition to his work in the "PLANET OF THE APES" film series. Chambers puts them in touch with a film producer named Lester Siegel. Mendez, Chambers and Siegel set up a fake film studio and successfully establish the pretense of developing Argo, a "science fantasy" in the style of "STAR WARS" in order to lend credibility to the cover story. Meanwhile, the escapees grow frantic inside the ambassador's residence. Shredded documentation from the American embassy is being reassembled, providing the militants with evidence that there are embassy personnel unaccounted for.I am going to cut to the chase. I enjoyed "ARGO" very much. What am I saying? I really enjoyed this movie. So far, it is one of the better ones I have seen this year. Once again, Affleck knocked it out of the ballpark with a first-rate thriller that gave audiences a peek into the efforts of the C.I.A. to save those six diplomats who managed to get captured by the militants. Affleck, along with screenwriter Chris Terrio, did an excellent job in setting up the entire story from beginning to end.One of the movie's gem scenes featured the actual storming of the U.S. Embassy in Tehran on November 4, 1979. It is quite obvious that Affleck, along with cinematographer Rodrigo Prieto, used a hand-held camera style to film this particular sequence. And although I am not a fan of this particular style, I must say that it suited this particular sequence very well, projecting an effective sense of chaos and panic. "ARGO" featured other memorable scenes, including Mendez's efforts to recruit both Chambers and Siegel for his mission, a tense encounter between Taylor's Iranian maid and intelligence officers looking for the diplomats, the humor-filled setup of the Argo Operation in Hollywood, frustrating moments in which Chief of Staff Hamilton Jordan came close to shutting down Mendez's operation, the final escape from Iran by air and a nail-biting sequence in which the same group hit the streets of Tehran for a "location scouting mission" in order to maintain their cover. There is so much about this movie that I enjoyed that it would take an essay for me to explain in great detail. I do not have the patience for such a project, but I do have to comment on the movie's technical aspects. Not only did Rodrigo Prieto did an excellent job in re-creating the violence and confusion of the American embassy takeover, he also captured the muted glamour and insanity of Hollywood with vivid color. I could see that a great deal of his work benefited from some outstanding editing from William Goldenberg. In fact, I really have to hand it to Sharon Seymour and her production designing team for their re-creation of the 1979-1980 period in American and Iranian history. Seymour and her team were ably assisted by Peter Borck and Deniz Göktürk's art direction, along with Jacqueline West's realistic looking costume designs.But "ARGO" would have never worked by Affleck's outstanding direction and the talented actors and actresses that were part of the cast. Not only was I impressed by Affleck's direction, but also his subtle performance as C.I.A. operative Tony Mendez, who did not need guns and fighting skills to accomplish his task - merely brains and nerves of steel. John Goodman was marvelous as the witty and slightly cynical make-up artist, John Chambers. He also had great chemistry with both Affleck and Alan Arkin, who portrayed the sardonic and prickly Hollywood producer, Lester Siegel. I was not that kind to Bryan Cranston in my review of "TOTAL RECALL". But it was great to see his magic again, in his fiery and funny portrayal of Mendez's C.I.A. supervisor, Jack O'Donnell."ARGO" also featured some wonderful supporting performances as well. Kyle Chandler made two brief, but very memorable appearances and President Jimmy Carter's foul-mouthed Chief of Staff, Hamilton "Ham" Jordan. It is a pity that his role was not longer. I was also impressed by those who portrayed the besieged diplomats - the always entertaining Tate Donovan, Clea DuVall, Christopher Denham and Kerry Bishé. Scoot McNairy and Rory Cochrane were especially memorable as a paranoid Joe Stafford and the hilariously sarcastic Lee Schatz. Victor Garber gave solid support as Ken Taylor, the Canadian ambassador who gave the diplomats refuge. And Sheila Vand was marvelous in the tense scenes that featured the Taylors' Iranian housekeeper, Sahar. The movie also featured solid performances from the likes of Zeljko Ivanek, Richard Kind, Titus Welliver, Bob Gunton and Philip Baker Hall.Naturally, "ARGO" is not a perfect movie. Not all of it is historically accurate. This was very obvious in one shot that featured a dilapidated HOLLYWOOD sign that overlooks the Los Angeles Basin. The sign was restored to its former glory in November 1978, 14 to 15 months before Tony Mendez's arrival in Southern California. And I found Mendez and the diplomats' encounter with the Iranian airport security guards and escape from the country somewhat contrived and manipulative.Flawed or not, I cannot deny that I found "ARGO" to be one of the most satisfying movies of the year. I enjoyed it that much, thanks to a first-rate script by Chris Terrio, superb direction by Affleck and an excellent cast that included John Goodman, Bryan Cranston and Alan Arkin. In the end, "ARGO" strikes me as another triumph for Affleck and his two co-producers, George Clooney and Grant Heslov.
"NORTH AND SOUTH: BOOK II" (1986) - EPISODE SIX "March-April 1865" CommentaryI hate to say this, but whenever I watch "NORTH AND SOUTH: BOOK II", I usually heave a sigh of relief after the last episode fades away. I have never done this with the other two miniseries - "NORTH AND SOUTH: BOOK I" and "HEAVEN AND HELL: NORTH AND SOUTH BOOK III". But with the 1986 production, I usually do. There is something about watching this particular production usually ends up as hard work for me. Episode Six of "BOOK II" began at least a month after Episode Five ended. This episode began with Orry Main hiring a former Pinkerton detective to find his missing wife, Madeline Fabray LaMotte Main. The latter continues her efforts to feed Charleston's poor by appealing to Union general William Tecumseh Sherman. With nothing else to do, Orry has no choice but to help the Confederacy defend Richmond, Virginia; which is under siege from the Army of the Potomoc under Ulysses S. Grant. The episode eventually leads into the Battle of Fort Stedman, in which Orry, his cousin Charles, George and Billy Hazard all participate. The Union victory at Fort Stedman eventually lead to another military victory for the Army of Potomoc and Confederate General Robert E. Lee's surrender to Grant at Appomattox Court House. Once the episode puts these series of historical events behind, Episode Six refocuses on the main characters' personal lives. Episode Six closes more story arcs that began in Episode One than the previous episode did. The consequences of Charles Main and Augusta Barclay concludes in one stage and begins in another that will continue in 1994's "HEAVEN AND HELL: NORTH AND SOUTH BOOK III". The war's end leads to a final romantic reunion for Billy and Brett Hazard. In fact, the Charles/Augusta and Billy/Brett relationships were not the only ones that came to fruition in this episode. Episode Six also resolved the romance between Semiramis and Ezra, with the former finally acknowledging her love for the latter. And yes, Orry finally finds Madeline and their son with the help of George and Madeline's attorney, Miles Colbert. With war, there is always the chance for tragedy. While tragedy of one kind marked John Jakes' 1984 novel, another kind of tragedy ends Virgilia Hazard's relationship with Congressman Sam Greene and her character arc, which began in "BOOK I". Tragedy also occurred during the attack upon Mont Royal near the end of the episode. Irony also seemed to be hallmark of this attack, for it was led by an alliance between former Mont Royal slave Cuffey and former overseer Salem Jones. I found it ironic that a black man and a white man, former enemies due to their positions as slave and overseer, should form an alliance against the very family that had controlled their lives in one form or another. Non-elites of two different races uniting against the elite. Talk about a rich man's worst nightmare. There was a good deal about Episode Six for me to praise. One of the miniseries’ strengths has always been its battle scenes. And this particular episode featured an exciting interpretation of the Battle at Fort Stedman. As I had earlier noted, this episode also featured a poignant recreation of the Surrender at Appomattox. There were some dramatic scenes that I found very satisfying. One of them included George and Orry's emotional reunion following the Appomattox surrender and Charles' return to Barclay's Farm. A part of me realizes this might be wrong, but I felt a great sense of satisfaction in the way Virgilia dealt with her situation with Congressman Sam Greene. However, her act landed her in serious legal trouble and a very tearful reconciliation with her brother George. Last, but not least was Cuffey and Salem Jones' action-packed assault on Mont Royal.I have to give credit to several people for the manner in which both the action and dramatic sequences in this episode. One of them is Kevin Connor, who I must admit did a pretty solid job in helming this six-part, 540-minutes juggernaut for television from a script filled with plot holes. I also have to comment upon the work of cinematographer Jacques R. Marquette, whose excellent photography of the miniseries added a great deal of pathos to a story about one of the United States' most traumatic periods in its history. I was especially impressed by how he handled the Fort Stedman sequence. Bill Conti's score contributed a great deal to the production's narrative. And I was also impressed by the work of the six men who served as the miniseries' film editing team, especially for the Fort Stedman and Mont Royal attack sequences. And as usual, Robert Fletcher knocked it out of the ballpark with his costume designs . . . especially for the outfits shown in the images below: 
Judging from Fletcher's filmography, I suspect that "NORTH AND SOUTH: BOOK II" was his best work on screen - movies or television."NORTH AND SOUTH: BOOK II" also featured some fine performances. Aside from one particular scene that I found particularly hammy, I was satisfied with the performances featured in this episode. For me, the best performances came from Patrick Swayze, Lloyd Bridges, Parker Stevenson, Forest Whitaker, Tony Frank, David Ogden Stiers, Jean Simmons, Inga Swanson, John Nixon. I was especially impressed by James Read and Kirstie Alley's performances in the scene that featured George and Virgilia's emotional reconciliation and discovery of President Abraham Lincoln's assassination. And the poignancy in the Appomattox surrender sequence greatly benefited from Anthony Zerbe and William Schallert's portrayal of Generals Ulysses S. Grant and Robert E. Lee. On a minor note, if you look carefully during the miniseries' last half hour, you might spot future star Bryan Cranston as a Union officer whom George questions about Orry whereabouts, following the Fort Stedman battle.Although there seemed to be a good about Episode Six that strikes me as praiseworthy . . . and there is, I found a good deal that I found problematic. Which strikes me as a pity, for the emotional levity featured in this episode could have made Episode Six my favorite in the entire miniseries. Alas . . . I have too much to complain about. Three of my problems centered around the Charles Main character. First of all, two months after he last saw Augusta Barclay in Episode Five, Charles discovered that he was the father of an infant boy. Apparently Augusta had died while giving birth to their son. Unfortunately . . . Augusta DID NOT look pregnant during her last meeting with Charles. And considering that they had made love in the previous episode, her pregnancy should not have come as a surprise to him. To make matters worse, young Augustus Charles Main looked as if he had been conceived nearly two years ago. Honestly. The kid looked at least one year old. And Charles and Augusta had started their affair eleven months before the end of the war. Unlike Jakes' novel, Charles found his son being cared for by Augusta's South Carolina relatives in Charleston. Really? Was that necessary? I found it ridiculously convee-ee-ee-ient that Augusta had Charleston relatives, who managed to be in Virginia at the time she gave birth to her son. My second problem with Charles is the fact that it took him less than a week to travel from Spotsylvania County, Virginia to Charleston, South Carolina. Less than a week? On horseback? Charles' journey should have taken him longer. This seemed like an extreme reversal of Brett and Semiramis' ludicrous four-month journey from Washington D.C. to Mont Royal. Quite frankly, I felt a bit put out that the screenwriters (which include John Jakes) dumped a tragic ending to Virgilia Hazard's story arc. Unlike the miniseries, Virgilia survived her affair with Congressman Greene and ended up marrying another black man - the same man who had befriend George, Constance and Brett in the novel. Apparently, Wolper Productions felt that since Virgilia's five-year marriage had ended in tragedy, it seemed proper to give her a tragic ending, as well. Or perhaps many of the trilogy's fans had found Virgilia's radical politics and marriage to Grady so off-putting that David Wolper and the screenwriters had decided to appease them by giving her a tragic ending. Regardless their reason, I found Virgilia's tragic ending very annoying and clichéd. As much as Patrick Swayze's portrayal of Orry Main had impressed me in this episode, there is one scene in which his acting skills failed to impress. I hate to say this, but I cannot hold it back. I refer to the scene in which Orry finds the body of his mother Clarissa Main, following the attack upon Mont Royal and expresses his grief. Can I say . . . OVER-THE-TOP? Seriously. I found it to be one of the hammiest moments in the entire television trilogy.But the episode's real problems were made obvious during the Fort Stedman battle sequence. Granted, I was impressed by the visual style of this segment. But I noticed the screenwriters went out of their way to ensure that the major four military characters - George, Billy, Orry and Charles - all participated in this battle. In ensuring this, the screenwriters committed a great deal of inconsistencies and bloopers. Orry led a group of infantry troops into battle for the first time, since the Battle of Churubusco, nearly eighteen years earlier. Personally, I never saw the need for him to be put into the field. The Army of Northern Virginia still had enough commanders to lead men into battle. One of the officers under his command proved to be Charles. Charles? Charles, who spent the entire war as a cavalry officer and scout under Wade Hampton III? I am aware that Charles had led infantry troops during the Battle Antietam, during Episode Three. And I had pointed that this was a major blooper. Yet, the screenwriters repeated this same blooper by allowing him to lead infantry troops again during the Battle at Fort Stedman . . . this time, under Orry's command. Also leading infantry troops for the Union was George Hazard. Now, I am baffled. George had command of Artillery troops during the Battle of Gettysburg in Episode Three and when he was captured during Episode Four. Could someone explain why the screenwriters had decided to have him lead Infantry troops in this episode? Among the troops under George's command proved to be his brother Billy, who continued to serve with the Sharpshooters. It was bad enough that the writers had Charles serving under Orry during this battle. But they had Billy serving under George, as well? There is more, folks. Not only did Billy continued to serve with the Sharpshooters, he also seemed to be in command of them. For, I saw no other officers during this scene. I am aware that Hiram Burdan was no longer in command of this regiment by the end of the war. But what happened to the other officers in the regiment? What happened to Rudy Bodford and Stephen Kent? They seemed to have disappeared. And how did Billy end up in this position, considering that he had spent nearly 10 months AWOL between the summer of 1863 and the spring of 1864? What the hell, guys? Come on!Do not get me wrong. There is still plenty to admire about "NORTH AND SOUTH: BOOK II". Like its predecessor, "NORTH AND SOUTH"; it has its share of good acting, exciting sequences, drama, superb production values, and probably the best costume design in the entire trilogy, thanks to Robert Fletcher’s work. Unfortunately, the 1986 miniseries has its share of major flaws that included clunky dialogue and probably some of the worst writing in the entire trilogy. And when I say the entire trilogy, I am including the much reviled "NORTH AND SOUTH III: HEAVEN AND HELL". "NORTH AND SOUTH: BOOK II" might be my least favorite chapter in the television trilogy, thanks to a great deal of plot holes and historical inaccuracies . . . I still managed to enjoyed it anyway.
