Jonathan Taplin Movies

Cadillac Desert: Water and the Transformation of Nature - An American Nile is part of an award-winning documentary series that depicts the use and misuse of water in the American West. Based on Marc Reisner's book, Cadillac Desert, the episode takes an in-depth look at the damming of the Colorado River and how it became the most "controlled, litigated, domesticated, regulated, and over-allocated river in the history of the world." The 60-minute program, which aired originally on PBS, is narrated by Alfre Woodard and includes modern shots of the river as well as archival footage. The other three volumes in the series are: Cadillac Desert: Water and the Transformation of Nature - Mulholland's Dream, Cadillac Desert: Water and the Transformation of Nature - The Mercy of Nature, and Cadillac Desert: Water and the Transformation of Nature - Last Oasis.

~ Kathleen Wildasin, Rovi

Cadillac Desert: Water and the Transformation of Nature - Last Oasis is part four of a four-volume award-winning documentary series that depicts the use and misuse of water in the American West. Based on Sandra Postel's book, Last Oasis, the episode takes an in-depth look at how America's large dams became prototypes for projects in developing countries. The Three Gorges Dam in China and the Sardar Sarovar Project on India's Narmada River are featured. The 60-minute program, which aired originally on PBS, is narrated by Alfre Woodard. The other three volumes in the series include: Cadillac Desert: Water and the Transformation of Nature - Mulholland's Dream, Cadillac Desert: Water and the Transformation of Nature - An American Nile, and Cadillac Desert: Water and the Transformation of Nature - The Mercy of Nature. ~ Kathleen Wildasin, Rovi

Director Clare Peploe (wife of Bernardo Bertolucci) adapted this blend of noir mystery and magical realism from the story Miss Shumway Waves a Wand by James Hadley Chase. Bridget Fonda stars as Myra Shumway, an apprentice to a magician (Kenneth Mars) in 1952 Los Angeles. Myra is unhappily engaged to Cliff Wyatt (D.W. Moffett), a sleazy, Howard Hughes-like uranium heir who wants to run for president. After her fiancée accidentally kills her boss, Myra flees to Mexico in search of a renowned female shaman who may be able to teach her the secrets of magic. Wyatt sends an investigator, Alex Ross (Russell Crowe), to find Myra and bring her back. A former photojournalist traumatized by the atomic bombing of Nagasaki, Ross finds Myra but falls for her and joins her on the quest to find the medicine woman, as does Doc Ansell (Jim Broadbent), an eccentric patent medicine salesman seeking an ancient Mayan cure for constipation. During the journey, a series of mystical events occur, including levitation during sex, a dog with the power of speech, a human being laying a blue egg, and the transformation of an assailant into a sausage. ~ Karl Williams, Rovi

This program is part of a four-volume, eight-episode documentary series about the oil industry, The Prize: The Epic Quest for Oil, Money, and Power, based on the Pulitzer Prize-winning book by Daniel Yergin and narrated by Donald Sutherland. ~ Alice Duncan, Rovi

Wim Wenders's sprawling cyberpunk noir epic -- shot in no less than nine different countries -- is set in 1999 and stars Solveig Dommartin as Claire, a young Frenchwoman who comes into contact with a large sum of money stolen during a bank heist; in her travels she picks up a mysterious American hitchhiker (William Hurt), who himself steals some of the money before parting from her company. Upon discovering the theft, Claire sets out on his trail, with both a Hammett-styled German private eye (Rudiger Vogler) as well as her former lover, a novelist portrayed by Sam Neill, in tow. The hitchhiker is really Sam Farber, the son of an underground scientist (Max Von Sydow), and his mission is to travel the globe in order to acquire the funding necessary to develop the technology which will allow his blind mother (Jeanne Moreau) to "see" visual recordings of her family members; the second half of the film takes place largely in the Farbers' compound in the Australian Outback, where Sam, Claire and the others take refuge while attempting to bring the sight project to its fruition, in the meantime pondering earth's future in the wake of a nuclear disaster in outer space. Wenders' most ambitious film, budgeted at $23 million, Until the End Of the World ran into serious issues given its whopping length. The original cut ran 20 hours. Realizing that this would make theatrical screenings impossible, Wenders heavily edited the picture and wound up with a 5-hour cut with which he is reportedly satisfied (known as the 'Director's Cut'). Warners wouldn't go for this either, however, and whittled it down to 2 1/2. That version - which premiered theatrically in the U.S. on Christmas Day 1991- makes little sense ,with a disjointed narrative that doesn't shift gears so much as grind them as the action moves from country to country. Unsurprisingly, it confounded critics and lay viewers and infuriated its director, who all but disowned it. (Echoes of Once Upon a Time in America!) As with the Leone film, though, the Director's Cut of World did evetually see the light of day. It's now widely available in a multi-disc collector's set throughout Europe, and the public response to that version has been far more favorable. ~ Jason Ankeny, Rovi

Eight years before the dinosaur mania created by Jurassic Park, Bill L. Norton released this more dinosaur-friendly story about a 10-foot baby dinosaur in dire straits in Africa because Dr. Eric Kiviat (Patrick McGoohan), an evil paleontologist, is after it with a vengeance. He is the nemesis of Dr. Susan Matthews-Loomis (Sean Young) -- determined to save the baby from its hunters -- and her husband George Loomis (William Katt), a sportswriter who shares her protective instincts. Kiviat has recruited a revolutionary army to help him capture the baby's mother -- which they manage to do without killing her. The army has already shot down the father dinosaur, and so their own instincts are far from protective. As the husband and wife and baby dinosaur are united at last in their attempts to survive, the next step is to recapture Mom dinosaur and get away from the army and Kiviat, not an easy feat. ~ Eleanor Mannikka, Rovi

This gripping, emotional story of a roving photographer's transformation from a neutral artist with a camera to an involved human rights activist with a camera begins in Chad, travels to Nicaragua in the early 1980s, and ends when the Nicaraguan dictator Somoza takes off for the palm trees and beaches of Florida. Nick Nolte brilliantly interprets his role as the photographer Russell Price, and Joanna Cassidy is Claire, the radio journalist he meets while in Chad, along with her lover, Time Magazine reporter Alex (Gene Hackman), who ends up opting for a plush job as a TV anchorman and a quiet life on Long Island. When Alex leaves, Claire heads off to the next hot spot, Nicaragua, and Russell decides to tag along -- not because he is that interested in Nicaragua, but because he is interested in Claire. Once in the war-torn, Central American country, it does not take Russell long to see the vast difference between the corrupt, U.S.-backed dictatorship and the struggling guerrilla forces who have been fighting for a decade already. As his eyes are opened, he and Claire decide to go along with the rebels and film their fighting behind the lines. During one battle, the much-venerated rebel leader is shot dead, and Russell reluctantly agrees to fake a photo of the man as though he were still living, so as not to demoralize the army that looks up to him for leadership. The photo appears in the news around the world and causes such a furor that Alex shows up to demand an interview with the leader for national American television. It is on the way to this supposed interview that Alex leaves the car for a moment and is senselessly shot and killed by a government soldier, the whole episode filmed for the world by Russell's camera. This outrage (which actually occurred when journalist Bill Stewart was inhumanly shot by a Somoza soldier in full view of the video camera) soon makes global news and helps to hasten the overthrow of the corrupt dictatorship. Meanwhile, Russell has new issues to consider once his camera has become an "active" and not a "passive" observer of political unrest. René Enriquéz who plays the dictator Somoza in this film is a native Nicaraguan, related to a newspaper reporter killed by Somoza's government. ~ Eleanor Mannikka, Rovi

Martin Scorsese's documentary of the 1976 final performance of the legendary Sixties rock group The Band is at once a show featuring some of the greatest rock performers of their generation and a bittersweet look back at an era that was just beginning to fade. As Scorsese guides the group through interview segments discussing their 15 years together, these relatively young men sound like battle-weary survivors. But The Band were in splendid form for this show, and their multiple guest stars pulled out all the stops, especially Muddy Waters, whose "Mannish Boy" is so powerful it nearly burns a hole in the screen; Van Morrison, with a rousing performance of "Caravan;" and Bob Dylan, whose "Baby Let Me Follow You Down" displays the brilliant cockiness of his barnstorming days with this band. The all-star camera crew and superb stereo sound mix create what is considered to be of the best-looking and sounding rock films ever (as the opening credit says, play this movie loud!), and two studio-shot sequences with Emmylou Harris and The Staple Singers stand on their own. ~ Mark Deming, Rovi

"You don't make up for your sins in church; you do it in the streets; you do it at home. The rest is bulls--t, and you know it." Returning to the autobiographical milieu of his 1968 debut Who's That Knocking at My Door? for his third feature, Martin Scorsese examined the daily struggles of a wannabe hood to keep his morals straight on the streets of Little Italy. Driven equally by his wish to become a respectable gangster like his uncle (Cesare Danova) and his desire to live his life like St. Francis, Charlie (Harvey Keitel) takes on his energetically unhinged friend Johnny Boy (Robert De Niro) as his own personal penance, intervening to get Johnny Boy to pay off a debt to the local loan shark Michael (Richard Romanus). Despite his promises to his epileptic girlfriend Teresa (Amy Robinson) that they will move out of Little Italy once he strengthens his position in his uncle's world, Charlie's involvement with Johnny Boy further ensnares him in the neighborhood. When Johnny Boy decides to mouth off to Michael rather than pay him, Charlie, Johnny Boy, and Teresa try to flee Michael's murderous anger (and an assassin played by Scorsese), forcing Charlie to realize that the rules of the streets do not mesh with absolution. Whereas fellow "film school generation" director Francis Ford Coppola transformed the Hollywood gangster movie into metaphorical epics about the Mafia and capitalism in The Godfather (1972) and The Godfather Part II (1974), Scorsese revised the genre in the opposite direction, focusing on the gritty minutiae of daily life and drawing from personal memory. Combining documentary-style realism (even though most of the film was shot in L.A.); kinetic editing and camera movement; and expressionistic lighting, angles, and film speed, Scorsese presents an intimate picture of the trivial incidents and latent violence of Charlie's and Johnny Boy's world, naturalistically unfolding their experiences rather than simply explaining what motivates them. They lead a claustrophobic, petty existence that Scorsese and screenwriter Mardik Martin witnessed growing up in Little Italy, complete with a soundtrack of hit songs like "Be My Baby" and "Jumping Jack Flash" that had poured out of neighborhood radios. Mean Streets opened at the New York Film Festival to excellent notices and played strongly in New York but failed to duplicate that level of business elsewhere. Even so, Mean Streets established Scorsese and De Niro as formidable young talents and marked the beginning of a long-running and fertile collaboration that continued in such films as Taxi Driver (1976), Raging Bull (1980), The King of Comedy (1983), and Goodfellas (1990). Scorsese's exceptional grasp of the texture of day-to-day life, the rhythm and cadences of street talk, and cinema's visual and aural possibilities makes Mean Streets one of the pivotal films of the 1970s, as well as of Scorsese's career, and an influence on such future filmmakers as Spike Lee and Quentin Tarantino, among many others. ~ Lucia Bozzola, Rovi