Tag Archives: Mandy Patinkin

Rob Reiner’s The Princess Bride


Rob Reiner’s The Princess Bride is so beloved and intrinsically bedded into our collective cinematic psyche that it’s almost less of a film these days than it is a lifestyle or cultural flourish, something that comes up in conversations as a given, an immediately relatable phenomenon in any dinner table banter or house party scenario. It also happens to be a great film in itself, full of instantly iconic idiosyncrasies and sincere storytelling that harkens back to the days of Grimm’s brothers and such. Populated by a pithily eclectic cast, and more than a few cameos, it’s a film one can watch as a kid all starry eyed at the fairytale intrigue, then revisit again as an adult and treat oneself to the raunchy bits we missed as youngsters. We all know the story so I won’t rehash it except to say that it’s the classic storybook fantasy given a decidedly more modern twist, especially with the dialogue. I’ll also add that it’s one of the few Hollywood fairytales to retain the grim, often perversely violent and scary elements that fables of olden times were known for. That water torture thingy (how does that work anyways?) used to scare the shit out of me as a kid, and who could forget the gruesome rodents of unusual size? Cary Elwes and Robin Wright light up the screen as Princess Buttercup and Wesley (he’s a lot more fun as the Dread Pirate Zorro Roberts though, isn’t he), on the run from evil Prince Humperdinck (lol) played by a preening Chris Sarandon, and his nefarious six fingered henchman (Christopher Guest) who slew the father of ruthless Spaniard Inigo Montoya (Mandy Patinkin), as we’re reminded sixty million times throughout. Damn, I said I wasn’t going to go all into plot, didn’t I? There’s just such a delicious host of characters running about the place, it’s hard not too. Andre The Giant scores as, well, a giant of course, Wallace Shawn is a scheming little shit who gets his comeuppance (inconceivable!!), Billy Chrystal shows up as a sort of goblin, looking like a walnut with cotton candy taped to it, and all this hooplah is read to a youngster (Fred Savage) home sick from school by a snarky Peter Falk, a la Neverending Story. It takes a special kind of film to earn endless revisits from us, the viewer, and be ushered into the exclusive classics club. This one should be used as example of how to flawlessly achieve those things though, via an engaging, smartly written story with actual tangible stakes, just the perfect amounts of humour and silliness, some darker aspects to pluck away at the morbidness in all of us, and of course a romance right at it’s core. Timeless. 

-Nate Hill

Lulu On The Bridge: A Review by Nate Hill

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Lulu On The Bridge is an odd one, and that’s a compliment. It subtly strains at the constrictions of genre until you realize just how unique it has gotten right under your nose. I’ve always thought of it as the Abel Ferrara fiom that he never made. Harvey Keitel delivers a home run of a lead performance as Izzy Maurer, a renowned jazz musician who loses his ability to play after he is shot by a lunatic gunman (Kevin Corrigan) while he is performing his music in a cafe. He sinks into a deep depression following the incident, and then something curious happens. One day he finds a mysterious stone, with a phone number attached to it and some seemingly mysterious qualities which alter the psyche, mood and perception of anyone in its vicinity. The phone number leads him to Celia Burns (the ever excellent and under estimated Mira Sorvino), an aspiring actress who’s fallen just south of the success line, and has a taste for Izzy’s music. The two seem destined to meet and as you might guess, begin a passionate love affair that begins to get a bit obsessive, with strong hints directed towards the stone that seems to govern will and volition. Their romance is hot, heavy and volatile, threatened when a mysterious man named Dr. Can Horn (a classy but dangerous Willem Dafoe) separately kidnaps them in attempt to retrieve the stone. The script deliberately shades over its true intentions until the very last minute, stopping to pick many dialogue and thematic flowers along the way, as well as leave a few red herrings behind. Gina Gershon is great as Izzy’s ex wife, and the monumantal supporting cast also includes Richard Edson, the great Victor Argo, Harold Perrineau, Mandy Patinkin, Vanessa Redgrave and a brief Lou Reed who is pricelessly credited as ‘Not Lou Reed’. If you snag a dvd you can also see deleted scenes work from Stockard Channing, Jared Harris, Josef Sommer and Giancarlo Esposito. The film attempts music, mystery, doomed love, urban mysticism, thriller and drama elements. I’m happy to report that it succeeds at all of them, a gem not unlike the mcguffin stone within the plot, and a haunting little modern fairy tale. Check it out.