Legend (1985)
By 1985, Tom Cruise had already worked with two well-known directors in his four years in Hollywood: first, there was Francis Ford Coppola on The Outsiders (1983), and then there was Ridley Scott and Legend (1985). As the story goes, Cruise was hot off of Risky Business when he became involved with the production of this film. However, its disastrous reception upon release nearly ended Cruise's career before it even began.
Was such harsh criticism of this film unfair? Some seem to think so, earning this film its reputation as a cult classic. In truth, there are a number of glaring flaws about this film that rightfully deserve criticism, but there are also many parts about this film that are so wonderful that I can't help but feel frustrated at the wasted potential this film offers.
Reportedly, Scott wanted to make a fairy tale with Legend, which he absolutely nails stylistically. The production design is often breathtaking. Despite such calamities like the studio burning to the ground during filming, the sets resemble a dreamy kind of realistic irreality that they're spectacular to look at on their own. Directing choices and some of the dialogue present also reiterate this fact, as both are prone to choosing the theatrical as opposed to something more subdued. Personally, I find nothing wrong with veering towards melodrama, as it sometimes suits a story, but admittedly, Legend has a difficult time finding the line between dramatics and camp. This is due to silly decisions like constant slow-motion shots where they're not needed and conversations that feel painfully out of place (the top contender being one that mentioned barbecue, which feels very strange to hear in a pseudo-Medieval film that takes place in a wooded area with very few humans present).
Troubles with audience reception led to multiple versions of the film being released. In Europe, a 94 minute version of the film with a score by Jerry Goldsmith was released; in the United States, it was trimmed down to 89 minutes and re-scored by Tangerine Dream. Truthfully, I haven't seen either, but rather the Director's Cut of the film, which clocks in at 113 minutes long (and with Goldsmith's original score). Whether this extra length helps or harms the film, I'm uncertain. However, I lean towards the former, as the central story and themes seem at constant war with each other, and a shorter length certainly couldn't have helped flesh them out even more than the longest released cut of the film.
To be more specific, Legend wants to say something, or so I think, but it gets lost in an internal battle between being something profound and being another standard fairy tale. There's a lot of generic talk about good versus evil without much explanation as to what it really means. However, there's enough Biblical allusion that it feels like Scott was attempting something of his own Adam and Eve story, where, instead of damning all of humanity to lives of sin, they find their own redemption. But this is purely speculation, as the film will mention it briefly and then return to the standard kind of quests one might see in any hero epic, only this time they're less interesting and more emotionally detached.
This kind of give-and-take is what makes this film so frustrating to me. The acting is strange and stilted, most likely due to direction, but the puppetry and practical makeup effects are very fun and refreshing to see in a world of CGI. The editing is sometimes bizarre and confusing, but Goldsmith's score adds a whole new mystifying dimension to this fantastical world. The story feels largely unfocused, but the setting presented to us is interesting and wonderful to look at.
There's one scene in particular that I really love, in which Princess Lili, who accidentally unleashed an eternal winter, is seduced by Darkness. The scene reminds me of very much of a painting one might see in the museum with its grand architecture and dark colors only lit up by a fireplace. This serves as the backdrop for the seduction, where a dark dress, so terrifically designed, dances to a wonderfully enchanting but also mysterious score by Goldsmith. It's really worth a watch, I think.
I might feel more hesitant about only watching the Director's Cut of this film, but allegedly, Cruise also prefers the Director's Cut to the American release. The source for this is difficult to find, as he doesn't very frequently discuss this movie, and for good reason, as it came as a blow to his budding career.
As far as Cruise's performance goes, this is one I find on the weaker end. Perhaps it's not entirely his fault, as all the actors perform with the same melodrama that I previously mentioned. It doesn't help that his character is so oddly written; he's introduced as something of a mute forest boy, only to become the courageous and cunning hero of the story without much reason outside of his desire to find Lili after the eternal winter is unleashed.
Overall, however, I think much criticism of this film is overstated and there is plenty to enjoy from it. I understand why someone might very much enjoy this movie, despite its flaws. Although this conversation doesn't matter much in terms of Cruise's career, as he's clearly been highly successful, which has a bit to do with the next film he made after this one.
Rating: 3/5 - February 12, 2020
Reportedly, Scott wanted to make a fairy tale with Legend, which he absolutely nails stylistically. The production design is often breathtaking. Despite such calamities like the studio burning to the ground during filming, the sets resemble a dreamy kind of realistic irreality that they're spectacular to look at on their own. Directing choices and some of the dialogue present also reiterate this fact, as both are prone to choosing the theatrical as opposed to something more subdued. Personally, I find nothing wrong with veering towards melodrama, as it sometimes suits a story, but admittedly, Legend has a difficult time finding the line between dramatics and camp. This is due to silly decisions like constant slow-motion shots where they're not needed and conversations that feel painfully out of place (the top contender being one that mentioned barbecue, which feels very strange to hear in a pseudo-Medieval film that takes place in a wooded area with very few humans present).
Troubles with audience reception led to multiple versions of the film being released. In Europe, a 94 minute version of the film with a score by Jerry Goldsmith was released; in the United States, it was trimmed down to 89 minutes and re-scored by Tangerine Dream. Truthfully, I haven't seen either, but rather the Director's Cut of the film, which clocks in at 113 minutes long (and with Goldsmith's original score). Whether this extra length helps or harms the film, I'm uncertain. However, I lean towards the former, as the central story and themes seem at constant war with each other, and a shorter length certainly couldn't have helped flesh them out even more than the longest released cut of the film.
To be more specific, Legend wants to say something, or so I think, but it gets lost in an internal battle between being something profound and being another standard fairy tale. There's a lot of generic talk about good versus evil without much explanation as to what it really means. However, there's enough Biblical allusion that it feels like Scott was attempting something of his own Adam and Eve story, where, instead of damning all of humanity to lives of sin, they find their own redemption. But this is purely speculation, as the film will mention it briefly and then return to the standard kind of quests one might see in any hero epic, only this time they're less interesting and more emotionally detached.
This kind of give-and-take is what makes this film so frustrating to me. The acting is strange and stilted, most likely due to direction, but the puppetry and practical makeup effects are very fun and refreshing to see in a world of CGI. The editing is sometimes bizarre and confusing, but Goldsmith's score adds a whole new mystifying dimension to this fantastical world. The story feels largely unfocused, but the setting presented to us is interesting and wonderful to look at.
There's one scene in particular that I really love, in which Princess Lili, who accidentally unleashed an eternal winter, is seduced by Darkness. The scene reminds me of very much of a painting one might see in the museum with its grand architecture and dark colors only lit up by a fireplace. This serves as the backdrop for the seduction, where a dark dress, so terrifically designed, dances to a wonderfully enchanting but also mysterious score by Goldsmith. It's really worth a watch, I think.
I might feel more hesitant about only watching the Director's Cut of this film, but allegedly, Cruise also prefers the Director's Cut to the American release. The source for this is difficult to find, as he doesn't very frequently discuss this movie, and for good reason, as it came as a blow to his budding career.
As far as Cruise's performance goes, this is one I find on the weaker end. Perhaps it's not entirely his fault, as all the actors perform with the same melodrama that I previously mentioned. It doesn't help that his character is so oddly written; he's introduced as something of a mute forest boy, only to become the courageous and cunning hero of the story without much reason outside of his desire to find Lili after the eternal winter is unleashed.
Overall, however, I think much criticism of this film is overstated and there is plenty to enjoy from it. I understand why someone might very much enjoy this movie, despite its flaws. Although this conversation doesn't matter much in terms of Cruise's career, as he's clearly been highly successful, which has a bit to do with the next film he made after this one.
Rating: 3/5 - February 12, 2020
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