Directed By Rob Reiner
Starring – Cary Elwes, Mandy Patinkin, Robin Wright
The Plot – A kindly grandfather (Peter Falk) sits down with his ill grandson (Fred Savage) and reads him a story. The story is one that has been passed down from father to son for generations. As the grandfather reads the story, the action comes alive. The story is a classic tale of love and adventure as the beautiful Buttercup (Wright), engaged to the odious Prince Humperdinck (Chris Sarandon), is kidnapped and held against her will in order to start a war, It is up to Westley (Elwes), her childhood beau, now returned as the Dread Pirate Roberts, to save her. On the way he meets a thief and his hired helpers, an accomplished swordsman and a huge, super strong giant, both of whom become Westley’s companions in his quest.
Rated PG for adult situations and language.
– Practicality all around. A refreshing aspect in watching a film that is 32 years old is the collection of set designs and special effects that speak levels about a now forgotten age of creativity. Most of the set visuals in the film authenticate that stage presence, in that everything sticks out especially, giving each prop sufficient weight in the movement and influence of each scene. Likewise, all creature special effects are done with animatronics, and while this decision looks obvious by today’s standards, there’s no substitute for time devoted to craft. It gives focus to distinct features of each creature that would easily be glossed over with computer animation, as well as gives the actor something lively to interact with during scenes of tension.
– The magic of the lens. Many of the establishing shots here are GORGEOUS and full of wide angle immensity that would make you think much of it was shot on location, but in reality pay homage to the immersion of studio filmmaking that suspends disbelief. In particular, it’s the shots on the water, with a sprinkle of moonlight used to illuminate the ships in focus that peaked my interest and outlined a layer of focus to the importance of this storybook tale that is established in each capture. None of these scenes lack believability in scale, but are made that much more impressive when you consider they were done inside of a backlot studio, instilling distance in a stage with only water and a single light to inspire believability.
– One legendary line. While everyone has a favorite line of dialogue for the movie, my personal favorite has always been Inigo’s threatening menace behind “My name is Inigo Montoya, you killed my father. Prepare to die”, and as I’ve recently learned there’s quite a story behind it. Patankin, who played Inigo, had just recently lost his father to cancer in real life, and used the dramatic pull of the loss to channel the vengeance in delivering the line. What I love about this line is that it repeats throughout the film and manages to feel more focused the closer Inigo gets to his enemy, all the while standing out in a way tonally that feels other-worldly to the rest of the romantic comedy taking place around it.
– Stellar cast performances all around. Elwes is every little girl’s prince charming, exuberating a combination of confidence in swordplay and cool demeanor that make him irresistible as a protagonist. Patankin also commands the attention, riding this story arc of redemption that is equally as intriguing as the central plot rescuing of Robin Wright’s Buttercup. Patankin’s transformation throughout teaches us a lot about his tortured past, all the while never diminishing the intensity of Patankin’s roguish appeal. Aside from the two leading men, there are charming appearances from Billy Crystal, Andre The Giant, Peter Falk, Fred Savage, and of course Wallace Shawn, who gives my single favorite laugh of the film when laughing gets the best of him. Overall, it cements an ensemble effort that fires on every cylinder, giving ample time for each of the big names to shine with each character introduction.
– Management of dual narrative. Considering there are two stories running simultaneously throughout the film, it’s the incredible pacing and structure of each that astounded me in ways that other dual narratives today don’t equally balance out. While a majority of the film is set in the fantasy world itself, the three instances of Savage and Falk’s family characters are placed in a way that gives outline to the three act structure, and really pauses our interest in the fantasy when progression is at its peak. We, like Savage’s grandson character, can’t wait to jump right back into it, and in this regard the film transcends screen, in that we too are held at the mercy of Falk’s luring storytelling, giving us the audience a presence in this fairytale that feels like it’s being told to us exclusively.
– Stunning sword choreography. There’s much to give praise to here, but it all comes at the respect of Peter Diamond and Bob Anderson, who between them had been in the Olympics, Indiana Jones films, and eventually Lord of the Rings films. What’s so impressive is that not only is the swordplay fast between oppositions, but the foot work of the actors engaged manages to evade a barrage of branches, bricks, and rocks that we’re just waiting to see have an influence in this conflict. It never comes, and it’s a testament to the handling that was taken in preserving hand-to-hand authenticity, made even more impressive considering Elwes broke his toe on a four wheeler only hours before the scene was shot. Diamond and Anderson work magic on these big name actors, and because of such juggle enough testosterone and urgency to constantly raise the stakes.
– Constant 80’s nostalgia. One of my favorite aspects in watching a classic movie is the hints of dated pasts that could only reside in a particular decade, and there’s plenty to admire and even pause the film over here. I love the extra props like the all red and white Cheetos bag, as well as Fred Savage playing the Commodore 64 computer game “Hardball”. Each of these items add important perspective into Savage’s close-minded personality at the beginning of the film, coming off as a generation X slacker of sorts, who will eventually become more captivated into material that he condemned before it started. It’s a perk that is totally irrelevant to the film, but something that I like to mention because its objects and focuses have almost become time-stamped in the same way that the medieval age has in the story that Grandfather and Grandson are moving through.
– Meticulous in the humor. While juggling the content of romance, action, and family elements alike, this movie features plenty of hearty laughs in the form of modestly gentle and subordinate deliveries that never step on the straight story evolving around it. Similar to the structure of Mel Brooks (Who is in fact in the film) or Monty Python, the material doesn’t halt the progression of the narrative, an aspect that many modern comedy films could take a lesson from, in that improv humor is used as fluff for a two hour run time designation. Instead, “The Princess Bride” still values these moments of release, but does so in a way that never holds the story hostage, nor does it over-indulge in allowance, proving to us how comedy can work hand-in-hand with fantasy if the two can work as partners instead of adversaries over the screen.
– Horrendous sound mixing. One of the things that became obvious with this watch was the sloppy sound manipulation that the film tries to pass off onto the audience as synthetic. Several scenes throughout the film feature overheard dialogue that is said without any of the lips of characters moving, but none more prominent than that of Elwes back-riding scene of Andre The Giant. In just this scene alone, there are a few instances where the mixing takes advantage of a majority of Elwes head being shielded during long winded dialogue, but it flounders because the mouth is still as obvious as any close angle shot, and serves as one of two major problems that I had with the production of this picture.
– The other one. It’s not often that the production is the biggest hurdle for a film that I watch, but once again post-editing brings to light some disastrous decisions as to what’s left in the film. Several instances of production crew’s shadows being in a shot, boom microphones moving in and out of the tops of shots, and a landing pad during the first fight scene which is as obvious as a fart in church. I get that it’s the 80’s, so there’s some room for forgiveness in this respect, but if you’re going to ever deem a film as “A Timeless Classic”, then the production has to stand up to the forth-coming decades that it stands tall through, and sadly amateur mistakes like these keep the film from ever reaching its potential as one of the best films of the decade.
My Grade: 8/10 or A-