Home » Posts tagged 'thief'
Tag Archives: thief
Hollywood has been remaking movies since the beginning. And with a few notable exceptions, most of these films have failed to capture the magic of the original. Even today directors seem convinced that they can produce Hollywood magic by creating an endless array of sequels, remakes, and reboots. Nevertheless, there still exists that rare category of film screaming to be remade.
One such movie is The Thomas Crown Affair. Neither the 1968 original nor the 1999 remake manages to surpass the other. Whilst the original excels at style and sexual tension, it is overshadowed by the remake’s plot and music score. Both films are essentially “style” movies. They rely heavily upon atmosphere to draw in an audience. The cool jazz of the 1999 remake is a massive improvement over the original. There can be no denying that Nina Simone’s “Sinnerman” is better suited to the film than the original’s “Windmills of Your Mind.”
But what the remake wins in music, it loses in style and sex appeal. From Faye Dunaway’s wardrobe to Steve McQueen’s three-piece suits, the style of The Thomas Crown Affair (1968) has become an iconic part of 20th century style. The tailored suits and designer skirts lend themselves to the film’s upmarket atmosphere and help enhance the sexual tension, which is far more palpable here despite the remake’s decision to show more explicit sex.
The 1999 film makes enormous improvements on the original’s plot. In the original film, the audience is never granted a satisfactory explanation as to why a wealthy, sophisticated gentleman would waste his time organising a bank robbery (the explanation that he does it for kicks barely passes muster). In the remake, the director, John McTiernan and the screenwriters, Leslie Dixon and Kurt Wimmer, decide to make Crown an art thief. It is a crime that makes Crown seem intelligent, cultured, and sympathetic.
At the centre of both versions of The Thomas Crown Affair is the relationship between Thomas Crown and Vicki Anderson (Faye Dunaway)/ Catherine Banning (Rene Russo). In the original film, Crown and Vicki compete as equals causing a sexual tension to pulsate through the entire film. Similarly, in the remake Crown and Banning act as mirror images of one another. Unlike the original, however, the sexual tension quickly fizzles out when the pair form a romantic attachment to one another. At this moment, the erotically-charged battle of wits is replaced with a soap opera-style romance that is, frankly, embarrassing to watch.
In both versions of the film, Thomas Crown is presented as an elegant, sophisticated alpha-male who amassed his wealth thanks to a shrewd business mind and a willingness to take extreme risks. When Crown isn’t making multi-million-dollar deals at the corporate board table, he’s pursing hobbies like polo, gliding, yachting, and golf.
Both Steve McQueen and Pierce Brosnan portray Thomas Crown as a bored millionaire playboy: the type of man with an almost insatiable need for adrenaline. There are, however, marked differences in the way each actor portrays the character. Steve McQueen plays Crown with the kind of roguish charm that made him the “King of Cool” in the sixties and seventies. By contrast, Pierce Brosnan plays Crown as a charmer, the kind of man who feels comfortable in country clubs and golf courses because he’s lived around them his entire life.
As mentioned before, competing against Thomas Crown are the insurance investigators Vicki Anderson and Catherine Banning. Both are largely similar characters. Both have resided in Europe, both are sophisticates, and both come to suspect Thomas Crown merely because they find him attractive. In terms of characterisation, Catherine Banning is certainly the more nuanced of the two.
There is one area, however, where Vicki Anderson excels over Catherine Banning. Sex appeal. At the age of forty-five, Rene Russo (who, it must be said, is a perfectly fine actress) looks too old to be playing the part of a sultry sex kitten who is supposed to be the source of all men’s fantasies. (Faye Dunaway, by contrast, was only twenty-seven and looks every part the sex kitten). Better choices would have been Sharon Stone, Catherine Zeta-Jones, Kim Basinger, Kate Winslet, Emanuelle Béart, and Monica Bellucci.
In 2016, Variety reported that Michael B. Jordan was set to star in a second remake of The Thomas Crown Affair. Those wishing to remake the film should heed the following advice. They should combine McQueen and Brosnan’s portrayals of Crown to create a character a witty, urbane, charming, and roguish anti-hero. They should retain the style and sex appeal of the original film, but follow the remake’s lead when it comes to music and plot. And, finally, they should make absolutely certain that they cast the right actress as the female lead. Only then will we get the film we truly deserve.
February 3rd last year marked the fiftieth anniversary of the execution of Ronald Ryan (1925 – 1967), the last man to be hanged in Australia. Since then, the general consensus has been that the death penalty constitutes a cruel and unusual punishment. Contrarily, however, it is the opinion of this author that the death penalty is not only just, but a key part of any justice system.
There are two main arguments against the death penalty. First, that it is an exceptionally expensive form of punishment. And second, that the death penalty leaves no room for non-posthumous exoneration.
The first argument is one of economics, not of morality or of justice. It does not argue that the death penalty is immoral, only that it is expensive. What this argument suggests is that a price tag can be placed on justice. That the most important factor determining a case is not whether justice is served, but how much money it will cost.
The way a society punishes murder is reflective of the value that society places on a human life. The life of a human being is not something that can have a time-based value placed upon it. It is something that has immeasurable value and purpose. The Norwegian mass-murderer, Anders Breivik, a man responsible for the death of seventy-seven people, received a sentence of just twenty-one years for his heinous crimes. A society that decides that the value of an individual’s life amounts to only one-hundred days is one that has no respect for the sanctity of life.
The second argument carries a great deal more weight. It is an undeniable fact that innocent people have, and continue to be, executed for crimes they did not commit. In the United States, prejudice against African Americans, Jews, Catholics, homosexuals, and other people often meant that justice was not as blind as it should have been. Furthermore, in an era before DNA evidence, convictions were based upon less reliable physical evidence and eyewitness testimony. And such evidence naturally carried a higher rate of false convictions.
There are two problems with the innocence argument. First, the advent of DNA along with other advances in forensic science has meant that the possibility of executing an innocent person is very low. DNA may not be foolproof, but when combined with eyewitness testimony and additional physical evidence, it makes a guilty verdict all the more concrete.
Second, the innocence argument is not an argument against the death penalty. Rather, it is an argument against executing an innocent person. It only applies when the condemned man is not actually guilty of the crime he has been convicted of. What it does not address is how a person whose guilt is certain beyond all possible reasonable doubt ought to be treated. When an individual’s guilt is that certain the innocence argument no longer carries any weight.
There are two primary arguments for the death penalty. First, that there are crimes so heinous and criminals so depraved that the only appropriate response is the imposition of the death penalty. And second, that the death penalty is an essential aspect of a just and moral justice system.
That there are crimes so heinous, and criminals so depraved, that they deserve the death penalty is self-evident. Carl Panzram (1892 – 1930), a thief, burglar, arsonist, rapist, sodomite, and murderer, told his executioner: “hurt it up, you Hoosier bastard, I could kill a dozen men while you’re screwing around.” Peter Kürten (1883 – 1931), also known as the Vampire of Düsseldorf, told his executioner that to hear the sound of his own blood gushing from his neck would be “the pleasure to end all pleasures.” Finally, John Wayne Gacy, Jr. (1942 – 1994) was convicted of forcibly sodomising, torturing, and strangling thirty-three boys and young men. The question, then, is not whether or not any individual deserves the death penalty, it is whether or not the state should have the power to execute someone.
The answer to this question is undoubtedly yes. It is frequently forgotten, especially by humanitarians, that the key aspect of a criminal penalty is not rehabilitation or deterrence, but punishment.
In other words, what makes a justice system just is that it can convict a person fairly and impose on them a penalty that is commensurate with the nature and severity of the crime that person has committed. What separates the death penalty from extra-judicial murder is that the condemned person has been afforded all the rights and protections of law, including due process, a fair and speedy trial, the right to trial by jury, the presumption of innocence, and so forth, regardless of their race, religion, sexuality, or gender. When a sentence of death is imposed upon a murderer, it is not a case of an individual or group of individuals taking vengeance, but of a legitimate court of justice imposing a penalty in accordance with the law.
What makes the death penalty an integral part of any justice system is not that it constitutes a form of revenge (which it does not) or that it may deter other individuals from committing similar crimes (which it also does not). What makes it just is that constitutes a punishment that fits the crime that has been committed.