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Monster's Ball

 
Movies:

Monster's Ball

  • Director: Marc Forster
  • AMG Rating: starstarstarstar
  • Genre: Drama
  • Movie Type: Melodrama, Psychological Drama
  • Themes: Starting Over, Interracial/Cross-Cultural Romance, Redemption
  • Main Cast: Billy Bob Thornton, Heath Ledger, Halle Berry, Peter Boyle, Sean Combs
  • Release Year: 2001
  • Run Time: 111 minutes
  • MPAA Rating: R

Plot

Director Marc Forster, winner of Best Feature at Slamdance for his debut film Loungers (1996) and the "Someone to Watch" Independent Spirit Award for his indie drama Everything Put Together (2000), follows up those acclaimed projects with this intense, racially charged romance. Billy Bob Thornton stars as Georgia prison guard Hank Grotowski, a hard-drinking racist ex-cop whose father, Buck (Peter Boyle), is dying of emphysema and whose son, Sonny (Heath Ledger), works the execution detail at the prison's death row. When Sonny commits suicide, Hank is devastated and quits his job, spiraling into a deep depression until, one night, he comes to the aid of Leticia (Halle Berry), a beautiful African-American woman whose son, Tyrell (Coronji Calhoun), has been hit by a car. When Tyrell dies, Leticia and Hank find themselves to be unexpected soul mates linked together by tragic grief. It's not long before Hank discovers that Leticia is the widow of Lawrence Musgrove (Sean Combs), the man whose execution by electric chair he and his late son helped to orchestrate. Monster's Ball (2001) is based on a screenplay by actors Milo Addica and Will Rokos, who spent five years developing their script into a feature. Their title refers to the name of an English tradition requiring jailers to throw a party for a condemned man on the night before his death. ~ Karl Williams, All Movie Guide

Review

For the first time since Losing Isaiah in 1995, Halle Berry steps into a role she's shown reluctance to play: a working-class woman of limited intelligence and refinement, who speaks with a dialect and vocabulary that invokes cruel stereotypes. In the dreadful comedy B.A.P.S. and the wicked satire Bulworth, she offered spoofing variations on that character type, but only here does she stare it down. The result is not only the performance of her career, but one of the best onscreen in 2001. The stratospheric praise given her work led some critics to honor the rest of Monster's Ball with equal vigor, but the film is more a collection of great parts than a complete whole. It's certainly full of incendiary moments; surprising deaths blend into lurid and uncomfortable sex scenes, then into vitriolic bursts of racism, all with a disaffected resignation that's bracing. But one wishes director Marc Forster and screenwriters Milo Addica and Will Rokos would have extracted more of a discernible message from these isolated pockets of pain and rage. The minimalism of their approach leaves many questions. The viewer never learns, for example, why Billy Bob Thornton's corrections officer despises his son (Heath Ledger), which might have explained more of both characters' actions. As an actor-driven work, however, Monster's Ball crackles. Sean Combs shows unexpected depth and dignity as the doomed inmate, and Thornton offers another portrayal of wordless hurt that nicely complements his work in The Man Who Wasn't There. Peter Boyle, returning to the big screen after a three-year absence, personifies the bull-headedness endemic to racism in the South. ~ Derek Armstrong, All Movie Guide

Cast

Mos Def - Ryrus Cooper; Will Rokos - Warden Velasco; Milo Addica - Tommy Roulaine; Coronji Calhoun - Tyrell Musgrove; Charles Cowan Jr. - Willie Cooper; Taylor LaGrange - Darryl Cooper

Credit

Leonard Spears - Art Director, Kerry Barden - Casting, Billy Hopkins - Casting, Suzanne Smith - Casting, Mark Bennett - Casting, Will Rokos - Co-producer, Milo Addica - Co-producer, Eric Kopeloff - Co-producer, Frank Fleming - Costume Designer, Michael Lerman - First Assistant Director, Marc Forster - Director, Matt Chessé - Editor, Michael Burns - Executive Producer, Michael Paseornek - Executive Producer, Mark Urman - Executive Producer, Asche & Spencer - Composer (Music Score), Monroe Kelly - Production Designer, Roberto Schaefer - Cinematographer, Lee Daniels - Producer, Jeff Pullman - Sound/Sound Designer, Michael Kamper - Sound/Sound Designer, Will Rokos - Screenwriter, Milo Addica - Screenwriter, Francis James - Additional Cinematography

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Album Review:

Monster's Ball

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  • Artist: Asche & Spencer
  • Rating: StarStarStarHalf Star
  • Release Date: January 22, 2002
  • Type: Soundtrack
  • Genre: Soundtrack

Review

In developing a musical concept for his first feature film, director Marc Forster opted for an approach that could be described (after its most visible practitioner) as the Thomas Newman aesthetic. This school of thought maintains that film music can enhance drama, add texture, and underline meaning, but it should never, ever tell the audience how to feel. The score for Monster's Ball, composed by the ambient band Asche and Spencer, adheres to that philosophy by making extremely sparing use of melody. Through much of the movie, music slides by mysteriously without drawing much attention to itself. The instrumentation is sparse -- primarily electric guitar, keyboard, bass, and marimba -- and geographically ambiguous. The score's three composers (Thad Spencer, Chris Beatty, and Richard Werbowenko) could have attempted to establish the film's Southern small-town setting by loading up on pedal steel. (That task is left to country & western pop songs by the Jayhawks, Red Meat, and Jimmie Dale Gilmore.) Or they could have emphasized the film's tragic events with dramatic, swelling strings. Instead, Asche and Spencer focus strictly on the muddier emotional journey of the narrative. When Billy Bob Thornton's character mourns the suicide of his son, the score is just as withdrawn and distant as the actor's performance. The music doesn't grieve, it doesn't tug at heartstrings. The guitar strokes are soft and reflective, but impassive -- the piece could legitimately be seen as either bleak or hopeful. Only in the final scene, as the story reaches resolution, does the ethereal noodling expand gradually and gracefully into melody. The game is over and the storytellers finally tip their emotional hand. But gently and thoughtfully; not so much manipulating as reflecting the emotions of the audience. ~ Evan Cater, All Music Guide

Tracks

Track TitleComposersPerformersTime
Opening Title Asche & Spencer (3:13)
Close Thirteen Asche & Spencer (3:53)
Night into Day Asche & Spencer (2:22)
Resignation Asche & Spencer (3:47)
Paying Respects Asche & Spencer (2:57)
Tyrell Asche & Spencer (3:34)
I Needed You Asche & Spencer (1:11)
Hank's Transition Asche & Spencer (2:26)
I Don't Want to Go Out Like This Asche & Spencer (2:14)
Hit and Run Asche & Spencer (2:02)
Under the Stars Asche & Spencer (4:04)
End Title Asche & Spencer (2:48)
I'm Your Man The Jayhawks The Jayhawks (4:00)
Broken Up and Blue Jill Olson Red Meat (3:44)
You Love Is My Rest John Hiatt Jimmie Dale Gilmore (4:10)
I Couldn't Love You (More Than I Do Now) Jean Wells Jean Wells (2:41)

Credits

Asche & Spencer (Audio Production), Red Meat (Performer), Chris Beaty (Keyboards), Bob DeMaa (Mastering), Chris Beaty (Guitar), Jim Anton (Bass), Greg Herzenach (Guitar), Tom Scott (Keyboards), Greg Herzenach (Keyboards), Tom Scott (Marimba), Tommy Barbarella (Fender Rhodes), Thad Spencer (Percussion), Chris Beaty (Marimba), The Jayhawks (Performer), Thad Spencer (Producer), Chris Beaty (Piano), Jean Wells (Performer), Thad Spencer (Drums), Bob DeMaa (Mixing), Thad Spencer (Marimba), Jimmie Dale Gilmore (Performer), Chris Beaty (Guitar (Bass)), Joe Savage (Pedal Steel), Tom Scott (Ukulele)
Wikipedia:

Monster's Ball

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Monster's Ball

Theatrical release poster
Directed by Marc Forster
Produced by Lee Daniels
Written by Milo Addica
Will Rokos
Starring Billy Bob Thornton
Halle Berry
Heath Ledger
Peter Boyle
Mos Def
Sean Combs
Music by Asche & Spencer
Cinematography Roberto Schaefer
Editing by Matt Chesse
Distributed by Lions Gate Films
Release date(s) November 11, 2001
Running time Theatrical cut
111 min.
Unrated Director's Cut
112 min.
Country United States
Canada
Language English
Budget $4 million
Gross revenue $44,909,486

Monster's Ball is a 2001 American/Canadian drama film directed by Marc Forster, starring Billy Bob Thornton, Halle Berry, Heath Ledger and written by Milo Addica and Will Rokos. It was produced by Lions Gate and Lee Daniels Entertainment. The title comes from a custom in medieval England where prisoners awaiting execution were called monsters. The night before their execution, their jailers would hold a feast known as a monster's ball as their final farewell. Halle Berry won the Academy Award for Best Actress for her role as Leticia Musgrove.

Contents

Plot

Hank Grotowski (Billy Bob Thornton), a widower, and his son, Sonny (Heath Ledger), are correctional officers in the local prison. They reside in Louisiana with Hank's ailing father, Buck (Peter Boyle), an unwavering racist whose wife had committed suicide. Hank's hateful attitude towards others, strongly influenced by his father Buck, results in Hank's hatred of his father, his son, and members of the neighboring community.

As Hank and Sonny assist in the execution of convicted murderer Lawrence Musgrove (Sean Combs), the proceedings prove too intense for Sonny, who begins to vomit as he is leading Lawrence to the electric chair. Hank is outraged by what he perceives as Sonny's weakness in "spoiling" Lawrence's "last walk" and humiliates Sonny for his perceived weakness and hits him.

Some time later, Hank drags Sonny out of bed and tells him to get out of the house. Unable to cope with the estrangement, Sonny grabs a gun. The confrontation ends in their living room with Hank at gunpoint, lying on the carpet, and Sonny in his grandfather's customary chair. Sonny asks his father, "You hate me, don't you?" After his father calmly confirms that he does and says he always has, Sonny responds, "Well, I always loved you," and then kills himself. Hank subsequently buries his son, quits his job at the prison, and burns his uniform in the backyard.

His father calls him a quitter.

During the years of Lawrence's imprisonment, his wife, Leticia Musgrove (Halle Berry), has been struggling while raising their son, Tyrell (Coronji Calhoun). The boy, who inherited his father's artistic talent, is also morbidly obese. Along with her domestic problems, she also struggles financially, leading to the loss of the family car and more seriously, an eviction notice on her house. In desperate need of money, Leticia becomes employed at a diner frequented by Hank. One rainy night, Leticia and Tyrell are walking down a rain-soaked highway when the boy is struck by a car. Leticia is left helpless on the side of the road, grasping her son and calling out to passing motorists, although no one stops to help.

Hank happens to be driving along, however, and sees Leticia, cradling her mortally injured son. He initially drives by as well, but goes back to pick them up, driving them to a hospital. Tyrell dies upon arrival, and Hank lends his shoulder for Leticia to cry on. At the suggestion of the authorities at the hospital he drives her home. They find a lot in common, as they both lost sons they abused and spouses they never really loved. That night, they drown their grief with alcohol and sex. They begin a relationship, which is initially based on sex and relief from loneliness but later becomes emotionally supportive. Hank finds out that Leticia is Lawrence's widow, but he does not tell her that he participated in her husband's execution.

Leticia stops by Hank's home with a present for him. Hank is not home, but Buck is. Buck insults Leticia using raw racist language and implying that Hank is only involved with her because he wants to have sex with a black woman. She responds by rejecting Hank. This incident proves to be the straw that broke the camel's back for Hank and he desides to send his father to a nursing home and it is implied that Hank will cut him out of his life as well.

Leticia is evicted from her home for non-payment of the rent and Hank invites her to move in with him. She agrees.

Leticia discovers Hank's involvement in her husband's death while he is gone but is there waiting for him when he returns from town with ice cream. At first she looks dazed but gradually she seems to cheer up. As they sit on the porch, eating ice cream and gazing up at the stars, Hank says, "We're going to be all right."

Leticia does not reply.

Cast

Reception

The film received generally positive reviews. The review website rottentomatoes.com reported that 120 out of the 140 reviews they tallied were positive. This resulted in a score of 86% and a certification of "Fresh".[1] Roger Ebert gave the film four stars and stated that, "The movie has the complexity of great fiction"[2] listing it as the best film of 2001.

Acclaim was also given to Coronji Calhoun, who was chosen from an open casting call and was paid the minimum union scale for his work as Tyrell Musgrove, the ill-fated son of Lawrence and Leticia. "Perhaps one of the most affecting performances of the year was given by a 10-year-old Louisiana fourth-grader who has never acted before or studied the craft," commented Variety reporter Christopher Grove.

Despite numerous positive reviews of the film, some black activists urged a boycott, notably Miles Willis of the "Milestones" jazz program on Pacifica Radio's KPFT. His statement, championed by syndicated film columnist Esther Iverem, included the following: "Imagine the seething indignation that a Jewish man might feel while watching a story in which the widow of a Nazi concentration camp victim has an intimate relationship with the SS officer that shoved her husband into one of those ovens at Auschwitz!"[3]

Esther Iverem, SeeingBlack.com editor and film critic, stated that "you have to wonder if this is what it takes for a black woman to be named best actress … Who was the last "best actress" who did a nude sex scene?" (The answer was Gwyneth Paltrow, three years previously.) Iverem went on to say, "Ultimately, Monster's Ball uses the legacy of racism in an unconvincing manner to belittle its impact, and its historical and present-day consequences." Iverem maintained that scores of black men were boycotting the film.[4]

Awards and nominations

References

External links


 
 

 

Copyrights:

Movies. Copyright © 2009 All Media Guide, LLC. Content provided by All Movie Guide ®, a trademark of All Media Guide, LLC. All rights reserved.  Read more
Album Review. Copyright © 2009 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved.  Read more
Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "Monster's Ball" Read more

 
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