SYNOPSICS
The Caveman's Valentine (2001) is a English movie. Kasi Lemmons has directed this movie. Samuel L. Jackson,Colm Feore,Ann Magnuson,Damir Andrei are the starring of this movie. It was released in 2001. The Caveman's Valentine (2001) is considered one of the best Crime,Drama,Music,Mystery,Thriller movie in India and around the world.
Romulus is mentally ill, a troglodyte in a New York City park. He's also a gifted composer and the father of a city cop. On Valentine's Day, a young man freezes in a tree near his cave. The police determine it's the accidental death of someone behaving bizarrely, but Romulus believes a friend of the dead youth who says that noted avant-garde photographer, David Leppenraub, murdered him. Romulus, urged on by hallucinations of his wife as a young woman, resolves to catch the killer and manages to be invited to Leppenraub's farm to play a new composition. Can Romulus hold it together long enough to get to the bottom of the death and also to make a breakthrough with his daughter?
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The Caveman's Valentine (2001) Reviews
One of the best films ever seen
"Cavemans Valentine" is one of the best psychological portraits i've ever watched. And i've watched a lot of them, since i love that type of film. Jackson does a excellent part, taking the viewer through the mind and thoughts of a schizophrenic. Never before have i seen an actor play a role, the way Jackson does here. You feel like being able to follow his twisted mindgames, although you sometimes can't be sure what is real and what's not. I like Jackson as an actor before, but now i have to admit, that i've always underestimated him. His performance is just incredible. The way he acts, you feel like every little part of this character is just as real as he is. To all the people out there, who haven't seen this movie: Watch it, or you don't know what excellent acting is!
Kasi Lemmons Delivers
The thin line between genius and insanity is examined in this story of a gifted man estranged from his family and separated from his vocation by his seemingly unfounded paranoia. `The Caveman's Valentine,' directed by Kasi Lemmons, stars Samuel L. Jackson as Romulus Ledbetter, a former Julliard student, talented composer and pianist who now lives in a cave near a park in New York City. Romulus treads that delicate line between reality and fantasy, his thought process interrupted by the `moth seraphs' that live within his head, but even during his most rational periods the demons of his delusions plague him incessantly. He alternately recoils from and stands boldly upright against the presence of the towering skyscraper (the Chrysler Building) wherein resides the `Big Brother' of his imagination, the man responsible for his present state of being, a man named `Stiverson.' But then again, is it really only in his imagination? In his cave, Romulus has an unconnected television set he watches, which keeps him abreast of the latest `lies' concocted by those in power and foisted on an unsuspecting public. He lives alone, but is well known on the streets for his vociferous ranting and railings against Stiverson and those who seek to subjugate those like himself, those who haven't the strength or the power to stand up to them. Then one day, in the dead of winter, Romulus emerges one morning from his cave and finds something in a tree just outside. And what he finds sets him upon a quest that will prove to everyone once and for all that he is not crazy, that Stiverson and the others exist and are what he says they are, and if he is successful, he will finally have the proof. Now if he can but stave off his demons and maintain lucidity long enough to do what he must do; he is adamant, but just as he is beginning, `they' introduce their newest weapon which they wield in a soft, green light, the `Z-Rays.' Romulus, however, is frightened but not deterred, and more determined than ever to expose Stiverson for what he is. Kasi Lemmons, who made an auspicious directorial debut in 1997 with `Eve's Bayou,' presents this complex story with a stylistic and artistic touch that at times evokes the spirit of Fellini (as with the `moth seraphs' sequences which she uses to great effect). She quickly establishes the character of Romulus and sets a pace that allows the mystery to escalate as the story unfolds. Her approach succinctly captures the paranoid world inhabited by Romulus in his own mind, and she plays on his sudden erratic behavior and the unexpected turn in the middle of a scene to build an underlying tension that makes the drama all the more riveting. Most importantly, she manages to go beyond what is happening in the film to convey the true essence of what this story is all about, with insight and an obvious and incisive grasp of human nature. Samuel L. Jackson gives a dynamic performance as Romulus, who has a tendency to lapse into quiet moments, but guards against them as if they were a threat to his safety. Afraid to let his guard down, he fights his fears with anger and bravura, but clearly that's not who this man really is, which Jackson communicates quite effectively. There's nothing feigned or pretentious about this character, and Jackson takes him from a rational moment into madness seamlessly, which adds to the credibility of not only Romulus, but the entire film. This is not a man to whom you will be able to relate directly, but there are certainly elements of his situation to which you will readily be able to sympathize. Romulus is a thoroughly complex character, and Jackson realizes those complexities with insight and realism. Also outstanding in one of the smaller, but pivotal supporting roles in Anthony Michael Hall as Bob, the bankruptcy lawyer who encounters Romulus and somewhat indirectly facilitates his mission. Hall has matured as an actor, and this is probably one of the best roles he's had since his youthful efforts in such films as `National Lampoon's Vacation,' and `The Breakfast Club.' Ann Magnuson also gives a noteworthy performance as Moria Leppenraub, the sister of artist David Leppenraub (Colm Feore), who is something of a free spirit and becomes involved with Romulus when certain circumstances lead him to David. Magnuson has a certain charismatic, Shirley MacLaine-like quality about her that makes her accessible and easy to watch, and she is very believable here as Moria. Rounding out the supporting cast are Tamara Tunie (Shelia), Damir Andrei (Arnold), Aunjanue Ellis (Lulu), Peter MacNeill (Cork), Jay Rodan (Joey), Rodney Eastman (Matthew) and Kate McNeil (Betty). A thought provoking, emotionally involving film that is exceptionally well presented and acted, `The Caveman's Valentine' has something to say about the diversity of a society in which everyone has a place, no matter what they may appear to be, and the fact that absolutely no one should ever be dismissed out-of-hand. It says that there are no `throw-away' people; that the value of an individual often cannot be measured until confronted with extraordinary circumstances, for it is that which brings out the best and drives someone like Romulus to exercise the latent capacity which lies within. One of life's lessons, told here with a profound clarity by Lemmons, through a medium that is the magic of the movies. I rate this one 9/10.
Sam Jackson goes mental
Romulus (Samuel L. Jackson) lives in a cave in New York -- well, okay, a "rock enclosure". He's psychotic, but he's also a gifted composer who studied at Juilliard. Decked out in dreadlocks and equipped with a passionate growl, Romulus tells all who will listen - and some who don't want to - that the man who put him in his position in life lives at the top of one of the city's tallest buildings. Whether this man is a real person is never made clear, but Romulus's rage toward him certainly isn't. He also hallucinates that his late wife is giving him advice and what-for, and that there are things in his head that tell him what to do. Yes, by almost any standard, this guy's a little wacked in the head. On Valentine's Day, Romulus looks outside his cave and sees a young man frozen to death in a tree. The police, after investigating, determine that the man wasn't quite in his right state of mind (since he was hardly dressed for winter and had been seen running around in that attire); but Romulus is skeptical, since a friend of the dead man claims a famous local avant-garde artist, David Leppenraub, killed him. Romulus's estranged daughter is a precinct cop, but of course she won't listen to the ravings of anyone, even her dad. So he sets out to do his own detective work. This does make for an interesting movie, especially since Romulus's prowess at the piano makes a few appearances. But other than Romulus himself, this isn't much more than a standard detective story, one in which the 'detective' isn't even directly involved with the crime. Jackson is the entire show here. Just like Jodie Foster in Nell, Dustin Hoffman in Rain Man, and even James Belushi in Homer and Eddie, a character with severe mental issues is the main focus. But unlike those other characters, Romulus actually uses his 'deficiencies' to help him solve the murder. It's not as if Jackson puts up a sign - "I am deranged, therefore I am turning in a magnificent performance". Too often, actors (not necessarily those named above) use a mental handicap as a crutch for their character. This really isn't the case with the gifted Jackson, who performs exceedingly well, giving a powerful, galvanizing performance. Each word is dripping with energy. Even if the character of Romulus wasn't intended to grip you by your conscience, Jackson's work would have done the trick. Usually, one can detach oneself from a movie, kind of watch it from afar, maybe even guessing ahead who the killer is. But Jackson's so good, you can't really do that. You become his pal, and you hope things turn out okay.
Fantasy becomes reality
I picked this up in the video store not knowing what to expect and was I pleasantly surprised. This film is a real work of art and works on many levels. First, the direction is magnificent. Lemmons works magic blending reality with flashbacks, imaginings and fantasies. Weaving all these together is a true feat. This is a film one could watch without the sound just to appreciate the images. Second, the arts that are portrayed are excellent, from the dancing to the music to the photography. Lemmons has a fantastic arts sense. Third, the performances. Jackson is magnificent. A musician who cannot take the pressure of his career and of the context in which he must perform yet maintains his artistic sensibility. Like so many real people, his fears become externalized, but he still maintains a sense of his reality. And it is this sense which makes his character credible when it comes to the plot. The plot is a good mystery but would have been hackneyed in lesser hands. And the plot works on at least two levels. Romulus may be crazy, but he knows what is going on and the images of his wife beautifully portrayed by Tamara Tunie keeps Romulus grounded. And since this is a character driven film, this conflict between Romulus's fears and fantasies with the realities he finds himself in, works beautifully thanks to Jackson's performance. On the second level the mystery qua mystery also works well. There are enough confusions to keep the viewer guessing. All in all a great film.
Whodunit? Whocares?
Hollywood has a difficult time with mental illness. Typically, delusional characters are shown from the outside, with only the actor's performance to give you a clue about what is going on inside. This is a challenge that "The Caveman's Valentine" meets head-on. In addition to Samuel L. Jackson's fine portrayal, director Kasi Lemmons actually seeks to bring us into his world and show us the things that he sees. In most movies, this is a recipe for failure. Not here. Samuel L. Jackson's Romulus Ledbetter is a schizophrenic Julliard-trained pianist who lives in a cave in a New York park. He hears music in his head, and is haunted by visions of "moth-seraphs", whom we see in striking surreal imagery that perhaps too much resembles last year's "The Cell" for its own good, but is effective nonetheless. Ledbetter believes in a sinister force which he calls "Cornelius Gould Stuyvesant" (a combination of the names of three significant figures in New York history), who lives atop the Chrysler Building and controls people's minds with "y-rays" and "z-rays." The scenes involving the unseen Stuyvesant are the movie's most effective. The Chrysler Building, itself a symbol of New York's wealth, towers over exterior shots, and shimmers with malevolent green light as traffic lights flash and Ledbetter looks on with horror. The sequences are mesmerizing. Jackson's performance, too, is notable. Playing a schizophrenic homeless man seems like an opportunity to play big, ranting speeches, but Jackson plays it more subtly. Ledbetter is not a sugary stereotype or an object of pity. Jackson gives him some bite that often makes him unpleasant, but always believable. Like the character in "Shine", it is implied that Ledbetter cracked under the pressures of genius, and in order to make it through the movie, he has to face the mind-breaking terror of performing on the piano. In one particularly affecting scene, a lawyer (played to smarmy perfection by Anthony Michael Hall; it's good to see him all grown up) asks Ledbetter to play a piece in exchange for the loan of a suit. Ledbetter plays something (which sounds like Donizetti by way of the "Blade Runner" soundtrack), and we can feel the twitchy stress as Ledbetter's fingers touch the keys. Jackson has made us believe. There is also a vicious humor in the movie's idea that a delusional psychotic, with just a shave and a good suit, can without too much difficulty schmooze with New York art swells. I don't know if this joke is intentional, but it sure is funny. So, what's wrong with all this? Unfortunately, "The Caveman's Valentine" takes this great, textured performance and this brilliant visual depiction of the landscape of madness and grafts it on to a clunky "Diagnosis Murder"-style plot. The clumsy story, about a death which Ledbetter becomes convinced has to do with a trendy Mapplethorpe-esque photographer, relies heavily on the three c's: coincidence, contrivance, and cliche. It's got more holes than the back wall of a firing range. In addition, Colm Feore is uninteresting as the photographer ("Wild envy surrounds me," he says at one point;) and makes a far less compelling villain than "Stuyvesant." Ann Magnuson is wasted as the photographer's sister. Jackson is brilliant. Lemmons' visuals are brilliant. You may never look at the Chrysler Building quite the same way again. Unfortunately, there's an old saying in the military: when you mix good troops with bad, you get mediocre. And so it is with the movies, too.