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||| Sergio Leone |||
Sergio Leone

Leone’s career is remarkable in its unrelenting attention to both American culture and the American genre film, exploring the mythic America he created with each successive film examining the established characters in greater depth.

Only his second feature (a remake of Kurosawa’s Yojimbo), Leone's landmark "spaghetti western" caused a revolution and features Clint Eastwood in his breakthrough role as "The Man With No Name". This classic brutal drama of feuding families wasn’t the first spaghetti Western, but it was far and away the most successful up to that time.

Plot is of minimal interest, but character is everything to Leone, who places immense meaning in the slightest flick of an eyelid, extensively using the extreme close-up on the eyes to reveal any feeling, as demonstrated by Clint, who squints his way through this slam-bang sequel to A Fistful of Dollars as a wandering gunslinger that must combine forces with his nemesis to track down a wanted killer.

The final chapter in the groundbreaking trilogy follows Eastwood, Lee Van Cleef, and Eli Wallach as they form an uneasy alliance to find a stash of hidden gold. Leone focuses on his central theme as they find themselves facing greed, treachery, and murder, showing that the desire for wealth and power turns men into ruthless creatures who violate land and family and believe that a man’s death is less important than how he faces it.

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Fantastic Four

By JFAllaire

October 31st, 2003

What better way to start this new era then reviewing the screenplay for “Fantastic Four?” Dated February 22nd, 2002, the script is written by Doug Petrie; Since that draft, there have been rewrites by Tristan Patterson and Marc Frost. Currently penciled in as a Christmas 2004 release, yet without a director or stars, I don't believe they'll be able to make that date, as of this writing.


Reed Richards, his girlfriend Sue Storm, her brother Johnny and their friend Ben Grimm are known to the world as Mr. Fantastic, The Invisible Girl, The Human Torch and The Thing, respectively. Together they form the Fantastic Four, a group of superheroes who are treated as rock stars and royalty by New York City residents. Becoming superheroes after their space shuttle was bombarded by particles waves, they use their power for the good of the city. This accident they were involved in also apparently killed the fifth member of the mission: Dr. Victor Von Doom.

Here’s the plot of the film adaptation: While local tabloids are desperate to get exclusive photos from their mysterious base of operations in The Baxter Building, Reed has been trying to find a cure for his friend The Thing. As they go about their days, however, strange little robotic bugs have been wrecking havoc in the team’s lives, trying to find their individual weaknesses. And, worst of all, Doom comes back into all their lives, claiming publicly that Reed had known all along of the impending disaster and wanted to test it on himself and his friends. The false accusation causes the team to split. This is all because Doom wants to get his hands on the particle waves in order to create an army of super humans for his country. At the end, of course, the team reunites to clobber Doom once and for all.

It isn't the best superhero origin film ever written; but it's definitely a decent screenplay. With “X-2: X-Men United” having washed away all the boredom of the original “X-Men” away, I have trouble remembering how an origin can be a little bit lame. Let's not talk about “Daredevil” and “The Hulk,” which are nowhere better than this script. The former had a great screenplay that was gutted by Fox, while the latter was one of the most bizarre superhero films ever made. I would rank this draft of the “Fantastic Four” as equal to “X-Men,” but a step below “Spider-Man.” There are certain moments in the story that will be less interesting to hardcore comic-book fans like me, but that are necessary for the normal moviegoer.

The action sequences are fun, but are not the full-scale blowouts that one would expect. Really, I'm not surprised. As one can tell from the recent rumors of Johnny Storm’s flame powers being limited to just coming from his fingertips, Fox doesn't look to be investing too much in this film. After the sub-par performance of “Daredevil” at the box-office, the studio won't burn that much of the production budget right from the start of what they hope will be a franchise, but instead nurture it. In this version of the script, the writer found the right mix of comedy, drama and action to make this draft an almost flawless blueprint.

Reed Richards is probably one of the most underwritten superheroes in history. He's the central character in this comic book adaptation, but he is overshadowed by the loud and obnoxious Thing, the Human Torch’s flamboyance and the royal malevolence of Doom. Yet, the screenwriter manages to beef up Richards’ role enough for the big screen. He gave real serious drama to Richards’ obsession of trying to cure The Thing, it was the driving point of the plot here. Dr. Doom even made it part of his villainous plan. The rest of the writing was perfect. We get the right dose of scientific and funny moments with Reed.

I love Petrie's rendition of Sue Storm. In the comic book series, she's the mother figure of the group, but I didn't find that to be really evident here in the screenplay. That's a definite breath of fresh air to the characters. She wants to got out dinner and shopping with Reed, nowhere does she want to stay home and knit. Petrie has really tailored that part for the 21st century. I especially loved one piece of dialogue, on why she loves Richards. As she says there, “The man who can mold his body into any shape and have it stay that way as long as he wants? Trust me: he's Mr. Fantastic.” Nice bit of innuendo there. Didn't Kevin Smith write about that in “Mallrats?” Can he stretch every part of his body?

Sample bit of Johnny Storm’s dialogue: “What kind of man are you?,” asks the boyfriend. “The kind your girlfriend likes,” responds Johnny. Long live Johnny's cockiness! We clearly see it in this script. It's exactly how I imagined it would be on the big screen. He's a kid given way too much powers way too quickly. Kind of like those rich basketball players who just graduated from high school. Johnny in certain moments is a first-class a**hole. Slowly through the story, though, he realizes there's more then the girls and glory to his role. I also love the 'legendary' bickering between him and The Thing. The writer has depicted that love/hate relationship to perfection. Those rumors about Human Torch becoming a cheap version of Pyro (from “X-2”) mentioned above have seriously troubled me. I hope they aren't true.

My favorite character in this screenplay is The Thing— He's written to precision. We witness his loneliness early on in the story. There's a splendid scene in which he's watching a baseball game in a bar. A girl comes over and they start chatting, we think she's genuinely interested in him. We discover she only came over to talk to him as a bet for her friends. It's one of the best scenes in the script. Another highlight of the story is The Thing's relationship with Alicia Masters, a blind artist. Their exchanges are just amusing and very nicely written. His action sequences are also right on the money.

If there's one word to describe Dr. Doom, and it's “creepy.” There's a moment in this script that totally freaked me out. He kills a little boy who comes to visit his castle. I'm sure Fox would have never allowed that scene to make it pass the cutting room floor. It was downright bloodcurdling.

I'm exceptionally curious to know why Fox had revisions made to this draft. Without a doubt, it would be the perfect screenplay to establish the Fantastic Four team to the moviegoing audience.

My rating: A

Jean-François Allaire, at 24 years old, has become a respected entertainment journalist, having contributed articles to Scr(i)pt Magazine and writing a monthly column in Screenwriters Monthly entitled 'The Last Word.' Hailing from Montreal, this young writer is determined to dig up all the details on the movies before they hit your local theater. We at FilmJerk.com are proud that Jean-François has made us his home.

Welcome to my new home here at FilmJerk.com. I would like to thank Ed Havens and Chris Faile for inviting me to join their website, as I'm excited about this new chapter in my journalistic life. Every Thursday, I'll try to review one screenplay. I'm excited about this new chapter in my journalistic life. DEADPOOL is dead, but J-F Allaire lives. No more fanboyish intros or catchphrases in my column (other than today’s). It's a new phase in my writing.