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Now, in Missed Connections, a column I write weekly focused on unfairly maligned films or those that are little-known, let’s talk about Ladyhawke. In the past columns, I wrote about movies that deserve more appreciation when the memories of such films fade from history. I also wish to talk about a movie that so many of you seem to dislike.
As the opening title credits for Ladyhawke roll, the soundtrack begins with a thrilling synth track accompanied by the words: “Ladyhawke”. This phenomenal track by Alan Parsons is a treat by itself, and paired with the credits, screams adventure, victory, exploration and sets the premise of something grand. Others dared say that the sound was out of place, claiming that it was too unreal for a synth track to be played in a movie where an evil bishop who curses two lovers. What?
The film starts on a typical day in the 14th century (even if I think every day was normal in the 14th century), there are prisoners being executed in the walled city of Aquila. One man, Philippe Gaston aka the Mouse (Matthew Broderick) almost got executed too, but he decides to flee. He has managed to escape from what seemed like a never ending dungeon and now he surges towards the countryside. The man talks to God often and builds imaginary scenarios where he is a ‘quote on quote’ important person which at this point almost makes him get captured outside of the city walls.
After a brief struggle, he is about to get killed with the sharp edge of a sword, however, he gets saved by a stranger wearing in black. The stranger was Navarre (Rutger Hauer), who was a previously the captain of the guards but had got a banishment from the Bishop (John Wood) along with the lady who they were both obsessed with, Isabeau (Michelle Pfeiffer). Arriving now, Navarre is out for revenge. Everything seems to be perfect so far, but Mouse later finds out that the cursed couple have to deal with something a lot worse than simply being exiled.
The bishop placed a curse instantly ensuring that they are “together” as well as “eternally apart.” During the day, Navarre is a man, but turns into a wolf at night. Isabeau is a human at night, but turns into a hawk at dawn. They are able to catch a glimpse of each other in their final second of transformation after which both lose the ability to see one another. When Isabeau changes into a hawk and Navarre into a wolf they completely lose the ability to see one another.
Navarre has reached a point where he is hopeless about the reality of their life and decides to kill the bishop, but only if it allows him to die as well. However, Mouse learns a new potential plan when he meets a disgraced priest named Imperious. It turns out that the curse can be lifted at a time of dawn and dusk, and as Imperious believes there will be a solar eclipse within days, he might be onto something.
Navarre does not believe the old man for perfectly justified personal reasons, so rather than forfeit his suicide mission, he proceeds with it. However, Mouse cannot let such a huge opportunity go. It is his first noble act and one even he admits to God is rather unconventional for him. He gets to work with the priest and the lady he has given the Ladyhawke nickname to in order to fool the relentless knight.
That is, Richard Donner’s 1985 feature is quite an entertaining adventure with plenty of fun, action, and emotionally satisfying moments. On this point, I will invite no argument.
Some viewers think that Andrew Powell’s score is the biggest weakness of the film, and there is a logic to it on its face. The Alan Parsons Project helped inspire The Alan Parsons Project Donner came across their music while looking for locations, and he wanted to incorporate them into the world he was trying to create. Donner’s is Powell score’s is synthesized with chanting vocals, which feels out of place in the period. To that I can answer there are curses that are magical, and people who change into animals. So, your argument is there, but dead on arrival. More than that though, that title track is a fucking rousing delight. It can be said that it puts your entire body in motion. The title track looks wonderful; it comes when there are dull variations of the track during action scenes. It perfectly mirrors the energy on screen.
In the same way, Mouse’s comedic monologues were received poorly for being too modern, but I feel like it is a stylized choice that works for the character and film, I feel like it is equally Broderick. Mouse is voiced by Broderick. Only his third feature film and only ever saw Cameo roles. This was very much in his awkwardly humorous spin.
Many critiques of the film discuss its lighthearted tone. I fail to see how this is a problem. Not everything has to be a gritty experience; there are plenty of movies in various shapes and sizes. (And if you do like everything to be grim, the double feature of Ladyhawke and Hauer’s other 1985 movie, Flesh & Blood, may appeal to you more). A good number of Donner’s films are light entertainment The Omen and parts of Lethal Weapon 2 are exceptions. This delightful romp is exactly what you would expect from him. The action sequences are exhilarating, and while there are consequences and deaths, the film is wholly an adventure appropriate for families.
If you can let go of these two issues, Ladyhawke has a lot more to offer as a captivating action \ fantasy. (Also, the sole complaint that I absolutely do not care for is the, ‘what if?’ surrounding the fact that Kurt Russel was originally cast as Navarre but dropped out just days before production started. )
As the crafty thief who is forever trying to strike pacts with a deaf God, Broderick is an endless source of amusement. He provides comic relief, but Mouse finds himself in a Julien’s dramatic entanglement with Navarre, who grows protective jealous of Mouse’s time with Isabeau. The humor Broderick brings to the character makes the more serious nips sting all the more.
Wood, who had been far nicer to Broderick in the War Games, portrays the evil Bishop with a disturbingly lecherous edge, and we are even treated to a cameo by a very hairy Alfred Molina. Hauer is at his best in action oriented roles, and the film gives him the rare opportunity to play hero we seriously have this, Blind Fury and Wanted: Dead or Alive and that’s it! and romance.
When it comes to romance, Isabeau does quite a bit of hawking while Pfeiffer is onscreen, but the real magic happens when she appears on screen. Something emanates from her that is incredibly beautiful, yet she manages to offset it with a sexy sweetness. Most of that comes from her outer self, but she backs it up with a performance that displays passion, a clever sense of humor, and certain melancholy. At one point Mouse asks her, “Are you flesh or are you spirit?” to which she says, “I am sorrow.” You believe it too.
You may not consider Ladyhawke a film that weighs heavily on your heart or lingers in the mind’s eye for days. It is an action/fantasy/romance film that is overshadowed by it, but it is beautifully filmed, wonderfully cast, and more than satisfying. We care about these characters and are thoroughly entertained and mesmerized by their exploits. Give it another chance people, you might be surprised at how much your heart is willing to accept.
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