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It is difficult to review a film that you like, when every professional critic has slammed it. On the other hand, I have to contain I am not alone in my tastes, so, here is some praise for “The Postman”, Kevin Costner’s cinematic version of the huge book of the same name, written by David Brin.
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After the success of “Dances With Wolves”, it’s comely distinct that Costner has been trying to recapture that narrative feeling. But where “Water World” was funny to the point of being a caricature of a sweeping drama, “The Postman” avoids the trap. The nemesis, General Bethlehem is played seriously by Will Patton and the residence in general is believable if not completely explained.
I admit there were a few moments that were too heavy handed, the most memorable when the Postman gallops abet to snatch a letter from a boy’s hand. Even so, I can forgive a slight over enthusiasm when it is mixed with a stirring anecdote. I know that during times of war, rhetoric is grist for the mill and so, the character’s obsession with the American method, is understandable, given that it no longer exists.
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You look, civilisation has fallen. It’s implied that nuclear weapons were extinct, perhaps even biological weapons. Whatever the cause, people survive precariously, huddled together in fortified towns dreading the next visit of the Holenist army. A band of thugs created during the last days of the war and now led by General Bethlehem towards some nebulous vision, who’s only constant is that Bethlehem will be the one in power.
Enter stage left, an unlikely hero. Kevin Costner’s character may have a name but it is not revealed during the film. At first he is known as Shakespeare because he is a wandering loner who is sometimes driven to develop one man, one mule, productions of the Bard in the hopes of winning a meal from his audience. His aimless existence is abruptly ended when he is roughly drafted into the Holenist army.
From the first he stands out from the crowd of beaten hopeless recruits and so is singled out for special torments and duties. The army life is brutal enough without having earned the enmity of your squad leader. One thing leads to another and speed presents itself for Shakespeare. Without food or any other protection he stumbles on the remains of an dilapidated mail van and spends a night huddled in its dubious warmth, kept company by the body of a US Postal worker.
Whether by chance, destiny or foresight, he dons the guise of a postman and scams his diagram into a local town. “The mailman’s here. Lock up your dogs.” So long starved of civilisation, the bedraggled townsmen clamour for news of the world, the government, the future. He has minute choice but to retort their questions, with creative and plausible fictions. It is here that the wheels of fate begin turning.
The opinion he has created, of a novel America, is too ample for one man to control. The film takes us on a steamroller meander headed straight towards the Holenist army. People with hope request action. The desire for action creates leaders. Leaders are often forced to carry out the will of the people despite a lack of talent, desire or knowledge.
In this case, a young man, self named Ford Lincoln Mercury, forces the Postman to become a symbol of civilisation and eventually the symbol of resistance. Ford’s passion and his actions are resisted for a long time but eventually the Postman comes to piece the sage. One man can stand up to tyranny, especially with the befriend of a few fearless friends and the trust of one strong willed woman.
I beget that the reviewers must have been reading each other’s reviews instead of actually watching the movie, and Costner-bashing has long been grand sport among reviewers. The current David Brin unique has been improved upon in several ways. In particular, gone are the two cyborg/supermen who duked it out in the finale of the recent, a distraction and deus-ex-machina.
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I especially loved the internal consistency, lack of impossible battles, and the strong development of a number of believable characters. The Holnist leader (who played a supporting role in “Armageddon”) is more than a cartoon dreadful guy, and Costner’s postman is plagued by guilt and doubt as he discovers how seriously everyone takes his “Restored United States”. There is almost nothing in the movie that is irrelevant to the position.
Yes, it is a bit insensible in parts, and I was ready to end watching after 30 minutes because I had heard that it was fair another post-apocalyptic bore, but it turned into a honorable movie. Even my wife, no fan of that genre, wanted to search for it all the contrivance through.
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