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Director/Coscreenwriter: Brett Haley
By Marilyn Ferdinand
Media are very big on groups. Every generation has to have a name—the newest one is Generation Z (posing the question of what to do about alphabet names now that the end has been reached, and quickly). My generation, the Baby Boomers, has been moving into retirement for the past several years, and even though moviemakers have never gotten along that well with elderly subjects, because we are just about the last large group that attended movie theatres regularly, it makes sense that exhibitors would be interested in programming new films about our time of life. We’ve had everything from Alzheimer’s movies like Away from Her (2007) and Still Alice (2014) to The Best Exotic Marigold Hotel (2011) and its sequel The Second Best Exotic Marigold Hotel (2015). You’ll forgive me if I don’t jump for joy at these choices—vital women vanishing into a vast blankness and quirky Brits doddering about being cranky and precious. The few films of substance about old age, such as Time to Die (2007), A Simple Life (2011), and Amour (2012)—all foreign films—also seem to care more about our deaths (with dignity!) than our lives.
I’ll See You in My Dreams is that rare film that takes an interest in the lives of retired Baby Boomers, a new breed of youthful elderly, with a particular emphasis on one woman, Carol Petersen (Blythe Danner), and the fabric of her life lived outside the mainstream. Carol received a large life insurance payout when her lawyer husband died in a plane crash when she was about 50. Not enjoying her career teaching reading and “subjects no one else wanted,” she decided to opt out of the rat race. Now 70, she lives in comfort with her dog Hazel in an attractive, but relatively modest Southern California house with a pool, waking up to a 6 a.m. alarm, taking her morning pills, reading the paper edition of The New York Times with her coffee, and playing cards and golf with her friends Sally (Rhea Perlman), Rona (Mary Kay Place), and Georgina (June Squibb), who live in a retirement community. Throughout, she drinks a lot of very good chardonnay and never has more than a couple of items on the “to do” whiteboard in her kitchen.
Although Carol’s husband died long ago, the film reminds us that death is part of the soundtrack of even comfortable, active people after they have entered the red zone of the life cycle. Before we have a chance to get to know Hazel, Carol must have him euthanized. Only a small comment to him at the very beginning of the film—“Did you have a good night?”—lets on that he has been unwell, and then only in retrospect. The film spares us nothing of this sad duty, as Carol sits next to her companion while the vet (Aarti Mann) administers a sedative and then the drug that will “stop his heart.” Director Haley moves his camera outside the procedure room, observing Carol’s grief from a discreet distance through a window.
In the wake of this fresh loss, Carol’s life is primed for a change. A new employee of her pool service, Lloyd (Martin Starr), shows up to clean her pool, and after an awkward beginning, the two begin a tentative friendship. Lloyd tells Carol he lives with his mother after finding that the only use he has been able to find for his degree in poetry is writing lyrics for songs he likely will never record. He notices a photo of Carol singing in a group. She says she gave it up long ago when she got married and had a daughter. He wonders how she could give up something that has the ability to make everything fall away—having a peak experience, living in the moment, these are the things Lloyd hopes to achieve. Carol knows better—such moments are elusive, even illusory, and not worth throwing a life away to experience. It’s hard to know if Carol is truly bitter about giving up performing or whether she’s trying to slap some sense into a young man whose life could pass him by if he keeps running after something so insubstantial. In turn, his very interest in her—and it truly is exceptional that a 30-year-old would choose to spend time with a retiree, even one as attractive as Blythe Danner—awakens her to possibilities for her own life, including a romance with Bill (Sam Elliott), a handsome new resident of the retirement community.
In other hands, the above scenario would make for a light, possibly distasteful romcom about a cougar who finds happiness with an age-appropriate man and passes her younger man off to her daughter. Fortunately, this is not that movie. Blythe Danner is the glowing core of this expectation-defying film, and the mere casting of her in this knockout role comments on the fact that she had a career before she became “Gwyneth Paltrow’s mom.” Her every instinct seems sharper than ever—a tearful, but dignified farewell to her beloved pet, stammering incredulousness at the spectacle of speed dating, the sparkle at seeing Bill having lunch at a table across from hers and her matter-of-fact acquiescence to his very forward invitation to dinner. She’s a no-nonsense person, a bit cold for having put herself on autopilot for so many years, but clearly engaged with her friends and open to offering up details of her life if asked. When she accompanies Lloyd to a karaoke night and sings “Cry Me a River,” the audience on screen and off are astonished by her lovely voice and able interpretation. Who knew? Who indeed. Carol’s like a lot of older folks—we’re eager to share our lives and talents with others, but have a hard time finding people who are interested.
In this regard, Lloyd is a very refreshing creation played with open sincerity by Starr. He isn’t practical or driven. He knows he’s a little too old to believe in the endless possibilities most young people think will be open to them forever, but he can’t quite let go of his romantic ideals and so avoids getting a job with a future. He may be self-deprecating and a bit of a slacker, but he has a genuine humanity. In Carol, he recognizes what he thinks is a kindred spirit and someone who needs rescuing just as much as he does. She drinks, after all, and invites a pool boy into her house, though not into her bed—another cliché that never happens in this movie; indeed, the movie upends that cliché by having Lloyd appear at Carol’s door one morning, only to find Bill there having breakfast after a night of lovemaking. Lloyd appears disappointed, perhaps romantically, but more likely because he realizes Carol won’t have time for him.
Beyond the basics, we don’t really learn very much about anyone in this film other than Carol. This is a bit of a weakness considering the incredible cast at Haley’s disposal, but Place, Perlman, Squibb, and Elliott offer perfect sketches of their characters’ personalities and how they all fit together. The scenes in which the women are together playing cards, having lunch, getting high on medical marijuana, and deciding to go to Iceland because they can are very true to how long-term friends accept each other’s differences and hold each other up in the face of life’s travails. Sexy Bill is a character that would be dodgy if he and Carol were 20 or 30 years younger. I’d say Bill was giving her the bum’s rush, but they aren’t young, and time won’t wait for them to get to know each other properly before they decide that they are compatible and could be happy together. The conditioning of a lifetime kicks in very quickly, and they start thinking about a future together after only a couple of dates.
The final act of the film becomes a reckoning for Carol. Her daughter (Malin Akerman) comes to visit, and it is then that Carol acknowledges freely what was most important to her in her life. It wasn’t what Lloyd wanted for her or what her friends and Bill tried to push on her. It was her daughter and the love she had for her husband. Old age involves many diminishments, but it’s a time when we can finally be honest with others and ourselves. Danner, whose husband of 33 years, Bruce Paltrow, died in 2002 (family photos on the mantel of Carol’s home are shots of Danner and Paltrow), brings her understanding of love and loss in its many facets to this film. Her bravery and commitment provide an unforgettable portrait of a woman both older and wiser who surprises herself and us with the largeness of her heart.
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Directors: Jacob Ben-Ami and Edgar G. Ulmer
By Marilyn Ferdinand
Most people who have heard of Edgar Ulmer know him as the director of the no-budget noir classic Detour (1945). But Ulmer, a Jewish emigré from Austria-Hungary, was well known to Jewish audiences for his Yiddish-language films. Many of these films were adapted from the thriving Yiddish theatre scene, with creative teams moving easily between the two worlds. Ulmer’s codirector, Jacob Ben-Ami, cofounded a Yiddish theatre troupe in Odessa, Russia, with playwright Peretz Hirshbein, who had a hit with Green Fields on stage and whose fame was such that he gets top billing in the film’s opening credits. Another Poverty Row effort from Ulmer, Green Fields channels that peculiar Ulmer magic, supported by Ben-Ami’s experience with the play, to elevate this gentle comedy into something more rueful and revealing.
A rabbinic student, Levi Yitskhok (Michael Gorrin), leaves his studies in search of some kind of truth not to be found in his books, including what he calls “better Jews.” This prototypical Wandering Jew walks for many miles, signaled by his figure superimposed on changing landscapes. Eventually, he comes upon a 14-year-old boy, Avrom Yankov (Herschel Bernardi, in his first screen role), who brings him to his parents’ cottage, where he lives with them and his big brother Hersh-Ber (Saul Levine) and older sister Tsine (Helen Beverly). His father and mother, Dovid-Noich (Isidore Cashier) and Rokhl (Anna Appel), are thrilled to have a scholar visit and believe it will bring great honor to their family to be his hosts. Despite being offered a permanent teaching post, the reluctant Levi Yitskhok is not sure this village offers what he is looking for. Nonetheless, he is persuaded to stay until after the High Holidays. His presence arouses the envy of Dovid-Noich and Rokhl’s neighbors, Elkone (Max Vodnoy) and Gitl (Lea Noemi), who conspire to house the “rebbe” themselves. Soon, the situation is complicated as Elkone and Gitl try to make a match between the rebbe and their daughter, Stera (Dena Drute), who is in love with Hersh-Ber. While the parents bicker and scheme, Tsine mounts a campaign of her own to learn how to read and write and, incidentally, capture Levi Yikskhok’s heart.
The opening, which shows peasants at work in the fields, must have caused pangs of nostalgia in European Jews in the audience who came to America after being forced off their lands. The equivalent of Ozu’s “pillow shots” interrupt the film at various junctures, thus glorifying the beauty and simplicity of rural life. The countryside is a place of health in this film, a place of light, contrasting with the dark synagogue the rebbe left at the beginning of the film, illuminated only by a single candle. Levi Yitskhok literally moves from darkness into light when he leaves, and the obsession the film has with finding the “true Jews” and being a good Jew isn’t one I entirely understand, but affirm as something I heard constantly when I was growing up.
The script and direction contrast the shy asceticism of Levi Yitskhok with rugged rail-splitter Hersh-Ber and the energetic Tsine and Stera, both unabashed flirts who run barefoot all day. Yet, healthful surroundings aren’t a total balm or the only need a Jew has. Dovid-Noich says that when he went to bury his father in an urban cemetery, he didn’t want to return to the countryside. The lack of educational opportunities in rural areas was certainly painful for many Jews—the characters constantly refer to themselves as ignorant—but a greater hardship was eviction from the Pale, discussed in the stories of Sholem Aleichem that formed the basis for Fiddler of the Roof, which broke up Jewish communities and made remnant populations feel isolated and vulnerable.
The overall shooting style and tone put me in mind of Soviet or communist Chinese propaganda showing the joyful, industrious peasant plowing furrows, planting potatoes, and chopping wood. Indeed, the closing shot of the film moves from Tsine and Levi Yitskhok walking past a plow in the foreground to a close-up of the plow itself. Yet these foreground shots are used to greater effect in other ways. For example, Tsine and Rokhl are shown preparing each course of a Sabbath meal at the wood-stoked hearth and taking turns carrying the food to the table in the background where the men are eating. There didn’t seem to be any place settings for the women, so this scene, while quite beautifully lit and a lovely slice of life, shows the unequal gender roles of a traditional Jewish household, an aspect of Jewish life that is reinforced when Tsine gives Levi Yitskhok an unpleasant surprise by showing him that she can write her name on a slate.
The characters in this film derive from familiar Yiddish theatre types—giddy girls, gossiping and contentious wives and their blowhard husbands, and the painfully pious rebbe. The acting tends to be broad, as many of the actors were used to playing to live audiences, and Bernardi, in particular, is physically awkward, his too-long sleeves—no doubt meant to show they were hand-me-downs—giving him a scarecrow-like appearance. Close-ups and two-shots are used too sparingly, but when they are, they really help the actors deepen their performances. I was particularly struck by Isidore Cashier’s emotional depth when talking about life in the countryside and the easy rapport he shared with Anna Appel that had me believing they were a long-time married couple. Helen Beverly is very appealing, and watching her watch Levi Yitskhok, curious at first, and then with more longing, made for a smooth and believable transition. Michael Gorrin didn’t always seem to know what to do—he walked around the cottage and barnyard in a pointlessly random way and his embarrassed looks were little more than mugging. Dena Drute and Saul Levine had a lot of chemistry, and I enjoyed their robust playing together. It’s a shame they didn’t have more screen time, as Tsine and Levi Yitskhok didn’t make a very riveting couple.
I have to say a word about the score and arrangements of Russian composer, conductor, choral director, and pianist Vladimir Heifetz. Heifetz composed some of the music for Eisenstein’s powerhouse film Battleship Potemkin (1925), the first of only three films he worked on during a very successful classical music career. As with that film, he demonstrates his ability to storytell with music, filling Green Fields with charmingly Jewish melodies and colors for the changing moods of the script—lively and sunny in the countryside, driving when accompanying work scenes, brooding and solemn in the synagogue and during the Sabbath meal. Heifetz’s contributions take Green Fields to a higher, more artistic level.
Green Fields was restored in 1978 by the National Center for Jewish Film, which has made it available on DVD.
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Director/Screenwriter: Gina Prince-Bythewood
By Marilyn Ferdinand
Last year, I participated in one of group blog Wonders in the Dark’s legendary countdowns, which poll numerous cinephiles on what they consider to be the best films in a given genre or category. This countdown involved romance films, the definition of which was left up to each voter. Film fans will quibble as they always do about what is included and what is missing, but I think the voters did a pretty good job of choosing a wide array of films with a romantic bent, from cartoon features like Lady and the Tramp (1955) and WALL-E (2008) and warped relationships in the noir films Double Indemnity (1944) and The Postman Always Rings Twice (1946), to gay love in Brokeback Mountain (2005) and Blue Is the Warmest Color (2013) and eternal love in Portrait of Jennie (1948) and Romeo and Juliet (1968). I was happy to see some newer films on the list, but dismayed that most of them were made by indie and foreign directors. It seems that Hollywood’s formerly large portfolio of adult romances has been pushed out of the way by adolescent and dysfunctional relationships, as well as period pieces made more romantic by their elegantly arcane settings.
That’s why Beyond the Lights hit me like a ton of bricks. The central pair in this contemporary romance, a Rihanna-style pop star and a policeman with political aspirations, are in their 20s, accomplished, and self-aware. They don’t meet anywhere near cute, and they don’t give up everything just to be together. They actually have lives that include, but don’t revolve around each other, and director/screenwriter Gina Prince-Bythewood lets us see those lives. Wow, imagine that!
The film opens in Brixton, London’s sketchy multicultural neighborhood. We meet Noni as a 10-year-old child (India Jean-Jacques) being dragged into a hair salon by her mother Macy (Minnie Driver). Macy successfully begs the beautician, Felicia (Deidrie Henry), who is closing for the day, to give her a few tips so that she can bring Noni’s unruly hair into line for an important talent competition the next day. The film cuts to the competition, where we see a tap dancer whirl around the stage before Noni takes her turn. She offers a soulful, a cappella rendition of Nina Simone’s “Blackbird,” and comes in second, behind the dancer. Macy drags Noni off the stage in a rage and forces her to throw her trophy away. Noni learns the hard way that winning is the only option.
The film fast-forwards to the present in which a grown-up Noni (Gugu Mbatha-Raw) no longer worries about her nappy hair or being a runner-up. She’s a popular singer who works a sleek, purple weave and fuck-me clothing and gestures, and carries on an affair of convenience with rapper and musical collaborator Kid Culprit (Machine Gun Kelly). The duo’s latest single wins a Grammy, and as Noni drives off with some friends in a limo, the teetotaler uncharacteristically swills some champagne straight from the bottle. When she returns to her hotel room to change clothes for an after-party, she tells Kazan (Nate Parker), the moonlighting cop guarding her door, not to let anyone in. Wondering why her daughter is taking so long to emerge, Macy orders Kaz to open the door. They find Noni sitting precariously on the balcony railing, crying that “nobody sees me.” She pushes off, but Kaz catches her wrist and hauls her back up with the words “I see you” on his lips. The media are abuzz with reports of her suicide attempt, witnessed by people on the ground. Forced into a position of damage control, Noni goes with the cover story that she was intoxicated and slipped. Kaz, cast as a hero, believes in telling the truth, but compromises his principles to support her cover story. He wants to keep his distance from Noni, but she pursues him and the two commence a serious romance.
What sets Beyond the Lights apart from other mainstream romances—and despite the largely black cast, this film maintains an assured classic structure—is the attention to the details of the lovers’ lives and the way such now-familiar components of popular culture as paparazzi, scandal-mongering, hero worship, and image creation actually affect those who work in the public eye. Noni’s suicide attempt could have signaled just another cliché of the poor little rich girl or tragic star, but Prince-Bythewood smartly let us see the soul of this person in the opening scenes, drawn to jazz and self-expression but pushed by an ambitious mother to pursue fame and fortune. This strategy invests the audience with a stake in her rescue and recovery, as well as lifts the story out of the jaws of superficial melodrama.
Kaz’s story is just as interesting. The son of a retired cop (Danny Glover), Kaz is following in his father’s footsteps as part of their joint plan to launch him into politics. His initial courting of some influential religious leaders is rocky, as they question him about his youth and then upbraid him for seeming to compare himself to another youthful mover and shaker, Dr. Martin Luther King, Jr. Annoyed by their retreat behind the sacred cow of King, Kaz merely asks them to know him by his deeds. He is warned that Noni might not be good for his image, even though he has gotten some much-needed name recognition from the press conference at which she thanked him for saving her. But his dedication to honesty might be a larger hindrance to him in the long run.
Ultimately, what makes this story so compelling and this love match so right is the journey toward authenticity Noni and Kaz are on. Kaz tells Noni that he loves Nina Simone, unwittingly signaling to her that he can understand her real self, and self-consciously says that his parents named him Kazan because they thought it sounded African, a sly joke on an older generation that looked to a continent many of them had never seen for their authenticity. He refuses to consider himself her boyfriend until she breaks up with Kid Culprit, giving her the courage to do just that and try to jettison her false, hypersexual image on stage. The new relationship kicks into high gear when they drive across the border to Mexico for a weekend idyll. Noni pulls off her fake fingernails, pulls out her weave, and the pair visits an open-air market. Kaz refuses to give her some cash for an ID bracelet, forcing Noni to barter her diamond earrings for it. In a moment in which Noni owns her stardom as part of who she is, she gives Kaz a “really?” look when he asks her if the diamonds are real.
Unfortunately, the getaway is ruined when Noni’s mother and the paparazzi find her after a fan videos her singing a very moving version of “Blackbird” at a karaoke bar and posts it on YouTube. Whisked back into the fray of celebrity, Noni refuses to chuck it all because it makes Kaz uncomfortable to be under a microscope. She wants to have a world stage to say what she wants to say as a singer and songwriter and isn’t ready to cash in her chips based on the wants and needs of a man. When Noni and Macy play hardball with her record company to include a couple of songs Noni wrote on her new album, which will cost the company hundreds of thousands of dollars in rerecording and production fees, the price is dropping Kaz. After a quick beat, Noni simply and unemotionally says, “OK.”
Prince-Bythewood offers a wonderfully intimate look at Noni and Macy’s relationship. Macy tells a story Noni hasn’t heard before. Macy was abandoned by Noni’s black father and rejected by her family and she ended up—infuriatingly—just as they predicted: broke in a Brixton tenement. A passage out opened when a very young Noni opened her lungs to sing along to a recording of “Blackbird.” Macy’s actions become much more understandable, even forgivable, when put in context, but she just can’t seem to recognize Noni as a person—a common affliction of parents everywhere. In the end, both Noni and Kaz have to separate their own dreams from those of their parents if they are to give birth to their true, adult selves.
I believed almost every minute of this film, with only a few false notes sounded mainly to move the action forward. The portrayal of the music industry, with its power plays, image churning, and negotiating, seemed real without being the caricature of villainy we often see in feature films. Noni and Kaz’s relationship develops slowly to the random rhythms of life, not on the predictable waves of plot. Prince-Bythewood doesn’t feel the need to show skin when her characters have sex—indeed, this welcome change of pace offers insight into what Noni is fleeing, revealed in a very professionally shot music video at the beginning of the film that is little more than a visual sexual assault. I liked how full and teeming the film was—it was a nice touch to have the kindly hair stylist return as a member of Noni’s staff. Even the concertgoers seemed to get just enough camera time to make them seem like more than extras.
Most especially, I loved Mbatha-Raw, who with her appearances in the highly regarded film Belle and this one, is having quite a year. She adopts a different spine for the Noni she presents to the world and the one she has kept under wraps, and melds the two believably through the course of the film. Her rendition of “Blackbird,” sung through tears, is inspired and beautiful. Her dignity is kept intact by a sympathetic director and matched by a dignified love interest who learns that his chosen path doesn’t really fit his character. Mbatha-Raw and Parker have a wonderful chemistry, which Prince-Bythewood captures in some beautifully paced and rendered scenes. Beyond the Lights may be optimistic about the power of the truth, but this large and talented creative team have made a believer out of me.
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Director: Michael Curtiz
By Marilyn Ferdinand
Louis, I think this is the beginning of a beautiful friendship.
Although director Michael Curtiz and the rest of the team involved with making Casablanca could not have known it at the time, this last line of dialogue from the film perfectly characterizes the love affair movie audiences have had with this quintessential World War II romance since it premiered on November 26, 1942, in New York’s Hollywood Theatre. During the war, audiences were hungry for news and stories about the war, and films like The Battle of Midway (1942) and Mrs. Miniver (1942) mixed with documentaries like The Memphis Belle: The Story of a Flying Fortress (1944), frankly racist anti-Axis cartoons, and newsreels to keep the public informed and morale high; Casablanca was timed to appear about the same time as the Allied invasion of North Africa on November 8 and the presumed liberation of Casablanca itself. While other wartime films have lived on, none have generated the ardor fans feel for this story of “three little people” caught in a love triangle. What makes this film so compelling that it lands regularly among the top romances of all time?
Casablanca is much more than just a boy-meets-girl kind of romance, and to show that, I’m going to have to go all schoolmarm on you. The birthplace of most of the philosophies that guide Western societies is Greece, and the Greeks had four terms for the main types of love human beings experience: agape, eros, philia, and storge. Agape means love in a spiritual or humanitarian sense, wanting the good of another. Eros, the most common love in Hollywood romances, is the passionate love of longing and desire. Philia is more general and can extend to family, friends, or activities. Finally, storge is natural love, as by a parent for a child; importantly, Greek texts also use this term for situations people must tolerate, as in “loving” a dictator. Casablanca activates each of these forms of love, giving audiences a quadruple whammy of loves so powerful that the film has become the stuff of legend, with well-remembered quotes that distill the essence of these forms of love.
Let’s start with eros, the love that’s launched a thousand movies. The central love affair of the film is between Rick Blaine (Humphrey Bogart) and Ilsa Lund (Ingrid Bergman), one so intensely romantic that it’s impossible to forget. Certainly, Rick’s passion for Ilsa is undying, but he keeps it under deep cover as he plays the morally indifferent, womanizing proprietor of Rick’s Café Americain, a far cry from the freedom fighter he had been when he met Ilsa in Paris weeks before the Nazis marched into that most romantic of cities. He has forbidden Sam (Dooley Wilson), the piano player he escaped Paris with on the day Ilsa abandoned him, from playing the couple’s song, “As Time Goes By.” When he hears it and races to scold Sam, he comes face to face with Ilsa, dewy-eyed with remembrance and longing for Rick. How many of us wonder at a fate that tears the thing we want most away from us (“Of all the gin joints, in all the towns, in all the world, she walks into mine.”) and then returns it transformed into an instrument of torture (“If she can stand it, I can. Play it!”).
It could be argued that the marriage between Resistance leader Victor Laszlo (Paul Henreid) and Ilsa is an example of eros as well, and for Victor, that is probably true, though the parental role he played in Ilsa’s life might mean that his began as a storge kind of love. For Ilsa, the relationship is most definitely a complicated example of storge. Not only is her love more that of a child than a grown woman—and, to be frank, gender norms often cast women as children in an unequal balance of relational power—but also one of accustoming herself to a man for whom she has no real romantic feelings, something particularly acute once Ilsa and Rick are reunited. Victor has been through great hardship at the hands of the Nazis, but his greatest tragedy is poignantly communicated when he tells Rick that he knows they both love the same woman: “Apparently you think of me only as the leader of a cause. Well, I’m also a human being. Yes, I love her that much.”
Storge and philia are best exemplified by Louis Renault (Claude Rains), Casablanca’s French police captain. A functionary of the Vichy government, Renault is the ultimate survivor, making his way by having no convictions at all. Flattering Major Heinrich Strasser (Conrad Veidt), a Gestapo officer who has been pursuing Laszlo since his escape from a Nazi concentration camp, Renault says, “We are very honored tonight, Rick. Major Strasser is one of the reasons the Third Reich enjoys the reputation it has today.” Strasser says, “You repeat Third Reich as though you expected there to be others!” In a deft sleight of hand that reveals his storge regard for France’s conquerers, Renault replies, “Well, personally, Major, I will take what comes.” Renault’s double meanings in dealing with Strasser are doubled by his philia love for Rick as a man of like mind, “the only one in Casablanca with less scruples than I.” Beneath their nonchalant exteriors, both nurture the love that conquers all in Casablanca—the love of humanity, agape.
Yes, the central love of Casablanca is agape after all. What sacrifice will the characters in this film not make for love of country, of humanity. It is this attachment to an ideal, to the thread that binds us all together at the most basic, spiritual level that resounds in generation after generation of movie fans. While there are incredible scenes of romantic love throughout Casablanca, led by Ingrid Bergman’s luminous presence and Humphrey Bogart’s commanding tenderness, the most soul-stirring scenes are explosions of agape, such as when Laszlo commands the combo at Rick’s to play “La Marseillaise” to counter the Germans singing “Die Wacht am Rhein” in celebration of their own camaraderie. The two songs are perfectly counterpointed in Curtiz’s editing and Max Steiner’s scoring, a symbolic battle of ideals to justify the sacrifices the film’s audiences and their proxies on the screen were then making on and off the battlefield. That this scene still resonates relates only in part to what modern audiences know about the horrors perpetrated by the Nazis—the love of freedom is a love that’s bred in the bone.
Curtiz and the smart script by Julius and Philip Epstein and Howard Koch continually counterpoint the soul-shriveled with the virtuous. The murdering, greedy fixer Ugarte (Peter Lorre), whose possession of the letters of transit that could see Ilsa and Victor safely out of Casablanca constitutes nothing more than a get-rich-quick scheme, contrasts Rick’s motives in keeping the letters, a way to regain his lost love and not for sale to Victor at any price. Yvonne (Madeleine Lebeau), Rick’s jilted lover, perverts romantic love by keeping company with the German officers.
Yet both Rick and Yvonne let go of their bitterness when confronted with the power of agape. Yvonne joins in singing “La Marseillaise,” tears streaming down her face, and Rick utters his immortal speech as he sends Victor and Ilsa off to continue the fight in America: “I’ve got a job to do, too. Where I’m going, you can’t follow. What I’ve got to do, you can’t be any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that.” His eros love resolved and transformed by these paternalistic words into storge love, he has set Ilsa free to make her marriage a real one and found freedom for himself to return to a life that can express its love of humanity and perhaps, one day, to find romantic love again. Casablanca’s rare and wonderful ending leaves us not longing for the lovers to unite, but uplifted by the universal love that it so beautifully affirms.
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Director: W. S. Van Dyke
By Marilyn Ferdinand
During the silent film era, exoticism was all the rage. The original Latin lover, Rudolph Valentino, was the stand-out heartthrob of the age, but Myrtle Gonzalez, Gilbert Roland, Antonio Moreno, and Beatriz and Vera Michelena all had their followings, and Dolores del Rio and Lupe Velez became bonafide movie stars. It took Valentino’s death in 1926 for Mexican singer/dancer/actor Ramon Novarro to become Hollywood’s reigning Latin lover, a place he would have held easily in any open field. Novarro combined the athletic daring and comic wit of Douglas Fairbanks with the dusky good looks of Valentino, and threw in his own dazzling smile for good measure. The camera loved him, and soon, so did audiences all over the world. Novarro almost single-handedly saved MGM from bankruptcy when his star turn in Ben Hur: A Tale of the Christ hit theatres in 1925; after that, he made up to four pictures a year through 1934.
The Pagan came about in the middle of Novarro’s heyday, and aside from recycling some popular tropes of the silent era, it lavishes a good deal of attention on Novarro’s sex appeal. It also has a documentary quality to it, filmed as it was in Tahiti, with fascinating footage of workers harvesting coconuts and making copra from it: a title card even tells us what copra is and what its uses are. Perhaps most interesting to me are the musical threads that run through and beyond the film itself.
Stalwart representative of white progress Roger Slater (Donald Crisp) sails to the island where half-white/half-native Henry Shoesmith, Jr. (Novarro) owns a vast coconut grove in hopes of striking a deal with Shoesmith to harvest the crop for copra production. Slater learns from an Asian banker where Henry lives and that the young man takes after his native mother—in other words, he’s too lazy to work the plantation. Slater and Henry meet cute when Slater goes to the manor house looking for Henry and is directed to a pair of bare feet by a servant. Henry is lounging barechested and rebuffs Slater, telling him he should come back later. Henry is much more interested in sleeping and playing his ukulele than in talking business.
I’m not sure why, but every tropical paradise seems to have a white prostitute, and we meet this island’s good-time girl, Madge, (Renée Adorée, a dead ringer for another actress of the night, Shirley MacLaine) as she’s being thrown out of the bank. Unaccountably, we next see her lounging with Henry in a field, playing his ukulele to him. The camera pans up Novarro’s half-naked body as Madge asks with a sigh why Henry never liked her. Of course, she means in the biblical sense, but Henry is such an innocent that he merely answers that he does like her very much. At this moment, Henry’s sexual urgings are awakened when he starts to sing “Pagan Love Song” and hears the song returned by a woman on board a ship anchored near his field. Madge warns him that the ship belongs to a nasty white trader—Slater—but he responds, “she native voice” and swims out to meet the lovely young woman whose voice he heard—Tito (Dorothy Janis), an orphan and Slater’s ward.
The Pagan offers echoes of Sadie Thompson (1928), but with a much lighter and more peripheral touch. Instead of a sanctimonious preacher who falls for the prostitute, Slater is this film’s reformer, and his project is Tito. The film is quiet in portraying Slater’s attraction to Tito, with Crisp underplaying what could have been a cardboard villain role; he gently plays with her hair while she reads scripture aloud to him and projects as much fatherly regard as he does lustful suitor. It’s not clear how long she has been his ward, but when Henry appears as a rival for her attentions, Slater’s affections stir to the point of “sacrificing” himself to her betterment by forcing her to marry him through the power of his parental authority.
More central to the film is the clash of Western progress/colonialism and native culture. The film states its case in the opening moments of the film, remarking that Slater is too busy to notice the natural beauty all around him as the camera scans the tropical idyll. At the same time, Henry is such a naïve nature boy that it’s hard not to see some condescension in the film’s attitude toward native people, though his cluelessness is played largely for laughs. He has no interest in or knowledge of money, accepting no payment for giving Slater exclusive rights to harvest his coconuts because he has too many to eat himself and similarly giving away the goods in his plantation store on the promise of payment as he tries and fails to become a businessman worthy of Tito’s affections. Despite being cheated of his plantation, Henry only becomes angry when Slater snatches Tito away. Even Slater’s comeuppance is dealt by the impersonal hand of nature, not Henry.
It’s safe to say that The Pagan was the Out of Africa (1985) or Under the Tuscan Sun (2003) of its time—an escapist travelogue that allowed audiences to enjoy the attractive island and human scenery and dream about a simple life unencumbered by financial concerns. Novarro and Janis are a gorgeous couple who play extremely well together and provide an island of calm and joyful play to balance the more melodramatic moments of this generally solid film. Because of the location shooting, the film was made as a silent, and employed a MovieTone synchronized score for the musical interludes, though I think I detected a very short scene that seemed to be sound-recorded on one of the interior sets.
It is the music connections of this film that I found most interesting while researching this review. Novarro had ambitions to be a professional opera singer, but his voice lacked the strength to carry it off. Nonetheless, a contemporary review of the film by the New York Times’ Mordaunt Hall says, “Mr. Novarro, who is to make his bow on the Berlin operatic stage within a week or so in ‘La Tosca,’ is heard singing a few songs in the course of this film.” “Pagan Love Song” was produced by the composer/lyricist team of Nacio Herb Brown and Arthur Freed (“I Cried for You,” “You Were Meant for Me,” “Singin’ in the Rain”), the latter of whom would play a monumental role in creating and fostering movie musicals in Hollywood. Finally, the beautiful Dorothy Janis, who also sang in The Pagan, ended up marrying popular, Chicago-based bandleader Wayne King in 1932 and retired from movies.
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Director/Coscreenwriter: Rob Thomas
By Marilyn Ferdinand
From 2004 through 2007, “We Used to Be Friends,” the dreamy, edgy song performed by the Dandy Warhols, opened “Veronica Mars,” a television series that created such a loyal following that it survived low ratings to last three seasons and encouraged more than 91,500 people to contribute to a Kickstarter campaign so successful that we now have a movie based on the series. What was it about this series that had people of all ages and backgrounds—including me—glued to the tube each week?
The series, which featured Kristen Bell as the title teenage gumshoe, was much more than the updated Nancy Drew or straight-playing “Twin Peaks” it seemed to be. Its essence was noir, with corruption at the heart of its original through-story of Veronica’s investigation into the murder of her best friend, Lilly Kane (Amanda Seyfried), in the fictional town of Neptune, California, a playground for the rich and famous with a soft underbelly reminiscent of the Los Angeles of Chinatown (1974). Veronica, daughter of ex-sheriff and current P.I. Keith Mars (Enrico Colantoni), ran in the rarefied circles of Neptune’s power elite, but remained a resolute outsider by dint of her lowly financial status and exposure to the ruinous power of wealth and influence as exemplified by the campaign of the 1% to run her dad out of office for daring to come after one of their own. Many fans of the series believe, in the words of the Film Noir Foundation, that “it’s a bitter little world,” and despite the futility, it still felt good to see our wry, savvy antiheroine act like Sam Spade: “When a (girl’s best friend) is killed, (s)he’s supposed to do something about it.” We thrilled, too, that like Spade, she fell like a ton of bricks for the wrong person—troubled rich kid Logan Echolls (Jason Dohring)—possessive, violently protective, and oh so sexy.
When the series ended, it seemed like Veronica had put her demons behind her and followed her father’s advice to get out of the cesspool of Neptune and make a normal life for herself. The movie picks up at the point where Veronica, a recent law school graduate, is interviewing for a job at a top New York law firm and living with Stosh “Piz” Piznarski (Chris Lowell), her kind-of boyfriend during her undergraduate days at Hearst College. A high-profile murder in Neptune grabs her attention—pop singer Bonnie DeVille (Andrea Estella), nee Carrie Bishop of Neptune, Logan’s girlfriend, is found electrocuted in her bathtub, and Logan stands accused of murdering her. One text from Logan that he needs her has Veronica on the first plane out, assuring understanding Piz that she will be there only a couple of days to help him choose a defense attorney.
Logan, now an officer in the U.S. Navy, greets Veronica at the airport wearing his dress whites. She is dazzled and says, “You should always wear that,” but as they say, love is blind—the uniform fits him like a laundry bag and makes him look like the prototypical pencil-necked geek. How he managed to maintain a relationship with a junkie pop star while in the Navy is beyond me, but thankfully, he wears civvies for the rest of the film and seems to have been able to make bail—he is filthy rich, after all. This series’ version of the “Buffy the Vampire Slayer” Scooby gang—computer geek Mac (Tina Majorino), gofer/buddy Wallace (Percy Daggs III), and Latino tough Weevil (Francis Capra)—have all grown up into responsible adult positions, with Mac making a very nice living in IT, Wallace a school teacher at their former high school, and Weevil a married man and doting father.
Veronica Mars is a solid, if unremarkable film whose hole-filled scenario is, as Rod pointed out about the plot of another noir, The Big Sleep (1946), rather beside the point. What fans of the series and viewers of the film will most enjoy is a chance to visit with or revisit some beloved characters indelibly created by the prodigious talent of the actors who played them, their acting chops better than ever, and especially the incredible chemistry between Bell and Dohring and the close relationship Veronica has with her father.
Veronica gets drawn back into her former life and her former love, reflecting in the noirish voiceover narration that peppers the film that she is an addict of sorts of both. But then, the script doesn’t make Veronica’s law career seem very exciting. When she interviews with attorney Gayle Buckley (Jamie Lee Curtis), she is told that the firm tries to keep its corporate clients out of court as much as possible—so, in fact, if Veronica takes the job, she will be spending her days literally settling. Once she’s caught up in the adrenaline rush of the investigation to exonerate Logan, she knows that all she really wants to do is get people—the bad guys—into court. Working as she did in high school, investigating her classmates who may have graduated from smaller stuff like test rigging and cyberbullying to actual murder while her father investigates even more grown-up stuff like systemic corruption in the police department, is just like old times.
Yet Veronica’s quest for a safe and normal life seems to have changed her, made her more vulnerable. While still verbally quick, she has slowed down a bit, preferring direct actions like punching a bitchy former classmate to cutting her with her rapier wit—then again, this scene plays like a rip-off of the Indiana Jones and the Arab swordsman scene. A more genuine moment shows Veronica hiding from a killer, panting with terror and thinking as fast as she can for a way to save herself while obviously flailing at the unexpectedness of her plight. The scene is beautifully choreographed and builds tension that the film sustains to the end. The film is also ably aided by its moody look and a soundtrack as edgy and dreamy as its theme song.
One change from the TV series to the movie is Veronica’s heavy use of her smartphone. I thought this was natural for someone well versed in the use of surveillance equipment and an early adopter of new technology, and yet, Veronica seemed to be the only person glued to the screen in her hand. She happens to appear in Neptune the weekend of her 10th high school reunion and is dragged there by the Scoobys. As if by some time-travel miracle, virtually no one was checking their phone every few minutes or texting someone. A crucial plot twist shows a similar stupidity about the power in everyone’s hands these days, though we could possibly blame drugs and alcohol for this particular lapse. Similarly, the Neptune police seem not to have given much thought to the audio/video capabilities of cellphones and are repeatedly recorded doing things they oughtn’t, including unprovoked violence against some defenseless teens. Viewing this film on the heels of seeing the footage from Ferguson, Mo., was a truly eerie experience.
Still, the main event is Veronica and Logan. Their mutual attraction burns a hole through every scene they share, though Logan keeps a gentlemanly distance, even when he is blindsided and momentarily made jealous by Piz’s appearance at the reunion. A flash of his old protectiveness goes overboard when the reunion committee decides to humiliate Veronica by projecting an old sex tape of her and Logan. His rage precipitates the equivalent of a barroom brawl from a creaky Western, a truly shoddy piece of comedy that undercuts the Veronica Mars vibe. While this display from Logan would have sent the Veronica of old packing, the more vulnerable version may actually feel the need for a man who can mix it up, and when he saves her father from an attempt on his life, he becomes plainly irresistible. I have read some criticism of this relationship that it supposedly reinforces the idea that women are looking for sexy bad boys when they should be attracted to nice guys. Of course, it’s ridiculous and futile to tell hearts and genitals what they should want, but in fact, Veronica is a bad girl and thus a perfect match for Logan.
Most fans of the series are crazy about Weevil, and I was disappointed that this complex character had so little to do and ended the film on a note that seemed all wrong. Daggs, also a fan favorite, is just as good in the movie, but again, has little to do. Colantoni is a veteran actor whose presence is felt in any project in which he appears. In Veronica Mars, he is every bit the sympathetic dad and quietly persistent private eye he was in the series, and he and Bell continue as one of the best fictional father/daughter duos anywhere; his joy at being surprised by Veronica’s sudden appearance at his office is a delightful and truthful moment. While Bell has maintained an active career on television, neither she nor the inexplicably lesser-seen Dohring has ever made the impact they did with “Veronica Mars.”
In the end, this pastiche of filmic styles takes it final cue from Casablanca (1942). In their version of “We’ll always have Paris,” Logan and Veronica repeat some words from the series:
I thought our story was epic, you know, you and me. Spanning years and continents. Lives ruined, bloodshed. EPIC.
As Logan heads back to the Navy, Veronica goes back to being a gumshoe, apparently with the Scoobys back by her side fighting the bad guys, as though listening to the words of Victor Laszlo: “Welcome back to the fight. This time I know our side will win.”
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Director: Frank Capra
By Marilyn Ferdinand
If I had to make a list of the most subversive love stories ever committed to film, The Bitter Tea of General Yen, would certainly be near the top. The interracial romance at the heart of the film was taboo in 1933, and remained so for many decades. But more subversive was the look at the love of money and destabilizing love of a Christian God missionaries spread throughout the world. This type of story is something of a surprise from Hollywood’s most successful idealizer of American values, Sicilian immigrant Frank Capra, and his female star, Barbara Stanwyck. Only two years earlier, the two had teamed to film The Miracle Woman, in which Stanwyck played a bitter and cynical evangelist whose faith in God is restored. In The Bitter Tea of General Yen, Capra and Stanwyck reversed this outcome, as a Chinese warlord “converts a missionary,” forcing her to see the charade of her blind loyalty to her missionary fiancé and her Christian mission, and acknowledge the attraction that has grown between them.
The film opens with the Chinese populace in Shanghai running in chaos to signal the civil war embroiling the country. In a well-appointed home, Western missionaries and expatriates are preparing for the wedding of Dr. Bob Strike (Gavin Gordon) and Megan Davis (Stanwyck), the latter of whom is coming from her upper-crust New England home to work side by side with her soon-to-be husband as a missionary.
In the muddy streets, Bob and Megan are making their way to the house in separate rickshaws. Megan’s rickshaw gets stuck in the mud, and before her driver can get it unstuck, he is mowed down by a large car driven by General Yen (Nils Ashter). Megan pleads with Yen to help the driver, but he is wondering why she would care about a stranger. She sees his head is bleeding and offers him her handkerchief. He demurs, pulling one of his own from his sleeve. They both cast a long gaze at each other as they go their separate ways.
When Bob and Megan reach the site of their wedding, Megan readies herself for the ceremony. Unfortunately, Bob has received word that a mission orphanage is in danger, and he must appeal to Yen to write him a safe-conduct pass. The assembled well-wishers are abuzz with the evils of General Yen, a crook who has amassed a fortune for his renegade army, and believe Bob will get nowhere with Yen. Nonetheless, with Megan insisting on accompanying him, Bob gets a note from Yen, which actually says that “This fool prefers orphans to the arms of his bride,” a joke only the Chinese who can read it can appreciate. Finding most of the orphanage already evacuated, Bob and Megan attempt to move the final group of six orphans and their nurse to safety. They duck machine gun fire that mows down an entire group of Chinese, but are nonetheless confronted by soldiers. Megan is hit on the head and loses consciousness, only to awaken in a beautifully appointed bedroom in what turns out to be General Yen’s summer palace where Mah-Li (Toshia Mori), Yen’s concubine, tends to her wounds. Yen has saved her, but what he intends to do with her is anyone’s guess.
Capra sets up situations in this film that he would plumb again in Lost Horizon (1937), in many ways, the reverse image of Bitter Tea. The opening scene of chaos is repeated at the beginning of Lost Horizon, and a kidnapping of the main character occurs. He also sets the second act of each picture in an exotic and isolated Asian locale, the better to remove his protagonists from the overweaning influence of their own Western enclaves. In both films, he critiques the base Western concerns that place a narrow morality and profit above all else. In the later film, George Conway (John Howard), the brother of idealist Robert Conway (Ronald Colman), considers himself a prisoner in the idyllic Shangri-La and spends most of his time planning to escape. In Bitter Tea, Megan is a prisoner who keeps demanding to be returned to Shanghai; her only contact with Western culture is American war profiteer Jones (Walter Connolly), whose sole interest in Yen and China is to enrich himself.
Where The Bitter Tea of General Yen parts company with Lost Horizon is in its smoldering, complex love story of mutual dislike and attraction. Megan strikes the first blow when she calls Yen a “yellow swine,” which visibly shakes him and shames Megan into realizing that she is full of prejudice against the people she came to China to help. Yen’s courtesy and refinement impress her, but she finds his barbarism incongruous. When she awakens one morning to the horror of prisoners being executed by a firing squad, she complains to Yen. His response is to send the firing squad down the road out of earshot, and excuses the executions as a kindness in comparison with the slow starvation they would suffer in his jail cells because he cannot afford to feed them all. “We are in the middle of a civil war,” he says, emphasizing in the most understated way the naivété of the missionaries who bring to the Chinese struggling for freedom “words, nothing but words.”
Ashter, made up with barely passable Asian features, towers over the diminutive Stanwyck, yet he never offers the menace she expects. He is highly insulted by her accusation that he meant to rape her, saying he only wants what is freely offered to him. Again, Megan’s prejudices are undercut—she is dealing with a man, not an ignorant heathen, from a civilization much more ancient than her Christian America and extending much earlier than the Christ era. Stanwyck is great at conveying a character who is far out of her depth, ignorant of her new surroundings and all they encompass, and weak even when asserting her strongest convictions. Her rebellion against Yen’s dinner invitations are paltry and her impassioned assurance that acts of mercy will bring Yen the greatest feeling in the world sounds desperate and hollow. Death is something she shrinks from, and Yen accurately chides her with “You are as afraid of death as you are of life.”
Capra builds a dreamy, romantic setting full of sparkling jewels, cherry-blossom moons, caressing costumes, and candle-kissed lighting. Stanwyck glows, her unusual beauty enhanced by Capra’s flattering, soft-focus close-ups, her tears like diamonds on her cheeks. Yen’s palace is enchanted, with simple acts like stirring a teacup handled with a painstaking decorum and touch. It is this atmosphere that seduces Megan and wraps the audience in a love-struck spell.
Megan observes young lovers courting on the picturesque grounds of the palace in scenes that are handled with a delicacy that reminded me of Lotte Reiniger’s fragile paper cutouts in The Adventures of Prince Achmed (1926). Their laughter and embraces form a mirror to the experiences Megan hoped to have with Bob and that now seem to be transmuting. The eroticism of Yen and his environment, a veritable hothouse of the entwined vines of sex and death so similar to the overwhelming sexual swoon that is India in Powell and Pressburger’s masterpiece Black Narcissus (1947), shakes Megan from her moral moorings. She dreams of Yen, first as the stereotypical Yellow Devil menacing her with his long, phallic fingernails, and then as her masked savior. In her dream, she welcomes him into her arms and most probably to her bed, though the camera discreetly demurs to her awakening. She doesn’t seem appalled at what her mind has concocted, truly marking this film as a product of Pre-Code Hollywood.
Megan’s misguided trust in a duplicitous Mah-Li, whom she saves from execution, ends up ruining Yen. He confronts her with his anger, but unexpectedly says that he intended to kill her, as he was entitled to do by her pledge to vouch for Mah-Li, and then join her forever in the land of their ancestors, a tormented confession of love that both confuses and thrills Megan. Ashter’s ardor is a sudden burst from a fairly controlled man, though Megan says at one point that “The subtlety of you Orientals is very much overestimated.” I found it so touching that when she finally acquiesces to her feelings, coming to Yen’s side in an Asian dress she refused to wear before, crying over her guilt in helpless surrender, he wipes her tears with his silk handkerchief: “The Chinese gave the world silk.” With these words that show the soft tenderness of his love, Yen drinks the poisoned tea he brewed so meticulously for his suicide and quietly dies, the fulfillment of his love for Megan his gift for the afterlife.
Capra includes an interesting postscript in which a drunken Jones plays amateur fortune teller for a quiet Megan as they sail for Shanghai. He can’t seem to decide whether Megan will go through with the life she planned before falling under Yen’s influence or give it up. Megan, with a self-knowledge incited by her brief romance—some might call it tragic, but to me it formed a perfect whole, a love transcending race, culture, and time—simply gazes with limpid eyes and a rueful smile as the film draws to a close
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Director: Keith Gordon
By Marilyn Ferdinand
Writer Joyce Carol Oates called Scott Spencer, “the poet-celebrant of Eros.” As someone whose memory of his highly sensuous prose and love-mad teenagers is as vivid as it is some 30+ years after reading Endless Love, I couldn’t agree more. Spencer has written 12 novels in various genres—most recently, horror, under the pseudonym Chase Novak—but his elegant explorations into the depths of romantic love and obsession are nearly without peer. Even after two tries, Spencer’s celebrated vision of teen love hasn’t gotten the screen version it deserves yet, but his 1986 novel Waking the Dead is another matter. Keith Gordon, a director with a small, but impressive list of prestige television credits (“Homicide: Life on the Streets,” “Dexter,” “Homeland”) and at least one film that deserves a better reputation than it’s got, The Singing Detective (2003), is a veteran surveyor of the depths of human emotion. With Waking the Dead, he must navigate emotional commitments both personal and global. In the process, he gives us a much larger picture of what it means to be a good person than most films care to approach.
The opening sequence immediately announces the field of action on which Fielding Pierce (Billy Crudup) has been sparring with his girlfriend, Sarah Williams (Jennifer Connelly), for the two tempestuous years of their love. Fielding watches the TV news in mounting horror as a report about a car bomb that killed two Chilean dissidents touring in Minnesota mentions that an American activist from Chicago was also killed in the blast. Sarah’s picture flashes on the screen, doubling the one on display near the television. Fielding squeezes his head as though to keep his skull from exploding and shrieks in jagged despair. From this point, the film toggles between 1972 through 1974, the years of Fielding and Sarah’s love affair, and 1984, when Fielding has taken his seat in the U.S. Congress.
Fielding and Sarah first meet at the office of his brother Danny (Paul Hipp), a counterculture publisher who hired her only the week before. Fielding’s attraction to her is immediate. When he asks her to dinner, she is a bit put off by his U.S. Coast Guard uniform, but agrees. At dinner, Sarah tells him she was educated at a Catholic convent school and is a committed activist for human rights. Fielding enlisted in the Coast Guard to build his resume as a patriot who has served his country; he intends to become a U.S. senator, though he confides to Sarah that he’d really like to be president. Fielding walks Sarah home, but she resists kissing him good night; however, moments after she enters her apartment, she opens her window and throws her keys down to him. Despite their unlikely pairing, their affair becomes a grand passion.
Leaving aside the chemistry between Fielding and Sarah, there is a sounder basis for their relationship. Both are dedicated to making the world a better place in part because of their early training. Fielding comes from a working-class family; his parents gave him a patrician name to match their hopes for his social mobility. His own observations of the needs of ordinary Americans drive him to become their representative in the halls of power. Sarah’s Catholic upbringing set her up for a life of service—indeed, she had ambitions to become a nun until puberty struck. When the pair met, American involvement in the Vietnam War was winding down and the Watergate scandal was about to surface, leaving behind massive disillusionment and the widespread radicalization of youths like Sarah. At another point in time, she might have welcomed Fielding’s ambition to reform the system from within, but her distrust of conventional solutions brings her into regular conflict with Fielding, and her clandestine missions to Chile to help opponents of its dictatorship escape have him feeling fearful for her safety and frustrated at not being the center of her universe.
By 1983, Fielding seems to have picked up the pieces and gotten on with his life plan. He is running for Congress with the backing of powerful politico Isaac Green (Hal Holbrook) and the support of politically savvy girlfriend Juliet Beck (Molly Parker). Fielding seems to be headed for a major power trip with all the trappings, but he starts seeing Sarah everywhere, imagining that she is speaking to him from beyond the grave or, perhaps, may have used the bombing to draw attention to the plight of oppressed Chileans and gone underground to continue her work. Has he finished grieving? Is Sarah the “Jiminy Cricket” on his shoulder to keep him in line as he ascends the staircase of influence? Is she alive?
What is great about Waking the Dead is that it places the mystery of love ahead of the mundane whodunit of Sarah’s fate. In Spencer’s world, the intensity of the feelings Fielding and Sarah shared transcends the grave. Fielding misses Sarah horribly and is honest—and cruel—enough to admit it to Juliet when he agrees with her that if she walked out the door and disappeared, he’d forget about her in a matter of days. The sticking point between Sarah and Fielding is a greater love than what they feel for each other—the love of humanity that Sarah ultimately chooses over the private happiness she has with Fielding. Waking the Dead does justice to the passion many activist boomers cling to from the time when they felt most alive and committed to public action, while honoring the private losses many of them faced as the war took its toll.
Fielding proves to be the kind of boomer for whom private happiness tends to be more important, the kind who have taken over the country and given up the fight for the common good, if they ever had much fight in them to begin with. When his sister Caroline (Janet McTeer) and others suggest the Sarah would have been a liability to Fielding’s future, the careerist boomer priorities come plainly into focus, though, in fact, they’re right. Sarah is the braver of the two in recognizing that however she and Fielding differ in their approaches to helping others, humanitarian causes must be fought for on as many fronts as possible; she never discourages him from his path and tries to help him by attending networking cocktail parties with him—though she can’t help making a hash of them by insulting the influential businessmen and party functionaries he is trying to court.
The script by Robert Dillon, which preserves some of the best of Spencer’s writing, is smart and literate. The scrambled chronology isn’t really a problem, but Gordon may have been induced to dress his sets in clearly defined ways—warm hippie-style scored by Joni Mitchell for the early sequences and sleek modern scored to Brian Eno and David Byrne for the ’80s scenes. On the other hand, placing Connelly and Crudup naked in front of a roaring fire might signal it was the director’s lack of imagination that drew this overly defined line in time. Fielding’s visions tend to be fairly straightforward as well, with the repeat motif of a figure in a long tartan cape standing in the distance. One place where the hallucination is truly haunting is in an airport terminal—one Sarah becoming many Sarahs wearing capes and moving down a corridor like ghosts emerging from the other side.
This film could have been little more than a hectoring indictment of boomers—and maybe that’s just how it was seen by some audience members—if not for Jennifer Connelly, a gift to this movie almost as miraculous as Sarah herself. She hits every note right between the eyes, utterly convincing in her commitment to her cause and to Fielding, acting both completely vulnerable and strong with determination. Crudup nearly matches her, but he is somewhat hampered by having to portray a shallower individual. When her love reaches out to him with all the right words and feelings, he answers more often than not with a hungry sexuality. In their final scene together, tellingly, nothing but tears and touches pass between them, a sign of Fielding’s growth through great pain. This film, though fairly conventional in its attitudes, can awaken the romantic in all of us, but especially those of us who have lived in heady times and loved with all our hearts.
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Director: Norman Foster
By Marilyn Ferdinand
Despite the bone-chilling weather, February 26 marked a joyful (if probably temporary) return of the Northwest Chicago Film Society to the Patio Theater. The theater’s 87-year-old boiler was returned to life, and though it wasn’t up to keeping us toasty warm in sub-zero weather, nobody seemed to mind—it was just great to gather with old friends and other classic film fans to see another of the rare films on film NCFS specializes in showing at an appropriately vintage movie theater.
After paying tribute to Harold Ramis, who died this week, by showing the trailers for Ghostbusters (1984) and Groundhog Day (1993), NCFS fired up a short film about motorcycle racing in the British Isles to coordinate with the main attraction, a romance/noir hybrid set in London—the luridly, but not inappropriately, named Kiss the Blood Off My Hands. This film was the first Burt Lancaster made under the aegis of Harold Hecht-Norma Productions, the independent production company he started only two years after his star-making debut in Robert Siodmak’s The Killers (1946) to capitalize on his own popularity. Lancaster’s company in a couple of different incarnations would produce some excellent movies, including Best Picture Oscar winner Marty (1955), Sweet Smell of Success (1957), and Birdman of Alcatraz (1962). One only has to look back to the company’s first film to see that Lancaster had more than acting ability and charisma—he knew how to make great pictures.
In true noir fashion, Kiss the Blood Off My Hands zeroes in on a damaged World War II veteran whose precarious postwar existence almost inevitably collides with crime and violence. The film opens in a pub that is closing for the night. The patrons dutifully file out, save for petty criminal Harry Carter (Robert Newton) and a nervous, drunk Bill Saunders (Lancaster). When the publican (Campbell Copelin) tries to rouse Saunders from his place at the bar, Saunders reacts violently. He punches the publican, who fall, hits his head, and dies. A scream from the barmaid (Marilyn Williams) sends Saunders running. He eludes a policeman who gives chase by climbing into a flat occupied by hospital worker Jane Wharton (Joan Fontaine). A former inmate in a Nazi POW camp, he’d rather die than be locked up again, and when Jane does not turn him in the next day, he feels safe for the first time in a long time. She feels drawn to him, too, but naturally, Saunders’ crime, however accidental, will cast a shadow over their relationship and lead to violent consequences.
In many ways, Kiss the Blood Off My Hands has a predictable set-up, but it is shot through with surprises. Of course Carter comes looking to blackmail Bill. Of course Jane rejects Bill when his impulsive violence pops out, and of course she takes him back. But I was genuinely shocked by some of the scenes. For example, Bill is much more vicious and immoral than I expected. He mugs a man for his wallet and uses the stolen ration coupons to get some new clothes so he can call on Jane, a shocking touch of plot and character that doesn’t feel forced. His assault on a passenger on a train he and Jane are taking and subsequent attack on a police officer are sudden and vicious, but his punishment—six months hard labor and 18 lashes with a cat o’ nine tails—drew a literal gasp out of me. The lashing was a very difficult scene to watch and reminded me that postwar England was not so far ahead of the medieval tortures for which the country has long been infamous. I was also surprised that after Bill “goes straight” as a driver of a medical supply truck, he agrees to let Carter set up a robbery of the supplies in exchange for keeping Bill’s secret. In a previous scene, Bill saw how the supplies stopped an epidemic, but his personal survival always comes first.
While obviously shot mainly on a soundstage, the evocation of the physical atmosphere and mood of postwar London is pretty realistic. It is a world of ration books and black market trading, broken buildings and ongoing relief efforts, grieving widows and shell-shocked veterans. Seasoned DP Russell Metty, who would help create the look of Douglas Sirk’s famous Technicolor melodramas of the 1950s, paints a classic noir landscape of dark corners, narrow alleys, and menacing close-ups. When Bill and Jane go to the zoo on their improbable first date, Metty switches from an open, happy collection of boys mimicking a chimpanzee in a cage to a keeper feeding a ravenous lion. The camera moves swiftly from one caged predator to another, while Bill grows more anxious by the minute. The pacing, abetted by film editor Milton Carruth, is like a sudden eclipse of the sun, providing a hard-to-evoke state of mind for the troubled man that lasts throughout the film. This sequence is echoed later in the film when Jane joins Bill in psychic pain, wandering the streets in a daze, each corner harboring a menacing face that mirrors the face of the man she stabbed in self-defense.
Those who are looking for a hot romance between Bill and Jane will be disappointed. Although Lancaster can easily play the seducer, his Bill is a wounded boy. The first sign we and Jane get of this is at the zoo. Bill joins the boys in imitating the voice and face of the chimpanzee, a clear case of arrested development. Although the extended chase scene at the beginning of the film shows off Lancaster’s extreme athleticism and strength, he always seems small and pleading when he is with Jane. He barely reacts when he climbs in her window and sees her in her nightie, and doesn’t display a manly jealousy when the man on the train seems to be trying to make time with his girl. Even when he bemoans how his influence has screwed up Jane’s life, he knew what he was doing in pursuing her; she is a born helpmate.
Fontaine always seems to be the girl who wears glasses. In so many of her roles, she’s fragile and slightly aristocratic, as though her pure lineage has made her weak. As Jane, she falls in love with Bill’s need for her, his boyish vulnerability. When she leaves her room to get milk the morning after Bill has broken in, I half-expected her to put some in her tea and pour a full glass for him. She is always clearly in charge, finally overriding his survival instinct by making him accompany her as they both turn themselves in, thus kissing the blood off each other’s hands.
Robert Newton is always a pleasure, and his ingratiating crook is penny ante and not at all a match for Bill in the violence department, though Lancaster never lays a glove on him. It was a real relief not to see a fiendishly clever or super-powered villain, so dully common today. Screenwriter Leonardo Bercovici and adapter Ben Maddow were both to become victims of the Hollywood blacklist, and I have to think that their sympathy for common people brought out the vulnerability and sheer ordinariness of these characters. A large cast of bit players adds wonderful atmosphere and puts some real flesh on the bones of this scenario. Sadly, this film is not available for home viewing, but perhaps you can urge a programmer in your area to book this pristine 35mm print of a nearly forgotten gem.
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Director/Screenwriter: Robert Rossen
By Marilyn Ferdinand
A young man in a suit and tie walks up a tree-lined path. Passing through a gate marked Poplar Lodge, the man emerges on a green dotted with Adirondack chairs and fountains as a dreamy musical refrain scores his movements. A great house stands before him at the end of a wide plaisance. He descends a short, stone staircase and passes by the benches where the odd person sits reading. A long-haired woman watches him through a grated window in the great house as he approaches.
The young man is ex-GI Vincent Bruce (Warren Beatty), and he tells Bea Brice (Kim Hunter), the administrator with whom he has a job interview, that he has always been curious about Poplar Lodge, an exclusive mental hospital for the rich that has stood in his home town for as long as he can remember. Brice shows him around the facility, starting with the worst patients, so locked inside their own heads that they probably don’t need to be locked in the rooms that contain them. She then brings him to the day room, where the more socialized patients play games, read, and converse. Warning him the work is hard and ill-paid, Brice hires him on the spot to train as an occupational therapist.
Lilith, Robert Rossen’s final film, represents quite a departure for him. Rossen, known for writing such gritty films as Edge of Darkness (1943) and Body and Soul (1947), and writing and directing the classic films All the King’s Men (1949) and The Hustler (1961), hadn’t made a film in three years. He was seriously ill when he started work on Lilith, and had nothing but trouble with Warren Beatty on the set. This time in film history belonged to a new generation with new, more inward-looking concerns, and Beatty was perhaps the king of the silver screen’s sensitive, troubled young men. Lilith can be seen as a veteran director trying to move with the times, and coming face to face not only with his own obsolescence and pending death, but also perhaps with some deep-seated regrets.
Vincent (suggesting the mad Vincent Van Gogh) has returned from the Korean War a changed man. Laura (Jessica Walter), his fiancée before he left, gave up on him when he stopped writing to her and married a rough salesman named Norman (Gene Hackman), someone she apparently never stops comparing to the handsome, sweet Vincent. Vincent doesn’t have a reason for why he stopped writing when they run into each other at a bus stop one rainy day. He simply wants to find a place and purpose again.
He makes a good start at Poplar Lodge, encouraging Yvonne (Anne Meacham), a nervous socialite, to leave her room, and befriending the shy and staid Stephen (Peter Fonda). Stephen is infatuated with Lilith (Jean Seberg), the blonde who watched Vincent from her room in the opening scene, praising her flute playing with admiration that she made the flute herself. Stephen longs to be as creative as Lilith, to win her favor, but the young woman only has eyes for Vincent. Seemingly miraculously to the healthcare workers who have been attending Lilith for some time, she comes out of her barred room and socializes freely, even going on a picnic with the group, with Vincent and Stephen her constant companions. Eventually, Lilith seduces Vincent, and they carry on a passionate affair behind the backs of everyone but Yvonne, Lilith’s other lover. Lilith, the ultimate hippie chick, wants to love everyone. Vincent’s possessiveness, however, is bound to lead to tragedy.
It is hard to imagine a more intimate film than Lilith, filled as it is with passion and cradling nature redolent of the Garden of Eden where the mythic Lilith stood as an equal with Adam. Sexuality becomes animalistic as Lilith makes love with Yvonne in a barn and then takes an enraged Vincent in her embrace, a further connection with the sexually defiant Lilith of lore. Rossen, a progressive Jew whose membership in the Communist Party in the 1930s would lead to a two-year blacklisting in the 1950s, must have identified with this defiance in a heroine who, like another strong heroine he created, Martha Ivers in The Strange Love of Martha Ivers, would be destroyed.
While water is a constant throughout the film, a standard metaphor for the unconscious, it is used with the utmost expression and specificity. The gentle rain through which Vincent and Laura catch up mirrors the too-temperate relationship that no longer interests a sensitive man exposed to the horrors of war. During the picnic, Lilith, Vincent, and Stephen wander near a river with cascading rapids. Intensely white and foaming, beautiful and dangerous, the rapids are the embodiment of Lilith’s allure for both men, contained by tangible borders but churning excitedly within them. Later, wading into a calm part of the river, Lilith dares to look directly at her reflection, an evocation of Narcissus, son of a river god and a nymph whose disdain for the love of others was his ruin.
Lilith is hardly a calculating seductress, but her disturbed mind fails to look very far outside of herself. She cannot recognize the depth of Stephen’s or Vincent’s feelings, and changes her affections as simple-mindedly as a child drops one toy for a new one. Vincent’s jealousy causes him to lie to Stephen, with deadly results. Perhaps Rossen was feeling pangs over naming names to the HUAC committee, and Vincent’s recognition of his own cankerous psyche forms the final piece of his personal puzzle.
Rossen is very good at directing his actors to maintain the fragile edge between sanity and madness. Peter Fonda plays Stephen with a childlike simplicity to suggest his delicate condition; this choice seems a little wrong-headed to me, but I felt an irritation with him that tracks with how it might be to spend time with someone who is not all there. Perhaps symptomatic of his conflicts with Rossen, Beatty doesn’t appear to be all that unstable. He does seem to be drifting until he finds purpose in helping the patients, but his growing obsession with Lilith seems more like genuine love, as the pair spends time alone riding horses and bicycles, flirting gently, and loving vigorously. That he is involved with a patient certainly signals a dangerous recklessness, but when the patient is the beautiful Jean Seberg, it doesn’t seem all that mad after all.
Seberg is luminous in this film, every bit the mythic muse of her character and her own legend. She plays to Rossen’s camera angles and lighting, looking at once angelic and then lunatic. Her sensuality burns the screen with its honesty, and she carries herself with a natural grace that adds to the elemental force of the film. It is possible to see the actual depth of her affections for Vincent, so well does she give and withhold simultaneously. Seberg acknowledged Lilith as her favorite movie, and it’s easy to see why from her complex and satisfying performance.
A Blu-ray of Lilith is supposed to be available in March, but early reports are that the transfer is a little soft. Because of the visual splendor of the film, something will be lost if you don’t get a chance to see it in a pristine print, as I did. Nonetheless, this film is well worth seeing in almost any condition for the interesting performances and as an excellent representation of 60s style filmmaking.
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Director/Screenwriter: Mia Hansen-Løve
By Marilyn Ferdinand
Anyone who has loved for the very first time—and especially, lost that first love—will be marked for life. The intensity and purity of the feeling, the all-encompassing preoccupation with the beloved, the almost miraculous unreality of being swept up in a new and irresistible feeling has no match in human experience. As Camille (Lola Créton), the protagonist in Mia Hansen-Løve’s documentary-like film Goodbye First Love, says of her new love when her first love Sullivan (Sebastian Urzendowsky) walks back into her life after walking out a decade earlier, “I love him as much as I loved you, but in a different way.” That she can recognize real love that isn’t exactly like her first love is a measure of how far she has grown.
Beginning in 1999 Paris, the film opens, as many modern movies do these days, with a sex scene. I absolutely hate this too-common film opener, yet this sex scene isn’t the act itself or even focused on the act itself. Instead, Sullivan pulls a naked Camille in front of a mirror and says “Look how pretty you are.” This is a very telling moment, suggesting that Sullivan is teaching Camille about more than love and sex. More on that later.
Unfortunately for the besotted Camille, Sullivan isn’t as content being in relationship as she is. He is a young man who wants to find himself before he settles down. He decides to drop out of college and arranges to leave on a 10-month trip traveling around South America. Camille, a high school student who can’t imagine a future, let alone one without Sullivan, helplessly flails at his decision, her recriminations nearly spoiling a quiet idyll in the country the pair takes on the eve of his departure.
After Sullivan leaves, Camille tacks up a map of South America and charts with push pins his travels as announced by the weekly letters she receives from him, cellphones not having entered the marketplace yet. After Sullivan has reached Chile, the letters stop. Eventually, Camille takes down the map and pins. She also tries to commit suicide. While in the hospital, we see a book on her nightstand about the Swiss architect Le Corbusier. Camille’s brother makes a snide comment about this “light reading.” Camille says nothing, but she starts on her journey to become an architect. She will eventually fall in love with one of her teachers, Lorenz (Magne Håvard Brekke), move in with him, and start work at his firm.
Goodbye First Love must cover 10 years in under two hours, so the film has an episodic quality to it. Nonetheless, Hansen-Løve, whose own career slightly mirrors Camille’s as first an actress for Olivier Assayas and then his wife, pays attention to details that flesh out her characters. We see Sullivan at home with his parents in the suburbs, his dog and kid brother running through a scene or two just because. Sullivan’s habit of coming to see Camille by climbing through her bedroom window provides a romantic echo to Romeo and Juliet, but as the film progresses, we’ll see that the true reference is to Peter Pan and Wendy.
I have been studying Jung’s concepts of the animus and anima lately, and it seems clear to me that Sullivan is a projection of Camille’s animus, or masculine spirit. Camille, in turn, seems to be a projection of Sullivan’s anima, or feminine aspect. Jung says that we can suffer from an animus or anima possesssion, that is, we do not integrate our gender-opposite characteristics into our own psyche, but rather remain captive to the person who acts as our gender mirror. If we fail to integrate these opposite characteristics, we cannot progress properly in our psychic development.
Camille’s life with Sullivan is one wholly given over to the natural, a Garden of Eden so to speak. We see them meeting to have sex, swimming in a pond, lying in a field. When Sullivan returns to Paris later in the film, we learn that he is making a subsistence living taking pictures for a local paper in Marseilles—not the art photographer he planned to be—and doing carpentry for a two-man business he has formed with a friend. He hates the very urban Paris, preferring the rougher port city in which he has settled. He truly is a nature boy, apparently still stuck in his anima possession as he falls into an affair with Camille and runs out on her again, afraid of her influence over him, telling her before he leaves that he thinks of her constantly and sees her when he is having sex with other women. Fortunately for Camille, she assimilated some positives of her time with Sullivan, who helped her recognize her own attractiveness, something women struggle with when their inner animus voice tells them they do not measure up to an ideal projected by male-dominated societies.
Camille has faced the demise of her animus possession, nearly losing her life in the process and demonstrating how tricky and potentially dangerous a process this psychic integration can be and why many people avoid it. We watch her in her classes create structures—houses are symbols of the Self—and receive critiques on her designs. Interestingly, one critique is that she has spent too much time on the creation of an artificial pond—water is a symbol for the unconscious—and not enough on the needs of the people who will be using the buildings she designs and builds. Her class goes on field trips to the architectural centers of Berlin, Bauhaus, and Copenhagen, grounding her growing identity in the real world and putting some flesh on the film with location shooting. When she meets Lorenz, he asks her why she decided to become an architect. Her answer is that she likes to make sense of her surroundings, that is, she wants to differentiate herself from the undifferentiated morass of nature. Later, Sullivan will exclaim that he never pictured her doing anything with her life, an interesting commentary on what happens to us when we are in thrall to our animus or anima.
That she finds herself drawn to Sullivan again is no surprise, as the pull of our unconscious is very strong, and Camille is a long way from completing her life task. Yet she is not the same person she was at 15. She has embarked on an adult life, and while the lure of a return to the Garden of Eden is very real, she also is able to see Sullivan as a real person, one with whom she has little in common. In a very interesting plot point, Camille stops in front of a sidewalk vendor and contemplates some watercolors for sale. We see a scene very like the tall grass she and Sullivan laid in, as well as one of a faceless parent tending to a child. She presents Sullivan with a watercolor as a gift before one of their trysts. When he leaves, he does not take the watercolor. I assumed she bought the tall-grass painting as a memory of their first love, but instead, she bought the parent and child, inviting him to join her in the future.
Urzendowsky plays a man-child beautifully, his faux maturity in breaking with Camille at the start of the film utterly realistic, and his despair in the later stages heartfelt. I liked the way Hansen-Løve developed the relationship between Lorenz and Camille, with only a handful of meaningful smiles that signal a growing attraction, not the quicksilver clinch that seems a prerequisite these days to enduring love. Créton’s performance is perfect in the teenage years, and she chooses a very contained Camille to signal the deep grief over her lost love, a grief that spans years. In some ways, this emotionally reserved attitude took some energy out of the film, but the choice was honest and appropriate, so this is a mere quibble. Less of a quibble is the short wig Créton wore during her schooling phase; it is an appropriate symbol of sorrow-induced celibacy and turning to the psychologically masculine realm of achievement, but it wouldn’t have taken much to buy a wig that looked more natural.
Goodbye First Love worked for me on two levels, the real and the symbolic. If you choose only one view of this film, you will still find great rewards within from a skilled director with a strong handle on the meaning of images and her fine cast.
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Director/Screenwriter: Blake Edwards
By Marilyn Ferdinand
Male menopause, I’m OK, you’re OK, if it feels good, do it—these are the cogent catchphrases of 1970s American pop culture that practically begged to be lampooned, even in their own time. Enter Blake Edwards. One of the most successful creators of mainstream comedies ever to work in Hollywood, Edwards’ sixth sense for spoofing the zeitgeist and his experience in genre and comedy writing for such 50s TV series as Peter Gunn and The Mickey Rooney Show helped him uncork the Pink Panther films, one the most beloved franchises in moviedom. Edwards also had an unofficial series comprising the numerous films he made starring his wife Julie Andrews, whose phenomenal voice and fresh-faced beauty had made her an easy star in such 60s movie musicals as Mary Poppins and The Sound of Music. Her collaborations with Edwards were meant to broaden her range and increase her opportunities to land other types of movies. Their smash hit 10 scored a cultural bulls-eye with the “do your own thing” generation that catapulted British comic actor/musician Dudley Moore and ravishingly beautiful newcomer Bo Derek to instant celebrity in the United States, while charting the fading world Andrews would prove largely unsuccessful in trying to escape.
George Webber (Moore) is a highly successful composer who, with his writing partner, gay lyricist Hugh (Robert Webber), is navigating the treacherous waters of being in his 40s. Hugh’s grasping at fading youth is manifest by keeping a young lover (Walter George Alton) whose only line of work is to make Hugh happy. Moore has been seeing Samantha Taylor (Andrews), a musical theatre star and recording artist, for several years, but can’t seem to keep his eyes off the bikini-clad women who walk the streets of his Malibu neighborhood. He especially can’t keep away from his telescope, which is forever trained on his neighbor (Don Calfa), a Hugh Hefner type whose mansion is always filled with naked women who are ready to fuck at the drop of a swizzle stick. George’s discontent overflows when he arrives at Hugh’s home for an evening work session and finds that Sam has arranged a surprise 42nd birthday party for him.
With the memory of blowing out the candles on a cake engulfed in flames fresh in his mind, he is primed for his fateful encounter with Jenny (Derek), the most beautiful woman he has ever seen. One glance from his Rolls Royce into the back seat of the limousine that is taking her to her wedding ceremony, and George is off to the races. He follows her to the church, crashes into a police car when he can’t take his eyes off her, and after receiving tickets for several violations, bangs into the church and hides in some floral arrangements behind the altar so that he can gaze upon her face. He is promptly stung on the nose by a bee. That night, caught in the heady elixir of his own obsession, he quarrels with Sam. When he fails to connect with her the following day to apologize, he runs helplessly toward the object of his desire, going so far as to allow her dentist father (James Noble) to fill six cavities just so that he can find out her honeymoon destination—Mexico—and follow her there.
The advertising tagline for 10 reads, “A temptingly tasteful comedy for adults who can count,” a clever reference to the title that would push an attractiveness rating scale to the cultural forefront. But its double-meaning is for men like George who realize the time of youthful vigor is passing. In real life, we’ve all seen men like George, for example, middle-aged Michael Douglas, who saw Catherine Zeta-Jones in full, youthful bloom in The Mask of Zorro, determined to make her his, and then did. Just like Douglas, George eventually succeeds in getting Jenny into bed, but unlike Douglas, Jenny’s reasons for being with George highlight the unbridgeable generation gap that George is wise enough not to ignore. Jenny is comfortable with her “old man” David (Sam Jones)—they’ve been living together for two years and got married to please their parents. When George saves a sleeping David from drifting out to sea on a surfboard, Jenny is happy and grateful. While David is in the hospital recovering from a sunburn, why not sleep with the cute man who saved him? As we’d say today, it’s all good.
George, though he is tempted by the example of free love set by his neighbor, doesn’t think of Jenny that way. She’s his ideal, the embodiment of the perfect 10, that is, her face and form are. Sadly for George, the world belongs to her generation now. When George sits in the hotel bar bending the ear of sympathetic bartender Don (Brian Dennehy), he makes a sarcastic joke inspired by hearing the pianist play the theme from Laura: “Each of us is the product of an era. That music is my era. . . . If you were 19, and 20 years from now, you were dancing with your wife or girlfriend you knew in high school, and you said to her, ‘Darling, they’re playing our song,’ do you know what they would be playing? ‘Why Don’t We Do It in the Road.” For George’s generation, desire was love, and great desire led to marriage. When Jenny makes it clear that making love with him would make her happy, nothing more, it opens a chasm. He tells her he thought she was something special, to which she quickly retorts, “I am special.” Damn right, but as she defines herself. George would call her a women’s libber, but that would not offend her the way his criticism of Sam always wanting to “win like a man” offends her. The world of beautiful love songs with beautiful lyrics cannot be transferred to a beautiful face and body the way men did in his era. It is only after learning this lesson that he can let go of trying to recapture his youth by loving an actual youth, and find the life-giving romantic feelings of his own youth with Sam.
In Blake Edwards’ inimitable style, comedy and romance are mixed effortlessly, and the laughs and sighs he evokes are full-bodied. Moore’s diminutive size and elfin face put us solidly on his side as he experiences a series of mishaps that exploit the full range of his considerable physical comedy skills. For example, while watching his neighbor, he flings his telescope away in sexual frustration, only to conk himself in the head and stumble down a steep embankment. Naturally, Sam chooses that moment to try to phone him. He tries to climb the hill quickly, slipping and sliding backward and pulling at the brush while his neighbor and naked lady friend watch in amused puzzlement. Naturally, he finally reaches the phone just as Sam hangs up, much to his comic exasperation. Following his dental work, George finally manages to be around to answer one of Sam’s phone calls. Unfortunately, his mouth is so swollen and novocained up that he sounds like an incomprehensible predator from another planet. She calls the police, who find him under the influence of pain killers and brandy, riotously rubber-legged and ready to party with the naked ladies across the way. In another incident, when a mariachi band awakens him at the hotel in Mexico, the look on his dark-circled, hungover face as he bursts through the balcony curtains is gut-splittingly funny.
Moore’s dramatic chops, however, provide moments of the most aching longing. The set-piece in which Moore pours out his yearning occurs when he sits at the hotel piano and records a new composition for Hugh on a tape recorder. The Henry Mancini song that exquisitely reflects Jenny as George’s inspiration, “It’s Easy to Say” (better without the crummy lyrics), is full of George’s kind of music—beautifully melodic, painful, surging with life, triumph, and defeat—interpreted with Moore’s superb musical technique and artistry. Edwards inserts reaction shots to the music from Dennehy and Dee Wallace, who plays a lonely divorcée whose would-be tryst with George is both embarrassing to watch and as unnecessary as the reaction shots themselves. The scene provides a supreme example of a character’s inner life completely realized by his artistic expression; Edwards was very smart to write a part for Moore that would take advantage of his perfection as a musician.
Many kudos to Bo Derek as well for embodying Jenny as a self-confident member of her generation. More than just being, in reality, a perfect 10, Derek’s refreshing honesty and unapologetic attitude when faced with George’s disillusionment make their bedroom scene together both sad and wise. Of course, that scene will be remembered only for her assertion that Ravel’s Boléro is the best music in the world to fuck to, and I lament that her performance in this pivotal scene got lost in the sniggering and rush to the record store.
The weakest link in 10 is Julie Andrews. She and Edwards thought her innocent image was to blame for the failure of many of her films and performances, resulting in the ill-considered image buster S.O.B. (1981). In fact, however, I’ve come to the conclusion that Julie Andrews just isn’t a very good actress. She doesn’t get below the surface of Sam, merely spouts the lines that signal she’s an older woman who won’t put up with George’s infantile exploits. Sam seems completely oblivious to the undercurrents of George’s terror of growing old, and therefore, their connection never seemed real to me. At one point, she takes a frustrating call from George and ends it with “Damn you, George.” She might as well have said “I need a quart of milk” for all the emotion she puts into it. Thankfully, she is not the center of the film’s action and provides little more than some quick-edit blackouts to hype the comedy. Singing the insipid lyrics written for the Mancini songs by Carol Bayer Sager and Robert Wells does not help her cause either.
A raft of decent supporting performances, led by Dennehy and Max Showalter as the preacher/songwriting hobbyist who married Jenny and David, make 10 a well-fleshed rom com. Dudley Moore’s understanding portrayal of a midlife male makes 10 a treasure.
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Director/Coscreenwriter: F. W. Murnau
By Roderick Heath
Early cinema had no shortage of great innovators whose names roll off the tongue of any film lover, but D.W. Griffith, Sergei Eisenstein, and Friedrich Wilhelm Murnau stand as perhaps the signal triumvirate of the medium’s formative influences, with Griffith as grammarian, Eisenstein as architect, and Murnau as alchemist. Murnau had, with Nosferatu: Eine Symphonie des Grauens (1922), made a film nominally within the limits of the Expressionist style laid out by Robert Wiene and Fritz Lang, but pushed those limits outwards and introduced qualities of aesthetic and technical experimentalism into narrative film that soon began to inflect silent cinema far outside German borders. His subtitle for Nosferatu declared the intent and the effect: he made symphonies in cinema. Murnau’s almost endlessly resonating career was tragically short, for only 12 years intervened between the time when the young former assistant to Max Reinhardt made his first movie and his death in a car accident in 1931, just before his last feature Tabu premiered. Murnau’s influence on filmmakers was less how to put together the specific pieces of film to tell a story than as an exponent of “Unchained Cinema,” that is, the use of every element at the director’s disposal to construct an image on screen operating entirely to express a poetic-artistic vision. Sunrise: A Song of Two Humans, his first American production and one of the defining films of the silent era’s last few glorious years, was to influence filmmakers from the French Poetic Realists to Orson Welles to the New Wave and on and on.
With his legendary run of UFA films like The Phantom (1923), The Last Laugh (1924), and Faust (1926), Murnau deepened his skill and fame and pushed his belief in pure visual exposition to radical limits. His dramatic sensibility expanded, too: whereas in Nosferatu he presented everyday humanity as literal prey for the emanations of the psyche, he began to more carefully modulate this theme through characters both insignificant, like the hero of The Last Laugh, and titanic, like Faust, who nonetheless are at the mercy of forces within and without that can destroy them or make them indestructible. When Murnau came to Hollywood to make a project he’d been developing back in Germany, Fox Studios’ money and infrastructure was laid at his feet with a boisterous profligacy only given today to the crassest would-be blockbusters. Murnau and his screenwriting partner Carl Mayer set out to create a little drama imbued however with qualities of fundamental allegory, hence the subtitle of “a song of two humans,” which, on the face of it, it like almost a caricature of high-falutin’ pseudo-art. But Murnau’s confidence in his grasp on the poetic lexicon of early cinema and the genuineness of his empathy for characters at the mercy of larger forces was such that he could transmute them into aesthetic riches. Mayer was a specialist at writing chamber dramas about everyday characters, whereas Murnau was interested in the elemental, yet the duo’s disparate interests complemented each other perfectly for The Last Laugh and Sunrise. Sunrise’s unspecific setting, perched somewhere between country and city, old world and new, past and present, artistic traditions and cinematic immediacy, dramatizes its world in terms of such binaries: most important of all, love and hate are entwined here with an inseparable, dizzying potency.
Sunrise tells the exceedingly simple story of a young couple in a state of crisis in an extraordinary manner. Murnau approaches it in a seemingly oblique fashion, starting off with the streams of holidaymakers who come to the tiny village where the main characters live from a city that is darkening and spreading, to quote The Magnificent Ambersons (1942), one of the many films under Sunrise’s influence. The opening shots, utilising overlays and split-screen effects, mimic the style of the era’s travel posters, as if drawing attention to how commercial visions mould our experience of the world, and in particular, the way the urban affluent see places beyond city limits. The very first shot is practically a film school subject in itself in terms of form and function: the artful sketch of a railway station interior and the lettering scrawled across it again evokes advertising, but also the art of the set designers, a touch that allows Murnau to immediately invoke the artificiality of his vision. As the sketch fades into actual set, with a great glass wall allowing us to see the urban context for a departing train, he consciously introduces the organic quality to the way his artificial world is constructed, binding city, train, and the movement of the train together like a museum display of an engine showing all its moving parts. The organic quality of Murnau’s created world extends to later in the legendary sequence on a trolley car where the country gives way first to the detritus-strewn outskirts, then the industrial belts and finally, the urban heart.
Sunrise’s first act is built around erotic obsession, intrusion and parasitism, so it’s fair that the film starts off with the city penetrating the country like a virus, ready to infect it and leech off it. The attitude of “the Woman of the City” (Margaret Livingstone), the vampy vacationer who stays behind in the rural village, is signalled very early when she has the woman renting her a room clean her shoes while she’s wearing them. The Woman is the embodiment not simply of the flashy thrills of urban modernity, but also of irresponsible sexual excitement itself, and her whistle to alert the Man (George O’Brien) that she’s waiting outside his hovel of a farmhouse is the call of the Siren, a Lorelei or female counterpart to Count Orlock. She fills a void of desire and excitement for the Man because the flush of romance has entirely left his life. The Man’s farm is failing, and the Wife (Janet Gaynor), silently aware of her husband’s infidelity and pain, slogs her way through days and nights and takes care of their infant son in glum distraction. With her old-fashioned hair style and sexless persona, she inhabits the idea of a wife from another era where it scarcely has traction, and the marrow has been sucked out of the Man along with the nobility of labour.
The Man leaves his barely furnished dinner table to venture into the reedy fringes of the lake that separates the village from the tramline to the city. Under the moonlight, he meets the Woman, who, in her black coat, has a panther’s aspect. Murnau matches the vamp’s promises of an electric life in the city with gaudy visions of whirling, expressionistic models and a split-screen shot of a bandleader thrashing time before a battery of horns and a dance floor that churns a storm-swell of sensual thrills. Lust and murder are instant bedfellows, as the vamp suggests to the Man that he arrange for his wife’s death by drowning. The Man flies into a rage at the suggestion and almost strangles her, but this is just prelude to carnal frenzies in the moonlight. The Man’s violence only stokes the Woman’s lust, her lunatic dancing and shimmying drives him to bury his face in her crotch in a scene that’s still amazing for the unrestrained manner in which Murnau presents sex and the death wish with raw, Freudian force. A tracking shot following the couple’s footprints in the mud, the vamp’s hard-heeled shoes showing up as utterly impractical, captures the insidious muck of their actions, as she cuts bulrushes for him to tie together and use as a buoy to keep himself afloat after he tips his boat into the water.
Glazed in Murnau’s nocturne eroticism, the first third of Sunrise suggests the distant prototype of all film noir, with a dash of Theodore Dreiser’s An American Tragedy. If the Wife is femininity rendered stale and mute, so, too, the Man’s masculinity is contorted and volatile. When the Man returns to his home, carrying the guilty bundle of bulrushes, the Wife pulls a blanket over his sleeping form with a care that’s sublime, and when he seems the next day to reach out to her, she’s all too willing to believe he’s coming back to her. The build-up to the Man’s aborted attempt to kill his wife is prolonged when the family dog senses evil in the air and jumps aboard their rowboat, forcing the Man to turn back and take the dog inside. The Wife’s buoyant mood sinks in sensing, but not quite realising, her husband’s nihilistic mood, a mood that finally shows itself when he rises to do the deed, stiff and hunched, arms straight at his sides, like Orlock in Nosferatu But his wife’s terror brings the man back to his senses. He chases after her when, after they reach the shore, she flees onto a trolley, and the two journey into the city barely aware of anything except their own mutual horror and shame.
Much of silent cinema tends to look old—feel old—in a fashion deeper than mere technological modishness: through so much of it there is the incidental depiction of a world rapidly changing. For instance, all those Keystone Kops chase scenes depict a Los Angeles being built, and the shifts in fashion take us from the fading of Edwardian gentility into the sleekness of the Jazz Age within a decade, reminding us that the golden age of silent cinema came at a time when the world made a definitive shift into the one that, more or less, we still live in, but people still cast glances over their shoulder. Cinema of the time also had an eye toward a world beyond American borders: a huge proportion of the population in that time had been born overseas, many in places where the city depicted in the film was as exotic as and equivalent to the new country they came to. The other truly great depiction of marital pain in the new urban age from this time, King Vidor’s The Crowd (1928), seems amazingly contemporary because it’s keenly attuned to the pulse of a purely modern, industrial city’s rhythms and realities. Sunrise operates in a different fashion, trying to be universal and timeless, even whilst still describing the world in which it was made. Murnau’s work, with one eye constantly back on a mythic past and the other on an oppressive present, feels like a barometer for the age, and the film’s elemental conceptualism emphasises all this: at its heart it’s a love story, yes, but it’s also about the way people are defined by place and time, and how they also might escape that definition. Just the same as the Man is beset by outsized moments of despair, rage, joy and sensual frenzy, Murnau’s movie operates according to the same bipolar spirit, swinging between poles of menace and anguish, and freewheeling ebullience and liberation. Sunrise, in its way, is a cinematic equivalent of one of Dostoyevsky’s characterisations, embodying and encapsulating multiple impulses and the way variations on the same basic feeling can draw one in diametrically opposed directions.
When the Man and Wife reach the city, however, they find a temporary release from the things that have nearly destroyed them both. Far from being entirely populated by people like the vamp, the city proves as alive with variety and human quality as anywhere else. Here buildings take on the outlook of alien embassies, and human visages are menacing and magnificent all at once. Sunrise, once it reaches the city, isn’t all that great a distance from the films of Chaplin and Keaton in its wry, observant take on individual quirks, from tipsy waiters to comically presumptuous lotharios to photographers who take secret delight in the unruly romanticism of their subjects, and its feel for the individuals contending with an almost-overwhelming new world. Murnau repeatedly makes a gag of situations that seem momentarily threatening, but prove eventually to be all right, as when the Man and Wife get frantic over thinking they’ve knocked the head off a classical statuette belonging to the photographer, not realising that it never had a head, and when an alarm over not being able to pay the bill in a swanky nightclub proves only momentary, as the Wife reveals she’s stashed some funds away for a rainy day. Even the finale renders the same basic idea on an epic and urgent key. Murnau’s visual excitement never gets in the road of his essential material, but rather dovetails with its richly conceived, poetic intensity. When the wife gets off the tram, still dazed, the husband grabs her and swings her through the traffic, constantly in danger of being knocked down; once the pair reconnects, they drift through the traffic with a weightless evanescence, and shift realities back into a pastoral setting before coming back to reality, where their kissing is holding up a river of traffic.
If Sunrise is taken too literally, it could be construed as a portrait in pathology, with the Man’s wild swings between ardour and homicidal feeling the stuff of horror tales. In context, however, it’s a virtually metaphysical portrait of how terrifyingly close such intense emotions are. It’s momentarily bracing to note that Murnau, gay and very Prussian, was one of the cinema’s great portrayers of grand, erotic passion and emotional immediacy, but then again, stereotypes never lasted long with him. The Man’s swing from cyborg-like fixation in the boat scene to crumbling, guilty mess sees the male and female roles reverse, the Wife holding power of life and annihilation in her hands and whose understanding of his emotional fatigue has a maternal element. The crucial scenes of the whole film comes when the pair, still bleary and shell-shocked from the evil morning, stumble into a church, where the spectacle of another couple’s wedding provides catharsis for them, repeating compositions of the man’s earlier tussles with the Woman as he buries his face in her belly, but with completely different emotional meanings. This scene segues into Murnau’s best joke, as our couple emerges from the church like they’re the ones who have just been married, to the bewilderment of the waiting folk outside. It’s both amusing and fittingly alarming then when, as the Man gets a shave, he’s hovered over by a manicurist who evokes the Woman and the Wife is bugged by a moustachioed letch who tries a bit too forcefully to chat her up, stealing one of the flowers the Man had given her. The Man, brushing off the manicurist, rises from his seat, unfolds a pocket knife and, with a triumphal flourish of reclamation and resurgent power, hacks the flower from the stranger’s lapel.
Of course, the film’s diptych of female types, blonde Madonna and vulpine brunette Whore, is reductive, but it does offset the Man, who combines violently opposing temperaments common to all men but stoked to fever pitch in him—just as Murnau had earlier in Nosferatu and The Phantom, and would again in City Girl (1930), presented similarly internally conflicted female characters. Gaynor, who herself won Best Actress in the 1927 Oscars for three performances (the other two were in Frank Borzage’s Seventh Heaven and Street Angel), was used by the directors for her capacity to seem limpid yet luminous, whilst suggesting a less elfin Lillian Gish. O’Brien, mostly a Western actor who much later would star in two of John Ford’s Cavalry trilogy, is a fearsome physical performer, and when he and Gaynor come alight, it’s magic.
The process of the couple’s reconciliation is completed in a gigantic nightspot, memorably depicted on the exterior as a gigantic roulette wheel. There the Man becomes a momentary hero with his simple farmer’s fearlessness in hunting down a prize pig that escapes from the neighbouring sideshow. This sequence is a stream of hilarious vignettes of eccentric, flaky, sexy, ludicrous humanity, culminating as our couple is cheered on in performing the “peasant dance” in a display of deft physicality and pure partnership that delights the city crowd. Again this scene straddles worlds: for Germans Murnau and Mayer, it simply evokes the immediate reality of the national culture and the intrusion of the rural populace upon the urban. In the context of an American movie, the idea of a “peasant dance” evokes the immigrant experience, and at least for me, the curiously similar dancing styles often exaggerated in the Disney Silly Symphonies, which drew their inarguable popularity from aiming precisely at the nexus of audiences who covered a colossal range of cultural references. Simultaneously, the dance resolves what has been schismatic—city and country, male and female, fun and marriage, the world of two and the world at large, new and old.
Whilst the rural environment that the Man and Wife come from is a world of primal environs and singular, transcendent emotions, the city is a place of synergies, frippery, shallow wonders, and real ones, too. Perhaps the only other film that communicates the joy of rediscovering the love in a pained relationship as authentically as Sunrise is Rossellini’s Voyage to Italy (1951), a film that is in many ways a temperamental opposite: Rossellini’s intimate, ironic realism illuminates the inside of its characters through the tropes of the world as found rather than reordering the world. Sunrise’s finale offers up melodrama, as natural forces as immutable as the emotional ones seen throughout the film endanger the Man and Wife as they sail back to their village. Plot motifs converge with cunning symbolism as the Man gives the bundle of bulrushes that was supposed to save his life to his Wife just before their boat is capsized, an act of perfect charity, though the Man is washed ashore while the Wife is left to drift in the lake under the steadily disintegrating bundle: when the Man and fellows from town return to the becalmed lake, they only find drifting rushes leading the Man to believe the worst, and the vamp believes he’s pulled off the murder.
Murder indeed almost happens, as the Man this time comes out in reply to her whistle to throttle her almost to death, only to be saved by Murnau’s use of a gigantic close-up. More specifically, a gigantic close-up shot of the couple’s maid (Bodil Rosing) shouting out that the wife has been found alive, saving the femme fatale in the nick of time. But the sense of technique, the sheer go-for-broke feeling of Murnau’s employment of Rosing’s face, is inescapable, the purest distillation of form and function he can offer. Murnau follows it up with an equally perfervid close-up of the Wife, long hair at last unfurled, awakening in bed to the man’s kiss, as the pair dissolves in a beatific air. It’s a moment where the opposites in Murnau’s vision of the universe finally melt away, and the carnal becomes spiritual.
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Director: Mikio Naruse
By Marilyn Ferdinand
There is a fine line between love and obsession, and perhaps cultural norms are the deciding factor. Here in the West, ex-lovers who can’t let go have been given a fairly new label—stalkers. Back when Floating Clouds was new, steadfastness in love wasn’t seen as something so sinister in either the West or the East; in fact, unrequited love was the basis for many satisfying love stories, including such classics as Jezebel, Gone with the Wind, and the ultra-romantic Wuthering Heights. Mikio Naruse, a man who lived a desperately unhappy life and whose protracted estrangement from his actress wife Sachiko Chiba during the 1940s led to divorce, offers a mainly unsentimental, even jaundiced look at love. Yet, no love affair starts unhappily; Naruse’s wistful look at the beginning of the affair is the flower struggling for light in a crowded field of weeds.
A flashback to the first meeting of Yukiko Koda (Hideko Takamine, Naruse’s regular leading lady) and Kengo Tomioka (Masayuki Mori) in a rural area of Japanese-occupied Indochina during World War II follows shortly after Yukiko has shown up at Tomioka’s Tokyo house, which he shares with his aging, sickly wife Kuniko (Chieko Nakakita). Yukiko knew he was married from the first, but she believes he will welcome her return to Japan and fulfill his promise to divorce Kuniko and marry her. Tomioka agrees to walk with her, one of many walks the couple will take during the film, but he says that their passion died when they left Dalat. Tomioka’s behavior during the film—sending Kuniko away so he can sell their house out from under her and start one of several doomed business ventures, enticing the young wife (Mariko Okada) of a gracious host (Nobuo Kaneko) away from him, using and rejecting Yukiko—marks him as an opportunistic cad who does not, maybe cannot, return Yukiko’s affection.
In a defeated and battered Japan, however, Yukiko has nothing to cling to but her bliss with Tomioka, born in the heightened reality of wartime and displacement. Keeping alive memories and feelings in the face of bitter disappointment, subsistence living, and distasteful alliances, Yukiko is emblematic of a country trying to survive and go on after a devastating war that unleashed the full fury of the atomic bomb on a civilian population. This film came out in 1955, the same year that Akira Kurosawa’s disturbing meditation on the bomb, I Live in Fear, debuted, and it seems no coincidence that both films traffick in irrational emotion and denial, though Naruse’s is based in romanticism.
Unlike Kurosawa’s deeply depressing film, Floating Clouds could be considered almost trite in its focus on claustrophobic emotional entanglement. Indeed, Yukiko’s hectoring bitterness toward Tomioka gets exasperatingly repetitive. Yet, the squalor of the characters’ history and circumstances tends to elevate the tale in a peculiarly compelling way. Yukiko briefly prostitutes herself to an American G.I., yet seems to be doing so more to make Tomioka jealous than to survive—that she succeeds confirms that there may be more under his callous surface than meets the eye. She continues to punish his faithlessness by going into the employ of the brother-in-law (Isao Yamagata) who raped her, a fact known to Tomioka. She stands in constant reproach to his every failure, a hurt but loving presence he tries fruitlessly to deny.
Takamine is a luminous presence in a vérité film with few visual graces. She is as beautiful in her moments of anger and despair as she is in the full bloom of her affair with Tomioka. Yet Naruse manages to find the age in her face, making Tomioka’s defection to a younger woman—as Yukiko once was in comparison with Kuniko—all the more banal and expected. Her nagging, her jealousy, her assertions that she knows Tomioka better than he knows himself strike an ordinary note for her character and their affair, and it is hard to believe that she really does love him or that he could have loved her so much. The Japanese reticence toward displays of affection make this passionate romance one of suggestion that may be too subtle for our sex-drenched Western appetites. However, a scene in which Tomioka goes to the public baths with the young wife with the full knowledge of her husband and Yukiko is startling in its own right to Western sensibilities.
One of the striking motifs of Floating Clouds is movement. Naruse trains his camera on Yukiko and Tomioka taking walks everywhere they are. Yukiko favors platform shoes, and her dainty, unsteady steps over some of the uneven surfaces she treads with Tomioka heighten her vulnerability. The restlessness of these scenes keeps the relationship provisional, homeless, but Tomioka almost never tries to outpace Yukiko. Perhaps he knows that to do so would be futile—everywhere he has gone, she has found him.
Finally, when all impediments to their union are gone, Tomioka more or less surrenders to her. It is not just that Yukiko has waited out all of his wrong turns and romantic distractions; Tomioka himself has found a purpose again by landing a job as a forest ranger on a distant island, mimicking the work and remoteness of his time in Dalat. Yukiko, saying she cannot live without him, seems a natural companion for Tomioka as he prepares again to exile himself from mainstream Japan. Finally, his remembrance of their love breaks through just as it finally seems to have a chance to take root and grow. But life is too cruel to offer true happiness to counteract all the misery each of them has suffered, and so we are left to reflect on whether a life of romantic illusion is one worth living at all. The answer to that question may depend on how one views the alternative.
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Director/Screenwriter: Mitch Glazer
By Roderick Heath
Good and bad movies are supposed to be easy things to tell apart, but I’ll never pretend to know why some movies are taken seriously in the critical and popular zeitgeist, and why some others are cast into oblivion. Passion Play, a labour of love for Mitch Glazer and sporting an interesting array of technical and acting talent, is a variation on a distinctive American strand of magic-realism: it seems a little like a Bob Dylan or Tom Waits song translated into images, which are in themselves reminiscent of movies over the years by the likes of David Lynch, Francis Coppola, Wim Wenders, and Alan Rudolph, but without feeling excessively imitative. This film was brutally dismissed earlier this year, whilst stuff like, oh, The Curious Case of Benjamin Button or Black Swan, two other recent films in a similar mould, get a pass mark for of technical swagger and You Tube-ready pandering. The problem with a lot of such films is that their weight tends to dispel the delicate frosting of strangeness and pathos which makes such tall tales work at their best, and so they tend to blunder through realms that require a sense of personal sentiment, and a deeper sense of the canonical traditions they draw their cultural pastiche from. The pleasures of Passion Play are, especially in comparison with such heavy-footed fare, a little like its angelic yet fragile heroine: you’re constantly afraid they’ll flit away in the breeze or be brutalised beyond repair. And yet Glazer, whilst clearly a beginner filmmaker, reveals a substantial knack for creating and sustaining an atmosphere of dusky regret and threadbare emotional fibre, as Passion Play captures an elegiac, somnolently humane atmosphere that retains a happy patina long after the film is finished. He also successfully steers three of Hollywood’s most infamously big-mouthed actors, Mickey Rourke, Megan Fox, and Bill Murray, and gives them some of their best roles.
Rourke plays Nate Poole, a frazzled dinosaur of a jazz trumpeter with real glory days long behind him. In the dreamy prologue, he’s glimpsed playing on stage as accompanist of a strip act, never a good sign. He’s soon taken prisoner by lurking thugs, and driven by out into the desert, where it’s immediately plain he’s going to be shot and left to feed the buzzards. Just as Nate’s about to be plugged in the back of the head, though, his assassin is himself gunned down by a band of white-clad Native American warriors, who dash off as soon as they’ve done Nate this service. Nate stumbles through the desert until he comes across a seamy circus run by emperor of sleaze Sam Adamo (Rhys Ifans). It’s a place where little wonders must be found to justify their existence, and Nate catches a glimpse of one when he goes into a peepshow booth: a young woman, Lily Luster (Fox), who displays bird’s wings on her back for the paying clientele. Sam claims to have found her in a garbage pail when she was a baby and has brought her up. Nate, fascinated, tentatively introduces himself to Lily in her trailer after the circus shuts down, and she says her wings are just a prop she can’t be bothered taking off, in a role that was all she could do: “I’m not an angel, I’m a bird woman…I couldn’t get fat enough, I can’t grow a beard, and I hate snakes.” She also claims not to know who Nate is, yet once he leaves she unfurls her very real appendages and finds a copy of one of his records in her collection of old LPs. Sam, worried for the secrecy and security of his most peculiar possession, has his carny goons catch Nate and makes to kill with a rattlesnake’s bite, but Lily, having commandeered a pick-up truck, drives it into Sam’s tent and rescues Nate, fleeing back to the city.
On the way, when they pause at a gas station, Nate sees Lily, who claims to be unable to fly, managing to glide a little on a gusting breeze. Completely entranced, Nate nonetheless sees a chance to extricate himself from the lethal situation he’s in: his near-murder was because he slept with the wife of a powerful gangster, Happy Shannon (Murray, tweaking his trademark deadpan into something bleakly foreboding and pathetically nasty). Nate formulates a plan whereby he can cut Happy a percentage for showing off Lily to the world, whilst contriving to keep her out of the gangster’s hands. The glaze of hazy daylight and midnight somnolence, leavened by the evanescence of Lily’s aura of goodness, permeates Glazer’s film with surprising grace, and grace, after a fashion, is the subject. Passion Play plays, interestingly, as a mirror to Jesus Franco’s Venus in Furs (1969) with its similar tropes – otherworldly femme, rich possessive creeps, trumpet-playing anti-hero, and circular finale. Except that Lily is not an object of vengeance but aspiration, which the glumly vicious Happy recognises with more immediacy than Nate. Nate, a former drug addict, is branded as a perpetual loser not only because he makes mistakes but because he keeps making the same mistakes, and his plan to make peace with Happy and exploit Lily at the same time without exposing her to danger is sublime self-delusion. In a languorous yet quietly entrancing section of the film, Passion Play is essentially a two-person show portraying Lily and Nate’s growing bond. Lily tries to overcome her feeling of being a gruesome misfit who needs to be corrected: when she sneaks off to visit a plastic surgeon to get her wings cut off, Nate tracks her down and retrieves her, his defence of her right to be a beautiful freak sullied ever so subtly by an undertone of proprietary worry.
Lily and Nate fall into a nervous pas-de-deux as he, to please her, takes her to an empty theatre where a painted stage background suffices as her first glimpse of the sea, and after a little coaxing plays a tune on his trumpet, in a scene lightly gilded with a sense of drowsy romanticism and effervescent celebration of the way artists remake the world around them in tolerable terms. Rourke and Fox could well be the oddest romantic coupling of the year, and in some ways they’re by far the most soulful, each a garish oddity who nonetheless weaves beauties around them. Rourke, with his face these days looking like a pummelled side of corned beef, nonetheless still radiates the low-burning charisma he possessed in the ‘80s, and Fox, who’s only played arch bitch-queens and teenage lust-objects before this, is remarkably tantalising in playing the soft-spoken Lily, who has internalised years of being gawked at as a freak in an inability to look anyone in the eye, and who shrinks before the world’s gaze as if it’s an iron maiden bristling with spikes. Rourke proves that for all the predations of time he’s still one of the most innately charismatic actors in Hollywood, and Passion Play makes a fine bookend for The Wrestler as a portrait of a man heavy loaded with regret over what he’s done to others and to himself; indeed it wouldn’t work one-tenth as well if a less burdened and time-trammelled actor was in the role. Yet he’s still got his awesome physique from the Aronofsky film, which makes him cut it sufficiently in spite of his head as guy who can bed Megan Fox. When Happy finally catches up with Nate, he’s not to be easily fobbed off: Nate arranges a fashion of letting Happy see her with wings unfurled through binoculars. Happy instantly recognises Lily as a miracle, and being the man he is, he wants it for himself. He catches Nate and Lily in bed, and, planning to kill Nate, is dissuaded when Lily promises to go with him if he lets Nate live.
Happy instead has his goons beat the hell out of him and has him blackballed by all the nightspots in town, and after an attempt to extract Lily from Happy’s mansion ends up with her telling him to stop trying, Nate spirals deep into despair, hocking his saxophone and contemplating returning to his drug habit. He gets a break, however, when a fellow musician takes him on for a gig playing at local museum – at a charity soiree being bankrolled by Happy on a theme of angels, and Happy shows up with Lily on his arm: Nate stalks her through the museum, but she retreats from him in hopelessness. Nate’s limbo spirals into the genuinely stygian when he picks up a serpentine tattooed punk chick, who shoots him full of junk, except that she proves to be an agent of Sam, lurking and looking for a chance to avenge himself on Nate and take Lily back, and the woman has pumped with a hot dose. Nate is only saved when his friend Harriet (Kelly Lynch) finds him and revives him. When Sam tries to extract Lily from Happy’s house, the gangster shoots him and, suddenly fed up with all of the men vying for his beautiful captive, loses interest in her and turns her again into an exhibit for leering at, albeit this time an up-market crowd.
Passion Play‘s title is a bit of a double-entendre, as the film is both about multiple forms of passion, but there is finally a peculiar kind of fable being offered here, where Nate does battle with devils and serpents, and tries to rescue his angel and his own wayward soul with her. Glazer manages to offer his wilfully fantastical figurations less as overtly religious overtones than as permeating mythopoeic imagery, a jazz-like solo riff on a Jungian fever dream where private desperation and yearning are externalised through visions of cherubs and demons. Glazer also has to avoid tipping off the viewer too clearly about the nature of the story, taking place as it is in a zone between life and death. Promises of infernal fire and redemption swirl implicitly in the textures of Christopher Doyle’s cinematography, in the uterine warmth of velvety, theatrical reds and speckles of gilt infusing the otherwise bleary blues and noir-y shadows in the denuded city- and desert-scapes of New Mexico. Passion Play is reminiscent, in its melding of fantasy with noir, of Ben Hecht’s oddball classic Angels Over Broadway (1940), whilst a fragment of Brute Force (1947) is glimpsed on a movie screen – Happy screens old movies for Lily to please her, as she grew up watching such films on television – with its similar figuration of a disgraced and scruffy Burt Lancaster with the crippled, beatific Ann Blyth to offset the defeated Nate before Happy and Lily. Indeed, Passion Play was the second of two films I watched in quick succession – the other was Monte Hellman’s Road to Nowhere, a film with a not dissimilar mood and references, if also with much deeper layers of narrative complexity – where the tropes of classic noir are seized upon and inverted, rendered instead of punchy and hardboiled, as dreamy, melancholy, and with their sense of reality indefinably porous. Passion Play also has qualities in common with two more films maudit, Larry Charles’ under-rated, if lumpy, attempt to film Dylan with Masked and Anonymous (2003) and Johnny Depp’s nigh-unseen, yet weirdly, naggingly memorable The Brave (1997), in trying to articulate that American branch of fantasy where civilisation peters out at the fringes of the desertscape, and the islets of humanity glimpsed there are stricken through with cruelty, wonder, and alien beauty, as if the cultural centrifuges toss out all the colourful and perverse refuse there, amidst heavily metaphoric contemplations of the state of the personal and national psyche.
Sam’s remote, lively yet subtly strange circus is then reminiscent of something out of Ray Bradbury or Jack Finney, cross-bred with the word-pictures of the aforementioned songwriters, whilst the moment of Nate’s first glimpse of Lily calls to mind the finale of Wenders’ Paris, Texas (1984) where a similarly ruined remnant of a man confronted his great love in a peepshow booth, whilst both films share an atmosphere of crushed romanticism. When Nate peeks in on Lily in her trailer and sees her with unfolded wings, the film takes on the quality of folk-myth, as he sees something extraordinary in the remote female figure in violating the taboo of her sanctuary, but here with a grim masochistic overtone, as he watches Lily ripping out her feathers in anguish, giving substance to the sense that permeates the film of the worthy beautiful strange things ripping themselves to pieces or subjecting themselves to degradations for the sake of small redeeming beauties. Yet Glazer, who wrote Murray’s ill-famed Scrooged (1988) as well as the interesting if finally problematic Three of Hearts (1993) and Great Expectations (1997), seems to be reflecting as much on the nature of his own trade as any metaphysical concerns here: it’s impossible to ignore how Passion Play is really about show business, and the motifs of the film, constantly circling back to performing stages and acts, and life-art rhymes, emphasises this.
The artist protagonist has wasted his potential in drugs and betraying his talent, a crime he repeats in selling out Lily, and pissing off the wrong people through licentious missteps. Happy and Sam, satanic forces of temptation, are also readily identifiable as exclusive and exploitative exhibitors, with a capacity to turn any rare and rich talent and trait into another commodity. For Fox, famously booted off her signature franchise for telling the truth about the director who served her up with toxic contempt in Transformers: Revenge of the Fallen (2009), Passion Play’s dismissive reception would hardly seem like vindication, but her role might have still felt like that, in it seems to conflate much truth about the way Hollywood treats its beauties. Lily wants to tear and distort her flesh to render it more perfect; Nate wants to show it off; Happy when he realises that he’ll never entirely possess her instead settles for sticking her in a glass booth virtually naked so that people can pay for an eyeful. This curious yet lucid fable’s finale sees Nate crashing one of Happy’s private peep shows for his rich friends to come and gawk at Lily in a glass box, resembling a fantasia out of a renaissance painting and weeping like a martyr. Here Glazer brings the motif of the power to look as a form of dominance to a head as well as achieving a real emotional kick in evoking the way the world’s beauties are so often corralled and controlled by men like Happy. Maybe in the very climax Glazer pushes finally too far towards the obvious, but his work still retains a charge as Nate rescues Lily and spurs her to finally spread her wings as a last act of faith. Such an act proves crucial for Nate as he makes a discovery that puts everything he’s been doing into perspective: saving his soul.
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Director: Cary Joji Fukunaga
By Roderick Heath
Charlotte Brontë’s classic 1847 novel has, unlike her sister Emily’s Wuthering Heights, thus far largely resisted attempts by filmmakers to transpose its multifaceted charms and subterranean perversities into worthy cinema. Whereas Wuthering Heights has received such memorable, sharply contrasting and complementary adaptations from the likes of William Wyler, Luis Buñuel, Jacques Rivette, and Kiju Yoshida, versions of Jane Eyre have tended to be disappointing and dryly handled. Even the seemingly perfectly cast 1944 version directed by Robert Stephenson, starring Joan Fontaine as Jane and Orson Welles as Rochester, doesn’t work nearly as well as it should. Perhaps this is because there’s something defiant about the novel, which possesses elements of, and yet does not give itself over to, the same hallucinogenic romance-noir atmosphere of Wuthering Heights, whilst balancing elements of reportage-like exposure and moral symbolism within its own insistently dialectic structure: it’s the work of someone in constant interior argument with herself.
Jane, Brontë’s heroine, is one of the best ever put on paper, a fiercely self-contained young woman who operates according to her own moral compass regardless of whether the world is in accord. The novel’s finale both fulfills and subverts its own gothic-romantic reflexes in a peculiar series of anticlimaxes with curious sadomasochistic overtones. The promise of another film version hardly set the world on fire, and yet this new adaptation struck me as by far the best stab at Classics Illustrated cinema in several years. It’s surprisingly well-cast, with two of the best up-and-coming actors in the business, and equally well-directed by the California-born Fukunaga, who had previously helmed the admired Sin Nombre (2009). Fukunaga seemingly made a great leap in subject matter in moving from contemporary third-world experience to well-thumbed library shelf filler, and yet perhaps not so great after all.
Part of the reason why Fukunaga’s film works better than other adaptations is because he understands the dialectic nature of the story. He pitches his adaptation, consequently, both on a level of sharply composed realism, with an emphasis on physical environs and extremes, which helps give back to the material a grounding in immediacy, whilst allowing hints of stylisation, to evoke the psychological and expressionistic elements of the novel, to come forth without being hoary. The period rural England glimpsed in the opening scenes practically conjures a sensation of wind chill and ice burn as Jane (Mia Wasikowska) flees from Thornfield Hall into the embrace of a rural landscape that offers no sustenance to the outcast. The underlying paranoia of so many of the “classic” novels of the early 19th century is of the fate of the social castaway in a civilised land completely inimical to multiple forms of outsider; it’s easy to miss the often-shouted note of social protest in adapting such works. This Jane Eyre restores some of the immediacy and anger sucked out of most such adaptations through the figure of Jane, who tries to keep a grip on her Christian charity and also her outspoken honesty in circumstances where people try to subordinate one and destroy the other.
You can also see the influence on such writing looping back to its roots through the Harry Potter stories in the opening scenes in which Jane is assaulted by her spoilt cousin and, when she sticks up for herself, is exiled to the remote and gloomy Red Room, where she freaks out so intensely, believing the stories hurled at her by vengeful adults about ghosts and spectres, that she knocks herself out cold in beating at the door. The vision of Jane as someone driven by such an intense sense of justice and survival instinct that she’s almost self-destructive comes into immediate focus. This sits alongside the observation that her grim childhood (Amelia Clarkson as young Jane), which also includes being sent to a death camp in the guise of a school where girls, including her best friend Helen Burns (Freya Parks), expire from pneumonia in the parsimonious climes, actually arms her for future travails with an uncommon rigour, a fact she senses and forgives.
Fukunaga attempts artfully, though not entirely successfully, to downplay the novel’s loss of momentum in its long third act, when Jane finds aid and shelter with rural pastor St. John Rivers (Jamie Bell) and his sisters Diana and Mary (Holliday Grainger and Tamzin Merchant), by commencing with this plot point and using the licence of cinema to both disperse these scenes and retain their narrative meaning—Jane’s capacity for gratitude and perseverance, the way St. John subtly shows up the lacks of a more seemingly spiritual type of man as petty and narrow. It also allows Fukunaga to explicate Jane’s childhood and early experiences in fragmented flashbacks, allowing him to jump between periods without laboured narrative grammar, particularly inspired in one moment that reduces years of abuse to a single crack of a cane against her back. Jane is thus exiled when she falls afoul of her spiteful aunt, Mrs. Reed (an unusually cast Sally Hawkins), whose feelings of familial responsibility towards kin are easily discounted in the face of a girl who insistently mirrors back a lack of charity and decency. Jane survives her education and adolescence and takes the post of governess at Thornfield to school the French-speaking, rather daffy young Adèle (Romy Settbon Moor), and encounters ‘umble ‘ousekeeper Mrs. Fairfax (a nicely subdued Judi Dench) and her personal dark marauder riding out of the mist, Edward Rochester (Michael Fassbender).
Wasikowska, with an uncommon capacity to seem shrinkingly plain and luminescently beautiful from shot to shot, emphasises Jane’s innate decency with an edge of sullen, clipped, subtle resentment she tries not to let dominate her personality and hinted in the way she gives Jane a Midlands accent, rather than the “received pronunciation” for proper, educated English. Rochester is a difficult part to play, easy to push too far towards monstrous Byronic cliché or expose as a himbo fantasy. But Fassbender tackles the character with a blend of harshly honest force and pained discomfort within his own skin, with a faint edge of trapped bohemian energy and the intense hate of lies clashing with his beholdenness to a man who perpetuates one enormous lie to secure his future happiness. He’s both prisoner and driver of the steely rivets holding together patriarchal, conformity-driven Christian England that Fukunaga goes on to realise with effectively eerie scenes; Jane becomes witness to the manifestations of Rochester’s dark secret, the Minotaur at the heart of his personal labyrinth, as she tends injured Mason (Harry Lloyd). Hearing menacing knocks and windy whistling in a splendidly paranoid scene, Jane rides out the night with fortitude, remindful that, amongst other things, Brontë bridged a gap between Gothic and psychological fiction.
A similarly strong scene with a fine control of point of view comes earlier when Jane is invited to join Rochester’s toff friends, including his designated paramour Blanche Ingram (an underutilised Imogen Poots), and sits ignored and shell-like in company that cares not a jot for her, dismissing governesses as “detestable incubi … hysterics … degenerates.” Jane leaves, pursued only by the man attracted to her precisely because she sits so far outside the whimsical world. Fukunaga is nicely aware of the importance of physical contact in a world where it’s verboten in all but the most profoundly private moments. The scene of Jane’s unexpected appearance causing Rochester and his horse to take a violent fall. The sight of the squealing animal and the bellowing man tethered in toppled, flurrying alarm encapsulates everything dark and ferocious about the male sexuality Jane knows nothing of and yet gravitates to with inevitable, physical compulsion: Fukunaga then extracts a deeply sensuous feel from a moment as simple as Jane leaning her face against Rochester’s leg much later when he’s mounted on his horse, and at the end when she takes his hand when he’s been blinded, both moments alive with the profundity of human touching human. Such sensuousness inhabits other scenes where it’s less expected, as when young Jane and Helen share a bed, providing both with emotional and physical warmth. There’s an admirable sense of awkward, fearsome determination when Jane bitterly remonstrates Mrs. Reed before being cast out of her life, and when Rochester leads Jane to their ill-fated wedding with a sense of a threat as yet undefined. Their subsequent confrontation by Rochester’s lunatic wife Bertha Mason (Valentina Cervi) elides her pathetic beauty and captures with subtle framings the humiliation and horror transfixing the undeserving Jane.
If anything finally limits this Jane Eyre’s success, it is that for all its casting and stylistic strength, it’s still an essentially conservative and modestly aimed adaptation, straining at the limits of the tasteful period film but also conceding to them. The screenplay by Moira Buffini, who wrote Tamara Drewe (2010), Stephen Frears’ amusing riff on Far from the Madding Crowd, is, in spite of the reorganising of the narrative, still anchored to studious novelistic progression and point of view, to the extent that it even avoids portraying the climactic conflagration that destroys Thornfield. There’s a devilish perfection in Bertha’s auto-da-fé destruction of the entire infrastructure of the English country order she’s been sitting within like an alien, spidery presence, which deserves filming. This omission robs the tale of its fiery apocalyptic grandeur, obvious even in the second person on the page, and so that the film feels curiously lacking in a climax: it’s not full-blooded in a way that the most bold and aggressively cinematic adaptations visibly fight to achieve in different fashions.
We tend to associate classic novels with the classic cinema styles that inflated them like fragments of myth, for example, David Lean’s Great Expectations (1946). Yet Fukunaga’s mise-en-scène offers a sinuous, deceptive kind of expressionism, with its twinning poles of the frantic, handheld, opening shot and a sense of vertiginous plunging into the unknown, and the equally woozy, but tonally opposite, scene in which his camera and edits spin and jump lithely as Rochester and Jane glance off each other in a teasing game of attraction and repulsion and attraction again in a garden that erupts to life as if spring is coming only in response to their unleashed passion. Jane Eyre the novel is hardly a work of interior monologue and deep psychological investigation, and yet it is closely tethered to Jane’s inner life and her accounting of her thought processes, explaining both her severe temptation to accept Rochester’s proposal that they live in sin and the power of her determination to resist when it’s deeply against the grain of her personal sense of integrity. This sort of stuff is hard to get across on screen and part of what tripped up earlier adaptations, which endlessly stalled waiting for the moment when Rochester and Jane kiss. But Fukunaga’s relative success relies on his careful camerawork and on Wasikowska’s and Fassbender’s capacity to depict warring internal impulses in gesture and speak in ways that convey several layers of meaning.
Fukunaga seems determined to tell this story as if it’s never been told before, with a clear-eyed sense of where to stress the narrative beats, which is uncommon in a lot of modern adaptations. Jane Eyre is a good yarn, and he’s not afraid to let it flow with a natural confidence that avoids the academic or drearily faithful adaptation of a TV miniseries. There’s something a little unpredictable about this Jane Eyre, even if the ending is never in doubt.
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Director: Storme Wood
The Talking Pictures Festival, April 14-17, 2011
By Marilyn Ferdinand
It isn’t easy in some circles—particularly the often intellectual circles of the diehard cinephile—to discuss fundamentalist Christianity with a straight face. The clichés that attend the subject are just too potent and subject to ridicule: the strange dogma, the humorless advocates breathing hell fire and damnation, the seemingly mindless and constant focus on God during nearly every minute of every day that drowns out the rest of life like a bug being flushed down a toilet. It’s hard for someone not in the life to understand the logic, which looks like illogic, or the compulsion many people feel toward religion, particularly a form of religion that is so severe in its rules and judgments.
However, I have seen firsthand a very nice person drawn deeper and deeper into fundamentalism. An ordinary woman in many ways, my next-door neighbor had a lot of children of her own, but also adopted several more. Her husband collected junk off the street, filling their home with at least a dozen broken water heaters, countless rusted bicycles, and every other sort of cast-off one can imagine to the point that the only passage in many of their rooms was a narrow aisle. He planted their front yard in such a haphazard way that their home seemed to be swallowed by an abandoned field of weeds. Their backyard was, like their home, filled to the brim with junk. The woman even built a fence around it specifically for my neat-freak mother so she wouldn’t have to see the junkyard as she attended to our tidy lawn and garden. Eventually, the woman was Born Again, and who could blame her? Wouldn’t you want to start over in a state of grace if your life had been made a living hell by your husband’s mental illness?
Esther (Heather del Rio), the central character in Paradise Recovered, is a young woman who escapes from a broken home and an alcoholic mother by becoming an adherent of televangelist Rev. Warren F. Vanderbilt (Richard Dillard). She lives with her pastor, David Sawyer (Andrew Sensenig), and his wife (Wendy Zavaleta), taking care of their young daughter (Anna Valerie Becker), doing housework, and tacking up posters and handing out fliers to residents of their Indiana town to come to the VFW hall on Sunday morning to watch Vanderbilt on television with them and pray. Pastor Sawyer is monomaniacal in his devotion to God, preferring to converse mainly in bible quotes and forbidding sins that the Pilgrims would have recognized: no movies, no dancing, no music, floor-length skirts for women, and certainly no fornicating. He seems to make an exception for alcohol because his wife certainly likes her wine.
Esther takes to heart Vanderbilt’s message to contribute money to the cause. Since she is an unpaid nanny and maid, she decides to ask Sawyer if she can get a job at a health food store that has a help-wanted sign in its window. He considers the story of The Virtuous Woman, and though Esther is not married, he finds reason in it to encourage her industry. Gabriel (Dana Seth Hurlburt), the store manager, hires her, and on her first day of work, Esther and the Sawyer family gather in front of the store to pray as though they were putting a protection hex on the place. Things are going to get interesting.
Gabriel is a philosophy student in college and a religious skeptic who has a strained relationship with his minister father. He is, in fact, very interested in religious faith, and engages Esther in a number of discussions about her beliefs and her church, the latter of which he finds abusive. He becomes especially concerned when Esther becomes engaged to Sawyer’s son Philip (Austin Chittim) after three days’ acquaintance. When Philip’s father throws Esther out when he finds Philip trying to bed Esther, Gabriel and his roommate Mark (Oliver Luke) take her in and begin her worldly education.
Appropriate for a movie about one of the oldest human constructs there is, Paradise Recovered has a very tried-and-true story structure: boy meets girl, boy loses girl, boy gets girl. It’s not hard to see that Gabriel will fall for Esther. Despite their seemingly unbreachable differences regarding God, Gabriel’s childhood was steeped in religion. When he falls out with Esther, he turns to his father (Jim Aabear) for guidance, knowing that he needs to regain some perspective on religious belief if he is to understand her. Esther wants to be good more than anything in the world, but she does not take personal responsibility for developing an internal moral compass; it’s much easier for her to follow rules than to try to understand the reasons behind them.
Unfortunately, the script, like Gabriel, is pretty judgmental. Esther considers herself stupid, and wishes she could go to college; alas, she was home schooled, and the script seems to agree with her that she’s ignorant because of it. The script punts to a predictable scandal that shows her spiritual leaders to be charlatans or filled with disgust for humanity, especially women. And Esther’s plunge into “decadence” seems a little too easy for her, though one funny scene where she refuses to eat a slice of bacon (an “unclean” food) shows her pushing back. I got the impression that Esther had basically fled her home life, but later she says she was brought up in this church. The back stories are sketchy and a bit confusing, and the unknown actors who seem pretty green don’t have the chops yet to suggest a psychological history for their characters.
Yet, I found myself quite engrossed in this film. Heather del Rio isn’t what I’d call a beautiful woman, but she has an extraordinary magnetism and sensuality about her that made me believe that three young men could be fighting over her. She was just as attractive in her granny dresses as in blue jeans and camisole tops. Hurlburt is a handsome young man who was able to develop Gabriel’s growing affection for Esther in a very believable and affecting way. And Oliver Luke is the surprise of this movie. Think Nick Frost in Shaun of the Dead, but with more verve and personality, and you’ve got some idea of his skill. When Mark finds out he was able to score a date with Esther before Gabriel, his glee at beating out his more attractive roommate to a first date is wonderful, real, and quite funny; at the same time, when he deduces that Gabriel is in love with Esther, he becomes a caring friend who tries to help Gabriel win her.
This is Storme Wood’s first feature film, and his handheld camera work is effective and mainly unobtrusive. He knows how to shoot and time his actors’ lines for good comic effect, and he manages to work with some of his nonprofessional actors to bring out their sincerity, particularly Aabear, whom I can believe is a real preacher. He couldn’t do much with the caricature scripting, but he tries to help everyone maintain a level of humanity that more cynical films about religion ignore. On the whole, Paradise Recovered is an interesting, enjoyable film fit for the whole family.
Paradise Recovered screens Satuday, April 16, 5 p.m., at the Annie May Swift Hall, Northwestern University’s Department of Radio, Television + Film, 1920 Campus Drive, Evanston.
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Director/Coscreenwriter/Producer: Dana Adam Shapiro
By Marilyn Ferdinand
A friend of mine who just turned 30 said that people in their 20s are skewing the high divorce statistics in the United States because they got married before their personalities were fully formed and lived to regret it in record time. I’m not sure I agree with him completely, but it is true that it’s hard to know about the wide possibilities that exist in life without having lived for a while and experienced them.
Director Dana Adam Shapiro garnered an Oscar nomination for his documentary Murderball, a riveting look at paraplegic rugby players whose full-contact games in specially designed wheelchairs show one new paraplegic that his life as an athlete is not over—it simply has to take on a new expression. In many ways, Monogamy, Shapiro’s first feature film and Best New York Narrative winner at the 2010 Tribeca Film Festival, takes up a similar issue that many people in their 20s are facing—the possibility of marriage in a society rife with divorce—and offers them alternatives to marital stagnation and dissolution. It’s a timely topic of hope, regrets, and creativity that echoes another film from last year, Certified Copy, though it will be a while before Shapiro is the master filmmaker Abbas Kiarostami is. Nonetheless, I’d say he has a pretty good shot at it.
Theo (Chris Messina) and Nat (Rashida Jones) are young, creative, and engaged to be married. Theo makes a living as a wedding photographer and taking candid shots of people living their daily lives (or possibly as a private investigator) through a business called Gumshoots. The film opens with Theo snapping pictures in a New York City neighborhood, seemingly at random, and then concentrating on one elderly man (Madison Arnold) as he moves through the streets, encountering friends and local business owners, and playing with some children. When this man comes to view the photos and pick up his prints, Theo tells him that he is obviously very well-liked and brings happiness in his wake. “Do you make a living at this?” the man asks. “Enough to get by,” is Theo’s answer.
Unfortunately, Theo has been told that what he does is not a living by the one person whose approval he needs—his father. Nat, whose work is unspecified but who is a talented musician and singer in her off hours, says that Theo needs to return his father’s numerous calls. Theo counters that Nat needs to meet his mother to work on the wedding invitations. Instead of taking responsibility for answering his mother’s simple request to choose a color for the invitations, they decide to leave it to the color of pasta Nat pulls at random from a jar. Their banter continues while Nat prepares dinner. She cuts her thumb rather badly in the process, and this cut will open the way to a staph infection that will send her to the hospital later in the film.
A rift starts to open in their relationship when Theo starts a Gumshoots assignment for a client known only through her e-mails as “Subgirl” (Meital Dohan). He goes to some public tennis courts where she wants the shoot to commence. Wearing a short tennis dress, she sits down on a bench and checks her watch. Theo starts shooting and is startled when she lifts her skirt and starts to masturbate. He pours over the pictures when he gets home; Nat, feeling his excitement and hoping not to lose him to it, tries to share it with him. They start to kiss, but Nat interrupts their precoital activity when Theo bumps her thumb and causes it to throb intensely.
Theo dives deeper into his obsession, as two more assignments come in from “Subgirl,” each of which shows her having sex on side streets with the same man. Theo obsesses over details in the photos, determining that her name is Penny from a ID necklace she wears and seeing from a wedding ring that appears in the first series of photos and disappears in the second that she is cheating on her husband. Theo neglects Nat whenever an e-mail from “Subgirl” comes in, completely ignores her phone calls from the hospital, avoids visiting her, and is surprised to find her on the couch in their apartment after being discharged without his knowledge. He can’t articulate the reasons for his behavior beyond saying that it doesn’t feel good not to be desired, referring to three times Nat declined to have sex with him. Is Nat too hung up to participate in his newly unleashed sexual kinkiness, or is Theo getting cold feet and looking for excuses not to get married?
Shapiro sets up two distinct moods in this film, one in which Nat and Theo’s life together plays at a much lower pitch than the jacked-up, edgy voyeurism Theo wallows in while shooting “Subgirl” and manipulating the photos on his home computer. Dohan looks like a hooker, a miniskirted Rebecca de Mornay blonde right out of Risky Business, and her awareness of being photographed creates a tenuous connection with Theo that amps the intrigue. The second two photo shoots occur at night, and when “Subgirl” argues with and slaps the man she eventually fucks, we wonder if we’re witnessing a prelude to murder—indeed, a number of reviews of this film have compared it with Antonioni’s Blow-up, though dialogue references Gene Hackman’s floor-board scene in The Conversation. Cinematographer Doug Emmett created a eerie presence for the film by “shooting on the RED in a fluid, long-take style using a mixture of handheld and locked-off camerawork.” Indeed, every sequence involving “Subgirl,” even the daytime shoot at the tennis courts, has a sinister quality, attributable not only to the shooting style, but also to Dohan’s wordlessly erotic performance.
By contrast, normal life can’t compete. Theo spends a lot of time looking at love’s foibles. He spends time with his divorced friend Will (Ivan Martin), who lets his toddler Hannah (Hannah Gilli) work in his bar serving hors d’oeuvres to patrons and saying that he and his ex-wife miss each other, but never at the same time. His wedding clients have trouble getting their act together for their photos or argue about which ones to include in their photo album, with one bride wondering whether her new husband has any taste at all when he says he likes all the pictures. In one brief and very funny scene, Theo, standing in for the hospitalized Nat, is told that making a decision about type styles and different shades of red on the wedding invitations is something he “has to think about,” overemphasizing the petty qualities of marriage rather than its real significance.
Shapiro is a master of the short, deft character sketch, evidenced when Nat’s young doctor, the obviously named Dr. Gleeman (Neal Huff), assumes a Kermit the Frog voice to tell her that she might have to have the damaged tissue excised if antibiotics fail to cure her; when she has to tell him to stop using the voice, he says, “It works on the pediatric ward.” Besides being funny, this scene shows Nat to be rather more grown up than the men around her, something that was suggested when Theo, who plays piano quite well, is too self-conscious to appear with the braver Nat during an open-mike night. When push comes to shove, Nat may be as afraid of marriage as Theo, but she’s willing to risk it. Theo doesn’t understand that marriage is not the end of love and excitement, but can be its beginning. His failure of imagination, including understanding the subjects in the candid photos he takes, exposes a deep hole in his soul.
Shapiro’s documentary background had him eschew rehearsals in favor of spontaneity. This approach has its advantages, but it also sank one pivotal scene: Nat and Theo’s confrontation plays like an acting class scene, and Messina seems particularly adrift in suggesting some nuance to his feelings, especially about Nat. Shapiro ends the film with a montage of happy moments between the couple as a meager substitute for a deeper relationship emerging from the rest of the film. Jones, on the other hand, seems to grasp Nat and plays her believably. The contrasting tones gave me the feeling of riding on a hilly country road—a slow, sometimes boring slog uphill, and an exhilarating ride on the downward slope. This pacing was perhaps deliberate, making me feel as though I was watching two films and preferring, like Theo, the thriller, but it was also not well enough integrated to bring out the home truths about the satisfactions of connection. The flaws, however, don’t sink this film. A smart script, some dazzling cinematography, and a timeless message make Monogamy well worth the ride.
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Director: Eugène Green
By Marilyn Ferdinand
You’ve got to love a director who makes fun of formalist arthouse films right at the start of his formalist arthouse film—“The film is . . . unconventional,” says his main character, Julie de Hauranne (Leonor Baldaque), to the woman doing her make-up, who replies, “Boring, you mean.”—and then goes ahead with it, letting Julie speak his wish for the film: “I hope not. The story moves me.”
The self-reflexive meanings within meanings, of art imitating art as a means to tell the truth, as evidenced by this hope about the film French actress Julie is in Lisbon to film and the film Leonor Baldaque is in Lisbon to film (even director Green plays director Denis Verde [green]), comprise the main schema of The Portuguese Nun. The film’s main theme is the folly of earthly love, signaled by the project with which Julie has involved herself: a dramatization of Letters of a Portuguese Nun, comprising the love letters of said nun to a French officer with whom she had a passionate affair that were thought genuine until they were revealed to be a work of fiction. Julie, whose mother was from Lisbon and whose father was French Basque, speaks Portuguese but has never been to Lisbon before. Because of a leisurely shooting schedule, she spends a good deal of time wandering through the city, exploring her origins and learning to forgo her usual habit of brief, intense romances and embrace abiding love in some amusing ways.
Aside from the desk clerk at her hotel, who thinks Lisbon would be great if not for all the intellectuals, every male in this film is in thrall to Julie. She encounters an orphan boy, Vasco (Francisco Mozos), who tells her she is the most beautiful woman he has ever seen. She exchanges glances with an older man (Diogo Dória) in a restaurant, and he gives her his card; when she impulsively calls him the next night and accompanies him for the evening, she learns she has saved him from killing himself that very night and given him the will to go on. When she meets her handsome costar Martin (Adrien Michaux), who is happily married to a woman for whom he feels no passion, she does the good deed of sleeping with him so that he can feel he has not been cheated of anything by staying with his wife. Even a brief encounter at a disco with a man (Carloto Cotta) who asks her to dance becomes a mystical meeting at which she declares that he is the reincarnation of D. Sebastião, a 16th century king of Portugal who, legend has it, is supposed to step from a fog to restore the country as a world power. They meet again near the end of the film, and he tell her that he thinks she’s right about his true identity. In fairytale fashion, she tells him that if they meet a third time, she will tell him her name and be his forever because one cannot escape one’s destiny.
But it is Green who is Julie/Leonor’s most ardent admirer. You can see it in his face every time he plays a scene with her. He gives her a much larger wardrobe of beautiful, flowing clothes than she would ever need for a few days in Lisbon, and when the wind kicks up during any of Julie/Leonor’s strolls in her spaghetti-strap sundresses, a pretty wrap or sweater magically appears to keep her warm for the rest of the scene. Unaccountably, however, he puts her in clunky high heels for her long walks through the cobblestone streets; not only is it impossible to imagine her going very far in them, but they actually pitch her body at a very awkward angle. Green also gives her the increasingly distracting direction to open her doelike, brown eyes as wide as possible as often as possible and to refrain from blinking as he gives us straight-on views of her face. This technique was most jarring when Julie hears music and turns a corner to see a fado band playing, it seems, just for her. The camera cuts between close-ups of her unblinking face and the singer, whose eyes are little more than long-lashed slits as he tells a story that might have been her own. Although I loved the music and it was used well throughout the film, this interlude felt a bit like it was clipped out of a Bollywood musical.
The most problematic part of the film for me is the encounter Julie has with a real Portuguese nun (of course, not really real—she is played by Ana Moreira) in a chapel where the nun prays nightly. Julie has watched her from the back of the chapel on several nights, but they finally interact when the nun revives Julie, who has fainted among the pews. The cause of her fainting spell was seeing Sister Joana—a name the nun assumed in reverence for St. Joan of Arc—disappear and then reappear. The conversation they have about there being only one kind of love, and God being besieged (or besieging, I really couldn’t figure it out) left me more or less in the dust. This may have been by design, as Sister Joana asserts that reason was not created by God and does not exist, but giving us dialogue that can’t be reasoned out is a cheat and rather cheapens Julie’s apparent spiritual awakening, turning over of new leaves, giving of genuine love to little Vasco, etc. etc.
Green has a sly wit that had me thinking for quite some time that this was a romantic comedy. But the humor was not pitched well enough or sustained, nor was the seriousness of purpose consistent. In the end, the film was a bit too tricked up for its own good to be either a parody or an introspective examination of love. Such films are possible (see Certified Copy for the best recent example to date), but Green doesn’t seem to have grown an organic style of his own. When he stops having short passions with various film techniques and finds the slow-burning love of his life, his films will take the great leap forward they truly are poised to make.
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Director/Coscreenwriter: Valerio Mieli
2010 Chicago International Film Festival
By Marilyn Ferdinand
If you’re a fan of the TV series Bones, Ten Winters is going to seem teasingly familiar. In Bones, a very attractive, brainy forensic anthropologist and her swoonworthy “partner” at the FBI solve murders and ignore their sizzling mutual attraction and growing love because the woman is too afraid of being hurt. It’s all very titillating, but kind of annoying for those who believe that true lovers should be together no matter what.
First-time director Valerio Mieli seems to believe that, too. He shows the instant attraction of Camilla (Isabella Ragonese) and Silvestro (Michele Riondino) and then follows them over the next 10 years to see what will happen to them. It’s an interesting journey.
It is 1999 when Camilla’s father (Roberto Nobile) sees her to the boat that will ferry her from the main island of Venice to one of the outer islands, where she is going to college to study Russian literature and theatre. He warns her not to spend all her time alone, to make friends, but to be careful about whom those friends are, thus letting us know that she is a serious student and a bit of a loner. After absorbing this slightly confused, but loving message and with backpack and floor lamp (“it gives good light”) in hand, she boards the boat. She spots through the throng of passengers a young man—Silvestro—who is entertaining a small boy with a leafless, decorated tree. She is immediately attracted to him and rather boldly makes him aware of her gaze. Eventually, the two are alone with their large, awkward cargo on the boat. He follows her off the boat and worms his way not only into her unheated rental home, but also into her bed—for warmth only, as the bedroom is the only room with a space heater. They shake hands and introduce themselves while laying side by side.
They part the next day, and Silvestro hooks up with some college students. While they are out flying a kite, Camilla appears and waves tentatively. “Do you know her?” asks Simone (Glen Backhall). “Vaguely,” answers Silvestro, who refuses to go over to her. “She can come to me,” but she doesn’t. Silvestro, besides coming on very strong, is rather a sarcastic clown, joking with her in ways that made her feel teased and belittled. He’s too young emotionally for an intimidating girl like her, though they begin to move in the same circle of friends. When Silvestro takes up with Liuba (Liuba Zaizeva) a pretty Russian girl who is studying to be an interpreter, Camilla is crushed.
As the decade passes, Camilla and Silvestro’s lives start to take shape. After basically admitting to Camilla during their first meeting that he has no idea what he plans to do with himself, Silvestro finally decides to pursue a career in theatre. Camilla moves to Moscow “to concentrate” on her studies, but develops a thriving e-mail friendship with Silvestro while quickly getting involved with a theatre company and its director, Fyodor (Sergei Zhigunov). Silvestro, misinterpreting her intimacy online, accepts her invitation to visit over Christmas, bringing a cat she says she misses from the rented house he now occupies and returning to Italy the minute he learns she is living with Fyodor. The couple will go through more relationships and more painful growing experiences before they are finally ready to open their hearts and lives to each other.
Italy is famous the world over as a country of love, with Venice hailed as its most romantic city. Yet, Mieli’s romance is more realistic, just as his Venice is shot without the dubious benefit of the usual clichés. We see it in winter, we see it in the rain, we see housing that is anything but charming. When Fyodor offers Camilla a gondola ride, she says, “Oh, please!” at the absurdity of the idea to a native Venetian like herself. The majority of the film doesn’t even take place in the Venice tourists know, but on an island away from that kind of action. These characters get to be real people instead of the Latin lovers audiences have been led to expect from works that stretch even farther back than film, for example, the operas of Puccini and Rossini or Shakespeare’s Romeo and Juliet. And yet, Mieli and his cinematographer Marco Onorato film with a dreamy sort of atmosphere that fits the story well. The wet, soft winters of Venice contrast with the crisp, snowy winters of Moscow, but both have a bit of enchantment to them that develops a sense of longing.
Although Mieli’s real-life partner Isabella Aguilar cowrote the script, there is a slightly more concentrated focus on Silvestro and his pangs of frustration. Perhaps this is due to the differences in the characters, with Camilla being the first to be lovestruck and disappointed and using her overdeveloped ability to shut people out and intellectualize to remain distant from Silvestro. This imbalance of visible feelings does rather make it harder to understand Camilla and feel with her in her happiness and pain, though Ragonese’s performance has a great many shades to it that are never less than interesting. Riondino matches her in complexity and sincerity; his painful outbursts, and declaration of love in a scene I found extremely moving, showed a believable ardency and anger. They are a magnetic couple to watch, and there’s never a moment when we don’t root for them to find happiness together; in fact, we wonder what is wrong with this woman to keep running away from her destiny.
Ironically, that expectation weakened the film for me. The title cards inserted periodically to let us know that another year or two has passed amount to a countdown to the final clinch, making the romance less organic and more schematic. There were moments when it seemed very likely that this couple would be parted forever, and those moments should have created more doubt than they did. And perhaps that is not Mieli’s fault, but the fault of too many predictable love stories turning audiences into Pavlovian lapdogs of romantic expectation.
There are some wonderful set pieces that show how much Camilla and Silvestro share over the course of 10 years; thus, their love feels real and earned. For example, Silvestro follows a nervous Camilla out at the crack of dawn to half-listen to her practice her dissertation defense in an empty square and then sits through her exhausting oral examination in an act of pure friendship and devotion. Camilla, admiring snails Silvestro is raising and accepting a box of them as pets, shows an enthusiasm for something his other friends only laugh at.
The CIFF is offering some uncommonly smart love stories this year. If you tamp down your “get together already” impatience and just appreciate the beauty and rhythms of this warm and real love story, the rewards, barely hinted at in this review, are many. l
Ten Winters will screen Saturday, October 9, 1:15 p.m., Monday, October 18, 5:30 p.m., and Tuesday, October 19, 8:15 p.m. All screenings take place at the AMC River East 21 Theatres, 322 E. Illinois St.
Previous CIFF coverage
Certified Copy: Elliptical tale of seduction by renowned director Abbas Kiarostami in which two strangers pretend to be a married couple in crisis. (Iran/Italy/France)
The Princess of Montpensier: The French Catholic persecution of Protestants forms the backdrop for this period drama about the travails suffered by a beautiful noblewoman desired by four men. (France/Germany)
Cameraman: The Life and Work of Jack Cardiff: Legendary British cinematographer Jack Cardiff and others who knew him discuss his career, including such highlights as The Red Shoes and Black Narcissus. (UK)
Waste Land: A moving examination of the positive transformation of workers in Brazil’s largest landfill when artist Vik Muniz comes to photograph them. (Brazil/USA)
Uncle Boonmee Who Can Recall His Past Lives: This 2010 Palme d’Or winner chronicles the final days of Boonmee using magic realism and experimental techniques to explore universal myths and symbols. (Thailand)
The Last Report on Anna: A dreamy, romantic film centering on Anna Kéthly, real-life Hungarian minister in exile, and a spy’s attempt to silence her by seducing her into returning to their communist-controlled country. (Hungary)
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