I'm aware of my membership in the majority when I state that viewing a story of redemption is powerful and emotionally satisfying. Yet I realized today, as an audience for The Reader, how deeply I believe it is necessary to witness narratives that explain the other side, to watch the unfolding of an absolutely unapologetic character.
Kate Winslet is spellbinding as Hanna Schmitz, a woman who is eventually tried in the late 1960's for her part in the demise of women prisoners traveling on their death march from Auschwitz to Bergen-Belsen. Some of her trial is witnessed, coincidentally, by a young law student who nearly 10 years earlier had been involved in an affair with her. At the time of the trial (for those of you who are not delighted by courtroom proceedings, never fear, it comprises a small but crucial part of the film), I think the audience is expecting Hanna to be remorseful, contrite, ashamed at what she had done. And here is where the movie knocked my socks off. All at once, numerous questions ran through my head: how can she not have regret? Has she learned nothing of humanity in the 20 years since? Could she possibly she think she was right? Perhaps she is mental? How could she not know the Nazis were wrong?
Though the movie is over half done at this point, it is the complete essence of the story. I spent the remaining time trying to find answers, yet sometimes simply ended up with more questions.
This movie is so much more than a story about first love, or an attempt to define guilt, or an opinion about the cost of consequence. I think it offers an example of how our lives are rarely (if ever) defined by polarity: black and white, right and wrong, good and bad. That we must make room for those people who feel a strength of purpose different than our own. It's a challenge, and one that is met in many, many ways over a lifetime.
The theme of redemption is indeed the nuts-and-bolts of Clint Eastwood's Gran Torino. However, I feel supremely unqualified to give more than a superficial review of this movie as I've seen so few of his. Thus, reader beware: if you're a fan of Mr. Eastwood, you'll no doubt have waaaaaayyyyy more to say about this movie than I.
For 78 years old, Clint doesn't look too bad. With that said, his character's old-man walk and penchant for (literally) growling make you believe you're watching ol' Eastwood's daily life. As this is probably not the case (I've read Mr. Eastwood is really a nice guy), I'd have to give utter applause for his portrayal of main character Walt Kowalski.
Walt is retired from a career at Ford motors, is now a widower, and an unfortunate father to two middle aged men who don't like him. He putters around town, like lots of guys his age, but he does it with displeasure, annoyance and no small amount of racial profanity. Walt is of the midwest, where Willy Loman was a hero, and the post-war American Dream remains alive and well. Over time, "his" neighborhood has become populated by immigrants, and his sharply defined world is beginning to become a little cloudy.
Then, something happens that makes him start caring about others. Then something else happens that's bad. So he does something in return. Then something bad happens to him. It's not a fresh story, it's hardly even surprising. The symbolic moments and tokens (the '72 Gran Torino, the silver star, the handguns, the young Catholic priest) assigned to explain mistrust, naivety, forgiveness, and sacrifice are not subtle, and sometimes, blatantly stereotypical. Yet, "the critics" love this film and report that Eastwood is still masterful. I can't disagree, nor can I agree; I simply don't know Clint's history of film. I do know this movie wasn't a waste of my money, but it also wasn't the emotional juggernaut I had expected.
Monday, January 19, 2009
Sunday, June 1, 2008
Eeeeeeeeeeeeeew grossssssssss
For those of you who know me, you have a pretty good idea that I'm a fan of true crime stories, especially those that may involve psychopathy. And yet. I found Savage Grace, based on the book of the same name, to be nothing short of......icky.
The film will probably be coming to you in an "arthouse" theater due to the casting of Julianne Moore - indie darling - in the starring role of Barbara Baekeland, wife of the grandson of the inventor of Bakelite plastics. If you must, go and see it; but don't say I didn't warn you.
Before she married Brooks Baekeland, Barbara was a model and a wanna-be actress who finally found happiness when she married into wealth and was able to act the part of the socialite. Apparently, she had some personality disorders that led her to some wild mood swings and ultimately inappropriate (to put it mildly) behavior with her only child, a son named Antony. Antony displayed homosexual tendencies; in the American worldview of the 50's and 60's, a decided handicap for a mother trying to break her son into society. Antony's father finally washes his hands of the whole mess when he takes up with a younger woman (once Antony's girlfriend) and divorces Barbara. Unfortunately, that leaves Antony with only his mother and by the age of 25 he has killed her.
The film seems to follow quite closely the details of actual happenings, but as an audience, we must still hold some disbelief for what is presented to us. I also contend we must feel compassion for Antony, the fundamental victim; but it's difficult to do when we are shown by the director such graphic acts of incestuous sexuality. In my humble opinion, I would have felt greater emotional empathy for all characters if the most dysfunctional happenings were left to my imagination.
As a side note, the editing of the film feels extremely choppy, and there lacks emotional continuity between the years presented. NOT recommended.
The film will probably be coming to you in an "arthouse" theater due to the casting of Julianne Moore - indie darling - in the starring role of Barbara Baekeland, wife of the grandson of the inventor of Bakelite plastics. If you must, go and see it; but don't say I didn't warn you.
Before she married Brooks Baekeland, Barbara was a model and a wanna-be actress who finally found happiness when she married into wealth and was able to act the part of the socialite. Apparently, she had some personality disorders that led her to some wild mood swings and ultimately inappropriate (to put it mildly) behavior with her only child, a son named Antony. Antony displayed homosexual tendencies; in the American worldview of the 50's and 60's, a decided handicap for a mother trying to break her son into society. Antony's father finally washes his hands of the whole mess when he takes up with a younger woman (once Antony's girlfriend) and divorces Barbara. Unfortunately, that leaves Antony with only his mother and by the age of 25 he has killed her.
The film seems to follow quite closely the details of actual happenings, but as an audience, we must still hold some disbelief for what is presented to us. I also contend we must feel compassion for Antony, the fundamental victim; but it's difficult to do when we are shown by the director such graphic acts of incestuous sexuality. In my humble opinion, I would have felt greater emotional empathy for all characters if the most dysfunctional happenings were left to my imagination.
As a side note, the editing of the film feels extremely choppy, and there lacks emotional continuity between the years presented. NOT recommended.
Oink Oink
Okay. I imagine there will be loads of women out there completely unmoved - and perhaps somewhat insulted - by the story of 3 Little Pigs (Les 3 p'tits cochons). But I'm not one of them!!! I found it charming and quite hilarious. If nothing else, it allowed me to see that the male "pigs" in my life are neither unique nor unusual; instead, they may just be an average sampling of their gender.
Remi, Mathieu, and Christian are three brothers, close in childhood, who still live near each other in Montreal. Their mother, living with the eldest, has been experiencing episodes of faintness, and finally takes a tumble that results in a complete loss of consciousness. The brothers are left to fend for themselves, sharing personal stories and taking ill advice on their marriages (and potential affairs) from each other.
I thought it fun deciding which brother is which "pig," though the eldest, Remi, lives in an actual house built of stone ("the chateau" as one sister-in-law snarks) and also appears to be the brother with the "strongest" life.* Christian (played by Guillaume Lemay-Thivierge who has to have the longest eyelashes in the northern hemisphere) is the youngest, most playful brother who owns a martial arts studio and lives vicariously through his middle brother, Mathieu (played deliciously by Claude Legault). Each of the brothers' wives is sexy, intelligent, and aware, leaving us in the audience to wonder how or why any of these three would consider adultery. But, while the big screen is fantasy, most of us can point to an example in our own lives of a "perfect love" gone wrong. Regardless, the charm of the characters and the humor of the story carry this farce to a satisfying ending and I look forward to finding these actors in other big screen stories.
*the end of the movie, however, gives a terrific twist to this assumption and made me sit in my chair with my hand over my gaping mouth.
Remi, Mathieu, and Christian are three brothers, close in childhood, who still live near each other in Montreal. Their mother, living with the eldest, has been experiencing episodes of faintness, and finally takes a tumble that results in a complete loss of consciousness. The brothers are left to fend for themselves, sharing personal stories and taking ill advice on their marriages (and potential affairs) from each other.
I thought it fun deciding which brother is which "pig," though the eldest, Remi, lives in an actual house built of stone ("the chateau" as one sister-in-law snarks) and also appears to be the brother with the "strongest" life.* Christian (played by Guillaume Lemay-Thivierge who has to have the longest eyelashes in the northern hemisphere) is the youngest, most playful brother who owns a martial arts studio and lives vicariously through his middle brother, Mathieu (played deliciously by Claude Legault). Each of the brothers' wives is sexy, intelligent, and aware, leaving us in the audience to wonder how or why any of these three would consider adultery. But, while the big screen is fantasy, most of us can point to an example in our own lives of a "perfect love" gone wrong. Regardless, the charm of the characters and the humor of the story carry this farce to a satisfying ending and I look forward to finding these actors in other big screen stories.
*the end of the movie, however, gives a terrific twist to this assumption and made me sit in my chair with my hand over my gaping mouth.
Marvel - lous
Dunh dunh dunhdunhdunh nuhnuhnuhnuhnuhnuhnuh dunh nuh nuh (<--- hum along here to Randy Rhoads' famous guitar riff). Luckily director Jon Favreau saved the "theme song" until the end credits, just another of the small touches that contributed to the superb quality of the superhero saga Iron Man. Learning that Jon Favreau was the director of this film was sort of a head-scratcher for me. He is a terrific actor in some great smallish films (Rudy, Swingers [which he wrote], Very Bad Things, Made) as well as on TV (Friends, Dinner for Five); but I suppose lots of kids born in the 1960's and '70's foster dreams of hanging with superheroes. Of course, for me, Robert Downey, Jr. is the gold star in this thrill ride. His aptitude for quick dialogue continues to leave me breathless, as does his ability to move his face like a (handsome) slab of putty. The guy can go from full grin to insipid in an eyeblink. I count myself among the multitudes who are thankful he's still alive and kicking (ass!) after his personal difficulties.
In a nutshell: this telling of the Iron Man story begins in a contemporary fashion, in Afghanistan with Downey Jr's character, Tony Stark, personally delivering some new weapons to the American troops. He is the second generation, and boy genius, of family owned weapons manufacturer, Stark Industries. Upon ultimately escaping from Afghani captors after being injured, he spends some time judging the usefulness of his profession and the benefits that it offers the modern world. When he decides that he would prefer to use his power for good, his deceased father's second in command (love the Jeff Bridges!) must act to cover up the evil-doings he's been party to over the years.
The only weak link in this modern story of heroism is Gwyneth Paltrow's portrayal of Pepper Pots. She's close, but.....just not close enough. Too wooden, not quite sexy enough. I hope Mr. Favreau makes a little cast change before Iron Man II arrives - and believe me, it WILL.
In a nutshell: this telling of the Iron Man story begins in a contemporary fashion, in Afghanistan with Downey Jr's character, Tony Stark, personally delivering some new weapons to the American troops. He is the second generation, and boy genius, of family owned weapons manufacturer, Stark Industries. Upon ultimately escaping from Afghani captors after being injured, he spends some time judging the usefulness of his profession and the benefits that it offers the modern world. When he decides that he would prefer to use his power for good, his deceased father's second in command (love the Jeff Bridges!) must act to cover up the evil-doings he's been party to over the years.
The only weak link in this modern story of heroism is Gwyneth Paltrow's portrayal of Pepper Pots. She's close, but.....just not close enough. Too wooden, not quite sexy enough. I hope Mr. Favreau makes a little cast change before Iron Man II arrives - and believe me, it WILL.
Monday, May 26, 2008
We're All A Little Sissy Around Here
Oh those Canadians!!! Making such fantastic and contemporary movies that we ought to be making. In Breakfast With Scot, Tom Cavanaugh (remember NBC's delightful Ed) plays Eric, an ex-hockey player turned sportscaster who's scared to death "his public" will find out he's gay. His partner Sam (Ben Shenkman) has a cad of a brother, Billy who had a girlfriend who died and left him the responsibility of rearing her son. Problem is, Billy's left town and fled to Rio. Enter Sam and Eric as reluctant guardians to inspired and precocious 11-year old Scot. Perfectly, Scot is most likely gay as well and a whole world of possibility suddenly opens up for child and adults.
Though the story is predictable, I can hardly say more without giving away some terrific moments. All the characters are so lively and well created (and lovingly altered from the original novel of the same name by Michael Downing), and most have a lesson to learn. Truly a great family movie!
Though the story is predictable, I can hardly say more without giving away some terrific moments. All the characters are so lively and well created (and lovingly altered from the original novel of the same name by Michael Downing), and most have a lesson to learn. Truly a great family movie!
Friday, May 23, 2008
Activism 101
The directorial debut by Stuart Townsend (aka Mr. Charlize Theron), Battle in Seattle feels like a very personal film - to Stuart Townsend. It is one of those films with an all star cast (except for Connie Nielsen....I still can't make myself enjoy her) made on a shoestring budget over many, many years, and snubbed by the biggie Hollywood distributors. Three cheers for the true independent film! Yet I feel that because the principles of activism are so goshdarn fuzzy for me, I was barely moved by this dramatic retelling of the WTO riots of 1999. Rationally, I applaud Townsend for wanting to put our city's story up on the screen, for wanting to create a visual love letter for those who hold such fierce passion for "a cause." I also understand the need to present the very real truth that human nature is sometimes brutal, and we have the capacity to treat each other with naked cruelty if threatened. But I simply don't find this story compelling enough to be told as an inspired-by-real-events production on the big screen - even though I was right here for it. A documentary maybe. Or a semi-fictional focus piece of a particular character with the riots as back story. See for yourself, and if you're so moved, please let me know what I'm missing. As Andre 3000's character states in the final act: "people still don't know what the WTO does, but at least they know it's bad." And maybe that's enough of a timely message for this film to deliver. That as members of a democracy we should do what we can to inform ourselves about all that happens within it; only then can we feel proud of the choices we make for the people we place in positions of power.
Another Kind of Family
A single mother whose baby-daddy died on purpose. A young boy who sees no purpose in life other than bullying adults and impressing the local crack cocaine dealer. A man who sees no life without his twin brother. Not only does Ballast introduce these characters so completely and empathetically, but in 96 minutes manages to move their lives and hearts together to a cautious yet hopeful ending.
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