The Go-Getter

The Go-Getter (Martin Hynes, 2008) [4]

I just don't know what to do with this one. It's definitely going to need another viewing sometime down the road. The grade is based on my initial reaction and while at first I didn't really care for this, the tide is turning a little bit. It isn't that Hynes is a horrible director; in fact, the images and the construction of the film aren't really that bad. I have a real problem with the story and everything else associated with. Lou Taylor Pucci plays a mopey teenager named Mercer, determined to head out on a road trip to find his estranged half-brother to notify him of their mother's death. To do this, he steals a car only to have the car' owner (played by Zooey Deschanel) keep track of him by a cell phone in the car. The two strike up a relationship as Mercer traipses across the West, meeting the standard oddball character associated with the road movie. That hardly any of this passes the plausibility test is the overriding factor to me. The entire relationship between Mercer and Kate doesn't make any sense to me whatsoever. The rest of Mercer's journey is too much of a stock road movie to make me feel any apathy towards him or it. That Deshcanel's performance, somehow intriguing in spite of its context, is the only thing keeping the story above water (my feelings may be a bit biased in this regard..see here). And yet I have the feeling that I'm take the literalness of the plot too literal and that it's completely blinding my appreciation for the film overall. That this review took several days of wrestling with these issues and still not coming a conclusion is proof that I'm not 100% confident in my feelings for the film. As it stands right now, it has some nice moments but the plot has too many incongruities for me to approve, even though I really want to.

Elevator to the Gallows

Elevator to the Gallows (Louis Malle, 1958) [7]

Malle's debut feature is a confidently crafted French noir that is surprisingly accomplished film in terms of style for a first time director. Jeanne Moreau and Maurice Ronet play lovers conspiring to murder the woman's husband. In covering up his tracks, Julien (Ronet) ends up getting stuck in an elevator. This one events leads to a series of events that involve more two teens, a stolen car, another set of murders, and the eventual undoing of everyone that happened to be involved. The story itself is serviceable but never quite as good or engaging as it could be. The film's best moments are the more lyrical ones that break away from the traditional structure of the film. These focus on Moreau, looking smoldering without makeup, as she walks the streets of Paris grappling with the idea that Julien has abandoned her yet still determined to find her. The film could have been done without any of these scenes, but it adds something beyond the standard noir story template. Eventually, every storyline comes to its conclusion in kind of a formulaic way that leaves the viewer wanting something more. It doesn't really sink the film, however, mostly because of Malle's skilled direction and the fantastic black and white cinematography. Couple that with Miles Davis's improvised Jazz score, and the look and style of the film win over any flaws in the story. Maybe the greatest attribute that could be given is that this film would be what one would think of as French New Wave noir.

Listening Post - Late October/Early November

Still trying to get caught up with all the new releases before attempting to assemble my end of the year best-of.

Jenny Lewis - Acid Tongue
Brightblack Morning Light - Motion to Rejoin
Ray Lamontagne - Gossip In the Grain
Racheal Yamagata - Elephants...Teeth Sinking Into Heart
Blitzen Trapper - Furr

La Chinoise

La Chinoise (Jean-Luc Godard, 1967) [7]

Not as radical in form as Weekend, La Chinoise does share the same radical political sensibility that defines Godard's work of the late 60s. Both as an examination and critique of the Maoist influenced left in France, the is certainly stamped in its place and time. That doesn't mean it's an excruciating bore to watch; in fact, it was a much more enjoyable film than I imagined. The film centers on a group of student radicals, left alone in a Paris apartment for the summer, as they talk and plan revolution. There's a constant argument about the "true communists", the Maoists and Soviet revisionists. It boils down to a lot of bluster and very little action, which could be take as a dig against the radical movement, but I really don't believe it is. The group decides to attempt to shut down the universities by a campaign of fear and bombing. This leads to a fantastic scene with one of the students and her professor, on a train, discussing the merits of the plot. The film ends with the summer gone, parents back, and nothing accomplished. While Godard does send up some of the pompous navel-gazing done that characterizes the left, he and the film seem more emboldened by the student's earnest thoughts and actions more than trying to demean it. He uses this fixed place, the confined walls of the apartment, to concentrate on the arguments and dissection of Maoist ideas and to a more general extent, the ideas of the radical Left in general. It could have been nothing more than some actors shouting political rhetoric, but Gordard elevates it by breaking down form to an extent. Through vignettes, music, and breaking down the forth wall, the film mixes itself up enough not to make just a recital of works. I happened to like the use of color in the film, a lot of contrast of stark white and red. While I'm sure a lot of people will find the film stuck in its place in time, I happen to see it as an interesting document in history.

Standard Operating Procedure/Taxi to the Dark Side

Standard Operating Procedure (Errol Morris, 2008) [5]/Taxi to the Dark Side (Alex Gibney, 2007) [6]

Both of these documentaries deal with the issue of interrogation and torture in regards to the War on Terror with varying degrees of effectiveness. Morris's film leaves some serious questions left hanging in the wind and Gibney's film needs to focus.

Standard Operating Procedure deals exclusively with the scandal that erupted out of Abu Gharaib and the now famous pictures that leaked out. Morris employs his trademark style and questions those directly involved in the situations involved in the pictures. The problem is that Morris doesn't get any deeper than where the situation already is. Everyone involved says they were just following orders but the film never manages to pinpoint the culprits beyond the low ranking MPs in the pictures. What did we learn from this? That Lyndie England is a country bumpkin? That her rationale was she was in love with a man who appears to be a borderline sadist seems like the perfect explanation. The real problem hinges on Sabrina Harman, who is meant to be the voice of reason in Morris's construction. That Harman had private misgiving about the prisoner abuse but never raised her voice and was the main photographer/documenter of the instances of abuse don't add up to what Morris wants us to believe. Sure, what happened at Abu Gharaib was beyond just a bunch of "schmuck MPs" acting foolishly but by never being an attack dog, Morris slips off the high ground and ultimately, SOP holds no one sufficiently accountable.

While Taxi to the Dark Side definitely has more partisan bite in it, it suffers from a lack of focus that definitely lessens the blow it should have had. Gibney uses the instance of a Afghani taxi driver imprisoned and ultimately murdered in U.S. military custody as a springboard to venture in the Abu Gharaib mess and the overall issue of "enhanced interrigation techniques." If Gibney would just stick to the story of Dilawar, the cab driver and how the military's own death certificate listed his death as murder, and stuck to it, it would be much more effective. Instead, he uses that one scenario to make a case against the entire system the U.S. has set up in this war on terror when this specific case make all his points for him. But at least unlike Morris, he lets his partisan outrage show, something that SOP tries all too hard to supress. While not perfect, at least these films push the issue of the Bush Administration's gross overstepping of the law and morality in general in their conduct of these wars.

Wings of Desire

Wings of Desire (Wim Wenders, 1987) [8]

Wings of Desire is, more than anything else, a love letter to the city of Berlin. For a city that has had much made of it through cinema (Berlin: Symphony of a City, Berlin Alexanderplatz), Wenders still manages to find unique and visually arresting images of Berlin on the verge of reunification. There really is no plot to speak of as the film follows the path of two angels as they move about the people and the city. It is an ideal premise to allow a meditation on the city and its inhabitants, as the is able to weave in and out of people's minds and thoughts. It creates a Berlin as these angels see it, but it is also able to create an incredibly poetic, lyrical film. The black and white cinematography is terrific, and the looming crane shots, obviously from the angel's point of view create a very fluid, meandering pace to the film. Eventually, one of the angels (played by Bruno Ganz) falls in love with a trapeze artist and yearns to become human. As the film progresses into the angel's transformation, it looses a little bit of its luster. Essentially, when story and plot progression become too up front in the film, it looses the poetic qualities that make the film what it is. Add to that the unexplainable Peter Falk scenes and Wings of Desire falls a bit out of rhythm. Yet despite any issues the latter part of the film raise, it never fully takes the viewer completely out of the film. It's too good of a film overall not to appreciate what Wenders wanted to say about Berlin.

Be Kind Rewind

Be Kind Rewind (Michel Gondry, 2008) [6]

Be Kind Rewind certainly is whimsical and slight on its appearance but it does go beyond its somewhat goofy premise to attempt to say something about the movies and what they mean to us. That is falls a little short is a summation for the film as a whole. Jack Black and Mos Def play two guys who work/hang around a thrift and video store on a corner in Passaic, New Jersey. After becoming magnetized, Jerry (Black) accidentally erases the information off of all the tapes in the store. The two's plan to remedy the situation is to recreate films such as Ghostbusters and Rush Hour 2 among others using an old VHS camcorder. Jerry and Mike's versions somehow become favorites in the neighborhood, and the store has a new way to attempt to ward off gentrifying developers. Gondry is one of the few people that could take this offbeat, halfway believable idea and at least make it passable. His whimsical nature (see The Science of Sleep) make what's going on here believable and endearing. There's something in these crummy VHS re-creations that is oddly appealing. It has a certain pure joy of cinema; that it's not really about how a film looks, it's more about what's behind it. It's this idea that cinema is important in the memories it makes in our minds. It's not that important if Mike and Jerry get the story right; what's more important, for the film and Gondry, is the DIY aesthetic and the personal experience of it. It doesn't hurt that there are some genuinely funny moments that come out of those recreations either. The end of the film gets a little bogged down by being too Capraesque and a Fats Waller subplot/film that while impressive, is a little too disjointed from the rest of the film. The film stretches its theme of 'film as interpretation of memories' a bit too much at the end. And yet, it still manages to have some endearing qualities out of ideas that seem slight.

Forgetting Sarah Marshall

Forgetting Sarah Marshall (Nicholas Stoller, 2008) [5]

The Apatow factory seems to be cranking out the same movie over and over again and this is the point where it starts to get a little old. Once again, another arrested development man-child is the focus of a story that goes for ribald humor but also has a heart of gold. The problem with this film is that is does nothing to make it any better or different than The 40-Year Old Virgin, Knocked Up, or Superbad. Nor is it consistently funnier than any of those. Jason Segel, who also wrote the screenplay, play Peter, the above mentioned man-child. Peter, heartbroken over his girlfriend (played flatly by Kristen Bell) decides to take a vacation to Hawaii only to find Sarah there with her new Lothario boyfriend, played by Russell Brand. Peter is the main problem of the film because his constant whining, crying, and neediness are a little pathetic. But then again, Segel is playing off the pathetic nature of the character for laughs, using embarrassment as the main form of humor. Say what you will about the other Apatow films but the main characters of those other films were never there to be laughed at. Segel tempers this by making Peter harmless and ultimately sympathetic, but to me, it's still a character that feels lazy and cheap in a lot of ways. The plot of the film is never really that important as it bounces from one situation to the next, getting enough laughs out of it to make it passable. Peter becomes involved with another girl, a receptionist at the hotel, played by Mila Kunis about as forgettable as Bell plays Sarah Marshall. (It's no surprise that all these Apatow films have women's roles as essentially filler). The only character that makes a somewhat memorable performance is Brand, mostly because he's doing what amounts to his stand up act. Like any Apatow film, Forgetting Sarah Marshall is basically harmless but I think it's time for these guys to slow down a little bit or else any positives of these films will be washed away by the same tired jokes and characters.

Plus, stop giving Jonah Hill a reason to be in movies. The guy's not funny. At all. Period.

Amandla

Amandla! A Revolution in Four Part Harmony (Lee Hirsch, 2003) [4]

If this wasn't so scatter shot, it might have actually made a pretty interesting documentary. Instead, its lack of focus makes it a complete disappointment. In attempting to tell the story of how song helped in the anti-apartheid movement, Hirsch creates a film that has no real focal point and instead it drifts from idea to idea and never gives enough information from said ideas. The problem isn't in the ideas themselves; it's in the execution, or lack thereof that hampers the film. The main idea here, that since a majority of black South Africans could not read or write, that song became the main way to get the ideas of the protest movement heard and understood, is rock solid. That the film only gives cursory glimpses into the larger sociological impacts of Apartheid is a big let down to me. Instead, a lot of time is spent of people talking or performing after the fact. The film would have been much more effective if historical footage would have been used and explained more. The film's strongest moments are in fact those times. While it no doubt has good intentions, Amandla! is far from a perfect document on a story that could be better told.

Snow Angels

Snow Angels (David Gordon Green, 2008) [9]
As a director, David Gordon Green has always been more about images and atmosphere than story. Snow Angels is really the first film of his that put story and characters in the forefront, and it works. What could have easily teetered into overblown melodrama or a disjointed mess, with Green's direction becomes a dark yet captivating film. The film tells two story lines, one of a teenage boy's (Michael Angaran0) family and love life, the other of his former babysitter (Kate Beckinsdale) and her estranged husband (Sam Rockwell). The two plots converge with a tragic event that propel the film to an even more tragic end. This really is a character drama and the performances, especially those of Beckinsdale and Rockwell, are exceptional. They're both deeply flawed characters, likable on one level, unlikeable on another. They could have very easily slipped into over the top performances but Green and his actors know how to handle the material. This focus on story and character doesn't repress the atmospheric touches of the film, as they help to underline each character and their emotional impact to the viewer. Some could say the story lines as too disjointed but I don't think that's really important in the overall scheme of the film. They are used to paint a broader picture, not just of the lives of these characters but as a mood for the film. The film's visual touch accents the bleak nature of it by capturing the nuances of the winter setting. Green does everything right in getting the best out of the actors' performances and his stylistic touches create a cold, dreary setting that gets the most emotional impact out of the story.

The Band's Visit

The Band's Visit (Eran Kolirin, 2007) [7]

What could have very easily been a one-joke premise film, The Band's Visit is injected with enough filmmaking skill and understanding of character to actually make it funny, endearing, and smart. It would have been all too easy to milk the overall premise of the film, an Egyptian Police band becoming stranded in the Israeli hinterlands, into a film with a lot of cheap fish-out-of-water jokes. Or it easily could have boiled down to simplified ideas about Arabs and Israelis. Instead, Kolirin goes beyond the surface and uses the stranding of the band to get deep into his characters. There isn't much political hand wringing and no greater social message Kolirin is trying to squeeze out of the situation and his characters. He tells the story of his characters regardless of who they are, and the film works because of it. What comes out of it is a story of loneliness, of two characters, the uptight band conductor (Sasson Gabai) and a Israeli restaurant owner (Ronit Elkabetz) who find camaraderie in their shared experiences. There are some peripheral story lines but none really capture the mood of the film and what it's trying to say more than the interaction of these two. It all comes across as not trying to say too much about larger issues but instead uses the personal story to create sympathetic characters. The film, shot in a static, deadpan way, helps accent the stark emptiness of the setting, which in turn emphasizes the traits of the two main characters. It all creates a film that works in not taking itself that serious but still saying something about its characters.

Listening Post - September 2008

This past Tuesday saw a huge amount of intriguing new releases but since I haven't been able to hear all of them yet, I feel I should get what I have been listening to out of the way.

The Walkmen - You & Me
Okkervil River - The Stand Ins
Loudon Wainwright III - Recovery
The Broken West - Now or Heaven

Coming Home

Coming Home (Hal Ashby, 1978) [8]

By eschewing a heavily polemic view of the Vietnam era, and instead focusing on a love story, Coming Home is a film that is much more thoughtful and accessible than if you were to look who made it. It's a thoughtful, earnest film that's never preachy and while it doesn't want to tell you how to think, it really reinforces that the conflict in Vietnam hurt more than it helped. Jane Fonda plays Sally Hyde, a wife of a Marine captain (Bruce Dern) that decides to volunteer at a VA hospital in her husband's absence. She meets Luke (Jon Voight), a former high school classmate and veteran who became a paraplegic. The two form a romantic relationship as both Sally and Luke have to come to terms with how the war is/has changed them. Sally, always the obedient wife in the shadows, really comes to grips with how many men are coming back from the war scarred, physically and psychologically. Luke has to adjust to a world where everyone is trying their best to ignore that a war even happened. Looking back on this and knowing Fonda and some of the other actors' political history, the film is remarkably rational and thoughtful. Even though the war may have been wrong, the film still shows compassion for those who fought it. Conservatives may not agree but their idea of a accurate portrayal of Vietnam would be The Green Berets. A lot of credit has to go to Hal Ashby to recognize that the personal story in these characters still takes precedent over making a political point. The film is an anti-war movie but it attempts to address and understand veteran's issues that not many at the time would want to hear about. Ashby knows how to get the best out of the actors, to make them well thought out people with earned problems and emotions rather than a series of symbols. It leads to an ending that is incredibly effective as well as a right way to end. While it has no battle sequences or military analysis, Coming Home is still one of the more honest portrayals of the Vietnam era put on film.

The Last Detail

The Last Detail (Hal Ashby, 1973) [6]

The Last Detail is an alright film, but I find nothing about it that's very exceptional. It's not flashy stylistically, and Ashby gives his actors plenty of room to go where they want to go; while normally positives in Ashby's work, the film seems slight. The film feels to go along at one steady pace the entire time, never ratcheting or relieving the tone of it. It makes sense to be this way, since the film is documenting the mundane, strangling existence of Navy life but it doesn't resonate with me for whatever reason. Jack Nicholson and Otis Young play two Navy lifers assigned a duty to transport a young sailor (Randy Quaid) to Portsmouth Naval Prison. They find out Meadows (Quaid) is going to do 8 years for stealing a collection box for a Polio charity. That crime is where the film takes an anti-authoritarian voice as the trio drink it up and try to give Meadows some fun before his imprisonment. Nicholson plays the type of character that screams 'Jack Nicholson character' and that may be an unintentional consequence of history seeing the film thirty-five years later. Quaid is good at playing a green young man that ended up in a bad situation. The real saving factor of the film is Robert Towne's script. It's profanity and moments of freewheeling anarchy add an anti-authoritarian undertone to the film. All three characters bristle at some of the domineering aspects of being in the Navy. The one thing that the film does recognize is that as much as these characters have their problems with Navy life, there's no way they can really fight it. The really do have no where else to go. Perhaps that's what makes The Last Detail a little disappointing. No matter how much you think or want these characters to do something, to show they wont take this drudgery, they are completely incapable.

Putney Swope

Putney Swope (Robert Downey, 1969) [5]

Putney Swope certainly hasn't aged that well and I'm never quite sure how effective a piece of satire it really was to begin with. There are moments in the film's take no prisoners approach that work successfully, most notably the advertising sequences, but the larger issue of race and late 60s radicalism don't feel that fleshed out and are there to be taken advantage because they can. Downey may get some credit for addressing the issue at the time but his execution, while barbed, comes off as too superficial and amateurish to be called great satire. Some of this can't be faulted too much because the film is a low budget indie but the execution leaves something to be desired. The story centers on the title character, the token black man at an advertising agency. When the president of the agency dies, and with the other board members unable to vote for themselves, Swope accidentally gets voted in because the others think that no one else will vote him in. Swope proceeds to fire everyone except one token white and replace the board with black radicals. Swope vows a new form of advertising, to get truth and soul out. This is where we get the commercials featuring an orgy used to sell airlines and a limbless man praising an insurance company. The faux ads are by far the cleverest satire in the film, as the stiff and unoriginal portrayal of Swope and his radical counterparts falls flat. Swope eventually becomes no better than the men he replaced, being consumed with the greed and hubris that come with his "remarkable" ideas. That Swope's comeuppance is never really earned fuels the uneven nature of the film.

The Counterfeiters

The Counterfeiters (Stefan Ruzowitzky, 2008) [6]

When I was in film school, one of my professors was the noted experimental filmmaker Martin Arnold, who was from Austria. He once told a story that Austrian feature filmmaking was one of the most incompetent and awful bodies of cinema in the world. That really has nothing to do with The Counterfeiters but the thought ran through my mind the entire time watching this and perhaps clouding my judgement about this. After all, this was the first Austrian film to win a Best Foreign Language Film Oscar, which says something about Arnold's theory. Ruzowitzky creates a fast-paced, tightly constructed film that unfortunately, doesn't do anything film wise or plot wise to make it rise above "been there, seen that" material in regards to Holocaust material. The only difference here is the story, based on Operation Bernhard, a operation by the Nazis using Jewish prisoners to counterfeit British and American currency to help fund their last ditch efforts at the end of WWII. The film is filtered through the character of Sally (Karl Markovics), a master counterfeiter and Jew brought to the operation to be the quality control man. Once the Sally the character is established, a lot of what happens next is to be expected. We get the moral quandaries of the ones working on the project, spared by their skills while others are dying among them. There's the archetypal martyr character, determined to let principle stand above all else. There's also the ambiguous nature of the SS man in charge of the camp (played with pitch perfect smarm and sleaze by Devid Striesow), more concerned with his own personal well-being than any ideology. While it all makes for an intriguing story, the film still falls short in being great. Ruzowitzky handles the material enough to make it work, but his direction falls into too may telegraphed shots and scenes. The film never raises itself above the middlebrow standard of films that usually win the Foreign Language Oscar. Despite its taut nature, The Counterfeiters still has a way making me feel less than enthused about it.

3 Marx Brothers Films

Prolonged sickness has put me behind on my viewing and writing. These Marx Brothers films have been gestating for a while but am now just getting out.

The Cocoanuts (Robert Florey & Joseph Santley, 1929)/A Night at the Opera (Sam Wood, 1935)/A Day at the Races (Sam Wood, 1937) [4]/[7]/[6]

The only other Marx Brothers film I had seen up until these three was Duck Soup, the critical pinnacle of their film career but a film also notable for being a commercial flop. That film is almost straight front to back comic anarchy, with jokes and gags flying haphazardly all over. The three film being reviewed here all pale in comparison because there are too many elements present in them that take away that anarchistic spirit or take the brothers out of certain films completely. It may have been what audiences at the time would have wanted to see but it seen through these eyes, almost pointless in its misdirection.

The Cocoanuts is pretty much a complete mess with the exception of a couple of scenes involving Groucho and Chico. The film is just poorly structured with too many pointless, overlong musical numbers that have not much to do with the film's plot. Granted that plot has not a lot to do with any Marx Brothers film, but this one is even more frivolous than most. The transfer leaves a lot to be desired in spots but that's a bit of nitpicking. This one does deserve a pass because it was the brothers' first film.

After the commercial flop of Duck Soup, the brothers headed to MGM and made their two most commercially successful films, A Night at the Opera and A Day at the Races. While the improvement in production values is certainly a plus, once again the ability of pointless musical numbers to suck the life out of the film at moments is no less present here. A Night at the Opera is a little bit better overall, mostly because it can have these musical moments a bit more plausible. Each film has its share of memorable scenes and gags but I feel that A Day at the Races is a bit better in terms of Groucho's one-liners and scenes that go closer to careening out of control. It would have been the better film except that it has an inexplicable, racially insensitive and stereotyping musical number with African-Americans that is wholly unnecessary.

All in all, you don't go to Marx Brothers films looking for classic cinema. What these films offer are moments of comic brilliance and that's all you can really ask out of comedy: to give you a laugh for that brief moment. The Marx brothers' film history is cemented not in the overall quality of their work but in moments of inspired comic anarchy.

Chicago 10

Chicago 10 (Brett Morgan, 2008) [6]

Morgan's documentary takes footage of the chaos at the1968 Democratic Convention and the subsequent trial of those accused of inciting the riots and violence with the hopes of enlivening history. In theory it's all well and good and I can see Morgan using the trial of these radicals in hopes of inspiring today's younger generation. The problem for me is he creates a film that works in its standard mode but trivializes the material (the trial) that he updates. I see this as more of a personal view, since I'm one who has had nothing but positive reviews for the Ken Burns, stodgy and historically reverential. You can't blame Morgan for at least trying, but his idea creates two distinct elements that don't quite work in harmony. If this was a film using solely found footage, it would be a very good one and it already does most of the work of the film. It lays out what was happening in Chicago in August 1968, who was there, who led the radical protests, and what ultimately happened. What the film lays out is that Mayor Daley and his police force set up a quasi police state and treated the protesters in a way that a confrontation was inevitable. That the footage shows that the police were the ones who started the violence only re-inforce Daley's culpability. All of it is highly fascinating in its own regard and could stand alone (just don't try to use Eminem to make it feel up to date). Morgan then tacks on the trial of those the government accused of inciting those riots, Abbie Hoffman, Jerry Rubin, Tom Hayden, and Bobby Seale among them. Since no footage of the trial exists, Morgan takes transcripts and re-creates the events with rotoscope animation. I've never been a fan of rotoscoping to begin with so visually, it plays out in is swirling miasma. The bigger problem is that Morgan doesn't know how to treat the trial. It plays out as a Yippie exercise, politics as theatre, no doubt helped by Hoffman and Rubin's presence. There is a point that the trial itself was a kind of absurd theatre, but it was because of what the actions of the court, not of the defendants. The film equates the trial as just another showpiece, a platform to raise the absurdity of just what the government was trying to prove. It's a bit dangerous because there was certainly more to it than that. Also, it trivializes it and the defendants to an extent that for me, is too easy to explain. You can take liberties with history to an extent, to broaden an appeal but there's a point where the air just gets too cloudy. Chicago 10 does that enough to where it's just not effective enough as a historical piece of work.

Gone Baby Gone

Gone Baby Gone (Ben Affleck, 2007) [6]

A lot of praise has gone onto Affleck the director since probably most critics didn't see anything in his persona that would have made it possible for him to make a film that was any good. While I happen to agree that Gone Baby Gone is above average, it's never really does anything to raise it above a standard crime thriller. Its greatest attribute is its sense of propriety, that Affleck nails down the lower-class Boston existence of the characters in the film, and imbues the film with the knowledge of the city the same that Dennis Lehane's novel does. Even so, I find the film's plot straining credibility at times and Affleck never handles the material with anymore than a middle-of-the-road style. Casey Affleck and Bridget Monahan play a pair of P.I.s hired to investigate a missing child case. Affleck's character is one of these guys who has risen out of his rough neighborhood only to have to be brought back into it only to have it become an all-consuming obsession. The story weaves itself through a number of twists and turns, the standard operating procedure of any crime thriller (I won't give anything more away for those who haven't seen it). The plot does its job dutifully but its two other elements in the story that are somewhat secondary that have the most interest for me. The film has moments where it captures the media feeding frenzy a story like a missing child creates. Affleck shows the viewer how the media chews up and spits out the people involved in events that are much more beyond quick sound bites. The other interesting question is the moral one raised by the film's ending. The film asks what should the role of parenting be and when should the welfare of a child overrule the bonds of family. Amy Ryan's character (overrated by the way) as the drug-addicted mother is present to play this friction point. The answer is left unanswered as it should be but it holds much more interest to me than any plot twists involving cops and drug dealers. If Affleck had concentrated on these themes just a bit more, this had the potential to be a really good film. Even in its current form, it's a fairly good, safe picture.

The Times of Harvey Milk

The Times of Harvey Milk (Rob Epstein, 1984) [7]

While not quite an overall biography of Milk, who rose to prominence as one of the first openly gay elected members of government in the U.S., Epstein's film does a good job of covering the most influential times of Milk's life. The isn't simply about Milk being a gay man who got elected to San Francisco's Board of Supervisors; it serves as that, but it also as a rallying point, that Milk stood not just for gay rights for equal treatment for all downtrodden minorities. The way the film does this makes it an effective piece of work if you're sympathetic to Milk's ideals but could also be considered the weakest link in the picture's narrative thread. Epstein chooses to interview only those close to Milk and while this isn't necessarily bad, it treads into that territory of lionizing Milk instead of just praising the man and his causes. The film gives a little of that with the union mechanic won over by Milk's values but it would have been nice to see a little bit more of that. There are times when the film raises the points that Milk was a shrewd, media savvy politician but once again, there's not enough as the film centers on the greater issue of Milk fighting for the gay community's rights in San Francisco. There's nothing wrong with that but it all fits too easily into the film's latter conflict, the dichotomy/rivalry of Milk and fellow supervisor Dan White, the man who shot Milk and mayor George Moscone. White's persona serves as the counterpoint to Milk's and it almost backfires, as White and his ridiculous defense for his actions threaten to take over the film. Smartly, Epstein knows to hold back just enough to the greater ideas of Milk up front. All in all, the film works because it's an honest, heartfelt portrayal of a man who needed to have his story told.

Hiroshima Mon Amour

Hiroshima Mon Amour (Alain Resnais, 1959) [5]

I think that this will need a second viewing after some time but for whatever reason, at the present moment, I don't particularly care for this film. It's not that I think it's horrible because it's not; it is effective at times but for whatever reason I never got into it. I understand Resnais's rationale for the film, that the only way to make a film about an event like Hiroshima is to not make a film about it, but I don't necessarily agree with that. The first ten minutes or so of the film is much more direct in addressing the atomic attack on the city and is the most effective part of the film. The juxtaposition of the images of the museum with the audio of the more personal relationship that takes over the film is a fantastic contrast of themes. It would work so well on its own as a short film. The rest of the film centers more on the relationship of a French actress (the striking Emmanuelle Riva) and a Japanese architect (Eiji Okada) as they reconcile with their own histories of the tragic event. Once again, I understand that Resnais feels this is the best way to deal with the bigger ideas of nuclear destruction, guilt, and peace but the two characters' actions are too obtuse for me. If the film were about these two and their relationship without a bigger issue hanging over their head, perhaps it would be successful. Here, it feels too removed in its own "arty" (for lack of a better word) way. I am one who appreciates art film but this film really pushes it into that territory ripe for parody. These characters and their story border so much on such self-absorbed behavior so distant from the viewer that it's hard to like them. Again, I may have just caught this film on an off night for me but it feels too pretentious in its execution to really make me empathize or fully understand it. And I happen to like self-absorption and a pretentious attitude in my cinema. For whatever reason, Resnais's direction here doesn't sit well with me.

Persepolis

Persepolis (Vincent Paronnaud & Marjane Satrapi, 2007) [7]

In the Pixar age, when we come to expect almost lifelike qualities in animation, it's refreshing to see something a little simpler and unique. That isn't meant to mean the new age of computer animation is cookie cutter like but there's a romantic tinge to hand-drawn animation that scores some points in my book. I feel the same way about 16mm compared to DV but that's irrelevant here. In regards to this film, Persepolis is a charming, endearing film mostly because it stands out so much stylistically. An adaptation of Satrapi's graphic novels about growing up in revolutionary Iran, the film has its stronger moments when it focuses more on history and culture than on personal memoir. Maybe because it seems so foreign to someone like me, the first part of the film, going more into a historical background and examination of the state of Iran politically is the most intriguing. The thought that the overthrow of the Shah wouldn't and directly lead to the Islamic Revolution is a fact that often gets overlooked but is a focal point to Marjane's story. When the film discusses Iranian history and culture, it is a great film. The second half bleeds into a more personal memoir, where we have to deal with Marjane and her obnoxious adolescence, with only brief moments to take us back to the culture clash which is infinitely more interesting than Marjane's all too predictable rebellion. Still, all that is not enough to keep me from recommending the film and that the film's positives really outweigh any negatives I have about it. The animation style, done mostly in black and white, is such a contrast to what is seen now that it keeps Persepolis from being just another animated film.

Killer of Sheep

Killer of Sheep (Charles Burnett, 1977) [8]

It's always nice to be reminded that you don't need a Hollywood studio and a budget into the millions and millions to be able to make effective cinema. And it's all too often the case that Hollywood ignores social realism in favor of frivolous escapism. A film like Killer of Sheep re-affirms everything that can be great about moviemaking. Burnett made this film as a masters thesis while at UCLA, and its depiction of black life in Watts is not just one of the great achievements of African-American filmmaking but one of the great portraits of American life period. The movie plays out episodically, giving brief glimpses into the life of Stan, a slaughterhouse worker trying to care for his family and find personal and economic happiness. While I feel the first half-hour of the film, with its larger depiction of the Watts neighborhood, is a little too broad, the more the film focuses on Stan, the better it becomes. It's not so much that since the story is more focused means it's better; the scenes and moments that Burnett captures are much more powerful. Scenes like Stan and his wife dancing in their home, the family in the car on their first trip out of the neighborhood, even the slaughterhouse scenes are powerful. They capture precise moments but they also speak for a broader message that hangs over the film. It's that these people have no real opportunities, economic and otherwise, and their scraping to try and overcome those hurdles is almost impossible. It's in Stan's exhausted body coming home from work barely able to acknowledge his wife and kids. It's in the junk strewn dirt lots that the children in the neighborhood play in. And yet there's something so cinematically pure in how Burnett captures all of it that he allows little moments to shine so brightly. It's an astounding accomplished piece of work for someone who was still a student at the time. That since its initial release, it still stands as such a benchmark of a portrayal make Killer of Sheep all the more impressive.

Listening Post - June/July/August

I've decided to get rid of the monthly listening post and instead post when I have a handful of new releases. This batch features new material from a strong lineup of artists, especially the highly anticipated albums from My Morning Jacket and The Hold Steady. My take: Evil Urges is better than some of the critical reviews written about it while Stay Positive is solid but not close to the Hold Steady's last two albums.

The Hold Steady - Stay Positive
My Morning Jacket - Evil Urges
Dr. Dog - Fate
The Avett Brothers - The Second Gleam
Amos Lee - Last Days at the Lodge
Fleet Foxes - S/T

Gonzo: The Life and Work of Dr. Hunter Thompson

Gonzo: The Life and Work of Dr. Hunter Thompson (Alex Gibney, 2008) [7]

Gibney has created a thorough and at times captivating documentary on Thompson but for someone like myself, who has read and knows just about everything about the man, there isn't much in this film that is new. That doesn't mean that it isn't an enjoyable film, because it is. Gibney's greatest strength is that the film examines Thompson and the cultural persona he created as much as Thompson the author. We get Thompson's story through a variety of talking heads, from family to close friends to fellow authors. The film makes the case that Thompson was a immensely talented author, and his work on the Hell's Angels, the '72 Presidential campaign, and other events of the early 70s was the basis for the New Journalism movement as well as some of the most culturally significant writing of the era. Johnny Depp provides narration of Thompson's writing throughout at moments that really bring out the best elements in his writing. The excerpts from Fear & Loathing in Las Vegas and Fear & Loathing on the Campaign Trail show that beyond his Gonzo tendencies, Thompson could tap into something deeper, a keen understanding of how America operated and the path it was going to go down. While praising Thompson's work, the film also shows how that Dr. Gonzo personality overtook Thompson and led to a period of sub par writing and a characterization of the man that overshadowed everything else. Gibney pulls no strings in stating that the last twenty-five years of Thompson's life was him struggling with the persona his over indulgences had created. It's all well-done and entertaining but for any serious Thompson fan, it's nothing new. That Gibney creates parallels from Thompson's writing on Nixon to the current administration isn't surprising, with his prescient September 11th piece from espn.com showing his understanding of the situation. That the film ends with the interviewees stating how Thompson is needed now more than ever tells all you really need to know about the man.

The Grand

The Grand (Zak Penn, 2008) [4]

Penn's mockumentary of the world of high stakes poker suffers from a few problems. One, a cast full of funny people improving doesn't necessarily mean a funny movie. Two, the film suffers from having come two or three years too late to catch the poker boom. Third and perhaps most, the film suffers from the Christopher Guest effect; if every film of this type is going to be compared to Guest's films, it clearly pales in comparison. Fair or not, The Grand isn't consistent enough in its humor to really be considered much more than a Guest knockoff. The plot centers around Jack Faro (Woody Harrleson), just out of rehab, as he enters The Grand Championship of Poker in order to save his grandfather's casino to a egotistical developer (Michael McKean doing a crummy Trump variation). That serves as a springboard to be able to introduce a parade of characters, all interpretations of the various personalities televised poker has presented over the years. The problem here is that for those who have never watched poker, they'll wonder why some of these people act the way they do and those who know will find some of the characters to be weak imitations of real people who aren't that interesting to begin with. Faro is the only one who doesn't fall into a ready-made persona but he's the character who gets too few of the laughs. All the others have one or two funny moments but it's only Chris Parnell as a socially stunted math genius and Richard Kind playing the clueless amateur that bring any consistent laughs out of the film, mostly because they stretch the limits of their characters. David Cross and Cheryl Hines, on the other hand, fail a bit because they play characters like the real people at these events who are unlikable in the first place. And not that funny. The poker action is without much tension and too staged to advance the plot to really make it believable. If this film has just gone out there and become surreal and bizarre (as some brief instances of Werner Herzog's character bring out), it may have not turned into such a bore.

My Blueberry Nights

My Blueberry Nights (Wong Kar Wai, 2008) [5]

Wong's English language debut isn't horrible but it feels so slight and unfocused that I just can't seem to recommend it. It feels too flatly acted, with a few exceptions, and without real focus of emotion that turns it into a disappointment of sorts. Seeing how I've been a huge fan of Wong's last two efforts, the film doesn't appear to be in the same category. Norah Jones plays Elizabeth, a restless young woman going through a troubling break-up that gives her opportunities to meet a variety of characters. Some reviews have stated that Jones can't act but she fills her role fine. Her character isn't really meant to be the tent pole of the film; she is more there to be acted upon by the other characters, rather than to carry the film on her own personality. All this leads to the greater problem is that none of these other characters, other than David Strathairn's performance, which grows on me even after, fall noticeably flat in any resonance. Strathairn's lovelorn drunk is the type of character that Jones's Lizzy yearns to be and the only one capable of capturing what Wong seems to want to get across through this story. Jude Law, Natalie Portman, and Rachel Weisz are mainly forgettable in their performances. The plot itself follows the kind of interpretation of a cinematic America that can be found in Wim Wenders. I frankly prefer Wenders's version. While it may be a cinematic reality, Wong's film doesn't have enough of a grounding in something I can find in reality to make me care. In something like Paris, Texas, there is the payoff scene in the theatre. There's is nothing of that magnitude in My Blueberry Nights to make it that memorable.

In the Year of the Pig

In the Year of the Pig (Emile de Antonio, 1968) [7]

While a bit dry in spots, this film is a well researched and effective documentary. It certainly has a political agenda but is always level-headed and not shriekingly partisan as some political documentaries of today. Instead of focusing on the American combat mission, the film takes a more historical overview of Vietnam. The emphasis is on how the Vietnamese has been a constant struggle for Independence and how Ho Chi Minh is a national figure second to none in that nation. All of it leads to the central idea that the Vietnam war is (or was) an unwinnable war. de Antonio uses a wealth of different footage, most of it found footage, to get his message across and constructs a film effective in emphasizing its political message. Having seen this film years ago in a found footage class taught by experimental filmmaker Martin Arnold, it was definitely one of the more interesting pieces seen in a class focused mostly on experimental film. It doesn't quite hold up in esteem since that first viewing, mostly because of its tedious history lesson tone at times. Even with its detriments, it works and has clear parallels to the situation in Iraq and the documentaries born out of that conflict.

Funny Games Double Feature

Funny Games (Michael Haneke, 1997) [7]
This films should be considered as a deconstructive instrument more than a film. The plot and characterization are not elaborate, they're just there to serve as the vehicle for Haneke's ideas. Addressing the casual association violence has with violence, Funny Games takes the viewer into completely uncomfortable territory by using violence that is much more psychologically jarring that a standard blow-em-up action picture. It is incredibly unsettling and it achieves its objective not just through its violence but through the Brechtian tactics of breaking down the fourth wall. The killers take time to address the viewer and address the notion of reality and the film world, of the viewers' allegiances, and what is and should be acceptable in film violence.
To back up a bit, the plot of the film focuses on a bourgeoisie Austrian family heading out to their lake house for a vacation. Once there, two young men meet them and play out violent, sadistic acts on the family. These are not in the grotesque vein of the Saw and Hostel-style torture porn but a much more psychological violence that to me is much more effective. It raises the question of why those horror films and their explicit violence are nothing noteworthy but the relatively tame acts of these two in this film is much more horrifying in its own way. That is one of the themes Haneke is addressing here, pushing boundaries and tolerance. The film is meant solely to provoke a reaction, one of disgust that most violence in other American cinema no longer does. It does this by having the characters address the viewer, letting them know that they have an interest in these characters' well-being. The killers are also smart enough to realize that you as the viewer are going to side with the family, and hope they can somehow escape the situation. That what makes the film effective but what also makes it practically unlikable. You want these characters to escape but at the same time, it's in the back of your mind that it's practically impossible. Haneke gives the characters and the viewer glimmers of hope but they eventually collapse.
Haneke's mastery of the shots in the film make it effective without actually showing that much explicit violence. It's moments like the extended shot of the living room after one violent episode that do much more in getting inside the mind than any act of violence. The film is a series of brutal moments after the next but that's its aim and it exceeds despite any reservations about story or content.

Funny Games (Michael Haneke, 2008) [6]
This is essentially a shot by shot remake of the original, only this time starring more American friendly names like Naomi Watts and Tim Roth. It works about the same as the original but it begs the question why remake it in the first place. In fact, I prefer the more cold, reserved European aesthetics of the original in its impact. Maybe since Haneke is addressing the American fascination with film violence, making the film a little bit more palatable for an American audience makes sense. That doesn't explain why a lot of critical reviews barely mention the original as if this was some brand new film and the original can be discounted. It doesn't make any sense.

Rififi

Rififi (Jules Dassin, 1955) [9]

Rififi has been called the template for all other heist films that have come after it and for good reason. There are few scenes as memorable in film as the jewel heist scene in this film, taking up about a quarter of the film and with absolutely no dialogue. It's completely impressive and expertly done but it isn't the only reason this is a great film. All the elements of this film have come to define characteristics of the heist noir, from the characters to the eventual demise of what appeared to be a perfect plan. Tony (played with the right amount of stoic reserve by Jean Servais) has just recently been released from prison and is looking for his girlfriend on the outside. After finding out she has hooked up with shady gangster characters, Tony gets a group together for one last big score. It's a motley assortment of hoods and safe crackers that has become commonplace in film of its type today. It's a testament to Rififi that these type of characters have become that iconic. They pull off the robbery only to have one of the group succumb to the charms of a woman and let everything out into the open. The gangsters get wind and confront Tony to hand over the jewels. Once again, everything here plot wise has been done before but at the time, it was something new and unique. These elements, when done right, always create a great noir storyline filled with suspense. The ending gets a little bit bogged down in familial melodrama but it's not enough to dull the rest of the film. Dassin handles the material deftly. While the heist sequence is the showcase, there are many other directorial touches that are quite nice. Dassin has always had a way of utilizing his settings to maximum effect, whether it be London in Night and the City or New York in The Naked City. He treats Paris the same way here, paying particular attention to the neighborhoods of the action and making them feel like a character on its own. The sequence at the end, where Tony is racing against his ultimate demise is fantastic filmmaking, the camera racing through the streets of Paris. It's a great technical achievement but there's so much more to it. Dassin gives what could have been a cold, calculating noir some real life, an appreciation for characters and setting, and creating a lasting thriller.

Mr. Freedom

Mr. Freedom (William Klein, 1969) [5]

Klein's scathing satire of America's jingoistic bullying has never been readily available for viewing until this recent release as part of Criterion's Eclipse series. While the film get some points for being brutally harsh, the whole never quite adds up to make a great film. I've always held the belief that satire is either really good or really bad. While not completely either, Mr. Freedom misses its mark. The story revolves around a quasi super hero named Mr. Freedom, part of Freedom, Inc., a company whose goal appears to be spreading America's political and economic message around the world. Mr. Freedom has been dispatched to France, where Marxist and Chinese elements are undermining freedom and the like. Mr. Freedom arrives and bullies his way around attempting to get his way. When the French people reject him, Mr. Freedom has no choice but to blow the shit out of the country. It all plays out a little too ham-handed for me to really agree with it, but it fits into the kind of comic book mind the film has. The character of Mr. Freedom is a stock comic character, a la Captain America but Klein gets under the jingoistic facade to expose a scary underbelly. Mr. Freedom is an overt racist, and the beginning of the film shows him crashing into a black family's apartment and shooting one of them, thinking they're looters. It's incredibly harsh and while it may work to a certain degree, it really overshadows any of the more clever satire in the film. Those moments have less to do with Mr. Freedom himself but the skewering of the consumerist culture America has exported throughout the world. The best moment is when Mr. Freedom arrives in France and heads to the U.S. Embassy, which is essentially a supermarket. If there was a bit more of that, I may have liked it more. The other real flaw which just takes me out of the film is that the dialogue is horrible synced at times; it shouldn't make a difference and Klein was still a novice filmmaker at the time, but come on, you can do better than that.

Lust, Caution

Lust, Caution (Ang Lee, 2007) [5]

While visually arresting at times and precisely crafted by Lee, there are just too many moments in Lust, Caution that miss the correct mark that makes it comes across as stuffy and dull at too many moments. The word I keep thinking of to describe this film is hermetic, as in sealed. Everything is nice to look at, thanks to Rodrigo Prieto's cinematography, but it all feel cased in like a museum piece. As such, it's too hard for the viewer to really immerse themselves in the world of the film and all too often stuck admiring the film and not getting much out of it. It's a testament to Lee's abilities as a director to be able to at least craft a splendid looking film even though the story and characters don't really help him out much. The crux of the film is centered on the relationship between Mr. Yee (Tony Leung), the cautious government official and Wong (a good but not great Wei Tang), a secret agent for the Chinese resistance. The problem is the film takes way too long to get to the biggest moments of their relationship and the plot. Once they get there, the emotional timbre of the film feels off, again due to the hermetic nature of the film. The rigid look and setting of the film allow for no effective emotions to really get in between the two and when the film attempts to really make its moments, they feel fairly lackluster. Even someone with a good grasp on filmmaking as Ang Lee cannot get enough out of the characters. That idea hinges on the sexual nature of the relationship and of course, the sex scenes, which for me feel neither that necessary or erotic. The film just doesn't have enough of a variety of things: emotion, eroticism, historical exposition to make it work no matter how good it looks.

The Merchant of the Four Seasons

The Merchant of the Four Seasons (Rainer Werner Fassbinder, 1972) [8]

Fassbinder's dramas of the human condition are almost always steeped in Sirkian melodrama and yet, he somehow manages to not make them feel cheesy but vital in some way. In this film, which follows the travails of Hans (Hans Hirschmuller), a fruit vendor as he deals with his overbearing middle class family, honorable yet straying wife, and a past that he just can't leave behind. With this film, as well as some others, notable Fear Eats the Soul, Fassbinder shows such precision with getting the right emotional details out of his performers. A simple story such as this works because Fassbinder has such a compassion for a character such as Hans but is not afraid to show him suffering and, ultimately, fail in a pursuit of a happy life. The film really hinges on a theme found in Sirk, the idea of forbidden love, but it is never the focus of the film. Fassbinder is more concerned with showing the ramifications of the idea. Hans clearly cares for his wife, but even she realizes by the end that his heart has always belonged to another women. His middle-class family, who constantly criticize him in his career decisions, only help drain all the dreams that Hans once had. It certainly comes as no surprise that Hans should meet a less than ideal end after one devastating blow after another. It's too easy to call the film an overwhelming downer because even though it may be, it also directly addresses the hopes and dreams of the human condition. And while it may not meet a certain conclusion, the film makes you feel for Hans, which is all you can ask for.

George Carlin

George Carlin died Sunday. He has been one of the most important and one of my favorite comedians for as long as I've been into stand-up comedy. This video has been on some other sites the past few days, notably Deadspin, but it is perhaps my favorite Carlin bit:

Harlan County, U.S.A.

Harlan County, U.S.A. (Barbara Kopple, 1976) [10]

Harlan County, U.S.A. is unequivocally one of the best documentaries I have ever seen, and in this current age of egotistical partisanism in political documentaries, it's stands so much above in terms of intelligence and telling its story. That isn't meant to say the film has no political agenda, Kopple and company clearly side with the miners and their struggle but she constructs a film without hyperventilating bluster by realizing these are real people and treating them and their story with respect and a supreme understanding of their plight.

What makes the film is that story is highly compelling. In 1973, workers at a coal mine in Harlan County, Kentucky elected to join the United Mine Workers of America. The company that owned the mine refused to sign the union contract and as a result, the miners went on strike. This led to a series of picket lines, scabs, intimidation of the striking miners by company hired "gun thugs", and all the eroding passion and determination that a year plus strike can have on the miners and their families. Kopple recognizes right away the it's the people that propel this narrative and her sympathy with the miners and their families allow her insight into meetings, the picket lines themselves, and the true feelings of the families being effected. This obvious sympathy made her a target by the strikebreakers, as the famous scene of Basil Collins, the head strikebreaker, pointing a gun at Kopple and her camera crew and their subsequent beating at the hands of some scabs. The film shows numerous moments like this between the striking miners and the scabs, with the threat of violence ready to break out at any moment. The film smartly goes these skirmishes and its best moments are the ones capturing behind the scenes moments. The film has been notable for capturing the role of women in the strike, the wives, daughters, and mothers of the miners who recognize that a better future for their men will also mean improvements for their lives, as exemplified by the fact that the company owned housing they occupy has no indoor plumbing and running water. These women are the backbone of the film, showing as much courage and emotion as the men but also becoming a perfect embodiment of the women's lib movement that was exploding in the mid 70s. It is they who give the film emotion and empathy, the true soul of the film. When the moment comes when a striking mine worker is killed by a scab, it shows this. It's one of the most emotionally potent moments I have ever seen in cinema.

All the praise the film has gotten over the years is worth it. It's not a film about political ideology, even though it has a clear political point of view. The history of the union struggle in the mines as well as the fantastic union songs clearly show Kopple's allegiance. The film goes beyond a political argument into a social one, showing people struggling to find some decency and not be exploited. That should not be a disputed point.

4 Months, 3 Weeks and 2 Days

I'm missing Bonnaroo for the first time since 2002 so I'm going to fill my disappointment with as many films as possible this weekend.

4 Weeks, 3 Months, and 2 Days (Christian Mungiu, 2008) [9]

Romanian cinema is certainly on a roll of late in terms of art film circles. 4m3W2D is another gritty, dark social drama, a la The Death of Mr. Lazerescu, and it's a supremely made, taut film that deserves much of the praise it's been given. It's not really a film about abortion however; in fact, there are some lapses in logic in the central story that would be glaring if the film wasn't so well made. It's more of a parable of living in the dying days of communist rule in Romania, full of paranoia and the grim struggle that was life. Mungiu focuses on two roommates, one named Gabita (Laura Vasiliu) that needs an abortion, which is illegal and her roomate, Otilia (Anamaria Marinca), who helps her with all the logistical details. Where Mungiu twists it a bit is that he spends his focus on Otilia, who ends up doing all the hard work for Gabita, who has neither thought out or has the will to do anything for herself. It's this focus on Otilia that keeps the film out of a hot-button argument about abortion and instead makes it more of a parable of living under a certain regime and time. The film follows Otilia as she helps rectify Gabita's bone-headed decisions, from meeting the smarmy and arrogant abortionist (Vlad Ivanov) to finding a hotel room after Gabita screws up her first attempt. The film clearly sympathizes with Otilia as she sacrifices herself for her friend. Mungiu expertly executes the tension surrounding the scenario without cheapening the mood of the film. The best example of this is when Otilia has to leave Gabita alone to visit her boyfriend and her parents. Those scenes speak most about the film and who Otilia is, not the issue of abortion itself. The scene of a long take of Otilia at the dinner table, washed in a sea of people who she has nothing in common with is a powerful moment of cinema, even if I'm not sure how it fits exactly. Mungiu deftly creates emotions out of the picture, the empathy we feel for the women, creating moments of tension when there really is no threat, and most of all, creating a look and feel of the film that shows the dreary, beaten down existence under the crumbling Ceausescu regime. It's such of film of assured craftsmanship and emotional connection that it's no wonder it has gotten the praise it deserves.

Turistas

Turistas (John Stockwell, 2006) [2]
Granted I haven’t seen many of the films of this so-called ‘torture porn’ genre or the likes of the American rubes abroad genre a la Hostel, but I can get the general idea. Usually, I have no inclination of seeing anything of this sort, but it’s strange what boredom and borderline depression will cause you to watch on a given morning.

Turistas is one of the most insulting films I’ve ever seen. I don’t care to hear arguments that this isn’t supposed to be a representation of reality or that it’s just another form of exploitation cinema; that doesn’t excuse it from being a stupid film dealing in stupid stereotypes. A group of Euro/American tourists (you know, from the civilized countries) end up stranded in the Brazilian jungle after their bus crashes. Instead of being good citizens, they head to the nearest beach and act like drunken jackasses, only to be robbed blind by the locals. They (no one in this group is worth pointing out individually) end up following one local to a home only to be unwitting participants to a mad doctor harvesting their organs. The doctor’s rationale for this is that he’s taking revenge on these pampered First-Worlders and giving something to the Third World. I’m not one of these America First conservatives so I don’t have an issue with the ideas present in this situation. I’m insulted because the whole premise is incredibly stereotypical and completely lacks creativity. By creating a horror film that preys on the fears of Americans, that if they go overseas, there are a bunch of supposedly unscrupulous locals ready to take advantage of you, whether it be ripping you off for shitty souvenirs or by drugging you and stealing your organs, is insulting to both the audience and the “others” they’re taking advantage of for a story. It makes no difference that this is an exaggeration of supposed urban legends or not meant to be taken seriously; it’s insulting to me as a filmgoer in general. This may be the snob in me speaking, but I expect something better in cinema. If you’re going to use insipid Third World stereotypes to set up a lame story where the only thing saving you is Olivia Wilde in a bikini, then it’s not worth it.

Performance

Performance (Donald Cammell & Nicolas Roeg, 1970) [7]

This film has been called the best representation of the Swinging London of the late 60s but for me, that far from the most interesting part of it. Sure, it has all the sex, drugs, and music that would become the general overview of that time and yet, the story is fairly flat and uninteresting. James Fox plays Chas, a sadistic mob goon who needs to find a hideaway after killing a guy. He overhears a conversation which leads him to rent a room in a mansion occupied by a reclusive rock star named Turner, played by Mick Jagger and two young ladies (Anita Pallenberg and Michelle Breton). Once immersed in this new, strange world, Chas succumbs to Turner's mind games and the line between identities and reality get blurred. It really makes no use trying to unearth the story as it is never really there. Fox is acceptable in his role and Jagger really does nothing more than act the way people think of Mick Jagger. There's nudity, sex, and drugs; they're there but have none of the shocking nature they must have originally had. What makes the film important is Roeg's portion of the film, the photography and a result of that, the structure. It's amazing to me that a major Hollywood studio ever released this because it's one of the most experimental narrative films I've ever seen handled by an American studio. Warner Brothers whole rationale must have been solely based on the fact that Jagger was going to be in it. Cammell's basic plot plays with ideas of identity and the whole notion of performance, which he got from writings by Borges and Artaud. These ideas are stretching the boundaries of what, at least in film terms, would be acceptable and anticipated. That the ending sees a combination of Tuner and Chas's identities into one being is not surprising. By pushing some radical ideas around, the film itself can take a very loose, radical approach. There are some images in this that are challenging to decipher yet they make the film work because the film never settles down. Performance is a film that led to an opening of structure in British cinema. I feel it has a lot in common with another film out of Britain near the same time, Dyn Amo by Stephen Dwoskin. That film takes its ideas of identity, sex, and what Freud called 'the gaze' to a much more extreme area but it has the same mentality as this film. I happen to like films that are challenging the viewer with new or difficult images or subject matter and Performance, especially Nicolas Roeg's work, meet that criteria.

Monthly Listening Post - Late for May/Early for June

I realized I missed posting one of these for the last month, so this one covers everything within that frame.

The Black Angels - Directions to See a Ghost
Hayes Carll - Trouble In Mind
Jamie Lidell - Jim
Old 97s - Blame It On Gravity
Sun Kil Moon - April
The Dodos - Visiter
Bon Iver - For Emma, Forever Ago

Some new film reviews will be coming soon.