Monthly Archives: July 2012

The Odd Couple

So, a friend recommended this next film and my rule of thumb is, “if I haven’t heard of it, it’s probably great.” This rings true especially for foreign films. And, as my movie snob circle dwindles down to myself and the Internet, I thought I’d take this opportunity to see something new.

Now I love unlikely friends and this odd couple had me laughing and crying all the way through. A French film, Intouchables is based on the true story of a wealthy tetraplegic and his lower-class, live-in caregiver. Told in flashback style, the story reflects well upon the current divide between extreme political correctness and total apathy.

A heartwarming (and funny!) film you won’t want to miss!

“…étrange et symbolique”

★★★★☆

It’s a story that’s been told time and again: wrong side of the tracks meets rich and powerful; improbable friends beat the odds. And yet, Olivier Nakache and Éric Toledano make this story their own as they recreate the narrative in Intouchables.

François Cluzet stars as Philippe, a tetraplegic who takes a chance on Driss (Omar Sy), an unemployed caregiver interviewee destined to get his welfare papers signed – not a job. The film demonstrates the huge gap between rich and poor yet highlights the social advantages gained in learning from the other, as evidenced through the developing friendship of Philippe and Driss.  While I’m not familiar with the true story (and I’m sure being a live-in caregiver to a tetraplegic is far more challenging, but), Intouchables provides a rose-coloured image of the reality that disabilities can empower.

The film incorporates the typical shaky-cam effects to create a visually realistic environment. The technique, while highly popularized, does have a strong effect and enhances the grittiness of Driss’ poor neighbourhood. The film’s flashback scenarios all divulge at the climax, but I was pleasantly surprised by the effective use of cuts to remind viewers without replaying the whole scene (I really don’t like that…).

If my readers are familiar with my tastes at all, they’ll be glad to hear my delight in this classical-music-laced score. An instrumental score can certainly do wonders for the imagination and emotions! A scene in particular where Philippe arranges a symphony all-request hour in attempts to please Driss’ ears featured some favourite classical pieces that, again, worked to further the social gaps.

The characters played off each other well with Sy shining in his role. He incorporated interesting instances of character acting, particularly in my favourite scene when they are at the opera. The curtain rises to expose the opera star, a giant, singing tree – which causes Driss’ jaw to drop in this humorous scene. And, I’d be lying if I said I wasn’t thoroughly entertained by Sy’s dancing scene.

Intouchables appeals to a wide audience with comedic, dramatic and tearjerking moments. It even included some action in the opening car-chase scenes, so I might be able to convince some otherwise hesitant viewers. Restoring faith in the good of people and demonstrating the power of friendship, this feel-good film is inspiring and worth the search it may take you to find a French-language film (we critics need more film resources!). Anyway,

Happy screening!

*Image courtesy of tribute.ca

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Analyzing Anderson

Not that I would have anticipated any different but I’ve finally seen Wes Anderson’s newest feature and I adore it. Moonrise Kingdom is the story of two 12 year olds who fall in love and run away together; plus some other stuff happens.

As usual, Anderson features an all-star cast complete with the familiar faces (Bill Murray, Jason Schwartzman) and some fan favourites (Bruce Willis, Frances McDormand and Edward Norton). However, despite the amazing ensemble cast, it was lead Jared Gilman as Sam Shakusky who stole my heart. The awkwardness over-floweth and it couldn’t be more up my alley. While in terms of obscure it’s not off the map, it does warrant a certain standard for type of viewer – jovial, nostalgic, offbeat, creative… If you fit into any of these categories, enjoy!

Wes Anderson: Auteur

★★★★☆

I know – films are a collaborative effort and so cannot be attributed to one source. But come on! How can one look at a Wes Anderson film and not instinctively know it’s his? He is one of the few directors in Hollywood who represents a signature of truly individualized work. And his latest, Moonrise Kingdom, does not disappoint.

The film, which takes place in 1965, is full of subtle references to the era. It would be interesting to take an inventory of the set just to see the work put into creating such a natural mise-en-scene, from the commissioning of fictitious novel covers to portraying the realistic methods of passing time (listening to records, reading, you know, things people used to do).

As for visuals, I first noticed Anderson’s interesting use of colour (not to mention his effective use of symmetry) in 2004′s The Life Aquatic with Steve Zissou. His incorporation of primary colours, while seemingly simplistic, offers such a visual contrast his films could be filmed in B&W and still have the same deep effect. Moonrise Kingdom does just that – notably off the top with the introduction of narrator Bob Balaban who dons a crimson red duffle coat and a hunter green toque – a winning combination of Paddington Bear and Jacques Cousteau (perhaps another reference to The Life Aquatic?).

Interestingly, if you pay close attention, there are characteristic scenes that Anderson tends to include in his films: the slow-motion group walk set to the folksy score, the dolly shots that track between sets and the unique POV shots that almost confuse the viewer.  However, despite the acknowledgement that these are staple, I am fully drawn to these scenes which might explain why I have noticed the repetition.

I tend to attribute this draw to his eclectic use of music. For Moonrise, Anderson used works by Benjamin Britten particularly to create a childlike nostalgia. And while the music made light of the couple’s situations, their romance and encounters are anything but childish.

Anderson is no stranger to good cinematography but he also demonstrates his understanding of human nature and tells stories that complement this. His construction of the family, while dysfunctional and bizarre, accurately portrays reality and the nature of relationships.

I could go on discussing themes and symbols, comparing his works, but I think the best way to understand Wes Anderson’s mind is to see it at work.

Happy screening!

*Image courtesy of austinist.com

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Continuing the musical cold streak

Judge if you must, but I am a lover of musicals. No. All musicals. I know. But seriously, all musicals. And, it was inevitable that I would see the critically-unacclaimed Rock of Ages, starring the aged Tom Cruise.

Now, you may want to sit for this next revelation. The truth is, despite the couch-jumping and scientolocrazy, I still like Tom Cruise as an actor. I repeat: as an actor. Come on. Did you see him in Tropic Thunder? I thought he was funny!

Anyway, back to Rock of Ages. It’s difficult to tell if I was enjoying the sing-a-long-ability of the songs or the story itself, but there was a part of me that did sort of like it. There was another huge part of me wondering what was happening. Let me explain…

Rock of Ages slips by the silver screen

★★☆☆☆

Who doesn’t love singing along to the rock songs of the ’80s and ’90s? Regardless of age, the songs have a foot-tapping quality that lures you in. The lyrical quality of these songs lend a hand to the back stories. I mean, the scenes can write themselves. And yet, the recently-released Rock of Ages somehow managed to continue the poor translation of theatre to film.

While Julianne Hough stars as Sherrie, the small-town turned big-city girl, and manages to demonstrate her dancing and singing chops, she lacks in the acting department and brings an over-enthusiasm not even allowed on the stage. Newcomer Diego Boneta (Drew) managed to save some scenes for the most part but I was mostly drawn to the incredibly odd relationship between barkeeps Lonny (Russell Brand) and Dennis (Alec Baldwin).

Thanks to media coverage, photos of Cruise as rock star Stacee Jaxx began appearing all over the Internet. I was eager to see his rendition of the character and I was left waiting until what seemed like halfway through the film before his first appearance. Even then, his portrayal was sedated and left me unsure of the weight of his role. I know, I know. There are no small parts, blah, blah, blah.

I was reminded of Cruises eccentricity when told of the reason for the role of Heyman the monkey. Apparently not part of the original theatrical production, it was insisted by Cruise that the role be introduced into the film, though I’m sure no one can say why. His performance was decent at best but not exactly believable.

Musical veteran Catherine Zeta-Jones portrayed the queen of anti-rock Patricia Whitmore but gave a performance quite sub-par compared to her memorable Chicago role. While her acting is not in question, her dance moves demonstrated her true age and the costume did not help. Despite an ill-directed moment where Paul Giamatti sings, his portrayal of talent agent Paul Gill was deliciously greasy. I usually find his performances at the top of the game but (and maybe it can be blamed on the directing), this time, he came off quite atypical of the musical genre acting.

The storyline redeemed itself with the incorporation of the recognizable rock tunes and fashion styles. It was interesting to see the “Vanilla Ice” references when Drew joins the pop boy band. And last but not least: the iconic ’80s “car phone.”

While it was obviously meant for stage, Rock of Ages offered interesting character development and decent closure at the finale. While it’s not Rent on Broadway, it was entertaining and had me singing (and sometimes, laughing!).

Happy screening!

*Image courtesy of stylefrizz.com

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They’ve created a monster!

I’d been contemplating film genres and how so many have come to overlap each other. For some reason, horror and comedy have become somewhat interchangeable, if not only for the numerous poor attempts at special FX. So I began to reminisce about the good ole days of genre films. The spaghetti westerns, films noir and gangster flicks that ruled the golden age; that was where the real stories were hiding. These were the stories that inspired the true filmmakers to create the art that would later be mocked in a badly-scripted spoof. I decided I would indulge myself with some genre classics with my newest collection of monster movies.

I decided to start with Frankenstein. Now, I dare not say that these next few paragraphs resemble anything close to a review of this film. It belongs in the category I will call the “Untouchables.” I merely aim to discuss and provide my insight into the obscurities within. And so I think…

It’s Alive: The Genre Film Lives On!

★★★★☆

To say that Frankenstein is a classic would be an understatement. James Whale’s 1931 film starring Colin Clive, Mae Clarke and Boris Karloff began a monster movement that spawned sequels and spoofs for years. Borrowing from the past and contributing to the future of film, Frankenstein is the prerequisite to horror and the course is mandatory.

The look of the film caught my attention from the start: stark contrasts of shadows, light and dark, a certain homage to German Expressionism and the gothic culture. While the discontinuous shots and inconsistencies (I love the scene when Fritz yells from off camera, “I’m coming!” and just appears next to Frankenstein) make this a timeless cult film, it doesn’t disappoint in instances of grotesque imagery from Fritz’s deformities to skeletons to hanging bodies lending to the visual hour. While not so shocking to the current disenchanted generation, these scenes were unheard of to the 1931 audience and warranting the brief achtung prelude by Edward Van Sloan.

Frankenstein began what would become stereotypical horror images – especially the torch-wielding mob scene. Not only were scenes shared between horror films but also actors. While genre films are great, they tend to cause typecasting in actors, which was the case for Karloff, who later went on to play The Monster in Bride of Frankenstein (1935) and Son of Frankenstein (1939).  Dwight Frye who played the incompetent hunchback Fritz also went on to play the insect-devouring Renfield in Dracula. Fancy that casting gold. Dracula star Bela Lugosi was also slated to star as Frankenstein prior to the casting of Karloff and Edward Van Sloan (Dr. Waldman) also played Van Helsing in Dracula and later starred with Karloff in The Mummy (1932).

The film not only started a cinematic movement, but it also spoke to a greater cause. Karloff brought an almost instinctive sympathy to the otherwise menacing, murdering character who, for the most part, was quite innocent. Still, I was shocked by the apparent apathy of the so-called “sane spectators” upon watching the doctor bring the creature to life. Was it normal then for someone to rob graves in order to obtain body parts for the animation of a miscellaneous corpse? And the death of a child? I’m surprised when they show that in current films. In any event, it was nothing if not interesting to witness the beginning of a movement and a film so dedicated to its own genre. I’m sure you can all give up one hour and eleven minutes to check out this great film (I know, it’s so short, right?).

Happy screening!

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