The Grim Reaper Comes to the London Film Festival: 50/50, Into the Abyss, The Descendants
A boy buddy movie about cancer? What was I thinking? Truth is with Joseph Gordon Levitt's million dollar smile really anything is possible. Based on the writer Will Reiser's actual experiences, Adam (Joseph Gordon Levitt), a radio journalist, is diagnosed with a rare cancer in his late 20s and learns from the internet that he has a 50/50 chance of survival. The movie is the unfolding of his life, loves, and friendships post-diagnosis. Levitt's charming ability to make chemo-stry (sorry) happen with just about anyone is what makes this film. Even Seth Rogin becomes somewhat endearing while basking in Levitt's radiant glow. (Okay, I'll stop.) I laughed. I cried. A lot. I still don't know why I, of all people, a paranoid hypochondriac extraordinaire, chose to see this. Was it because of Anjelica Huston (totally great as the cancer stricken boy's suffocating mother)? Was it for Anna Kendrick (just ok as grief-therapist-in-training who falls in love with her patient)? It was probably because at the film festival I try to see things I would never otherwise see. It really is a cute, whacky, perfectly acceptable small film that does succeeds in making cancer funny. Does the world need such a thing? Quite possibly.
Into the Abyss: A Tale of Death, A Tale of Life is the documentary by Werner Herzog about a boy, Michael Perry, on death row in Texas. Again, what was I thinking? It seems I was in pursuit of the grim this year and grim this film certainly is. It's really a horror film in the guise of a documentary. Herzog (whose voice we hear, but who we see only in vague reflection in the glass dividing him from the prisoners) interviews a whole cast of characters somehow involved in Perry's fate--from his partner in crime Jason Burkett, to Burkett's father, to the prison chaplin, to the ex-executioner (my favorite of them all), to Jason Burkett's miraculously pregnant mail-bride who provided the audience with some comic relief through her charming penchant for self-deception. Each of them, as we all are, is trapped inside his or her own terrifying reality. A worthy film I am not unhappy to have seen but it falls short of great documentary in the manner of, say, Errol Morris' The Thin Blue Line or anything by Chris Marker. At the screening, the producer who introduced the film compared it to Truman Capote's In Cold Blood, which is not a stretch (the crime is similar) but Herzog is more interested here in sociology than psyche, which helps him cope with the intensity and insanity of his subject, but makes our experience more voyeuristic than empathetic.
Elizabeth King is in a coma after a boating accident and unlikely to live. Matt King, her husband, discovers from his teenage daughter that Elizabeth was having an affair. They hatch a plan to confront her lover, bringing father and daughter into a new intimacy. In the meantime, King and his cousins are about to decide what to do with a huge chunk of pristine land his family owns in Hawaii, handed down through generations from their royal Hawaiian ancestors. Hence the film's title: The Descendants. The whole state is waiting to see what these descendants will do with their legacy while the audience is waiting to see how King will help his children deal with their mother's impending death. Would I run to see that film? No. But it's the film festival AND the director is Alexander Payne (Election, Sideways) AND it stars George Clooney. I go because Alexander Payne's celluloid rendering of quirky Americana is always surprising, and not only is Clooney Clooney, he has an inclination these days for trying to stretch himself as an actor. Payne's script hovers between sitcom and surreal, nothing which isn't done extraordinarily well on tv, but Payne includes in the mix extended pathos--something few can pull off convincingly in our age of irony and cynicsm. Dying mother in a hospital bed is a very tricky proposition both despite and because of delivering insta-sadness. Payne's project in this film is to redeem the sentimental to its original favorable sense: "Characterized by or exhibiting refined and elevated feeling"--as opposed to its current sense: "Addicted to indulgence in superficial emotion; apt to be swayed by sentiment." (OED) George Clooney, as Payne's chief means to this end, is a joy to watch even if a lot of the time what we are witnessing is a cinema icon struggling not to bury his very ordinary, flawed and vulnerable character under the weight of his own real life megastardom. This quasi-post modern distraction actually worked in a particulary Paynian way to further the film's mundane message i.e. we're all humans who suffer and love and laugh despite our own particular legacy. In the end, Payne and Clooney manage to pull off this strangely heartfelt movie, but not without a lot of help from the pitch-perfect performances from the supporting cast.
Moving from grim reaper to hyperactive stork, the most innovative and engaging film I saw at the festival was 17 Girls,
from French sororal (great word!) writing and directing team Delphine and Muriel Coulin. Beautifully shot in a small French port city in decline, the story is about 17 high school girls who decide to empower themselves by becoming pregnant. Based on the true incident in Massachusetts in 2008, the Coulin sisters imagine the girls' motivations in an intriguing twist on the tropes of teenage pregnancy. Unfortunately, the end was pat and predictable, deflating what was otherwise a mind-bendingly gorgeous and stunningly acted film.
The worst film I saw was Carnage (will post about this anon).
The most purely enjoyable was Nouka Dubi (Boat Wreck)
from Bengali director Rituparno Ghosh. Great plot, astonishing cinematography, stupendous singing, magic melodrama. Bollywood meets Tagore--need I say more?
Random list of films I've seen but haven't devoted a proper blog to with rating @ to @@@@@
The Vagabond (Directed by Raj Kapoor in 1951 when he was just 27, this steamy melodrama represents the birth of Bollywood. The incredible chemistry between Kapoor and his leading lady Nargis is irresistable. And I saw it at MoMA for free. I love New York.) @@@@@
Margin Call (Nothing new here, didn't get my blood boiling at all and the subject--Wall Street greed and arrogance usually does. Some good acting from a great cast but pretty forgetttable. I imagine the play was better.) @@
Young Adult (I think Charlise Theron might be my favorite actress at the moment. She's got talent plus diva quality. This film is one note but she's so fabulous.) @@@@
Shame (a shame, waste of Michael Fassbinder's considerable talents. Carey Mulligan singing New York, New York excruciating and not in the way intended. Plus is that New York? It occured to me while watching that Steve McQueen should watch Pasolini's opus and take notes.) @@
One Day (Help, the accent! Ugh. Anne Hathaway botched this one.) @
Crazy, Stupid, Love (Ryan Gosling, need I say more? Besides, it was really very funny at times. And the casting is just perfect.) @@@@
Ides of March (George Clooney's future may be as a director. This effort was admirable and entertaining. Plausibility a bit stretched but I didn't care much. Besides, Ryan Gosling, need I say more?) @@@@
Tinker, Tailor, Soldier, Spy (Second best film of 2011 for me. Gary Oldman channels Alec Guinness and I love the change of glasses to mark time. BBC series, however, still the best . If you want to read more about the book/film/series two excellent pieces, both in The New Yorker, are Anthony Lane's "I Spy" http://nyr.kr/uXIWBb and David Denby's "We are all Smiley's People" http://nyr.kr/zzS9vr) @@@@@
The Skin I Live In (Best film of 2011 for me--Almodovar pushes the form like no other director. Here he explores the pygmalion myth as only he can.) @@@@@
The Prime of Miss Jean Brodie (As a good a rendition of the book you'll get but ah, the book. Doesn't really translate to film. Maggie Smith great.) @@@
The Godfather (Hadn't seen it in years but what a flawless film. The horse head was a stroke of genius as was casting Diane Keaton as Al Pacino's wife. Marlon Brando, as always, was sublime.) @@@@@
Nowhere Boy (directed by artist Sam Taylor-Wood and also surprisingly mediocre. Straightforward biopic without any attempt at innovation. HBO would have done it better. Anne Marie Duff and Kristin Scott Thomas saved it from total irrelevance.) @@
The Ghost Writer (directed by Roman Polanski and surprisingly mediocre. Ewan McGregor saved it from total boredom. Hitchcock touches nice but not enough-Ok plane fare.) @@
Frida (directed by Julie Taymor is gorgeous to look at but the script was not up to the visuals. Salma Hayek superb but not oscar material since though crippled her face remains beautiful.)
La Vie en Rose (Incredibly depressing--didn't want to learn so much about the Diva. Cotillard excellent, obvious oscar for portrayal of yet another fallen, defaced woman.
Notes on A Scandal (Thin but Judi Dench is superb. She totally outshines Cate Blanchett. Equation of repressed lesbian stalker with female statuatory rapist interesting. At least Dench didn't turn out to be a serial killer.)
It's Complicated (Perfect plane fare, especially while trying to avoid volcanic ash cloud. I laughed out loud at least twice. Fun to watch Alec Baldwin completely upstage Steve Martin.)
Bulletproof Monk (Not nearly as good as the phenomenal Kung Fu Hustle, but entertaining nonetheless. My 9 yr. old loved it.)
A Serious Man (Seriously boring but then again maybe I just didn't get it 'cause I'm a goy.) @
2012 (Blah disaster movie in which a novelist who sells only 500 copies is the hero and one of the chosen. LOL.) @
Defiance (Casting excellent-Daniel Craig, Liev Schreiber, Jamie Bell-and story excellent--about class and morality among Eastern European Jews during holocaust--but script very mediocre.) @@
Two Loves (I always wonder how films like this one ever get made. No there there. Though Pheonix plays the icky vulnerable male with panache.) @
Inglourious Basterds (Like the kitchen sink after an inedible feast. Worse than a bad Cohen brothers film. Flaccid and unfunny.) @
Valkyrie (Don't bother. Boring, slow, flat. Such a shame as I really loved Singer's Usual Suspects. Cruise's fault no doubt.) -@
The Departed (Solid later Scorsese fare, lots of blood and plot twists but just barely holds together. DiCaprio surprisingly good and I always love Baldwin.) @@@
Word Play (excellent documentary about the NYTimes crossword puzzle geeks. It gave me serious nerd envy.) @@@@
Rachel Getting Married (cast evenly black/white yet black actors get no lines of any significance. Even Anna Deveare Smith only mumbles. Shameful.) @
District 9 (Sci Fi at its best. Philip K. Dick would approve.) @@@@@
American Graffitti (quite experimental and what a young Harrison Ford) @@@@
My Man Godfrey (Depression era romcom with the sublime William Powell and Carole Lombard. All too relevant.) @@@@@
Julia (unlikely thriller made great by uber actress Tilda Swinton) @@@@
The Eyes of Laura Mars (70s fashion thriller with Faye Dunaway and Tommy Lee Jones) @@@@@