2011. Dir: Roman Polanski. Starring: Jodie Foster, Kate Winslet, Christoph Waltz, John C. Reilly and Elvis Polanski. ●●●○○
I think I may have nailed my colours a little too ostensibly on the mast. I generally try to list five performances at the start of the post, in this case choosing the first four was a piece of cake - they're the only speaking parts - but the next is a decision between the two boys, the sons of the warring couples, the spark that ignites the breakdown of the veneer of civilisation. Of course the real decision was based on the credits alone but it does give the impression I sided with the Cowans. Ridiculous I know, how could you side with any of the warped frightful animals at play in Roman Polanski's Carnage.
The film opens in Brooklyn Bridge Park, presumably filmed by a second unit director rather begging the question why Polanski didn't just film it in Paris in the French Yasmina Reza original used, where two adolescents play innocently until all of a sudden one is alone, victimised and in a sudden burst of anger he swings the tree branch he carries and...
Cut to:
Jodie Foster and John C. Reilly as Mr. & Mrs. Longstreet, parents of the injured party preparing a statement concerning the incident for Momma and Poppa Cowan (Kate Winslet and Christoph Waltz). They're in an apartment we won't leave until the end credits. They haggle, reasonably, over the wording. Armed with vs. carrying. Exchange pleasantries then the Cowan's make to leave, yet somehow they don't, somehow the two couples are trapped in a cycle of progressive discussion, liberal one-upmanship and intense bickering as the façade of bourgeois respectability is ripped away as the animal instincts and repressed tensions burst forth in a stunning display of aggressive inhumanity.
It goes without saying that Reza wasn't writing a plot based drama, the aim is to hold up a mirror to the hypocritical chianti-quaffing theatregoing literati, to remind us (and I include myself in the intellectual class that like to imagine we're above the type of behaviour exhibited on Jeremy Kyle) that we are just naked apes, a few generations on from our cave dwelling ancestors, able to slip back into that constant battle for survival and alpha status within the group.
In itself this is interesting and the shifting perspectives and loyalties between the couples as their individual moral standards are attacked and the deeper fundamental beliefs exposed and challenged. Each of the quartet is ultimately struggling with middle-class guilt and an inability to connect with their kids, the Generation X knowing both the disciplinarian parental style and the little adult hippie approach has failed but unable to find a third way. At the same time little nuggets of information, be it Reilly's dislike of hamsters, Waltz's corporate client, Foster's concept of justice or Winslet's relativism are carried through the piece, dropped quietly then lifted back into the conversation in bitter and unexpected ways.
The performances are a mixed bag, surprising for such a small prestige cast list. The stand out is Christoph Waltz's sly, self-aware and urbane lawyer, the first to highlight the hypocrisies around the room and to admit his own failings. At the other end of the scale is Jodie Foster, shrill and excitable she's playing to the back of the stalls. I also thought only John C. Reilly handled the later scenes effectively - whilst his co-stars were slurring and staggering for twenty minutes embarrassingly over-egging the drunkeness he was the only one with the common sense to remember that we try to not look drunk when drunk and hold it back.
Some reviews have picked on the staginess of the film, something almost inevitable when adapting a one-act single location play, and whilst it did reek of it's origins I don't count that as a failing. Polanski's own Death and the Maiden (1994) and Mike Nichol's 1966 masterpiece Who's Afraid of Virginia Woolfe were both stage plays with small casts that felt restricted, but the power of the theme or performances breaks that boundary. Here it's essential that the characters are trapped in the surroundings and luckily the setting makes us feel trapped too.
I would also like to praise the look of the film, from Milena Canonero's character specific costuming to Franckie Diago's set decoration, actually this felt perfect, everything from the art tablebooks to the ethic decor oozing a sense of intellectual entitlement. I've been to houses like these, neither the crumbling monasteries of academia or the child friendly homes of suburbia (I only remember one photo of the family and nothing in the house looked like the kids would be involved), they exist in order to be shown off at dinner parties and gatherings of like minded individuals. Equally Pawel Edelman's cinematography both accentuated the space whilst slowly disintegrating in form and function with the breakdown of the characters.
I also like the end shot, I won't spoil it but there's a satisfying return to playground politics that renders the whole breakdown of society mute.
Ultimately though this is all just an intellectual exercise, it's a piece of performance art, as such it works but dramatically it goes nowhere. Yes vomit is expelled, tears are spilt, whisky is downed and Kate Winslet vandalises a perfectly good arrangement of tulips screeching "Why are we still in this house?" but nothing really happens and the message is so obvious that there's little to stick around for. Earlier I invoked the parallels with Virginia Woolfe, where that stagey talky violence is a horrendous tragedy hiding behind a sexual farce whereas here we have a black comedy pretending to be serious. Waltz professes a belief in the God of Carnage, I have a belief in Melpomeme the Muse of tragedy and she wasn't worshipped anywhere near enough in this utterly missable hour and a half of vitriol.
Thursday, 9 February 2012
Carnage
Saturday, 19 November 2011
Jodie Foster
Happy Birthday to
Jodie Foster
49 today
Choosing to work only when she wants to is a superb strategy for this two time Oscar winner, by carefully monitoring the output the resultant scarcity increases demand. Although her next film, Roman Polanski's Carnage, may well divide audiences on how they feel about the content of Yasmina Reza's bitter play on which it's based. Personally I couldn't be more stoked.
Friday, 17 June 2011
Modern Telegrams (Out this week - 17/06/11)
It's tough to predict what will happen to box office figures this week. With this years second green superhero squaring off against a very well publicised Cameron Diaz comedic video there's plenty of choice for the less discerning cinema goer (although of those I'd probably go for Diaz). Of course neither option comes close to my film of the week, which is the absorbing and poignant Messenger.
Messenger
Oren Moverman's superb evocation of the daily process of informing forces families of the death or injury of their loved one is a heartfelt and truly honest movie (I have already seen it) which comes as a great shock to see it's been nearly 2 years since it's US release.
Runs like a Gay Excitometer: ●●●●●●●○○○
Bad Teacher
Cameron Diaz, who memorable burst onto screens in The Mask, has spent much of the last ten years avoiding comedy, but it's a shame as she's a delightful comedic presence. Here she is using a flimsy plot to snare Justin Timberlake. Jason Segal and David Paymer also co-star.
Runs like a Gay Excitometer: ●●●●●○○○○○
Beaver
Controversy overload meets film as therapy with Mel Gibson playing a depressed executive who turns his life around with the aid of a Castoran hand-puppet with the voice of an East-end barrel boy. Jodie Foster directs her old pal, in an attempt to rehabilitate his tarnished image. Jennifer Lawrence also gets a co-starring role.
Runs like a Gay Excitometer: ●●●●●○○○○○
Potiche
Catherine Deneuve and Gerard Depardieu together in one film! From Francois Ozon! About the demise of union bragaining and the rise of feminism in 1970's France. Actually this comedy, literally translated as "Trophy Wife", looks like a gem and should be well worth looking out for.
Runs like a Gay Excitometer: ●●●●●○○○○○
Green Lantern
The proliferation of CGI, all the desperate seeming TV spots and fantastic cast (Ryan Reynolds, Peter Sarsgaard, Blake Lively, Angela Bassett, Tim Robbins, Mark Strong and Michael Clarke Duncan and Geoffrey Rush in voice roles) can't hide the faint whiff of Turkey coming from this Comic Book adaptation.
Runs like a Gay Excitometer: ●●●●○○○○○○
Stake Land
The trailer makes this low-budget horror flick seem like The Road with Zombies, but decent reviews and clever plotting could lead to this breaking out. Although I've heard it suffers from a lack of point to the story.
Runs like a Gay Excitometer: ●●●●○○○○○○
Always Khabi Khabi
The first of the three Bollywood releases seems to be the most obvious to categorise, it's High School Musical in Mumbai (possibly), with the usual collection of teenagers stressing about their love lives and studies whilst breaking into song.
Runs like a Gay Excitometer: ●●●○○○○○○○r
Avan Ivan
Confusing Tamil release which describes itself as a comedy but the trailer is full of high-octane action beats. Let's face it I'll never "get" Bollywood.
Runs like a Gay Excitometer: ●●●○○○○○○○r
Bheja Fry 2
Sequel to the 2007 comedy hit starring Vinay Pathak as a naive holiday-maker who brings chaos in his wake on a cruise holiday in the sun. I actually giggled at some of the slapstick on display in the trailer.
Runs like a Gay Excitometer: ●●●○○○○○○○r
Round Up
European cinema has huge trouble moving away from the Holocaust. Of course it's a horrendous chapter in history but haven't enough interpretations been made? This time Jean Reno is a doctor questionning humanity as the Jews of Paris are arrested.
Runs like a Gay Excitometer: ●●●○○○○○○○r
Got to Run
I should be behind this independent British movie which snuck out in limited release earlier in the week as the combination of local independent fare and a central character addicted to jogging. However the thought of watching a girl run around the coast of the UK in a ill-fitting pair of shorts to escape from her abusive relationship just pushes me away.
Runs like a Gay Excitometer: ●●○○○○○○○○r
Putty Hill
Not quite mumblecore, but clearly influenced by the hand-held, off-the-cuff aesthetic, this low-key American release looks at the minutia of life in a small-town community recovering from the sudden death of a well-known young man.
Runs like a Gay Excitometer: ●●○○○○○○○○r
Swinging with the Finkels
Tired looking British sex comedy about a couple (Martin Freeman - proving The Hobbit couldn't come at a better time - and Mandy Moore) who decide to spice up their dreary personal life by joining the swinging circuit. Probably not as many laughs as it should have.
Runs like a Gay Excitometer: ●●○○○○○○○○r
Saturday, 6 March 2010
Out this week (05/03/10)
As film fans we face a common dichotomy with regards to the quality of films. On the one hand we hope for many high quality productions to entice us at the cinema, on the other there's only so much money you can spend. Which is why it's an awful shame when more that 1 decent-looking project is released in the same week. However a decision must be made on the film that most looks best, and I have chosen Ondine.
Alice in Wonderland
For a short while I was beginning to wonder if we were going to get a chance to see Tim Burton's Alice remake in the UK. Disney's headlining grabbing tousle with the major cinema chains about the release window almost meant this would have a limited UK release. Eventually the major chains bowed down under commercial pressure, so I should be poppoing out one evening next week.
Runs like a Gay Excitometer: ●●●●●○○○○○
Angardi Theru
The trailer for this Tamil production looks both cheaply produced and confusing. I suspect it's an unhappy love story about a couple working in an opprsive factory setting. If anyone knows better please let me know.
Runs like a Gay Excitometer: ●●○○○○○○○○
Atithe Tum Kab Jaoge
Hindi comedy in the vein of You, Me and Dupree where a distant relative arrives unannounced at the house of surburban couple Ajay Devgan and Konkona Sen, and then never leaves. The trailer has a whole section devoted to fart gags so don't expect this to change comedy forever.
Runs like a Gay Excitometer: ●●○○○○○○○○
Case 39
Renee Zellweger is a social worker whose charge turns out to be more dangerous than the family she's "saved" her from. Horror movie that's been delayed more times than I can remember and probably best avoided.
Runs like a Gay Excitometer: ●●●○○○○○○○
Chloe
Suspecting husband Liam Neeson of a clandestine affair Julianne Moore hires high-class prostitue Chloe (Amanda Seyfried) to meet up with him and see if he goes for her knowing she's available. Sexual boundaries get pushed in Atom Egoyan's latest thriller.
Runs like a Gay Excitometer: ●●●●○○○○○○
Father of my Children
French film that covers twin subjects of grief and financial failure when a producer sees his latest project, along with his personal accounts crumble away. Loosely based on a true story.
Runs like a Gay Excitometer: ●●●●○○○○○○
Legion
My first one blob film of 2010. Congratulations. If the thought of Paul Bettany facing off against the hordes of angels send by God to wipe out humanity excites you, then I envy you completely.
Runs like a Gay Excitometer: ●○○○○○○○○○
Motherhood
Love poem to modern motherhood with Uma Thurman in the lead role as a stay-at-home Mum in New York with adorable but quirky kids. I expect this has an audience, and the trailer looks unoffensive. Bonus points for having Jodie Foster in a cameo.
Runs like a Gay Excitometer: ●●●●○○○○○○
Ondine
Colin Farrell catches a Polish girl who could be on the run from smugglers, or who could be a mermaid in Neil Jordan's supernaturally tinged drama. It missed an audience at last years Toronto festival, but hopefully it will be worth spending a little time with.
Runs like a Gay Excitometer: ●●●●●●○○○○
1234
Low key british film about the forming of an indie band and a tentative romance within the band's membership. It's refusal to glorify the music business (or demonise it) as well as embracing the mundanity of call centre jobs taken to finance dreams has won a lot of praise among critics. Should be qworth catching.
Runs like a Gay Excitometer: ●●●●○○○○○○
The Shouting Men
Somehow Gillingham football club are drawn against premiership team Newcastle United in the FA Cup Quarter final. The result may be obvious, but this film is about the journey of a few eccentric fans. And is probably the worse for it.
Runs like a Gay Excitometer: ●●○○○○○○○○
And a couple of films I missed on their 12 February release:
Eamon
Irish drama focussing on a boy with behavoural difficulties and his struggling parents during a half-term week to the beach.
Runs like a Gay Excitometer: ●●●○○○○○○○
Recap Ivedik 3
Third movie in popular Turkish series. Doesn't look like they're getting any better from looking at the comment pages on imdb.
Runs like a Gay Excitometer: ●●●○○○○○○○
Thursday, 19 November 2009
Jodie Foster
Happy Birthday to
Jodie Foster
47 today
I almost thought about holding off and not celebrating Jodie's birthday on the grounds she's probably a Lesbian but hasn't officially come out. Then again I love her too much. Bless you Jodie whichever side of the bed you lie.
