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
Thursday, 27 October 2011
Contagion
2011. Dir: Steven Soderbergh. Starring: Laurence Fishburne, Jennifer Ehle, Matt Damon, Kate Winslet and Jude Law. ●●●○○
Contagion does a great job of changing the way you think. For a few hours after leaving the cinema I was afraid to touch door handles, hand driers, bar snacks, nervous of using public transport and definitely avoiding coughing in peoples faces. All of these apparently harmless activities now seem to invite painful inevitable death. One minute you could be throwing dice in Macau, gleefully planning to shag your ex, and the next your cranium will be cut in half by nervous pathologists. Steven Soderbergh's clinical thriller, analysing the likely response to a global pandemic, certainly ratchets up the tension but objective approach and multiple storylines prevents the audience from empathising with the characters and ultimately we left with the impression of a heavy handed Government Information broadcast.
Picking up the story from day 2 and the first anonymous victim stumbling under a lorry in his Hong Kong Soderbergh has deliberately avoided the usual disaster movie conventions, instead he's trying to understand the likely battle against a rogue flu. So we follow Laurence Fishburne's head of the Centre for Disease Control, with his field operative Kate Winslet trying to contain the virus and his top scientist Jennifer Ehle finding a way to beat it. All the while Matt Damon's everyman and Jude Law's harbinger of doom blogger are caught up and carried along by the collapse of society as fear and desperation become even more viral than the initial bug.
Soderbergh is trying to replicate his success with Traffic, weaving a multi-character arc around an issue we will all face from time to time, however the storylines don't provide enough of a variation to create a satisfying whole. In his 2000 masterpiece each of the major plot informed reactions to the others, here they feel tacked on, even when Fishburne and Law debate their point on TV news or when Marion Cotillard surveys Gwynneth Paltrow's last steps these seem ultimately disconnected events. Some sections manage to make an interesting case to have seen more of - ultimately the CDC sections are the most compelling - however others seem unnecessarily sparse (Cotillard is especially hard done by) and Matt Damon's personal travails come across as petty and small - and he loses his wife and stepson in the first 10 minutes of the film!
The messiness also seems to detract from the central thesis, the status quo for mankind isn't panic and disorder but trust and sacrifice. The scientist that tests a drug on herself, the reasercher who gives up a coat, the man in a queue picking up a passport, the importance of a handshake. These are the minor moments that define us as human beings.
We do see some nice performances, Jennifer Ehle's resourcefulness is a highlight, as is Elliott Gould's proud academic (a character I really wanted to see more of), indeed none of the cast are doing a bad job it's just a shame so many of them have very little to do.
Steven's work as a cinematography also throwbacks back to his earlier experiments with colour filters, here a sickly green hue permeates through the action, queasily altering our general perception. There are also some nice touches with out-of-focus shooting, even if we have seen all these before. The script also provides some belters, "Blogging isn't writing, it's graffiti with punctuation." easily winning plaudits as the most quotable line. So naturally I repeat here - spraypainting my thoughts on the wall of the internet.
Overall I would say this is a competent movie and would recommend it (if only to make everyone think twice about going to work when they have a cold) but I couldn't help thinking probably had something better inside of it, maybe a much longer miniseries or jettisoning the other stories and focusing on the work of the CDC could've have kept the film sharper.
Sunday, 30 January 2011
20 for 2011: 1 - Contagion
Finally we reach my top pick for 2011, the film I'm most looking forward to seeing is...
Steven Soderbergh's Contagion.
Steven Soderbergh, that former darling of the American indie scene, is a cinematic chameleon, his back catalogue encompasses the full gamut of genres from biopics (Che) to star laden comedy (The Ocean's trilogy) to experimental art (Bubble). Even his misfires are generally considered to be worth watching, as they exhibit an understanding of form and content almost unparallelled in modern cinema.
For Contagion he reunites with The Informant writer Scott Z. Burns for what is described on imdb as "An action-thriller centered on the threat posed by a deadly disease and an international team of doctors contracted by the CDC to deal with the outbreak." That's just the tip of the iceberg, as the hyperlink movie will take in a variety of stories including familial sacrifice, panic-stirring bloggers, the collapse of Governments as well as the race to find a cure.
Originally planned to be shot in 3D, the latest I've heard is that has been quietly dropped as Soderbergh wasn't happy with the results, proof that he is serious about this multi-character drama. Indeed it seems to indicate the sort of serious mind he brought to Traffic, his superb take on the war on drugs.
Like that previous picture the cast is huge, and hugely talented, including Marion Cotillard, Matt Damon, Lawrence Fishburne, Elliott Gould, Jude Law, Gwynneth Paltrow, Kate Winslet and John Hawkes (recent Academy Award nominee for Winter's Bone). In case you weren't aware that little lot have 3 acting Oscars and a further 12 nominations between them, it's the sort of cast list you didn't think you'd see anymore and the sort of cast that wouldn't just sign on to anything.
In short this is a fascinating prospect, a director whosework I trust and have a long time affection for, working within a curious and underused genre with a castlist out of this world. How could anyone not be excited by this.
Monday, 5 October 2009
Kate Winslet
Happy Birthday to
Kate Winslet
34 today
Kate Winslet is resting. After finally winning a oscar for The Reader earlier this year following her sixth nomination (that's one every 5.5 years since she was born, or every 1 in every 3 of her live action performances) I think she deserves the rest.
