2012. Dir: Sarah Polley. Starring: Michelle Williams, Seth Rogen, Sarah Silverman, Luke Kirby and Jennifer Podemski. ●●●○○
Years ago, back when I worked in bars, part of my duties included the hiring of staff. It may seem clichéd but first impressions really matter and whilst you may not know if you're going to hire someone within 10 seconds you do know if you're not. Equally, interviewees take note, you cannot have a 10 second period after that where your interviewer doesn't like you. True, we want you to do your best and enjoy the interview and show your true self, but we are looking for reasons to reject you. It's the same with movies. They need to both open well and not lose the audience. Take This Waltz, the second feature from Canadian Sarah Polley, starts beautifully, ends gracefully with real truth in it's resolution and characters. Unfortunately there's one very troubling scene about 30 minutes in that nearly made me walk out, and consequently makes me very reticent about recommending the film.
The film opens in a touristy French Canadian settlement, where enthusiastic performers re-enact typical but caricatured period scenes, called away from an almost delicate marriage ceremony (in a clear foreshadowing of events to come) Michelle Williams' pamphlet writer Margot somehow gets involved in a public whipping of a local miscreant, egged on by mysterious stranger Luke Kirby (Daniel). They meet again on the plane, mild antagonism melting into shared appreciation of silliness. Both characters annoy, Williams is brittle and childish, Kirby blunt and a bit over-attentive, yet their traits are human and believable. These characteristics exaggerate the child like emotional state the individuals are in, they want to dislike each or more accurately to be disliked but inevitable the journey ends with them playing games in a cab, pretending their not falling into lust.
Then the double whammies of the plot. Margot is married (to Seth Rogen chicken obsessed cookery book writer) and the two live virtually opposite each other.
The film then follows the path of a modern Brief Encounter; the would be lovers repeatedly bump into each other, exploring each others mindsets unable to decipher their hormones. We see Margot torn between the dull but loving Rogen - really showing his chops in a dramatic role - and the virile romanticised Kirby. The cinematic trips together between the characters in David Lean's 1945 classic are replaced by semi-planned moments in the local swimming pool (the obvious joke of Williams losing control of her bladder and the balletic underwater dance between the two are superbly framed exposing different aspects of the budding romance) whilst scenes in Daniel's flat are reminiscent of the awkward march towards sexual awakening for Celia Johnson.
Where restraint and sacrifice characterised Brief Encounter we now live in a world where self-gratification is all, ignoring Sarah Silverman's holy fool of an alcoholic sister-in-law ("Life has a gap in it... It just does. You don't go crazy trying to fill it." is the line she wisely espouses in the trailer) Williams runs after Kirby when he moves away (not to Africa but to a suspiciously large loft apartment). But Silverman is right, there is still a gap, by this point we know all the relationship short-cuts between Williams and Rogen, all those silly things couple do between themselves, comfort acts that can't be replicated. Sure the sex is better (and far more explicit) but part of the emotional connection isn't there. Williams still faces a gap, but which gap was worse.
The performances are spot on all round, Rogen's big scene when he finds out about the affair is touching and effective, whilst being cut in a truly unexpected way, Silverman too does a great job, even if it's barely different from her comedic persona. The show belongs to Michelle Williams, though, expressive through her physicality and deep beneath her eyes, even when you disagree with Margot choices (be it the faux irritability at the start or the decision to enact her desires) you fully understand the motivation. There are two scenes on a fairground ride, tipping points for the character, where Michelle does the sort of fantastic jaw-dropping work that justifies her Oscar nominations as her entire situation catches up with her and you know where she must go next.
Sarah Polley is an poetic director, focussed on finding the truth in the characters, and working again with Away from Her DP Luc Montpellier, they bathe Williams in the light of renaissance art, confirming the character is at mercy of her sexual and emotional make-up.
Now I read back at that review and it feels like a rave, but I have to return to my earlier comments. A film mustn't lose the audience, even for 10 seconds. And this film lost me. There is a discussion between Williams and Kirby that uses homophobic language. I understand why, it's Williams teasing Kirby to admit he likes her, but it is protracted and I was offended. It seemed to me an unnecessary way to make the point and as a gay man I felt there wasn't a good enough reason, or a scene later that balanced out the homophobic attitudes. That one scene, which many people probably don't even notice cost this film a blob, and whilst I would like to recommend the film for the performances, the film-making and every other scene, that one exchange seriously undermines the movie and therefore I feel I have to caution potential cinema goers.
Thursday, 30 August 2012
Take This Waltz
Wednesday, 3 August 2011
Friday, 15 April 2011
Something we all do (Out this week - 15/04/11)
Odd little week, without much exciting at the cinemas, but some independent US and overseas efforts keep the art-house crowd happy enough. With the latest block buster efforts from Catherine Hardwicke and Wes Craven fighting for the top spot I'll definitely be attending a multiplex at some point, but the film of the week is Little White Lies.
Little White Lies
Actor turned director Guillaume Canet amazed everyone with his 2007 thriller Tell No One and here gets the opportunity to follow-up with a multiple character mood piece as a group of bourgeois 30 somethings head to the coast to play fast and loose with the truth of their relationships. Marion Cotillard reminds everyone she's French.
Runs like a Gay Excitometer: ●●●●●●○○○○
Meeks Cutoff
Michelle Williams (with a lab called Lucy) broke hearts in Kelly Reichart's relationship drama and now they have reteamed for this female centric look at the journey west taken by the early settlers. It's a very early horse in the 2012 Oscar race - be interesting to see if it's remembered at the end of the year.
Runs like a Gay Excitometer: ●●●●●●○○○○
Red Riding Hood
With undertones of terrorism paranoia and the nature of sexual desire, Hardwicke's interviews about her new Twilight inspired Werewolf/fairy tale hybrid are more fascinating than most of the pre-release publicity. Still the costumes look fantastic.
Runs like a Gay Excitometer: ●●●●●○○○○○
Scream 4
This is probably the biggest release I've heard of which has failed to screen the movie to Broadsheet critics prior to the release date. Anthony Quinn, writing for The Independent, is particularly pissed off by this, but it's hard to resist this belated sequel.
Runs like a Gay Excitometer: ●●●●○○○○○○
Winnie the Pooh
Charming looking return to the seven acre wood we all grew up in, with Christopher Robin's adventures with his stuffed animals. The trailer exhibits how Disney aren't afraid to play with the traditional illustrations, including words from the prose getting entangled with the story. Definitely the best choice for kids this month.
Runs like a Gay Excitometer: ●●●●○○○○○○
Cold Weather
Not strictly speaking mumblecore, but clearly influenced by the movement, this non-detective story with a brother-sister reuniting in Portland, Oregon over Conan Doyle and mutual friends has been highly praised by critics and festival goers and may just be a surprise worth looking out for.
Runs like a Gay Excitometer: ●●●○○○○○○○
Your Highness
Poisonous notices have scuppered any chance this stoner-medieval quest movie has of making it's budget back. It's like The Princess Bride but with all the wit and carefully crafted characterisations taken out. God knows how Oscar baity actors like Natalie Portman and James Franco were persuaded to get involved. Avoid.
Runs like a Gay Excitometer: ●●●○○○○○○○
And missed from last week:
Cold Fish
Japanese Black Comedy, supposedly based on a true story, that charts the differing fortunes of two aquarium owners as business and personal relationships descend into madness and serial killing. Askew glances to societal traditions in the far East are bound to come into play.
Runs like a Gay Excitometer: ●●●○○○○○○○
Saturday, 15 January 2011
Breaking up is so very hard to do (Out this week - 14/01/11)
We're still wading through prestige pictures here in the UK, with some awards calibre performances ready to shine through. Whilst I personally am checking out the low brow option at the multiplexes the other two top scorers both look interesting, with the clear film of the week being: 
Blue Valentine
Ryan Gosling and Michelle Williams (both of whom are very close to oscar nods for their work) headline this make-up/break-up relationship drama from director Derek Cianfrance. The process by which they made the film is as fascinating as the story - using different film stocks for each of the time periods covered, putting up the actors together in a house so they really know each others thoughts etc.
Runs like a Gay Excitometer: ●●●●●●○○○○
Conviction
Tony Goldwyn's true life-tale of a mother who enrols in law-school in order to begin a 18 year battle to free her wrongly convicted brother almost screams movie of the week, but it's empowering story and A-list cast (Hilary Swank, Sam Rockwell, Melissa Leo, Minnie Driver and Juliette Lewis) are enough to make it worthwhile.
Runs like a Gay Excitometer: ●●●●●●○○○○
The Green Hornet
Seth Rogen and Evan Goldberg may seem an unlikely pair of writers to embark on a superhero movie, given their last collaboration was Pineapple Express, but then the hornet is no ordinary superhero. As the deconstruction of comic book fanboy cinema continues it'll be interesting to see where this fits in the canon.
Runs like a Gay Excitometer: ●●●●●●○○○○
Henry's Crime
Just when you thought it was safe to return to the cinema Keanu Reeves has returned with this low key crime caper (he's robbing the same bank, again) with Vera Farmiga and James Caan lending some credibility.
Runs like a Gay Excitometer: ●●●●●○○○○○
Yamla Pagla Deewana
It's the Bollywood films that will probably benefit most from the recent changes in my grading system - whether it will be enough for any of them to be film of the week remains to be seen. This one's about a prodigal son returning to the bosum of his con-artist family.
Runs like a Gay Excitometer: ●●●○○○○○○○
Final Sacrifice
Also known as Last Letters from Monte Rosa it's a low budget second world war movie focussing on the relationships between German and Italian soldiers during the Allied invasion of Italy. I'm not sure about relationship between this film and Ari Taub previous war movie The Fallen is, but it looks like a very similar feel.
Runs like a Gay Excitometer: ●●○○○○○○○○
Travellers
It seems unlikely but this is the second week running where I've issued a one blob rating, and I fully stand by it. This dreadful looking indie brit follows a group of high flying city boys as they go into the Wilderness (of Surrey!!!) and get involved in a deadly game of cat and mouse with some Irish travellers.
Runs like a Gay Excitometer: ●○○○○○○○○○
Saturday, 6 November 2010
How Time Passes (Out this week - 05/11/10)
Happy Diwali (apologies for the delay), for those of you celebrating the festival of light and anyone Bollywood curious you do have a fine selection however there isn't really a competition for this weeks most anticipated film, every time Mike Leigh makes another picture it's an event. That said I believe the Robert Downey Jr. comedy vehicle will take the box office championship - personally I'd rather steam clean the cinema seats than watch that! Film of the week is Another Year.
Another Year
Following a normal happy middle class couple (played by Jim Broadbent and Ruth Sheen) over the course of one year, and a number of Sunday lunches, Leigh's latest looks at the varyiong fortunes of their friends and relatives. Lesley Manville and Imelda Stanton are among the supporting cast.
Runs like a Gay Excitometer: ●●●●●●●●●○
Chikku Bukku
The first of the Bollywood offerings is a little hard to track down, no IMDB listing as yet, and the details on pearl and dean are pretty vague. We do know it's a love story and stars Preeta Roa, sister of Amrita Rao, in her film debut.
Runs like a Gay Excitometer: ●●○○○○○○○○
Due Date
It's not a remake of Plane, Trains and Automobiles, really it isn't. It just looks and feels like a leaner meaner version with Robert Downey Jr. and Zach Galifianakis taking the Martin and Candy roles. I expect they fall a long way short. Jamie Foxx and Juliette Lewis take supporting roles.
Runs like a Gay Excitometer: ●●●●●○○○○○
Fit
Well meaning Brit film about homophobia in schools. The trailer makes it seem like a filmed TIE performance. I want to support it, but what can you do?
Runs like a Gay Excitometer: ●●●○○○○○○○
Golmaal 3
Not only am I not interested in this Bollywood sequel but I would go as far as complaining about the promotion of this film which claims it's the first threequel from India. The marketing team blatantly ignoring Satyajit Ray's Apu trilogy. Boo.
Runs like a Gay Excitometer: ●●○○○○○○○○
Let Me In
Superior looking US horror remake (as in superior for remakes, not superior than the original) based on the award winning Swedish vampire film. Chloe Moretz and Kodi Smit-McPhee play the pre-teen protagonists (bearing in mind one of them may be older than he/she appears) but it's Richard Jenkins who's getting the lions share of acting plaudits.
Runs like a Gay Excitometer: ●●●●●●○○○○
Mammoth
Lukas Moodysson's English language debut takes the template of Babel and looks at three interconnected storylines from across the globe. Gael Garcia Bernal and Michelle Williams are the middle class New Yorkers at the heart of the plot.
Runs like a Gay Excitometer: ●●●●○○○○○○
Red and White
Indonesian cinema looks at the pivotal period of postwar history where they fought for indepedence from the Dutch colonialists. It's an interesting stor which probably deserves to be told, but the cliches look to come thick and fast in this stodgy movie.
Runs like a Gay Excitometer: ●●○○○○○○○○
Uthama Puthiran
Finally we have another Eastern Import with few background details, other than it's a Tamil remake of the Teluga hit Ready.
Runs like a Gay Excitometer: ●●○○○○○○○○
Thursday, 9 September 2010
Michelle Williams
Happy Birthday to
Michelle Williams
30 today
I like the former Mrs. Heath Ledger, not just because she's an exciting and varied screen presence, but also because she comes across as very normal in real life; there just isn't an ounce of self importance around her. Some high profile projects coming up including oscar bait Blue Valentine and Noah Baumbach's next film, but I'm most interested in seeing Take this Waltz.
Wednesday, 28 April 2010
Shutter Island
2010. Dir: Martin Scorsese. Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingley, Max von Sydow and Michelle Williams. ●●●●○
I'm not much of a reader. Sure, like anyone I can devour an airport paperback in a couple of sittings, but these are few and far between. I spend much more time between books, with dogeared classics drifting around my desk waiting for the first chapter to be tried agian. Occasionally though I make a bit of effort. It could be because I love the author's style (Michael Chabon, J.G Ballard) or because I've heard great things (The Time Traveler's Wife, Curious incident of the dog in the night-time) OR because I hear there's going to be a movie made form it. Which how I came to read Dennis Lehane's Shutter Island.
I hated it.
But that negative experience meant that I could, when the film came out, watch it with a understanding of where the plot was going and pre-warned about the style. Lehane, who specialises in adult crime thrillers (Mystic River and Gone, Baby, Gone have both been sucessfully adapted to the big screen), set out to write a genre piece, a gothic mystery with a dramatic twist. As a novel I felt it didn't work as the ending was too neat, too cliched to be true. Of course it's a film cliche, anyway, so naturally it works better in that medium.
As the film starts we see a ferry coming out of the mist on it's way to the titular island and its maximum security institute for the criminally insane. Before we've had a chance to fully register the characters Marshalls Teddy Daniels (DiCaprio) and Chuck Aule (geddit???!!! - Mark Ruffalo) are being thundered away from the dock in an open top jeep to a soundtrack of intense classics.
The plots own macguffin is escaped prisoner Rachel Solando who's miraculously squeezed through her bars and disappered into the inhospital island, and the Marshalls have been called to help track her down. Not that that's the only thing on DiCaprio's mind. Whilst he's there he must find out the truth about the secret mind drugs that sinister phychiatrist's Ben Kingsley and Max von Sydow are dishing out and avenge the murder of his fragile wife Dolores Chanal (Michelle Williams) by the arsonist Andrew Laeddis who may also be, unregistered, in the island. Meanwhile he's suffering from violent headaches, dreaming about his wife's murder, suffering from flashbacks to World War 2. And, to top it all off, there's a big storm coming.
If all of this combined makes it seem like there's an awful lot going on, you're right. But remember most of these events are red herrings. The film is packing in incident and characters to confuse you, to obscure the truth from your vision. Like the fog in the opening, we aren't meant to understand the full implications of the search until that thrid act reveal. Although you could read those last two paragraphs and in effect solve the entire mystery.
Marty knows what he's doing with the story, in what must be his most satisfying film since Goodfellas. The sensibility of the novel and the genre is a ball that Scorsese is more than happy to pick up and run with. Every underlined clue, every musical cue, every jumpy edit seems to be perfectly judged to reinforce the storys central conceit. It is both a pastiche and a modern response to the melodrams of the 40's and 50's where the heroine (usually) begins to doubt her own security and sanity The Spiral Staircase, Gaslight and Sorry, Wrong Number all come to mind.
To that end we also completely forget it's a Scorsese picture, wih it's use of a classical soundtrack and heavy handed symbolism it's about as far away from his past masterpieces as you can imagine. Only the concentration camp shoot out with it's relentless tracking shot is a clue to who you're working with.
In the lead role DiCaprio continues to grow as an actor, able to convey much with a look or a throwaway line. Even the more outre choices - like the completely gonzo scribbling - seem to fit with the characters arc. The way he plays the final scene by the doors of the asylum is incredible, a massive awareness of his situation combined with a confidence about the path he must follow.
I expect in 10 years time we'll look back at this period in DiCaprio's career (with this Inception and Clint Eastwood J. Edgar Hoover biopic) when he truly matured into the greatest actor of his generation
Ben Kingsley also givs a rare performance as the doctor in charge, slipping from playfulness through exasperation to dismissive sometimes within a single speech.
As you would expect in a Scorsese picture the design is solid, with Dante Ferretti's (Casino, Interview with the Vampire) production design inside Robert Richardson's (Inglorious Basterds, Powder Keg) lens meaning every frame is a piece of art.
Overall this is a wonderful throwback to the films of yore, only let down by it's lack of ambition, with no commentary about the world outside of the film.
