This week has not been good to me in terms of the films I’ve been watching. Sometimes I go through days or nights where I start a film to discover its not worth watching. I know, I know I should give it time and see it through, possibly talk about it on here, but I can’t find myself wasting my time on a poor film when I could be watching a half-decent one. I won’t mention those that I have turned off less than 30 mins (60 mins and I have to watch, having committed so much time) in and it off and gone, time to see what else there’s to offer. My last full film was the disappointing Birdman of Alcatraz (1962) another John Frankenheimer/Burt Lancaster collaboration.
However I can’t even compare that to the film I found myself glue to tonight. I’ve watched a good few foreign films this past month, mostly German and a few more ready to go. I generally find them more engaging than some of the English language fare of late, I guess it’s because they are more willing to take risks with the plots, characters and visually too. There are just stronger and once you’re in your compelled to watch and read the subtitles, without them you’d be literally lost to what can be a powerful story. Like Two Days, One Night/Deux jours, une nuit (2014) which I was hoping would be half decent compared to those I had abandoned already, I wasn’t prepared to do that again. At first I thought this was a liberally film about unions, discussion of a ballot at work going on, whilst Sandra (Marion Cotillard) is taking her next antidepressant for the day. It was not until I realised this ballot was integral to her families future that I was drawn into this emotionally taught film.
I wouldn’t be the first to draw comparisons between Two Days, One Night and it’s grandfather Bicycle Thieves/Ladri di biciclette (1948) which follows a father (Lamberto Maggiorani) and son (Enzo Staiola) in search of a stolen bicycle that means the difference between an income or life on the bread line. Surrounded by bikes and the temptation, he follows lead after lead, whilst trying to set an example to his son, to do the right thing when life gets tough. The son can not truly comprehend what could possible lay ahead for him, whilst his father’s filled with dread fear and guilt in a country struggling to get back on its feet once more.
We have move along way forward since war-torn Italy, it’s now contemporary France and a small solar panel manufacturer has made a decision to lay off Sandra who was off sick with depression. She’s ready to make her return when the threat of her job is very much on the line. A ballot has been taken by her colleagues who have agreed to take a €1,000 bonus over her return to work. It seems unfair that they would do this to her, however they each have their reasons for doing so. At this stage we have only met herself, her husband Manu (Fabrizio Rongione) and her next closest ally Julliette (Catherine Salée). We have yet to hit the roads and begin the film and all the emotion that comes with it.
Here we don’t have the father son relationship throughout the film, instead its the husband and wife. It’s a more conscious decision on his part to support her, usually it would be the other way around, the woman supporting the main male bread-winner. This is thankfully the 21st century where either or both partners can support the family with the added depth of mental illness and the global recession still having a knock-on effect on the economy.
If you take the film on its script, there is a lot of repetition going on, Sandra basically having the same conversation, change the names around, the simplicity of the repetition allows us to see that her job over the weekend after the first and before the second ballot lays ahead. Taking her fight to her colleagues, hoping to win their vote before they cast it. Listening to all those who will listen, some more sympathetic, a bonus or position is lost. Each of them have their own unique situations, low-income, supporting a family, a new house, paying a years worth of bills, all legitimate reasons to vote no. Whilst others who she meets are willing to give up a potential bonus, an act of kindness and sacrifice. The conversations bring out the honesty in people, we see them outside the safety of the work-place they are different people in a domestic context.
Sandra is constantly in a vulnerable state throughout, relying on her antidepressants more than she wants to admit. Is she really able to return to work, she has the fight to do so. Never giving up like the father in Bicycle Thieves shows that however the human spirit is, someone will be there for you. The despair that both characters go through is very human and relatable, away from the glamour of the Hollywood dream that would see them return to work with ease. The ending here reminds how tough the modern workplace is, even with a greater understanding of mental illness there’s always barriers placed before us.
A film originally recommended to me during my last year at art-school. I caught Lone Star (1996) a few years ago and found it to be a richly rewarding film with a lot of depth. I thought this time around I could really do the film some justice after a few more years exploration of the Western. Released during the mid 1990’s when the genre had seen something of a resurgence, beginning with Pale Rider (1985) going through to, well Lone Star and Buffalo Soldiers (1997) it would not pick up much traction until a few years ago with True Grit (2010) and Django Unchained (2012) that began to rework and understand the genre for a new audience in a time of uncertainty and political tensions. Also just in time for me to catch a few at the cinema too.
So what makes Lone Star stand the test of time to some of the more forgotten films that played fast and loose with the tropes and language of the genre, they maybe fun and action packed. It also stands alone from the pack, at a time when the life in the genre had run out of steam once more it takes the history of the genre and the state of Texas becoming more introspective. You could say it’s another modern version of The Man Who Shot Liberty Valance (1962) – more on that later. Beginning with the discovery of a pair of off-duty army officers who discover a skeleton, only a few meter’s away there’s a sheriff’s badge to go with it. Could this be relic from the old West now celebrate on film, or is the body of a more recent officer of the law?
We then travel back in time to the 1960’s finding it’s like the good old days with a crooked sheriff Charlie Wade (Kris Kristofferson) who holds the Rio county in his pocket. He’s foul-mouthed, racist and greedy, he knows the power that his position gives him and abuses it to his own advantage. The other officers just let him do get away with almost anything. Except Buddy Deeds (Matthew McConaughey) who has a conscience that doesn’t agree with the status quo. Sounds familiar when you look back at the genres golden age, a crooked sheriff and a straight-laced deputy, if only they could stand up to the corruption.
Except this doesn’t feel like the old West, its more like the new West that rose from the ashes of the civil war, corruption, the cattle boom and the demise of slavery. We have a more serious Western, or you could say straight drama that’s set in the same location as the Alamo. With a mystery at the centre of the film being led by Buddy Deed’s son Charlie (Chris Cooper) who wants to prove his suspicions right and put this case to bed before politics takes over for the upcoming election for Sheriff.
Whilst the case is going on, we take a closer look at the town of Rio County, the people who inhabit it. From the school that sees the parents fighting the teachers to educate their own ideas of the country’s history. The old saying that histories written by the winners really does shine through in these scenes. Mexican parents want a more honest account of the events leading up to the Alamo and beyond before they lost land to Texas. Whilst American’s want to hold onto the myth, a fabric and important part of their own past, informed by celebration, dime novels and of course the films that blurred that history into something far bigger and yet more vague in the process.
We focus on one of those teachers, Pilar (Elizabeth Peña) who previously had a relationship with Charlie. It’s like he returned from her past to haunt her now when she picks up her son who had been arrested. We also see tensions between her and her mother Mercedes Cruz (Miriam Colon) who has her own fight with her staff who are not helping the immigrant crisis. She identifies herself as a Mexican American, wanting to speak English North of the border, trying to assert that in others is a fight. You can already see it’s not just a murder mystery, we have the border problem – which has still not gone away. The discussion around what kids should be taught in schools, the identity of the county and the State of Texas.
The local Army base is also depicted, and it’s not just about following orders and the chain of command. We have a Black Colonel Del (Joe Morton) whose latest posting has brought him back home to his estranged father – Otis (Ron Canada) whose part of the counties history and as we see the demise of Charlie Wade. The father son-relationship has it’s moments that are about to repeat themselves in Don’s own son who aspires to go to join the army. Whilst a current soldier who sees the army as a form of security in a society that wont accept the colour of her skin.
You can see a lot is going on in this film, longer than the average Western, it gives time to develop all these facets of a town that is in a state of constant change. Attempting to grapple where they all are. For Charlie it’s too things, the truth behind the death of his predecessor that has taken on mythic stature, which ultimately he won’t try and break, the truth for him and to shut the case is enough. There’s little he can really do once the truth is out. Like that finally revealed by Ransom Stoddard (James Stewart) in The Man Who Shot Liberty Valance, as much as he tries to set the record straight he can’t fight the myth, defeated by a journalist who refuses to publish it, knowing the power of the truth in the face of myth. Charlie understands that power far more than the old Senator who attends his old friends funeral. It’s bigger than him or anyone can really imagine.
With so much going on and little action it’s an incredible change in tone, placing this Western in the Revisionist category, one that maintains the language but has moved on in time. You can no longer settle your disagreements like men with guns outside, times have indeed changed. It’s a film that takes it’s time to spend time with characters and really get into the meat of what’s going on in that part of the world. It’s a nice change too to see where the genre has come from the rebirth in the mid-eighties that celebrated the genre to a film that really interrogates it and ask, where has it all gone.
Now this is a rarity, a review of a superhero film. Previously I’ve seen a few superhero films, I could give a list – mainly X-Men, as I grew up with the cartoon as a child. Only a few months ago I caught Deadpool (2016), yes I’m a bit slower when it comes to the costumed characters. When I heard this film in the same breath of the Western I was more interested in seeing Logan (2017) billed as being Hugh Jackman‘s final outing as the angry clawed loner. Also to be the first and possibly worthy film for the character – which I can’t really comment on.
I can however draw on my understanding of the Western in relation to Logan, which will take up the majority of my time here. So let’s get under, saddle up and ride on out. Or in Logan/James Hewlett (Jackman) is a limo driver in the year 2029, living in Mexico. He is clearly tired and ravaged by time, the years haven’t been good to him. The once virile mutant filled with rage really doesn’t want to get into fight, he’s become reluctant to draw out the adamantium that have become more of a curse than before. The feeling of immortality has long faded, age and time is catching up with him. Much like in The Gunfighter (1950) – Johnny Ringo (Gregory Peck) who wants to lay down his gun, tired of killing and running, wanting a normal life. His celebrity has long-lost it’s appeal, now a target for young wannabe’s hungry for that trophy and title “I shot Johnny Ringo”. Wolverine/Logan is our gunfighter who has gone into hiding, nursing Charles Xavier (Patrick Stewart) whose suffering with dementia, needing medication to keep him lucid. Any drop in dosage can unleashed his now uncontrolled mental abilities can be felt on an almost planetary scale – it’s just not worth thinking about.
So if Logan is the gunfighter, Xavier is the elderly parent who once took him under his wing, brought him up to be the man he hoped to be like. It would be wrong to compare Xavier to a Walter Brennan character who acted as the older sidekick whose life experience’s are shared with our hero. We also have a mutant tracker, an albino Caliban (Stephen Merchant) is the unwitting sidekick who keeps both in check. We have the first of our principal characters in place now.
The film begins as it means go on, setting the tone, its hard language and bloody violence, not through Logan wanting to deliver it. Coming from a place of self-defense of self-preservation, showing that there is a place for violence in the comic book universe beyond imaginary buildings and cities being blown up in a computer. The violence leaves little to the imagination, even quick editing we are still left feel slightly queasy at the body parts being cut into and off into multiple victims throughout the film. It’s also the first time that I’ve heard Stewart swearing and as coarsely. I’m reminded of Unforgiven (1992) that sees violence rise from the embers of once prolific gunfighter William Munny (Clint Eastwood,) who picks his gun up hopefully for the last time, a big pay off that will support his family. Turning back to an old undisturbed part of his life, thought to be tamed by his dead wife. What we see is a resurgence in those aggressive emotions, the death of his friend Ned Logan (Morgan Freeman) a line has been crossed, up to this point he’s been rusty with his rifle, not able to mount a horse without assistance, a shadow of his former self. Logan is Munny just with a adamantium skeleton – no need for the rifle here.
The films director (James Mangold) has been pretty blatant in his sources of inspiration – namely Shane (1953), the titular gunfighter played by Alan Ladd who enters into civilisation if only briefly to free a town from the strangle hold of Ryker (Emile Meyer) threatening the homesteaders who were trying to make a life for themselves. Then there’s the annoying kid Joey Starrett (Brandon De Wilde) who looked up and adored the man with a gun, who could handle it with such finesse and skill it put his own father Joe Starrett (Van Heflin) to shame, he was not the man who he wanted to look up to. That was something he had to learn and accept. The acts of violence that Shane commits are held back to the end of the film, allowing us to see this strong stoic figure who only shoots when he really needs to. This skill is more than just that, it’s a form of defense that stops him functioning in society. He ultimately has to ride on away from the homesteaders who have chosen a peaceful life. The link’s seen in a few scenes Logan, we see it literally on TV, supposed to be nearly 100 years old (76 years, but whose counting). Showing that it still hows the power to hold the attention of an audience. The scenes carefully chosen to include Shane.
Our Shane is clearly Logan whose followed by his own kid (spoiler!!) a young Mexican girl – Laura (Dafne Keen) herself on the run from an army of men and mutant who want to capture her. Her own existence is very similar to Logan’s, through no fault of her own plagued by this mutation that has been engineered, thanks to mad scientist – Dr. Rice (Richard E. Grant), a connection to the X-Men cannon. One of a new generation who are on the run, the gunfighter of the Marvel universe start even younger. No need for guns, they were born with their own gifts (if you can call them that.
Away from the Western connections and themes we have that of family, having only Xavier and Caliban as Logan’s family, its dysfunctional, a father figure who has become the receiver of care. Family isn’t something that comes naturally to him, the violence in him does not allow it to really happen. All he’s ever had has either left him or been killed. With the unwanted arrival of Laura his world starts to change, his perspective on life, he softens up towards the end if only reluctantly. She also acts as a way of the character carrying on in future films and the wider Marvel comic universe which I know little about. Here she’s just a child, but one with more than her share of issues to conquer in order to function. The baton’s passed here as characters die, passing them onto new ones.
I’ll end where I began, I’ll probably never again review another comic book film, this however spoke to me, my passions, the ideas in the western are very strong. You could say the comic book super hero is just another gunfighter, their adventures chronicled in the pulp that made them. The dime novels of the 1800’s did the same for Buffalo Bill and Jesse James and numerous others, the legends were being printed, the truth being blurred with each publication, which is referenced also in the film with a subtle self-awareness that doesn’t take you out of the film. You could say it’s a Western, just with an angry guy you don’t want to cross.
Continuing my exploration of the influence of The Searchers (1956) on films, here the Western, I’m stopping in with The Unforgiven (1960) which shares and elaborates on some on the themes and even down to the imagery that’s heightened here. Also spurred on after reading a review last month of the film over at Bored and Dangerous who I in turn recommended Cheyenne Autumn (1964) to looking at the depiction of the Native Americans, which again I will touch upon.
Now I first caught this film about 5 years ago, I focused more on the mis-casting of Audrey Hepburn, now I’m not so concerned about that. I’ve also seen more films by both lead actors and the director John Huston who dabbled in practically every genre that Hollywood works it. Instead I felt from the very beginning of the film I was taken aback by the dark and mysterious soundtrack took me into a world where nothing is certain, the truth is hidden, even out in a landscape where being honest is the only way to survive and do business. It’s the arrival of a rider Johnny Portugal (John Saxon) with a saber, much like the beginning of a Shakespeare play predicting what will happen, spouting a very harsh truth that’s still cryptic enough that it lingers in the audiences mind throughout. He’s hiding in the bushes on his horse, ready to scare the life out of Rachel Zachary (Hepburn) still innocent to the world around her, the next few days are going to be quite revealing for her.
So how does this compare with The Searchers then? Well from the start, if Rachel is to be Kiowa as we are lead to believe she is the Martin Pawley (Jeffrey Hunter) or Debbie (Natalie Wood) has long been accepted into the Zachary family, with a white mother Mattilda (Lillian Gish) and three brothers who have taken in and raised this child, now a young woman as their own. Known as an abandoned child has been long been assimilated into White civilisation. So any revelation shouldn’t cause that much harm, can it? In the home of the Edwards in the John Ford original, Martin Pawley is seem as an Edwards, there’s no question of his place in the home or in the film, accepted. Debbie has been written off as a squaw, better off dead, there’s no place for her, that’s until Ethan finally on rescuing her, decides not to kill her, instead returning her to the home of the Jorgensens, in a memorable sequence that brings the film to a close. Of course that wouldn’t make much for a film in The Unforgiven, Rachel’s identity is kept secret until much later on.
This is a time which could have seen the Jorgensens move away and settle in a different town, a town that is not aware of Debbie’s past that saw her brought up and married to Comanche chief Scar (Henry Brandon), she is far from pure in the eyes of a Wild West society, she’s tainted. So what about Rachel, at the moment she’s open to the possibility but gives it little thought when her mother brushes it aside.
I’ve not even turned to the Zachary brothers lead by Ben (Burt Lancaster) who I naturally thought would be the Ethan (John Wayne) of the film. Starting out hating her, wanting to search and hoping to kill his niece for the dirty blood that runs through her veins. Instead he’s a doting son and wrangler who has returned with a big dealing in the air with another local family. You can see his love for his mother when he literally lifts a piano on his back from a cart for her. He’s a mother boy, and father of the family. Could this be the Edwards has they survive the massacre and fought off the Comanches? The Zachary’s are a happy cohesive family on the surface, they have built a home out in the frontier, even if cows like to graze on the roof.
Everything starts to go wrong when Charlie Rawlins (Albert Salmi) who had just started courting Rachel is killed by a Kiowa. This is after we have already met them at the Zachary’s homestead, wanting to trade horses for Rachel. An offer refused which backfires. The offers refused but the question of her identity now wont go away, is she a Kiowa or not, the presence of the Native Americans suggest they mean business. A posse’s formed and they go in search of who we think are the Kiowas, it’s methodical, long and good length montage that finally leads them to Johnny Portugal the blast from the past, whose placed on trial, at the wrong end of noose. The truths revealed, with no room for the Zachary’s to wriggle out of. The tone of the film now changes, the family are seen as outcast unless they release Rachel to the Kiowa’s. To the point they want to humiliate her by stripping her down to reveal the truth, making them worse than the Kiowas are perceived to be. The Whites are just as bad if not worse.
Now onto the scenes that I hazily remember, the gunfight in the homestead, the Zacharys surrounded, minus one disgusted brother (Cash – Audie Murphy) so its 4 against an army of Kiowa’s. This is like the massacre in The Searchers as we only saw before when the secure the ranch pre-attack. Just as we saw in The Stalking Moon (1968) when its was 3 against 1. Here its more dramatic, Huston doesn’t leave anything out, every character has a dramatic moment, it’s literally jam-packed for at least 10 minutes, wanting to make every second count whilst they’re cooped up in the house. Lancaster is stronger than Ethan, able to accept Rachel for who she is and even kill her own kind, where as the Indian hater would kill them indiscriminately.
Finally I must turn to the casting of Hepburn who I originally thought was mis-cast, yet it’s her innocence that makes her perfect for the role. Not aware of who she truly is, her heritage, never questioning it. Thinking for a time she can marry her oldest brother, she has no understanding of family relationship beyond the power of love. When Charlie requests to start courting with her, she jumps at the chance, maybe to make Ben jealous, not that he would be. When she sees her Kiowa brother though, the man who killed her potential husband it brings out her natural self that she has been resisting. Resulting in an unsatisfying conclusion for me. Much like friend over at Bored and Dangerous – the happy ending, her family accept her, but does the wider society that left them all to be killed. Is family love all she needs when she knows deep down what she now wants – to be with the Kiowa. Who again are treated as one dimensional – which I’m not really surprised at, they are however allowed if however briefly to enter the white mans world to claim what is rightly theirs – Rachel.
There’s a reason why some actors/actresses decide to steer clear of living in Hollywood, it’s full of crazy people who have lost touch with reality. Out there to chase their dreams that may never happen. Taking a normal job, going to auditions, writing scripts, following any lead that could be their big break. It stinks of desperation and dreamers who have lost the plot, or are driven and won’t be pulled back into the world of the living, the sane with us who know to stay on the right side of the silver screen. Only the lucky few are picked, get the call and go over and make the big time. Then you have to apply the old saying “whatever goes up, must come down” tell that to Norma Desmond (Gloria Swanson) one of the victims of the introduction of sound. The screen didn’t get smaller, in fact its blown wide open by those early talkies as everyone began to rush to that “gimmick” with all they could, seeing actors old and new change in a matter of years. You can see the effect of progress crystallised in a few films, but none of created a victim of that progress as frightening as Billy Wilder in his chilling take on Hollywood with Sunset Boulevard (1950). Having been in tinsel town for almost 20 years he had he own fair share of stories to tell, but they would be true, and that would be unfair on those who have given him all he has made in this foreign country he calls home.
It’s been a few years since I first caught this striking film, a dark comment on an industry that Wilder was more than willing to use as material. My thoughts on the film have had time to mature and change over that time. I’ve taken in many, many more films, a small portion commenting on the industry that produces them. We’ve just seen a film briefly win Best Picture before being snapped away due to an admin error. Hollywood loves the praise itself, but sometimes the ego’s been stroked a little too often and a conscience for the better film to be honored props up, declare Moonlight (2016) the winner over La La Land (2016) which was a front-runner for what seems a year since it was first premiered.
However if we go back to 1950 it’s a very different time and the golden age is starting to crumble after the studio system was being broken down by both Washington and the stars who made the studios so powerful. The only real power was censorship, which was skirted by Wilder. American cinema was entering a new age of the psychological, the fear of the Soviets, the first decade of peace, after WWII was still uneasy with the war on communism being fought in Korea. With all this going on Hollywood is ripe for he picking.
If we go back to the dawn of sounds we see numerous careers being ended, the fear of rejection and uncertainty in an industry of replace and progression. Culminated here in Norma Desmond, one of the first film stars to be let go or forgotten, or as we learn simply too much to handle, one of the first diva’s. Of course the dark twist is that she’s played by Gloria Swanson one of those much forgotten once celebrated actors whose own fame had since faded. Was this a version of herself, a pastiche of the silent era stars, would the audience be able to tell the difference. A dastardly piece of casting, of course Swanson knew exactly what she was doing. A heightened version of what her generation could now be. The self-awareness she brought, the history which could still be hers if she hadn’t found another career, whilst also having a minor acting career was all but forgotten. The fact she carried on, shows how she adapted to the introduction of sound. Just where did she find the unhinged Desmond that is very much part of that desire to be famous, once the attention has gone, how does the individual adapt to life post-fame? Desmond is the ultimate forgotten star.
Add to that a version of Wilder and Charles Brackett who co wrote this film, their view of the system for an aspiring script-writer. Is Boulevard a culmination of their experiences, did the encounter a Greta Garbo or Mary Pickford who was lost in the transition now living in a delusion of grandeur in the Hollywood hills. The writer and the narrator here is Joe Gilles played by William Holden an actor of the new confident age of sound, two generations sharing the screen. Gilles the struggling writer is knee-deep in debt, he can’t get a script green-lit for the life of him, his cars threatened with repossession. When will he get a break? It’s only when he gets a flat during a car chase does he find a mansion that wouldn’t look out-of-place in Citizen Kane (1941). Shelter was the storm that is his collapsing world. On meeting Desmond a has-been, his life’s being turned on its head, both using each other to their own ends, nothing new there.
So who has the upper hand here? It starts out as Gilles who takes on Desmond overblown untamed screenplay meant for the silent screen rather than a contemporary audience, OK maybe the arty world might like it. A script that relied more on the eyes, the facial gestures rather than dialogue to progress the plot. Relying on titles of varying length instead. It’s Gilles’s task to adapt and tame this beast of a script, without upsetting the original writer’s ego. Of course this soon gets out of hand, the writer finds that he’s been moved in to the house now. His life is no longer his own, in a trap of gifts and love of an older woman who see’s him as her way back to the big or small screen – depend who perspective you look at it. He want to use her script for his next big film, can he make it work for both.
It’s a film ultimately of professional back stabbing, who can walkover who first and hardest and still prosper. We see from the beginning that it hadn’t worked out too well for someone who is hovering dead in the swimming pool. A classic trope of Film noir, start at the grizzly demise of someone and work backwards, just how did this guy end up in the pool, I don’t think he tripped? What we see in the course of the film is two figures hungry for fame eat away at each other. One with step in the door, whilst another is just a shadow. Littered with figures from a forgotten age of cinema, a nod to them and a reminder that they were still around, they just be playing cards had to carve out a life post fame.
Last it also works perfectly as a comment on an industry, Paramount Pictures included that released the film is ultimately a business that will pick up and drop the next big thing to make a few bucks. The kind of cynicism that Wilder is known for. It’s a method that still works to this day, one day your hot, then you make a flop and out you go NEXT!! That’s show-business for ya.
There’s a reason why Moonlight (2016) won last night at the Oscars, even after the result was fudged up by Faye Dunaway and her old pal Warren Beatty did their best during the biggest blunder of the ceremonies 89 year history. Even before the result was corrected on the stage that saw the award go to La La Land (2016) I knew in my heart that it should have gone to admittedly the stronger of the two films – Moonlight. I’d like to use this as my argument for why it should and rightly so have been awarded Best Picture.
At first I wasn’t really fussed by seeing the film, know it was something special. It took reading and listening reviews for me to change my mind and check it out. A 3 act film that follows one Black guy from child to manhood, not so different on the surface they have been urban films before, but none that tackle homosexuality and so sensitively too. A social urban film that doesn’t play up to the stereotypes of African-Americans for a white audiences. Its story is ultimately human which has allowed it to transcend the barrier of colour. The humanity in La La Land’s restricted within the confines of a couple who are striving for their own dreams. Far more selfish than most those in Moonlight. Maybe it’s that we follow Chiron played by three different actors allowing us to spend so much time with him, it’s far more intimate.
La La Land is essentially a love letter to Hollywood by the machine that produced it, a musical that loves musicals. Now there’s nothing wrong with that, however it feels constructed with the intent to win votes for last night. I know that’s not the case, with a release and campaign doing that job for the film. With Moonlight the love is for the a hard-won emotion that Chiron who begins his journey with us under 10 as Little (Alex R. Hibbert) a cute and shy kid who has far more on his mind than most kids. Picked on for being different, but why is he different, at his tender age he begins to look in on himself to consider he maybe gay. Supported ironically by drug lord come mentor Juan (Mahershala Ali) (who rightly won best supporting) who is the cause of Little’s mum Paula’s addiction. Herself played by a dazzling Naomie Harris who filmed her scenes in 3 days in between promotion for the latest Bond film.
You feel nothing but sympathy for Little’s struggle on the street, at school, at home and with his own identity. Finding strength in his young friend Kevin (Jaden Piner) who we follow also throughout Chiron’s life. All you want to do is reach into the screen and hug the little man who has so much to deal with and nowhere to turn. Juan is the only father figure in his life, who is not wanted by Paula as we later learn.
Moving onto high-school and we meet Black (Trevante Rhodes) the teenage Chiron whose grown slightly in confidence, yet still painfully shy. Still friends with Kevin (Jharrel Jerome) who will play a pivotal role in Black’s sexuality and future. As we have seen before in film, high-schools harsh world for some, filled with social pressures to conform as you leave childhood to become adult. You really get a sense of the angst that has been building up before it explodes after a fight on the playground that pits friends against each other. It’s nothing short of being a painful watch for the audience. In a way you see it coming, all the pent-up rage being unleashed after a moment of tenderness’s matched with one of betrayal before violence follows.
The final act sees an incredible transformation for Chiron (Ashton Sanders) who is now a drug dealer, beefed up and wearing bling to suit the life he has fallen into. On the surface it gives him power and confidence on the streets, no one questions him, the fear he can incite into those below him. It takes a few minutes to realise this is the same guy who we saw only moments ago. We are also bang-up-to-date in terms of period. La La Land does have a character transformation with that clever and controversial twist. Here in Streets of Atlanta, Georgia you could say Chiron has come full circle, taking on the role of his once father figure who took him under his wing. Yet its all a facade that takes one phone call and two visits to his mother and Kevin.
The last third sees everything come to a close, making sense of what has just happened, he’s come so far yet has not developed emotionally to have a romantic relationship, too insecure, too damaged by his past and his position prevents him from being truly happy. Very different to Seb (Ryan Gosling) and Mia (Emma Stone) who made personal sacrifices to fulfill the creative ambitions, their dreams come true at great cost to each other. In Miami and Georgia reality is against Chiron, his economic, family, social and sexual background are not in his favor. Its a much richer, human drama that wipes the floor with La La Land, which is a completely different film.
Now does this show a change in Oscar voting and ultimately American films, or is it simply a fluke that 3 Black films had prominent nominations in multiple catergories. For me, its a good start to see a much more varied mix of films to enjoy and celebrate, different stories to tell and share with audiences. It’s really too early to tell if this progress is here to stay or just simply lip service, lets hope this year sees more progress, more diversity whilst still exciting stories to
I’m in the middle of 3 days at the cinema, I’ve just come back from an all guns blazing The LEGO Batman Movie (2017) which is as clever and fun as Deadpool (2016) however I don’t want to discuss those film which I really enjoyed. Instead I want to look at a more adult film which I caught last night 20th Century Women (2016) which I came away from feeling chilled and somehow feeling reassured if only for a short time. Coming from Mike Mills previous film Beginners (2010) which I recently learned was the directors fictional account of discovering his father (Christopher Plummer) was gay, that’s after a long absence in his life. It was a similar experience, allowing you to process the imagery differently from the average film, it had an more like a piece of video art with Plummer and Ewan McGregor as Miles. I’m struggling to really define what it was beyond being light, thought-provoking and fun.
I can see the director gets his best material from his own past, this time turning to his mother Dorothea whose played by Annette Bening, who through narration of the characters we build up their personal history, talking directly to the audience, like an open diary that takes a loose documentary. First meeting Dorothea herself who was born during the depression, its 1979 and she’s now 55 years old, a lot has changed during her life already. We get a brief life story to this point, she’s a single mother who starts to doubt her own parenting on only son Jame (Lucas Jade Zumann) aka Mike, with no father in his life how will he grow up to be a fully formed young man. I guess all parents wonder how they are to mold their children especially as they enter puberty. It’s the last chance they can try to leave their mark on them before they make their own way in life.
Living in a house under renovation we see handy man William (Billy Crudup) a mechanic whose helping restore the house after years of neglect and a history that Dorothea doesn’t want to see repeated before the century draws to a close. She comes to the film with a wealth of life experience and the vulnerabilities that come as her emotional baggage. She’s open to what’s going on around, a sense of humor that lets her explore, yet still a woman from another time trying to make sense if this time. Which we see in stills that illustrates the close of the Seventies, punk is dying and Reagan is about to become President, times indeed are changing for everyone.
With such a small cast we have time to explore everyone of them in great detail. From the perfectly cast Bening who has reached a point in her parenting when she feels she needs help from her photographer lodger Abie (Greta Gerwig) who we learn is recovering from cervical cancer who takes on trying to form young Jamie about how to be a man. Coming from a feminist perspective, not long out of the art world of New York she is confident of her body, yet unsure of her future. Whilst Jamie’s friend Julie (Elle Fanning) two years older than Jamie we see that they share a bed, and just sleep, very odd for a teenage couple, yet they are just friends which confuses the audiences and indeed Jamie. She is also asked to help form the young man, bringing with her raw adolescent female experience to her teaching. Both these women are hoping in their own ways to shape Jamie in their image of men or the ideal, which ultimately is an impossible task for anyone.
Turning to Jamie himself, on the surface he’s just another teenage guy having fun, exploring his new-found emotions and pushing the boundaries – nothing new there. However the more time we spend with him we can see that he’s a sensitive guy, open to understanding what it is to be a man, something we all learn to grapple with. Surrounded by female advice alone he can have to choose what works for him. You can see how the directors was formed in this sly autobiography of his formative years. Whilst the rabbit in the hat in William who sits in the background while a lot of the film goes on, we have to work out his position. Before he gets more screen time and we learn his place, his past which was formed in the 1960’s, trying to fit in to stay with his girlfriend. Just wanting to be loved, doing what he can stay happy, very human if you think about it.
I found that the narration by all, especially Bening’s to be confusing half way through, talking from the past about the future, even from the grave as we learn, as if this is her message to the living. At the half way point I thought we were at the end before things start to heat up for the characters, the formation of Jamie really begins to unravel and come back to hit Dorothea. What she wanted the women to do backfires to a point, her ideas of being a man are far different from those who are younger, its a generational gap that leaves her taken aback.
20th Century Women presents us with a time which has long since left us, ideas of what being a man or a woman have changed greatly too. It’s a glimpse back to a simpler time, but was it really, it looks that way – on the surface anyway. It was a refreshing to see cut-away to stills to illustrate ideas, even if they’re recycled, the intent is different as we draw the film to a close. It’s delightfully light at times reminding you not to take life too seriously even when it can be overwhelming at times.
A few months ago I wrote a review about Barbary Coast (1935) which saw the Western trying to survive in the guise of another genre, then the gangster which if you think about is/was an updated version of that genre. It was fascinating to see what is honestly a much forgotten film, even with Edward G. Robinson in the lead, a fish out of water whose the shark that swims with the fishes who are the genre. Staying with the 1930’s, and the struggling Western I came across the sub genre of the Victorian epic, a more familiar film is Gunga Din (1939) however I’d like to focus on Beau Geste (1939) also.
As Richard Slotkin explained in Gunfighter Nation it was the Western in a different guise, moving the action from one large nation to another, which could be England or France throughout their all-conquering empire. Here we have the French aristocracy and 3 English brothers who’ve been adopted into it. Before meeting the brothers we see a troop of the Foreign Legion arriving at an outpost, populate entirely with the dead soldiers who once occupied. You can see they all died in battle, hanging over the parapet in the fort. They have all met grisly ends, that much is clear, we don’t yet know how they reached that fate.
Jumping back 15 years we meet these 3 brothers as children in the comfort of a stately home in the country, playing war in the pond with model battleships complete with explosives. From a young age they want to go off and play war. When a side looses instead of leaving it as that, onto the next campaign they treat the loosing side with respect, sending the loosing side off into the waters, setting fire to them, enacting a Viking burial. They have a respect for the dead even at the tender ages of 10 if not younger. They have an understanding of gallantry and honor in the field of battle, something that we shall see come through in the film. After this scene we see the sale of a sapphire, however it doesn’t get passed the children who hide, one inside a suit of knights armor – Beau Geste, on the surface its funny to see the child hiding. He’s escaping into a soldier’s uniform that has probably seen battle. Now its acts as protection against unseeing eyes in peace time of France.
Moving forward 15 years again to almost the time we first started the film, we finally meet the adult brothers, who are not really English but young American stars, still who cares they sold tickets and I’m not going to knock Gary Cooper in anything from the 1930’s. It’s all happy families in the midst of the England which they will soon go out to protect. The young girl who knew the brothers, now a young woman Isobel Rivers (Susan Hayward) is now the affections for John Geste (Ray Milland). However before they leave the Blue Jewel, (not sure if it’s a sapphire goes missing in quick switching off of the lights. A family treasure’s stolen before them. Unusually before they begin to investigate they allow Isobel to leave, as she’s a woman she’s above suspicion. It’s gallantry of an old respectable world that sees her leave, Leaving only the men and Lady Patricia Brandon (Heather Thatcher) and the men to work it out.
They don’t get very far before the action soon moves to a desert in Morocco, two of the brothers Beau and Digby (Robert Preston) are now in uniform, they’ve done their training and now ready for to defend the Empire. It’s all one happy Empire out here, and the troops are keeping the peace. This can easily be translated to America, enlisted soldiers living on the fort, protecting civilians from “Indian attack”. In Geste the land around this is sand dunes for miles, they are the only civilisation for miles. The new recruits are about to be introduced, the scruff’s that have made it this far are ready to defend. These include the final brother John who can’t be separated from them for long, combined with a strong of duty to his country.
I haven’t even looked at the broken chain of command, the power-driven Sergeant Markoff (Brian Donlevy) who will do anything to take command from the dying outpost commander Lieutenant Martin has died after a long fever leaving disciplinarian in command of the fort. This allows him to work on the men, bearing down hard on them like never before, making life hard for them. Training is over and a new regime has come into force. Teaming up with none thief and spy Rassinoff (J. Carrol Naish) who inform him of an impending mutiny among the men. They’ve had enough of being worked to death in this inhospitable landscape, time to rebel.
With all this set-up we go into a much darker second half that sees the fort pushed to the limit of endurance of following the chain of command. The Mutiny is soon thwarted when Markoff blows it wide open, placing all but the Geste brothers under arrest, they are the only ones with bayonets, armed but unable to fire at their fellow-men. The chain of commands being tested when hostile or Moroccan forces who surround them. It’s time to put the mutiny and prisoners to one side and defend, it’s all men to their stations – about 30 odd. You can see from the first wave that it’s futile to keep up the attack for too long. However this is a film and the Legionnaires must win, at least for now.Each wave represent an attack by Native Americans, coming back with more expendable warriors to fall at the guns of the Blue coats.
As the men start to fall they aren’t left as they fell, instead in a unorthodox manoeuver the fallen are propped up, acting as number of things. A second defence to take the bullets, as decoy soldiers acting as an improvised illusion, the appearance of more men when there are far less. The men left alive carry on, but know that once they fall they’re bodies will receive the respect of the fallen. I’ve never seen such a tactic used in on-screen battle, it’s a desperate move by a desperate man who wants not only power but wealth that’s promised in the rumor of the Sapphire being in the possession of one of the Geste brothers, Markoff will do anything for it. The rules if war and chain of command mean nothing to him. In the far off outpost they are alone and at times have to make up their own rules. It’s up to the Geste brothers to finally remind us of what they learned back home in England, they are the opposite of what the officers above them represent.
Maybe now I need to see more Victorian epics and see how they translate to the Western, see how the legends are created for another empire that can easily be rewritten for another. My exploration of this genre never ceases to amaze me.
I’ve had a day to really process Jackie (2016) a film I have really been looking forward to. If only to gauge into more into the history of American history, it’s a glimpse into the life of Jacqueline Kennedy around the events of her husband John F. Kennedy, which really need little explaining really. It’s the first time that any First Lady has really been given the feature-length treatment which makes for another strong reason to check out this bold film that could open up for further first lady biopic’s.
Anyways enough of the introductions to first look at Natalie Portman‘s performance which really is her best, I know the trailer gave me a glimpse of what was to be seen. It’s a role that she has completely lost herself to, becoming absorbed into a public figure who has reached legendary status, short of what her husband reached. We meet her weeks what’s thought to be a few weeks after the state funeral for President Kennedy, giving her account of events to a journalist, believed to Theodore H. White of LIFE magazine played by Billy Crudup whose faced with the most challenging interview of his career. Jackie from the outset tells him that it’s her story, which she will personally edit before being published. Throughout the film we cut back to the interview for her to tell him not to write this or that. It’s too private to be released to the public, something that has not stopped the public’s imagination and countless biographies that have since pieced together her life and events around J.F.K’s assassination. Looking at Portman which she is not for the course of the film, she is so poised that you accept her as Jackie.
Where do I start with these events that slowly move forward from the assassination through to the funeral. The process of grieving on-screen allows us to get inside the still raw and fragmented memories that are still fresh for Jackie. An approach which I had prepared myself for. These memories make up a film that feels raw and very personal, whilst also putting in the necessary fact such as the rushed inauguration of J.B. Johnson (John Carroll Lynch) which can only reminded and reinforce the fact she is no longer the first lady. Everything is happening so fast for her, whilst for us its slowed down.
I have to mention the soundtrack by Mica Levi who last provided the disturbing atmosphere to Under the Skin (2013). Here the music is more traditional with an unnerving edge that gets again under the skin of the audience. It stops you from getting to comfortable as we see a woman’s life change over the space of a few days, her position, status and situation all changed.
Portman allows us into raw and vulnerable of times in Jacqueline Kennedy’s life as we see her having to deal with the change in not only her position to having to deal with the funeral arrangements, those suitable for a man of J.F.Ks standing, wanting the same level of ceremony that’s attached to Abraham Lincoln. There is a bit of history within the film in this respect as she starts to see his own position in American history, the 3rd President to be assassinated and unique, becoming the 4th and last to date. The unfolding events in connection to Lee Harvey Oswald who was later killed. All this history packed into this heavy film.
We see touch upon a single parent having to explain to the children of their fathers death, not an easy task for any spouse that has been left behind. However we hardly see the kids, its all about her and her grief, the kids are just too young to really understand. In concentrating on the wife we see a side of the marriage and Presidency that was unknown to me – Camelot the musical, having compared him to the a few times, we hear the final track as recorded by Richard Burton blasting through the White house as she begins to really process and grieve for her husband. A montage of that time which could have been hours, a night or a few days, preparing to leave and for the funeral, still playing the role of First Lady it will take one last appearance to bring her role to a close. I’m amazed how Portman could turn on the tears with and well the eyes up, she must have been tapping into personal events to deliver the emotion on-screen.
Away from her we have reality in the White House carrying on, L.B. Johnson wanting to move in and set up in the Oval office. Whilst Bobby Kennedy (Peter Sarsgaard) is left with the task of looking after Jackie who needs to be handled delicately, we see him on the defensive against the new administration as he tries to grieve for his brother which takes the form of swearing. He’s guiding her through, protecting her from potential danger and reality as it happens around her.
So coming to the film as a practical novice as far as Jackie Kennedy is concerned I have gained an insight into the events which combine recreations of events, if only in part to build up an image of who she was during that tragic time in her life. What caught me was the recreation of the White House tour, putting herself on display for the world, opening up the house to the nation. Staying true as possible to the original piece. From director Pablo Larraín who created the authentic (as possible) look for the recreation comes from a much effect used for No (2012) which converted footage from an old film camera – producing a very authentic polarising and washed out SD image.
Obviously this film has been held back for the good ol’ Oscar bait, it’s not a film you’ll remember for the events depicted within, if anything its that one performance which makes it worth watch. Also one of John Hurt’s last performances, you can see a lifetime of work is on display in his role as the unnamed priest, you can see a life of experience in his face, the Irish accent is forgivable and almost natural. bring with him his natural grandeur and that little nod that raises the film further up. I hope that Portman wins best Actress, although she has stiff competition from France with Isabelle Huppert who I would like to see in Elle (2016)
If it wasn’t for John Wayne having a scheduling conflict we may not have had the Ranown cycle. He was supposed to be playing the lead in the latest Budd Boetticher film that his company was producing. However he was about to start on The Searchers (1956) instead of leaving his director and film without a lead he recommended a good friend of his – Randolph Scott the role. It was the start 7 film partnership that would form the Ranown cycle created by the actor and director. Making their own Monument Valley out of Lone Pine, another iconic and ready-made stage for the myth of the West to be played out in.
It’s been just under a year since I reviewed made my last entry regarding this series of films, as I remember some films were stronger than others, now I have come full circle and back to the beginning with Seven Men from Now (1956) which really set-up the formula which was reworked in the majority of the seven films. We begin with a stormy night, getting the drama going straight away, a tall and water-soaked figure walks away from the camera to the rocks in search of shelter. It’s the ever reliable and stoic Scott playing Ben Stride who finds a campfire, keeping two men warm. It’s all cosy now, asking for a cup of coffee, when we learn he has lost his horse sometime ago in a gunfight, he’s been walking all day, tired and wet from a very long day. The two men grow suspicious when they discover he was a sheriff, reaching for their guns, the camera cuts away amidst gunshots, before we see Scott riding away with two horses, him on the back of one. The only survivor, but was it out of murder or survival. I carry this dark thought with me for a few minutes, questioning his motives, is he the man I know on the screen or someone whose out of a ride for revenge.
As always he rides alone and prefers it, enjoying the company of no one unless he really has to, which comes in the form of the Greer’s a couple traveling to California. Annie (Gail Russell) and John (Walter Reed) a poor excuse for a man who is struggling to get his wagon out of a muddy patch of ground. How has he gotten this far without being killed by gunfighter’s, cowboys or even worse Chiricahua’s who are on the loose. Surrounded by danger from the unseen and his own lack of manhood. Yet Annie has stayed with him, there must be more to him than meets the eye. Stride the gentlemen he is begins to ride with them, out of duty for the couple who have somehow survived this far into the West.
So as much as he wants to be alone with his tortured thoughts as he acts as guide and security for the traveller’s. We learn later on more of his past when they stop at a way station and the arrival of Bill Masters (Lee Marvin) and Clint (John Beradino) join him, they know more than the Greer’s who are just happy to be resting. We learn that the sheriffs wife was killed during a Wells Fargo robbery, a crime that Stride couldn’t stop, loosing his position in town soon after. He’s not only lost his wife but his position in society. He’s only a man with a debt to settle with the men who killed his wife.
There are similar back-stories throughout the Ranown cycle that have created these complicated characters for Scott to play, this is just the first of them, he’s digging deep into the psychology of the men he plays. Before we learn more we see who Masters is when they face a raiding party of Chiricahua’s who up until now have been spoken about. They are soon taken care of revealing his true colours, shooting a captive man in the back. Was he one of the seven shot down leaving six for Stride to take aim at, or was he being protected, funny how he was shot in the back though.
This is one of Marvin’s larger supporting roles before rising up to top billing. We can see how this clearly more physical actor can psychologically get under the skin of our hero. Sharing the Greer’s wagon shares a story, comparing one woman to Annie, who naturally pales in comparison, taking aim at both husband John and Stride who he was aiming at more. He doesn’t need a bullet to get under his skin, whilst John’s too cowardly to defend his wives honor. This Western is not just one of action and guns, its one of the mind, making it stand out from the standard B western.
Technically we can see that the look of the films in the series is being established, the imagery of Lone Pine. Visually it’s a bit hit and miss, editing is not as slick as it can be. The cinematography is starting to show signs of something greater, however the focusing can be distracting when we cut to a new scene. That’s not to take away from what is otherwise on-screen and in the script.
I’d forgotten how short and sweet these films really are, it’s a lean film coming in at under 80 minutes. We are soon back in civilisation where more characters are met, led by Payte Bodeen (John Larch) who is possibly the leader of these men. We also learn where the money is that has been with the Greer’s the whole time. The guilt of Strides past has never really left him, taking the money into his own care, taking responsibility, ultimately taking action for the loss of his wife and position. It’s a twist I forgot was even in the film, showing that it’s been a long time since my last viewing and just how well the film works as it moves to the finale as we see the characters all being revealed for who they are, they’ve all been hiding something from us and ultimately themselves. I’ll leave you with a clip from Blazing Saddles (1974) which just shows how much I have missed Randolph Scott on my screen and the imprint he has made on the genre.