Archive for the ‘ reviews ’ Category

Steven Soderbergh, Meet Sasha Grey

1

Steven Soderbergh would seem to have walked a pretty short, straight line from Sex, Lies, And Videotape – released way back when in 1989 — to The Girlfriend Experience. He has, once again, made a film which at first blush would seem to be explicitly about sex but which, viewers will find, shows nothing of the kind on screen. There is, of course, a great deal of talk on the subject, and The Girlfriend Experience being what it is, that talk is something slightly more explicit than in Sex, Lies… For those unfamiliar, The Girlfriend Experience stars Sasha Grey, who made a name for herself initially in hardcore-pornography, while name-dropping Jean-Luc Godard in interviews and displaying a penchant for masochism in her movies. In this film she plays an ultra-high-class call-girl, providing “the complete girlfriend experience” for her über-rich financial-district clients. And in typical Soderbergh style, the film is superbly edited, expertly shot, lushly colored… and colder than a witch tit. But mercifully, the casting of Grey turns about to be less a marketer’s wet-dream than an inspired, essential choice. She gives a surprising warmth to a role that doesn’t present too many obvious opportunities for drama or sentiment. And Soderbergh, who more often than not has struck me as kind of a wuss as a filmmaker, generally seems to have the good sense to stick with his star and the natural energy she carries with her. My biggest gripe would be that Soderbergh spends too much time with the various Wall Street meat-heads who are supposed have had their realities all shaken up by the “Great Recession.” Who the fuck cares? Some of this stuff will seem really dated in just a year’s time.

Kind of a bummer that this guy is what passes for a rebel in Hollywood these days, but I digress… The film is worth seeing, and Ms. Grey might just turn out to be the real deal. Whatever that is.

Advertisements

Gran Torino – Clint’s Ode To A Changing America

moviecar

The Ford Gran Torino was among the last American muscle cars produced in the 1971-1975 decline of Detroit factory performance cars. From about 1957-1970, American companies designed and built many particularly beautiful and fast cars. Corvette, Mustang, GTO, Challenger, AMX, Camaro, Firebird, Barracuda, to name a few. Originally conceived for racing purposes, these cars were later developed for street use, and were marketed specifically to the young using very powerful advertising tools like movies,television and magazines. The resulting street culture was dangerous and short lived in some ways, but today is a huge subculture involving young and old alike. Restoring, showing and collecting these cars is now the industry, kept alive by enthusiasts who undoubtedly feel these cars represent who they are or want to be.

1970 marked a definite shift away from the pursuit of faster and more outrageous cars for street purposes. Safety issues and manufacturing costs played a part, but mostly the new decade was shaping up to be hard economically for America. The country plunged into a record recession caused mainly by the reckless Vietnam War. Sound familiar? After 1973 there were shortages of fuel due to upheaval in the global oil industry and soon the focus was on energy efficiency. U.S. companies persisted in the marketing of muscle though, but increasingly failed in both design and execution. The 1972 Gran Torino is a perfect example. It was an ugly, terrible car by most muscle car standards. Now, though, in an age when cars are SO boring, the car of the movie may have some retro appeal, but it is the symbolic nature of this particular beast in the 2008 Clint Eastwood masterpiece Gran Torino that is more powerful.

The name Gran Torino comes from the Italian city of Turin, or Torino. It is the capital of the Italian automobile industry, headquarters for Fiat, Alfa Romeo and Lancia, just as Detroit has been the home of the big three American companies Ford, GM and Chrysler. The car was actually more of a standard level of automobile, a replacement in name and design for the mid-level Fairlane line that Ford had. Like they had for about a decade, the companies would offer a performance model at the high end of their lines with special engines and added sport features. These were always limited production cars, the most costly, and supposedly the best the companies had to offer. In 1972, Ford putting a big V-8 and some stripes and mags on a bloated family car and calling it Gran Torino was a lame attempt at preserving muscle car prestige. It signaled the end of an era and the tough times that lay ahead.

clintcar

It is an interesting choice of car and title for a film about a bitter man near the end of his life, struggling with the scars of his past and his relationship with the world around him. Clint’s character Walt Kowalski is one of the last of an old breed in a relentlessly changing world. He is a retired Detroit auto worker and Korean War veteran. A widower, he sits alone and stares with hatred at the world around him, especially his neighbors next door, a family of Hmong. His view of them is shaped by his past, the enemies he fought and killed in Korea. To him they are just more “gooks” and he’s bitter that his neighborhood has gone to shit and he blames them. When a gang tries to recruit the young boy next door, Kowalski will be drawn into their lives and be called to action, unwillingly at first. Through helping to boy and his family, he comes to know them and realizes that he has much to give, including the symbol of his youth.

He’s had the Gran Torino in his garage since it rolled off the line in 1972, and it has a special significance for him because among other things he actually worked on the assembly of the car. To him it’s a mean green street machine, an expression of his character that he preserved and cared for, a reminder of how things used to be in his life. This film is an ode to that past, and to ours as Americans, and a sort of poem to deal with the last century as we move into the next.

From about 1972 to present we have witnessed the downhill slide of the American auto industry as international competition (specifically Japan’s Big Three – Honda, Toyota and Nissan) took hold of the market with better and more efficient products. Most recently, to the amazement of American consumers and auto workers alike, it’s as if the U.S. industry has finally gone careening like a giant idiotic boulder down a huge mountainside with no brakes and certainly no will to reverse course. General Motors, once the world-dominating auto company, has just gone out of business, leaving its employees marooned. Chrysler and Ford may soon follow. Failure to make better products and to embrace new technologies is to blame, as is most certainly collusion with the oil industry. We are seeing the total collapse of an industry through reluctance to move in a responsible, forward-thinking way.  Since seeing this film at a snowy winter midnight screening, it has resonated more and more to me as a timely and poignant powerhouse of a movie.

It should be said that I have been a fan of Clint Eastwood the actor all my life, even in the cheesy films like Every Which Way But Loose (“Right turn, Clyde!….”) and the weaker recent ones like Bloodwork. I guess I’ll watch him in anything. He’s always been a favorite action hero. More recently, specifically since Unforgiven, I have watched all of his directorial films and witnessed a great progression and range of material. Starting in 1971, using skills he learned from director Don Siegel over the course of making five films together, he began directing on his own. Play Misty For Me is a powerful little thriller made on a small budget and no paycheck for Clint. It was a fairly successful start and is a real favorite of mine since I first saw it on a TV rerun in 1976. Since then, he’s directed great Westerns like Pale Rider and Unforgiven, excellent period dramas like Bird, a film about Charlie Parker, and The Bridges of Madison County, as well as top notch hits like Mystic River and Million Dollar Baby. In 2008 he had two films completed – Changeling, an underrated and chilling period thriller, and Gran Torino, a film that could be a capstone. He has hinted in recent interviews that it may be his last role as an actor. I hope not, but if that is true, he’s ended a long career triumphantly.

clintpabst

The screenplay was written by Nick Schenk, surprisingly not a Hollywood insider but rather a first-timer who wrote the story sitting in a bar with friends in Minneapolis. Supposedly, material for the story developed over many years, from encounters with veterans he’d met on different jobs and Hmong people he worked with during a stint at a VHS factory in Bloomington, Minnesota. A blue collar guy, Schenk was interested in the plight of war vets and factory workers, but learning about the Hmong propelled the story in a new direction. The story of the mountain people of Laos, displaced during the Vietnam war and migrating from refugee camps in Thailand to the U.S. impressed him, and those he met revealed to him the fact of many Hmong who were recruited and fought alongside U.S. soldiers against the North Vietnamese. Details of their cultural traditions and family life also became known, and he came up with the scenario of Kowalski being drawn out of his isolation and prejudice through helping this family next door. The boy and his sister face tough problems, and Kowalski is the guy righting wrongs all through the story, both for them and himself.

When Clint got the screenplay, he decided to produce and direct it without any changes but for location. It would be set and shot in Michigan instead of Minnesota as Schenk intended. The story of Kowalski’s transcendence from hate for the world and his neighbors to redemption is classic and compelling, and watching Clint as Kowalski, it’s as if he’s infused all the best from his past roles to make this one indelible. It’s as personal as it gets in many ways, carrying a weighty message about ways of dealing with problems, understanding and sharing. By meeting his challenge and taking responsibility Kowalski is redeemed, in the process presenting a more realistic kind of hero, with more depth and certainly more human. It’s all there, some humor included, but this time the Dirty Harry style violent revenge is cleverly reworked so that Kowalski can make the ultimate sacrifice for people he once mistook for old enemies.

As the credits roll, Clint can be heard singing his ode Gran Torino, a gravelly, ghostly voice from beyond. It’s the final signature on the film, and while it’s sad, there is a feeling you get that as bad as things can be, life in this world is what you make of it. Time will march on, changes will happen, and if there’s a good reason to look at the past, it’s to guide us into the future and not live with old mistakes.

The Friends Of Eddie Coyle – Finally Available!!

friends_of_eddie_coyleThanks to the Criterion Collection, this item from the “LOST” list surfaces in a very nice, although bare-bones edition. The 1973 Paramount film, directed by Peter Yates (Bullitt) and starring Robert Mitchum, is possibly one of the best films of it’s genre and of the 70’s. It’s also a late tour de force for Mitchum. Friends and the 1975 Farewell My Lovely would mark a return to the noir pictures of his heyday in the 40’s and 50’s, and Mitchum would show that he never lost his chops despite hard, wild living.

Based on a crime novel by Boston prosecutor George V. Higgins, the film is set in the very realistic world of small-time hoods in early 70’s Boston. The tone is set mostly by the tough-guy dialogue deftly written in the book and expertly delivered by Mitchum and Peter Boyle in the film. Eddie “Fingers” Coyle is up to his neck in a gun deal with small-timer Jackie Brown, and the law is not far behind. Eddie’s associate and bartender Dillon (Boyle) is caught between Eddie and the mob, and must play both sides, as Eddie does. It’s every man for himself.

The entire film is shot on location in and around Boston, which at the time was the perfect run-down mean kind of town for the film’s aesthetic. Yates’ use of long-shot exteriors and dark, claustrophobic interiors enhances the mood. Near the climax of the film there is also the bonus of a glimpse into the long-gone Boston Garden, where the famous Bobby Orr-era Bruins play a game attended by our hoodlums. Priceless. It may be the best film of Boston ever.

On DVD, the film retains its grainyness and washed-out look, and there is a very fortunate commentary track by Director Yates, now in his 80’s. The only other extra is a booklet with reprints of some articles, one in particular by Grover Lewis written on the set and behind the scenes with Mitchum that is really good. Released on June 2, 2009.  Get it before the “mooks” at Paramount get it back and shove it on a shelf for another 30 years.

Speaking of Mitchum – Get out your VCR

farewell_my_lovelyAs mentioned in my piece on The Friends of Eddie Coyle, Robert Mitchum was in another noir in 1975 called Farewell, My Lovely. So far no DVD release has come for this overlooked film from the cycle of 70’s noirs.  It’s a color film version of the Raymond Chandler potboiler, set in 1941 L.A.  Mitchum plays private eye Philip Marlowe, of course, but the supporting cast is excellent also, including Harry Dean Stanton, Charlotte Rampling and Sylvia Miles.

Directed by Dick Richards, a former Life photographer, the film is an updating to 70’s realism of an old story from the days of the dark, sinister dream-world noir style. The period L.A. of this film stands out much more than it would in earlier films, and feels much more lifelike. The noir lighting style is employed, but here in dazzling reds and shadows of all colors, for the first time you get a sense of things as they looked for real. Neon signs jump out of the night, and sidewalks are washed in color. Broad daylight is, well, broad daylight. Refreshing.

Polanski‘s Chinatown, Altman‘s Long Goodbye, Penn‘s Night Moves, Kulik‘s Shamus and Benton‘s Late Show are the other stand-out films of the 70’s that revisit the 40’s private eye film and reinterpret it for their own time. The 40’s paranoia becomes 70’s cynicism and the made in studio picture becomes a location feature. All are very successful and worthwhile films, but Farewell is somehow the most perfect balance of style and revision, and is made more poignant by the presence of the aging Mitchum, who seems  a more world-weary version of Marlowe than he would as a younger man.

big sleep picHe also appears as Marlowe in Michael Winner‘s 1978 The Big Sleep, an all-too-flawed remake of the nearly perfect 1945 Howard Hawks film of the same name with Bogie and Bacall. Winner’s film is mostly forgettable but for Mitchum, who tries his best but is undone by the director’s ineptitude and the film’s overdone approach to updating, so far as to set the film in England with an overly-jazzy score. Worth mentioning on this subject of The Big Sleep, the 1973 Buzz Kulik film Shamus, starring Burt Reynolds as private eye Shamus McCoy, has a great homage to the Hawks original. It’s a replay of the scene where Bogart stakes out the shop across the way and “whiles” away the afternoon with a nice young lady and a pocket bottle of rye, except no whiskey and much more sleazy talk. Really fun.

Both Mitchum films are in the non-DVD limboland, but Acme Video, the only place that cares, has them available for you to watch on cassette, so dust off your VCR.

better late than never

rachel_getting_married_mainI guess I’m pretty late to hop on the bandwagon for this movie, but anyone who hasn’t should make it a priority to see Rachel Getting Married. It is an immaculate piece of filmmaking, organic and honest to a degree that is extremely rare in American cinema. Jonathan Demme directed, and his work is deft and utterly fearless – the majority of the movie is shot on shaky handheld and filmed in a single house, the story revolving around Anne Hathaway’s character, Kym, as she returns from rehab after nine months just as her sister, Rachel, (a pitch-perfect Rosemarie DeWitt) is preparing to get married. But to call this just another story of recovery from drug addiction would be a gross-oversimplification – Demme, aided by a harmonic, flawless script from first-time writer Jenny Lumet, handles the human drama with an arresting, exacting grace; it is to his great credit that he chooses to trust his actors to be handle the many long, dialogue heavy scenes and to endow them with the necessary weight. And indeed, the film is superbly acted on all fronts: bit players Tunde Adebimpe, Bill Irwin and Mather Zickel all give vital performances. And for all that has been made of Anne Hathaway‘s performance, her work is remarkable, brave and deeply felt.

But what really surprised me was that Rachel Getting Married turned out to be so much more than just a very good character piece. For as frightening and perfectly played as Kym is, the film itself is has a kind of Chekhovian vision which has become ever-so-scarce in American cinema; Jarmusch‘s Broken Flowers, Linklater‘s Before Sunset, and Darren Aronofsky‘s recent The Wrestler are some of the only recent films that have accomplished something similar. In the face of many of the films that have garnered major praise in the last year or so – the grandiose, over-thought Synecdoche, New York, the stilted Vicky Christina Barcelona, or the woefully predictable, toothless Slumdog MillionaireRachel Getting Married feels like a minor revelation. I defy you to watch how the camera tracks Kym’s hesitant, insecure movements through the hallways of her own house while the wedding’s string band rehearses in the yard outside, the imperfect sound winding in through the windows, and not be moved by the scene’s startling artistry. The entire film is like this – perfectly, lovingly made and respectful of its characters to the highest degree.

Advertisements