There are series of movies that involve scope and vision. Jackson's "Lord of the Rings", Lucas' "Star Wars" films, and Coppola's "Godfather" films all come to mind. With each of these series, fans debate which entry was strongest, which entry was the weak link, but ultimately, the series in question works well because of the ability of the filmmaker to have a grand vision. Jackson's "Lord of the Rings" is actually one movie broken into three pieces, and that was the reason I thought it worked so well. Since all of the principals were together non stop for the making of all three pieces, there was a remarkable consistency to the parts. That makes what Christopher Nolan did with his "Batman" trilogy all the more remarkable. To have to assemble and reassemble the pieces three times seems like an impossible task. But with the release of "Dark Knight Rises" we see that the franchise was in good hands, as we expected after the first two entries.
The film takes place in Gotham City 8 years after the events in "The Dark Knight". The city has enjoyed a era of peace and prosperity. However, a storm is brewing that is being led by a menacing villain named Bane (Tom Hardy). Bane represents an extreme vigilante spirit which seeks to punish the wealthy city of Gotham for its excesses. Bruce Wayne (Christian Bale) grapples with whether or not to dust off the Batman suit and fight this new criminal element. The uprising of the underworld is also represented by Selina Kyle (Anne Hathaway), a cat burglar who is more than meets the eye. Batman is joined by Commissioner Gordon (Gray Oldman) and Detective Blake (Joseph Gordon-Levitt) as the city is forced to deal with apocalyptic threats of evil.
The plot is actually fairly standard comic book material. Yet somehow, Nolan and company make the material seem like more than that. The climactic scene of the movie made me feel more like I was watching a war movie than a comic book movie. Nolan infuses such reality into this comic book world that it feels as though the world before us is real. As I watched the film on opening night, perhaps I felt a greater measure of poignancy due to the troubling murders at the opening in Colorado. In any case, the film's climax provoked almost overwhelming emotions in me. I knew I was watching a movie, but it felt like more than that.
The performances are all great. Christian Bale has inhabited this role better than anyone else. He is the right balance of strength and vulnerability. Anne Hathaway is wonderful in her role as Catwoman. Again, Nolan takes a comic book character and infuses it with an air of humanity and reality. Michael Caine and Morgan Freeman are their usual selves here, bringing believability to their roles. Gary Oldman proves to be the unsung hero of the trilogy. His performance as Jim Gordon in all three movies has been an essential element in this trilogy's success. I was also very impressed with Joseph Gordon-Levitt as Police Detective Blake. He gives us a supporting character with a troubled background, and his haunted upbringing brings another piece of humanity to this film. He, along with Marion Cottiard's Miranda Tate, bring unexpected twists to this remarkable story.
To top it all off, the film also fits into the comic book genre. There are no out of place endings or anything of the sort. Instead, we see a reasonable closure to this epic saga. While I first was disappointed when I found out that New York and not Chicago would be featured in this film (Chicago was the place that the previous two films of this trilogy were made), I thought that the film being shot in New York proved to be amazingly provocative. To see some of these scenes of terror played out on the familiar streets of downtown New York seemed eerily appropriate. It proved that Gotham city is a sort of place that represents any big city, and that different elements of different cities have roles to play in our imagination of city life. For the first two films, the bowels of Chicago were a perfect setting for the criminal underworld of Gotham. But in this film, could any other American city stand in for New York when it comes to the mixture of greed and decadence, as well as an enduring symbol of not only what is wrong with America, but what can also be right with America? There was one shot in the middle of the film of a tattered Star Spangled Banner flying near the Stock Exchange. It was a gorgeous and haunting shot which captured a certain desperate tone in our country right now. This movie reflects how we feel as a country. We are divided, and since we have such diverse opinions and lifestyles, we never will be united. The film captures the ambiguity I feel toward my home country very well. Selina Kyle hates the decadence of the rich, but when Bane's judgment on the inequities visits Gotham, she doesn't feel comfortable with that either. It is a remarkable depiction of the relationship we have with wealth in our nation. We know we are wealthy. We enjoy our wealth. Some of us also recognize the inequity and evils that come from our wealth. What is the answer to that? No one really knows, and the struggle that Selina Kyle has reflects our national struggle.
The admiration I have for the vision of Nolan would be difficult to overstate. As to its faithfulness to the comic books, I have no comment. I have never read any comic book, let alone a Batman one. I suppose this frees me up to enjoy this simply as a movie, while others may be disappointed in certain liberties that Nolan may take. With that in mind, this trilogy is a unique thing in cinematic history. It is rare to make one classic movie, let alone three classic movies. This movie, like the two movies before it, stays firm within a genre but pushes the limits of the genre in which it is. As I mentioned before, there were scenes in this movie that reminded me more of a deep human drama film than a comic book film. To be able to work within genre and also supersede a genre is something special. The jazz great Duke Ellington thought that the best complement a work of art could get was that it defied categorization. I can't speak for Mr. Ellington, but I can borrow his phrase for this movie.
Saturday, July 21, 2012
Friday, July 20, 2012
The Straight Story
I have seen lots of movies that graphically show the horrors of war. I have seen movies that grapple with war's complexities, and deal honestly with the load that young men and women have to carry in war. In all of those films, I have never seen anything that honors that sacrifice better than a short scene in this movie. As Alvin Straight is making his way across the highways of Iowa and Wisconsin on a John Deere rider mower, he is forced to camp out in a hospitable stranger's yard. While staying there, he visits a local bar with a fellow WW2 vet. As they sit at the bar, they each recount their stories. We as viewers don't know if this is the first time these men have shared these stories or not. What we do know is that the memories are fresh and painful for these men in the sunset years of their lives.
This whole movie is a tapestry of deeply human moments just like that. They are not all that serious, but they are genuine. There are funny moments, sentimental moments and tense moments. The movie follows an aging World War 2 veteran named Alvin Straight. He is estranged from his only brother. He receives word that his brother has had a stroke. He is unable to drive the 240 miles to see his brother. He is too proud to let anyone else drive him. So, he decides that he will drive a riding mower all the way to his brother's place. Sissy Spacek plays his daughter who gives him loving and firm support. She has her own sad story involving her children that is masterfully depicted. As Straight makes his way to see his brother, the situations and people that he encounters along the way give his journey an almost epic quality. He dispenses wisdom to strangers, listens to people's brutal honesty, and ends up learning something about himself and his brother. He is humiliating himself because he loves his brother. Even though they haven't spoken in years, Alvin knows that this may be the last chance he has to sit under the stars with his brother, as he did as a child during all those warm summer nights in Minnesota.
The film was directed by David Lynch. I have only seen one other of his films. He typically makes surreal and somewhat nonlinear films. His films also tend toward the racy side in their content. In this film, he proves that he can tell a simple story yet also fill it with his own personal touch. The landscape of the midwest becomes a character in this film. Also, the film score seems to almost arise from the landscape in the film. Every time Stephanie and I get out of the city and into rural Minnesota, we cannot help but hum the musical themes from this film. The music along with the gorgeous shots of Iowa and Wisconsin in the fall create almost a meditation. The fall in the midwest is a thing of wonder, and this movie captures that so well.
But in the end, the movie works well because of the humanity of the story and the wonderful performance of Richard Farnsworth. He infuses the character of Lyle Straight with the proper balance of heart and crankiness. Witness the scene wherein he meets a young woman who is running away from home. Here, we see Straight's world weariness as well as his compassion. He seems to have seen stories like this girl's before, but he still is able to show genuine care for this girl. Farnsworth was nominated for best actor for this role, and he should have won. His performance here will stand forever as a wonderful example of acting. He seems to be playing close to himself, but he gives so much richness to the character. As he recounts his brutal experiences during World War 2, the viewer feels heartbroken. This character has been to hell and back. This character, who initially seems so cranky and agitated, is becoming not only sympathetic, but almost heroic. As he faces one last challenge, slowly making his way across the Midwest to see his brother, we can root for him because of the pain he has experienced. Farnsworth creates a complex character whose story is captivating. This movie will always be one of my personal favorites. It is a great example of the power of simple storytelling to move viewers.
This whole movie is a tapestry of deeply human moments just like that. They are not all that serious, but they are genuine. There are funny moments, sentimental moments and tense moments. The movie follows an aging World War 2 veteran named Alvin Straight. He is estranged from his only brother. He receives word that his brother has had a stroke. He is unable to drive the 240 miles to see his brother. He is too proud to let anyone else drive him. So, he decides that he will drive a riding mower all the way to his brother's place. Sissy Spacek plays his daughter who gives him loving and firm support. She has her own sad story involving her children that is masterfully depicted. As Straight makes his way to see his brother, the situations and people that he encounters along the way give his journey an almost epic quality. He dispenses wisdom to strangers, listens to people's brutal honesty, and ends up learning something about himself and his brother. He is humiliating himself because he loves his brother. Even though they haven't spoken in years, Alvin knows that this may be the last chance he has to sit under the stars with his brother, as he did as a child during all those warm summer nights in Minnesota.
The film was directed by David Lynch. I have only seen one other of his films. He typically makes surreal and somewhat nonlinear films. His films also tend toward the racy side in their content. In this film, he proves that he can tell a simple story yet also fill it with his own personal touch. The landscape of the midwest becomes a character in this film. Also, the film score seems to almost arise from the landscape in the film. Every time Stephanie and I get out of the city and into rural Minnesota, we cannot help but hum the musical themes from this film. The music along with the gorgeous shots of Iowa and Wisconsin in the fall create almost a meditation. The fall in the midwest is a thing of wonder, and this movie captures that so well.
But in the end, the movie works well because of the humanity of the story and the wonderful performance of Richard Farnsworth. He infuses the character of Lyle Straight with the proper balance of heart and crankiness. Witness the scene wherein he meets a young woman who is running away from home. Here, we see Straight's world weariness as well as his compassion. He seems to have seen stories like this girl's before, but he still is able to show genuine care for this girl. Farnsworth was nominated for best actor for this role, and he should have won. His performance here will stand forever as a wonderful example of acting. He seems to be playing close to himself, but he gives so much richness to the character. As he recounts his brutal experiences during World War 2, the viewer feels heartbroken. This character has been to hell and back. This character, who initially seems so cranky and agitated, is becoming not only sympathetic, but almost heroic. As he faces one last challenge, slowly making his way across the Midwest to see his brother, we can root for him because of the pain he has experienced. Farnsworth creates a complex character whose story is captivating. This movie will always be one of my personal favorites. It is a great example of the power of simple storytelling to move viewers.
Saturday, July 14, 2012
JULY MOVIE QUOTE QUIZ!!!!
One of the things I have heard about my contests is that they are kind of hard. I do try :)...
I thought I would try to be a little more mainstream this month. These are the top 20 entries in a list that the American Film Institute did some years back. These quotes were voted the top 20 American movie quotes of all time. The usual rules apply...the name of the movie from which the movie comes is worth one point, and the actor or actress who spoke the line (not the character) is also worth 1 point. This amounts to 40 total points, so there are many opportunities!! Feel free to team up with others, but only one prize will be awarded for the winner or winning team. I will take entries until July 28, so that gives everyone two weeks to get entries to me. PLEASE E-MAIL YOUR ENTRIES TO ME AT losbascoms@mac.com OR SEND ME A PRIVATE FACEBOOK MESSAGE. I WILL DELETE ANSWERS LEFT IN THE COMMENTS SECTION...ALSO, NO LOOKING THEM UP ON THE INTERNET :) The winner receives a $10 Trader Joe's card...if there is a tie, I will figure out a tie breaker later. Good luck, and have fun!!
1) "Frankly my dear, I don't give a damn."
2) "I'm going to make him an offer he can't refuse"
3) "I coulda had class. I coulda been a contender."
4) "Toto, I have a feeling we're not in Kansas anymore."
5) "Here's looking at you kid."
6) "Go ahead, make my day."
7) "All right, Mr. Demille, I'm ready for my close up."
8) "May the force be with you."
9) "Fasten your seat belts. It's going to be a bumpy night."
10) "You talkin' to me?"
11) "What we have here is failure to communicate."
12) "I love the smell of napalm in the morning."
13) "Love means never having to say your sorry."
14) "The stuff dreams are made of."
15) "ET phone home."
16) "They call me Mister Tibbs!"
17) "Rosebud"
18) "Made it Ma! Top of the world!"
19) "I'm as mad as hell, and I'm not going to take this anymore."
20) "Louis, I think this is the beginning of a beautiful friendship."
I thought I would try to be a little more mainstream this month. These are the top 20 entries in a list that the American Film Institute did some years back. These quotes were voted the top 20 American movie quotes of all time. The usual rules apply...the name of the movie from which the movie comes is worth one point, and the actor or actress who spoke the line (not the character) is also worth 1 point. This amounts to 40 total points, so there are many opportunities!! Feel free to team up with others, but only one prize will be awarded for the winner or winning team. I will take entries until July 28, so that gives everyone two weeks to get entries to me. PLEASE E-MAIL YOUR ENTRIES TO ME AT losbascoms@mac.com OR SEND ME A PRIVATE FACEBOOK MESSAGE. I WILL DELETE ANSWERS LEFT IN THE COMMENTS SECTION...ALSO, NO LOOKING THEM UP ON THE INTERNET :) The winner receives a $10 Trader Joe's card...if there is a tie, I will figure out a tie breaker later. Good luck, and have fun!!
1) "Frankly my dear, I don't give a damn."
2) "I'm going to make him an offer he can't refuse"
3) "I coulda had class. I coulda been a contender."
4) "Toto, I have a feeling we're not in Kansas anymore."
5) "Here's looking at you kid."
6) "Go ahead, make my day."
7) "All right, Mr. Demille, I'm ready for my close up."
8) "May the force be with you."
9) "Fasten your seat belts. It's going to be a bumpy night."
10) "You talkin' to me?"
11) "What we have here is failure to communicate."
12) "I love the smell of napalm in the morning."
13) "Love means never having to say your sorry."
14) "The stuff dreams are made of."
15) "ET phone home."
16) "They call me Mister Tibbs!"
17) "Rosebud"
18) "Made it Ma! Top of the world!"
19) "I'm as mad as hell, and I'm not going to take this anymore."
20) "Louis, I think this is the beginning of a beautiful friendship."
Tuesday, July 10, 2012
Steel Magnolias
Ok, ok, so Joel's Dad dies and immediately he goes soft and has to get in touch with his feminine side. That may be true, but I can think of no movie that better shows the range of emotions that we as humans have than this one. Yes, it's a chick flick. Yes, some of the dialogue is too aware of it's own Southern folksiness. In spite of all of that, simply look at what is being depicted on the screen. I will issue a SPOILER ALERT here since I will be talking about some issues which happen toward the end of the movie.
When my father died late last month, I realized that one of the things I needed to do was revisit this movie, an old favorite in our house. Since one of the main sections of the movie deals with grief, I wanted to see what nuances would be there that I may not have caught before. Overall, the movie is able to show a varied tapestry of the human experience through showing the lives of 6 Louisiana women. There are so many small moments of humanity that make this movie special that it is hard to name them all. I will focus on two in the movie the resonated with me.
The movie opens with Annelle (Darryl Hannah) walking through the Louisiana town in which the film is set. She makes her way to Truvy's house, the local hairstylist (played by Dolly Parton). Truvy is a woman who has been married for quite awhile, has one son, and is dissatisfied with her husband Spud (Sam Shepherd). The hair salon is in a bustle due to a local wedding. Shelby (Julia Roberts) and her mother M'Lynn (Sally Field) come the Truvy's salon to have their hair done for Shelby's wedding. As Truvy leaves for the wedding after doing her business, she asks her husband to join her. He rejects the offer, and Truvy feels the distance between them grow wider. As the movie goes on, it is learned that Shelby is a diabetic, and when she has a baby, her health is compromised. In spite of a kidney transplant, the damage done to her body from the baby is too great, and she dies. All of the women who make up the main characters (including the comic relief duo of Ouiser and Clairee played, respectively, by Shirley MacCaine and Olympia Dukakis) gather around M'Lynn to mourn the loss of her daughter. The grief of the mother is depicted very effectively, but there is a smaller moment that resonated even more with me this time. As Truvy leaves to go to the funeral, she sees that her husband has put a tie on. He asks her permission to accompany her to the funeral. She is touched by the gesture, and he begins to ponder the loss. Particularly, he ponders the loss of Jackson (Shelby's husband), and he expresses that if something like that ever happened to him, he wouldn't know what to do. In this moment of loss for the town, there is some clarity of thought for those left behind. Spud realizes he loves his wife, and that he could lose her. That fact draws him closer to her. Death does that at times. It can draw people closer together who have been distant.
The other small moment occurs in the closing moments of the film. As Annelle has become pregnant, she shares with M'Lynn that she would like to name her baby after Shelby. M'Lynn replies to her that Shelby would have loved that, and that she would be tickled pink. M'Lynn then pauses and sighs to herself, "Pink..." The viewer knows that pink was Shelby's favorite color from the wedding scene at the beginning. The mention of the word pink brings a flood of memories about her daughter, and a pang of grief has come over her.
Why watch such sad films? For me, I find solace in other people. I like it when they acknowledge my situation, and when they can relate. At its very best, art is a way we can relate to others. This film has some hilarious moments in it, but I did not focus on them here. The emotional core of the movie is found near the end as these women (and men) are forced to deal with an untimely death. As we see their grief, their anger, their tears, and their laughter, it reminds us that death is a part of our experience on this earth. I believe it to be a symptom of the fallen nature of our world, but that doesn't make it any less real. We can grieve and be angry in death, just as Jesus wept violently over the body of his dear friend Lazarus. To be sure, since he knew he would raise him from the dead in mere moments, his tears show us something. Jesus hated death, and he wept over the reality of it. All the same, he rose Lazarus, and promises life to those who believe in him. This reality is a hope, but it doesn't take away the pain of death. This film shows that pain and puts it in the context of the seasons of life, the holidays of the year, and the coming of new life. In spite of some of the canned dialogue, what a tremendous contribution this movie makes to our emotional experience.
When my father died late last month, I realized that one of the things I needed to do was revisit this movie, an old favorite in our house. Since one of the main sections of the movie deals with grief, I wanted to see what nuances would be there that I may not have caught before. Overall, the movie is able to show a varied tapestry of the human experience through showing the lives of 6 Louisiana women. There are so many small moments of humanity that make this movie special that it is hard to name them all. I will focus on two in the movie the resonated with me.
The movie opens with Annelle (Darryl Hannah) walking through the Louisiana town in which the film is set. She makes her way to Truvy's house, the local hairstylist (played by Dolly Parton). Truvy is a woman who has been married for quite awhile, has one son, and is dissatisfied with her husband Spud (Sam Shepherd). The hair salon is in a bustle due to a local wedding. Shelby (Julia Roberts) and her mother M'Lynn (Sally Field) come the Truvy's salon to have their hair done for Shelby's wedding. As Truvy leaves for the wedding after doing her business, she asks her husband to join her. He rejects the offer, and Truvy feels the distance between them grow wider. As the movie goes on, it is learned that Shelby is a diabetic, and when she has a baby, her health is compromised. In spite of a kidney transplant, the damage done to her body from the baby is too great, and she dies. All of the women who make up the main characters (including the comic relief duo of Ouiser and Clairee played, respectively, by Shirley MacCaine and Olympia Dukakis) gather around M'Lynn to mourn the loss of her daughter. The grief of the mother is depicted very effectively, but there is a smaller moment that resonated even more with me this time. As Truvy leaves to go to the funeral, she sees that her husband has put a tie on. He asks her permission to accompany her to the funeral. She is touched by the gesture, and he begins to ponder the loss. Particularly, he ponders the loss of Jackson (Shelby's husband), and he expresses that if something like that ever happened to him, he wouldn't know what to do. In this moment of loss for the town, there is some clarity of thought for those left behind. Spud realizes he loves his wife, and that he could lose her. That fact draws him closer to her. Death does that at times. It can draw people closer together who have been distant.
The other small moment occurs in the closing moments of the film. As Annelle has become pregnant, she shares with M'Lynn that she would like to name her baby after Shelby. M'Lynn replies to her that Shelby would have loved that, and that she would be tickled pink. M'Lynn then pauses and sighs to herself, "Pink..." The viewer knows that pink was Shelby's favorite color from the wedding scene at the beginning. The mention of the word pink brings a flood of memories about her daughter, and a pang of grief has come over her.
Why watch such sad films? For me, I find solace in other people. I like it when they acknowledge my situation, and when they can relate. At its very best, art is a way we can relate to others. This film has some hilarious moments in it, but I did not focus on them here. The emotional core of the movie is found near the end as these women (and men) are forced to deal with an untimely death. As we see their grief, their anger, their tears, and their laughter, it reminds us that death is a part of our experience on this earth. I believe it to be a symptom of the fallen nature of our world, but that doesn't make it any less real. We can grieve and be angry in death, just as Jesus wept violently over the body of his dear friend Lazarus. To be sure, since he knew he would raise him from the dead in mere moments, his tears show us something. Jesus hated death, and he wept over the reality of it. All the same, he rose Lazarus, and promises life to those who believe in him. This reality is a hope, but it doesn't take away the pain of death. This film shows that pain and puts it in the context of the seasons of life, the holidays of the year, and the coming of new life. In spite of some of the canned dialogue, what a tremendous contribution this movie makes to our emotional experience.
Sunday, July 8, 2012
Moonrise Kingdom
"It's a fable about what it feels like to be 12 years old and afflicted, from head to toe, by a romantic crush the size of a planet." --Michael Phillips, Chicago Tribune
As I sat and watched this latest Wes Anderson entry, one word came to my mind again and again. Innocence. Innocence permeates the work of this filmmaker, and no more so than in this evocative story of young love. There are times in this film when the depiction of young love borders even on the uncomfortable, but nevertheless, it remains innocent. Beyond that overarching feeling, there is also the intricacy of Wes Anderson's work which always sets his films apart. I have been a fan of all of his work, though his last couple of features have not been my favorites. I connected again very well with this latest effort.
The film is about two young people, Suzy Bishop and Sam Shakusky. They are both misfits in their own worlds. Suzy is growing increasingly distant from her parents (a clueless couple played by Bill Murray and Frances McDormand), and Sam has decided to run away from his scout troop. The two of them have made a pact to meet up together and run away. Sam hopes to retrace on old Native American hiking route across the island where he lives, and Suzy joins him on the journey.
I can't think of a time when I have seen young love depicted quite like this. Suzy runs to Sam because she sees disarray in her own home. Her mother is having an affair with the Island Police chief (Bruce Willis), and so she not only feels distant from her mother, but has lost trust in her moral authority as well. Her parents are both lawyers and are academic and distant. Sam has no one to love him. He is an orphan who has been rejected from his foster home, and the rest of his boy scout troop hate him, even though the scout master (Ed Norton) genuinely seems to care for him, as he reaches out to him. The adversity that these two young people face in their lives draw them to each other.
Even though the story is somewhat straight forward, this is a Wes Anderson movie, and the journey is much more than just a simple story. Each shot of the film could be a painting. There is a symmetry to each shot that reminds me of Renaissance paintings. There is a clarity of vision to each frame which communicates visually the emotion of each scene. So much of the content of the film is simply communicated through the camera. The first few moments of the film communicate so much content, even though only a few moments have gone by when we reach the end of them. We are able to ascertain that Suzy has severe problems and that her parents are living in a marriage that is suffering deeply. Anderson's ability to craft a unique style of storytelling which relies equally on photography and dialogue is part of what sets him apart.
The closing moments of this film are rich and poignant. They tie the movie's characters and story elements together very well. And as the final shot comes across the screen, we see something from Wes Anderson that we haven't seen before. He dedicates this movie to "Juman". Upon doing some research, I came to find out that "Juman" is Juman Malouf, a writer and the girlfriend of Wes Anderson. In the end, this movie has something to say about young love. That love could be between young people. That love also could simply be a new love between two older people who have just found each other. In any case, the movie has a fresh take on the nature of that kind of love. The quote from Michael Phillips that I included works well in describing the movie's content. His quote also, I think, can include the fact that crushes of this nature don't just happen to to young people. Infatuation that is consuming happens to older folks as well, so this film's young love has a universal element to it. The complexity of love is seen not only through the situation of these young people, but also in the haunting off screen presence of Hank Williams. His music hangs over this film, and it very effectively captures the peaks and the valleys of new love. It was a joy to watch this movie. I love seeing an artist not only communicate well, but seem to have so much fun communicating and being exhilarated by the process.
As I sat and watched this latest Wes Anderson entry, one word came to my mind again and again. Innocence. Innocence permeates the work of this filmmaker, and no more so than in this evocative story of young love. There are times in this film when the depiction of young love borders even on the uncomfortable, but nevertheless, it remains innocent. Beyond that overarching feeling, there is also the intricacy of Wes Anderson's work which always sets his films apart. I have been a fan of all of his work, though his last couple of features have not been my favorites. I connected again very well with this latest effort.
The film is about two young people, Suzy Bishop and Sam Shakusky. They are both misfits in their own worlds. Suzy is growing increasingly distant from her parents (a clueless couple played by Bill Murray and Frances McDormand), and Sam has decided to run away from his scout troop. The two of them have made a pact to meet up together and run away. Sam hopes to retrace on old Native American hiking route across the island where he lives, and Suzy joins him on the journey.
I can't think of a time when I have seen young love depicted quite like this. Suzy runs to Sam because she sees disarray in her own home. Her mother is having an affair with the Island Police chief (Bruce Willis), and so she not only feels distant from her mother, but has lost trust in her moral authority as well. Her parents are both lawyers and are academic and distant. Sam has no one to love him. He is an orphan who has been rejected from his foster home, and the rest of his boy scout troop hate him, even though the scout master (Ed Norton) genuinely seems to care for him, as he reaches out to him. The adversity that these two young people face in their lives draw them to each other.
Even though the story is somewhat straight forward, this is a Wes Anderson movie, and the journey is much more than just a simple story. Each shot of the film could be a painting. There is a symmetry to each shot that reminds me of Renaissance paintings. There is a clarity of vision to each frame which communicates visually the emotion of each scene. So much of the content of the film is simply communicated through the camera. The first few moments of the film communicate so much content, even though only a few moments have gone by when we reach the end of them. We are able to ascertain that Suzy has severe problems and that her parents are living in a marriage that is suffering deeply. Anderson's ability to craft a unique style of storytelling which relies equally on photography and dialogue is part of what sets him apart.
The closing moments of this film are rich and poignant. They tie the movie's characters and story elements together very well. And as the final shot comes across the screen, we see something from Wes Anderson that we haven't seen before. He dedicates this movie to "Juman". Upon doing some research, I came to find out that "Juman" is Juman Malouf, a writer and the girlfriend of Wes Anderson. In the end, this movie has something to say about young love. That love could be between young people. That love also could simply be a new love between two older people who have just found each other. In any case, the movie has a fresh take on the nature of that kind of love. The quote from Michael Phillips that I included works well in describing the movie's content. His quote also, I think, can include the fact that crushes of this nature don't just happen to to young people. Infatuation that is consuming happens to older folks as well, so this film's young love has a universal element to it. The complexity of love is seen not only through the situation of these young people, but also in the haunting off screen presence of Hank Williams. His music hangs over this film, and it very effectively captures the peaks and the valleys of new love. It was a joy to watch this movie. I love seeing an artist not only communicate well, but seem to have so much fun communicating and being exhilarated by the process.
Thursday, July 5, 2012
Movie Memories of Dad
I have been in CA for a week and a half saying goodbye to my dad. He died last week, and my family and I have been here putting together services and taking care of the necessary business that will make life a bit easier for my mother. Since film is a passion of mine, it is hard to think of films and not remember some of the ones I shared with dad. Dad loved the arts. Interestingly enough, he and I had an interesting back and forth over films. He read this blog and I'm sure he was interested in my points of view on the things I was writing. However, he and I did differ on the kinds of films a person of our faith should watch. No matter, I have several wonderful memories of him and some of the films we enjoyed together.
Just a few months ago, I showed Dad one of my latest favorites, "Moneyball". I loved finding films that I could watch with him. Sharing another piece of art that meant something to me has always been meaningful for me. Finding something to share with my dad carried even more significance. A couple of weeks ago, I posted a list of some of the most underrated movies that I love. One of the ones was a movie called "The Secret Life of Walter Mitty." I remember him showing that one to me at a very young age. Even then, I knew that it meant something special to laugh with him and share this piece of work with him.
When I was 8 years old, dad and mom decided they would take me to the premiere of "Return of the Jedi." There had been some debate as to whether or not I would be allowed to go, since my parents made a habit of screening most movies for my sister and I before we saw them. My parents gave me the thumbs up, and I went to the Egyptian Theater in Hollywood to see it. I remember sitting next to my dad in the crowded and wild movie theater waiting for the movie to start. At that point, I didn't know whether or not Darth Vader was Luke's father, or any of the plot points. The anticipation was great, and I sat in the theater with my heart pounding. As my excitement grew, I leaned over to my dad and whispered to him, "I'm nervous." Dad responded, "Me too."
I have made numerous references on this blog about the love my family has for the movie "What's Up Do?" with Barbara Streisand and Ryan O' Neal. Dad always quoted from that. He loved the little inside jokes he could share with other people who knew this movie so well. He loved to tell the story about seeing this movie for the first time at Grauman's Chinese Theater and how he literally fell out of his chair laughing. Dad was quite serious a lot of the time, but when he laughed, you could hear it from another county.
Another great movie memory with Dad was a "double date" he and mom had with my wife and I. I don't think Steph and I were married yet, but the four of us drove into Hollywood to an art house and saw a brand new print of "Citizen Kane". It was great because Stephanie had never seen it, and we went out for dessert afterwards and reflected on this great work of cinema after seeing it as it was intended to be seen.
When a film he cared about came out, it was an event. We had to see it opening night. It was ideal if we could see it in a special place as well. When "Star Wars Episode 1, The Phantom Menace" came out, we didn't simply go see the movie. We went and saw the movie opening night, stood in line, and the whole family wore matching shirts. I don't remember whose idea the shirts were, but I know that if he hadn't been on board, it might not have flown.
Other memories include:
-Watching "Ben Hur" at Easter time.
-Him introducing me to the "Make 'Em Laugh" routine in "Singing in the Rain"
-Danny Kaye films
-Watching the George C. Scott version of "A Christmas Carol" every Christmas Eve
-Debating with him about which movies a disciple of Christ should watch, and why
-Watching the old animated version of "Gulliver's Travels"
-Going to Hollywood to see premieres of Disney animated films
Dad respected my opinions on the arts. He was patient listening to me go on and on about certain movies that he would never see. I think he may have realized that I had found a niche in which he would never really operate that much. I will miss sharing some of those movies with him. I will think of him when I watch some of the old favorites he introduced me to. More than anything, I feel that cinema (like any art form) was a way in which he and I could connect. Art is like that after all. It brings a timelessness which can bring old memories to light and connect us with people long gone. See you at the movies Dad.
Just a few months ago, I showed Dad one of my latest favorites, "Moneyball". I loved finding films that I could watch with him. Sharing another piece of art that meant something to me has always been meaningful for me. Finding something to share with my dad carried even more significance. A couple of weeks ago, I posted a list of some of the most underrated movies that I love. One of the ones was a movie called "The Secret Life of Walter Mitty." I remember him showing that one to me at a very young age. Even then, I knew that it meant something special to laugh with him and share this piece of work with him.
When I was 8 years old, dad and mom decided they would take me to the premiere of "Return of the Jedi." There had been some debate as to whether or not I would be allowed to go, since my parents made a habit of screening most movies for my sister and I before we saw them. My parents gave me the thumbs up, and I went to the Egyptian Theater in Hollywood to see it. I remember sitting next to my dad in the crowded and wild movie theater waiting for the movie to start. At that point, I didn't know whether or not Darth Vader was Luke's father, or any of the plot points. The anticipation was great, and I sat in the theater with my heart pounding. As my excitement grew, I leaned over to my dad and whispered to him, "I'm nervous." Dad responded, "Me too."
I have made numerous references on this blog about the love my family has for the movie "What's Up Do?" with Barbara Streisand and Ryan O' Neal. Dad always quoted from that. He loved the little inside jokes he could share with other people who knew this movie so well. He loved to tell the story about seeing this movie for the first time at Grauman's Chinese Theater and how he literally fell out of his chair laughing. Dad was quite serious a lot of the time, but when he laughed, you could hear it from another county.
Another great movie memory with Dad was a "double date" he and mom had with my wife and I. I don't think Steph and I were married yet, but the four of us drove into Hollywood to an art house and saw a brand new print of "Citizen Kane". It was great because Stephanie had never seen it, and we went out for dessert afterwards and reflected on this great work of cinema after seeing it as it was intended to be seen.
When a film he cared about came out, it was an event. We had to see it opening night. It was ideal if we could see it in a special place as well. When "Star Wars Episode 1, The Phantom Menace" came out, we didn't simply go see the movie. We went and saw the movie opening night, stood in line, and the whole family wore matching shirts. I don't remember whose idea the shirts were, but I know that if he hadn't been on board, it might not have flown.
Other memories include:
-Watching "Ben Hur" at Easter time.
-Him introducing me to the "Make 'Em Laugh" routine in "Singing in the Rain"
-Danny Kaye films
-Watching the George C. Scott version of "A Christmas Carol" every Christmas Eve
-Debating with him about which movies a disciple of Christ should watch, and why
-Watching the old animated version of "Gulliver's Travels"
-Going to Hollywood to see premieres of Disney animated films
Dad respected my opinions on the arts. He was patient listening to me go on and on about certain movies that he would never see. I think he may have realized that I had found a niche in which he would never really operate that much. I will miss sharing some of those movies with him. I will think of him when I watch some of the old favorites he introduced me to. More than anything, I feel that cinema (like any art form) was a way in which he and I could connect. Art is like that after all. It brings a timelessness which can bring old memories to light and connect us with people long gone. See you at the movies Dad.
Sunday, June 24, 2012
Funny link
This is a cartoon that a coworker of mine drew and posted on his blog....funny stuff...
http://cahanescomics.blogspot.com/2012/06/just-when-you-thought-it-was-safe-to-go.html
http://cahanescomics.blogspot.com/2012/06/just-when-you-thought-it-was-safe-to-go.html
Subscribe to:
Posts (Atom)