Tuesday, January 31, 2017
W. speeches practically commenting directly on plot developments. Since it becomes the point more than anything it all overwhelms the narrative but since there really isn’t anyone to ‘care’ about it all becomes a little clinical, almost as if we were watching a film about a worldwide financial crisis set on another planet. Even some of the plot developments are basically reported to us, information learned offscreen then reported secondhand later on. On a purely cinematic level the whole thing becomes so skillful in how alienating it’s willing to be that I kind of admire how the approach all becomes more about the scummy vibe than anything. Even the sound mix is downright Lynchian at times making each rundown building seem alive with subterranean noises. The camerawork courtesy of cinematographer Greig Fraser (recently the DP of both LION and ROGUE ONE) is almost reptilian in the way it seems to follow behind the characters and at times it’s a little mesmerizing. The big robbery sequence is particularly impressive in how it drags that quiet tension out even with those stupid dishwashing gloves they have on, playing almost as a short film in itself with minimal dialogue and in that silence we can tell exactly what the card players are thinking as well as how Ray Liotta’s poor bastard Trattman knows they’re thinking he’s in on all this. It’s isolated moments like that which work best throughout, not necessarily connected to the larger narrative as if the film itself can’t ever bother to get interested in the actual story, knowing that some clarity to a few story beats would help but not bothering—how many scenes are even in the film? 25? 30? Even if Dominik decided that the fractured nature of the storytelling was more appropriate at least he shoots the hell out of some of those individual moments and in its own way there’s barely a wrong shot in the film, the camera always knowing who to fix on at any moment and how far away to stay from them, keeping scenes visually active by breaking them up into sections but too often the wordiness of the dialogue gets lost in it all as if Dominik was staging for the visuals instead of the dialogue. To be honest it was a help when I decided to turn on the subtitles to help follow along with the plot which clarified a few things but also made me wonder about holes that weren’t plugged in, making the film seem more like a collection of stylish scenes than a complete story.
Wednesday, January 18, 2017
THE NICE GUYS, yes, and recently there was Jim Jarmusch’s PATERSON) and if other people don’t feel that way, well, they could always just see it again a few more times. As the eternal depression that was 2016 grinded forward something about what the film was saying, or at least said to me, began to feel more and more potent so once the Blu came out it became one of my default choices for what to put on late at night as I refused to fall asleep, waiting for those phone calls I knew wouldn’t come. At some point we’ll hopefully be looking back at this horrible period as the past, just as the unknown future this film’s characters are facing now is the present, more or less. That might be a good thing. Or maybe not. It’s complicated. You Must Remember This focusing on Mannix goes into details on some of the worst of it) so I’m not convinced that the character of the same name being played by Brolin hasn’t been involved in a few such things as well but as presented here even if he’s slapping someone around it’s all in the context of the greater good of the studio, all the better for it to provide that enlightenment and entertainment for the masses.
Saturday, December 31, 2016
THE LAST BOY SCOUT or, during our crazier moods, THE LONG KISS GOODNIGHT that nobody seemed to pick up on how it may turn out to be as close as we’ll ever come to getting a third J.J. Gittes film. At least sort of, plotwise anyway--that fabled never-made final chapter of the CHINATOWN saga was going to somehow involve air in Los Angeles, following the water and oil-related storylines of the earlier films, set at some point after the no-fault divorce law was put into effect. The issue of smog, courtesy of the all-powerful auto manufacturers, plays a role in THE NICE GUYS although matters related to divorce surprisingly don’t figure in very much, even though it does get a passing mention. Holland March even makes a reference in narration to “a guy in a local retirement park” who passes cases his way which could maybe, kinda plausibly, be a retired Gittes hopefully living a comfortable life somewhere off screen and free of his demons as he’ll ever be.
Monday, October 31, 2016
Oliver Stoneland of PLATOON, JFK, THE DOORS and NIXON when to him it was worth getting angry. Maybe he’s just too aware of what seems to be happening again and again so the movie is more of a sigh than a shout, no thundering John Williams score this time presumably because someone of this intellect doesn’t deserve such a theme. Much of the score is somewhat low key as a result, with one of the most notable musical moments a gentle guitar strumming of “Battle Hymn of the Republic” as the decision to go to war is made, the light glowing from above W. and the certainty of his choice. interview with Stone from the time of the film’s release where she speculated that Bush simply wanted to ‘be President’ and would pretty much disappear from the public eye when he left office. For what it’s worth, Stone doesn’t seem so sure that he will. I won’t say revisiting W. after all this time gives me nostalgia for any of those days but compared to some of what’s going on now and what might be in the future it doesn’t actually seem so bad. It’s very clear that elements of W. are in there purely for dramatic purposes, certain quotes removed from their original context. Back then we’d maybe heard a few of the ‘You don’t get fooled again’ type phrases a few times too many. Now, of course, all this is in the past. W. sort of comes to a stop near the end as everyone realizes there are no WMDs, ‘nothin’ on nothin’’ as the President puts it, his staff eating pie as the world burns. And when it comes time for an answer without Cheney or Rove whispering in his ear he merely shrugs and has nothing to say. ‘The End’ abruptly flashes onscreen as if the film is telling us, we know that’s not really the end but what more do you need? We were so looking for blood at the time and so desperate to get all that done with that in some ways the film works better now as a reflection of that period than it did then, even if it still doesn’t feel complete. We know the ending anyway, or at least that particular ending. The past always seems more innocent as we get further away and new monsters emerge. The Rosebud in NIXON was that President’s mother, the pain of his poverty-stricken childhood. There are no flashbacks to childhood in W. which could almost mean that he never grew up at all, no Rosebud aside from the warning his father once gave him. The final scene indicates he never even figured out what that Rosebud could have been. In the end, or at least this version of the end, he’s nothing.