Category Archives: Romance

Movie Week in Review: From The Fog to Love

There were some flops last week as part of my movie challenge.

fog_poster_06It started out strong with John Carpenter’s The Fog, a film I knew little about but enjoyed both for its visual effects and solid scares. The film, based on a fable about shipwrecked—possibly murdered—men who attack the village of Antonio Bay on the 100-year anniversary of their death, builds slowly but it was an effective style choice.

As the Antonio Bay residents anticipate the anniversary, a green, thick fog approaches the village. By the time the fog is in full force, and night falls, the victims are only able to see glimpses of the disfigured monsters as they seek revenge for what happened 100 years ago.

Carpenter’s score, much like in Halloween, completes the fear factor in the film.

A test of a good horror film, in my opinion, is how often you think of it after the fact or feel the need to check if the door is locked or, even worse, if there is a mangled monster hiding in your closet. In other words, if a film has the power to send you back to age 10 and to thinking checking the closet or under your bed at nightfall is going to help you survive – it passes the test for me. Films are all about imagination and The Fog—again with its fable influence—is a creative story with just the right amount of fright that holds up today.

The Fog and Alfred Hitchcock’s To Catch a Thief (now streaming on Netflix) are loosely connected in the strength of their visual styles. In fact, a rarity for Hitchcock, I think the visuals of To Catch a Thief are one of its stronger points over the script and acting. Hitchcock, at least the films I’ve seen so far, usually presents a triple threat but some components of To Catch a Thief faltered a bit. Cary Grant, as a retired jewel thief bumbling away at his French villa, and Grace Kelly as a tourist who takes to him (and wants to solve a mystery behind missing diamonds) shine together on screen. It’s hard to top that but, given that the film won an Oscar for best cinematography, its stylistic points to depict the mystery burglar and capture the beautiful French countryside were more memorable components of this Hitchcock picture.

Other than the wonderful Ali: Fear Eats the Soul,  which I found by happenstance at the library, the memorable moments from the films I watched last week dwindled a bit after To Catch a Thief.

I’ll save Ali: Fear Eats the Soul for last so as to end a high note, but Margaret and Urban Cowboy presented some dark times for me last week in cinematic history. Maybe I’m being a little over dramatic but not as much as Anna Paquin in her role as entitled teenager Lisa after she witnesses, or possibly causes, a horrific bus accident in New York City in Margaret.

I am still kind of baffled about how a strong cast of Paquin, Mark Ruffalo and Matt Damon (although his role is small and he can be blamed for nothing wrong in this world) can deliver such forced performances that lack any depiction of real emotion. The film is nearly three hours long and I stuck with it hoping their character depictions would improve, with no such luck. Paquin and Ruffalo, as the bus driver, have the biggest roles and lack any real tension even as they are at odds with each other about what happened on the day of the accident.  At one point in the film it seemed like some of the actors with smaller roles knew how bad it was and just flubbed through their lines on purpose. It was almost like watching one take of the movie being made live and they had to release whatever they made it through. I hope to find other people who saw Margaret, and made it beyond the violent bus accident scene, to know if I am just imagining how bad it was or if there is a different take on the film that I am missing.

The same is the case for Urban Cowboy, starring John Travolta, because I didn’t even watch the last 20 minutes. I tried, but the last hour of the film really went downhill, in my opinion. The first hour delivered what I expected as far as a 1980s story of a rural man moving to the big city to ultimately do the same things he did before with the addition of falling in love and getting married. It was like a less-serious Saturday Night Fever with nowhere near the depth and strength in it’s story but, at least at first, entertaining nonetheless. Someday I’ll have to watch those 20 minutes to technically count it in my challenge, but for now I don’t feel like I missed much.

Ali: Fear Eats the Soul, however, redeemed my week of ups and downs as a perfect, unexpected love story between a Moroccan migrant worker and a German woman 20-years his senior after they meet at a bar. The description on the library DVD sounded interesting, but I had no idea the film is so well regarded or that it is so wonderful.

It’s a simple story made deeper with its commentary on culture and society shown through the responses of Emmi and Ali’s friends and family to their unlikely relationship. Stylistically, not counting teh dialogue and music, it was beautiful to watch the camera angles that provided a voyeuristic view into the characters’ lives. Of all the movies I watched last week, I definitely recommend Ali: Fear Eats the Soul. We could all use something unexpected in our lives now and then.

“Is all that we see or seem

But a dream within a dream?”

Edgar Allan Poe

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Movie Week in Review: Spies and Romance

audreyhepburn-carygrant-charadeBig news from last week, I made it to movie 100! The film I watched wasn’t exactly what I intended to for such a milestone in this challenge; but after yet another stressful day at the office I wanted to see something at the theater I also work at (a place that is oddly calming for me) and unwind a bit.

The First Monday in May, a documentary about the celebrity-filled Met Gala organized to raise money for exhibitions at the Metropolitan Museum of Art, is for the most part an entertaining glimpse at art, fashion and film while presenting a small argument that they are one in the same. The curator for the exhibit at the center of the documentary and Met Gala hubbub, Andrew Bolton, said fashion especially should be considered as art and wanted to reflect that in his display of outfits and costumes inspired by Chinese culture.

Documentaries can be hit or miss and I will say this one perhaps could have went deeper into its subject matter and the development of the exhibit vs. the seating arrangement of famous people at the Met Gala and Anna Wintour wearing her sunglasses indoors. Those topics were a bit superficial to cover, while the portions of the film that provided a peek into her work on the Met board while leading Vogue and Bolton’s lifelong dream to be a museum curator were worth the coverage and left me wanting more. My favorite part (yes other than Rihanna’s appearance and the awkward moment with Larry David on the red carpet), was also a brief mention of how fashion was part of film in Chinese history and cinema’s influence in Bolton’s exhibit. If you want to check out more work by director Andrew Rossi, I (although I’m little bit biased here because of my former career as a journalist) prefer Page One: Inside the New York Times. The First Monday in May is a visual accomplishment in documentary film making, but lacks a little bit on the storytelling side.

Moving on, Charade, mixed with Confessions of a Dangerous Mind, started a theme of movies about spies and romance during the week also including An Affair to Remember and Badlands (minus the spies and plus a very dark and unsettling “love story.”)

MCDCOOF EC032Charade is one of the top films I’ve watched this year now and I really loved the build to the true dynamic between Audrey Hepburn and Cary Grant’s characters as well as the secrets behind her husband’s death, his identity and the money at the center of everyone’s trust issues. Confessions of a Dangerous Mind, from George Clooney and Charlie Kaufman, takes the memoir of game show host Chuck Barris to explore his rumored time as a CIA operative and how he balanced that with career and his love with Penny (Drew Barrymore.) In addition to being funny and mysterious, the film is visually on par using angles, close-ups on its characters and artistic technique to further tell the story. I’ve always liked Sam Rockwell, and this could be his best work that I’ve seen. He embodies Barris’ persona, yet makes it look effortless.

Badlands has the visual appeal carried by Confessions of a Dangerous Mind, but the more I think about it, the harder it is to say I like the film. I think that’s because the characters, primarily Martin Sheen as a murderous wayward soul from the wrong side of the tracks, are so dark and nonchalant about their actions that I found it very hard to relate to them on any level. I often associate films with how they make me feel and memories of when or where I watched them in addition to their cinematic quality, so Badlands is hard to fit into that complete picture. That said, Sheen and Sissy Spacek are dynamic together on screen as forbidden lovers whose characters are loosely based on a real-life couple on a crime spree that ends in the badlands of South Dakota. I think the film must have also inspired True Romance (definitely one of my favorite films of all time), if nothing else through the use of this song as Clarence and Alabama embark on their own crime spree.

I switched from romance and crime in the beginning of the week to a healthy balance of comedy, space, science and a little horror to make it to movie 106 on Saturday. Christopher Nolan’s space epic Interstellar is worth the three hours of time and will keep you guessing as to what will happen; especially in the last hour. I think, while I haven’t seen every space-themed movie, it’s one of the most (pardon the overuse) visually-appealing while being scientific, emotional and plus Matt Damon is in it. MATT DAMON!

I feel as though I am rambling at this point, but I do want to cover my last two entries of the week spanning the comedy-horror-parody genres: Best in Show and The Final Girls.

Christopher Guest’s look at the world of dog shows, in a “mockumentary” style, is pretty flawless and I could watch Parker Posey’s meltdowns over her dog and issues with her husband all day. I know nothing about the dog show world, but Guest seems to be spot on in his depiction while adding just the right amount of drama and quirk to his characters while they fight to be Best in Show.

Finally (bad segue) The Final Girls … one of many horror movie parody/tributes (think The Cabin in the Woods or even Scream) out there takes it to another level with a movie-in-a-movie format where the characters are challenged to find their way out by following the classic plot points used in the genre. Thomas Middleditch’s performance was my favorite in the film and it overall delivers a unique addition to what can be an overly-formulaic genre of movies.

Up next this week I am going to explore more Cary Grant films and want to collect enough titles to go on a binge of sports movies. There are a lot in 1,001 Movies You Must See Before You Die (sadly Major League isn’t one of them) so it’s time I expand my horizons in that regard. I welcome any recommendations.

“When you are young, your potential is infinite. You might do anything, really. You might be Einstein. You might be DiMaggio. Then you get to an age where what you might be gives way to what you have been. You weren’t Einstein. You weren’t anything. That’s a bad moment.”

Chuck Barris – Confessions of a Dangerous Mind

Movie Week in Review: Music Royalty

Hey hey.

I’ve decided to take a new approach to this challenge and not blog about every movie right after I see it. I obsess too much about my blog posts, to the point where it may be detrimental to my writing and sanity, so instead I will attempt to write weekly recaps about my movie adventures.

My decision is also based on the fact that I need to spend more time watching movies and get caught up in this race. It hasn’t worked so far, but I think it will help on the weekends when I am watching four or five movies and won’t need to pause to express my critical non-genius on the Internet.

This week in watching ended up being largely focused on films with a connection to music, including Presenting Princess Shaw, Saturday Night Fever, Born to Be Blue and the most classic of them all Walk Hard: The Dewey Cox Story.

I missed the opportunity to see the director’s cut of Walk Hard Sunday when my manager screened it at the theater, the trouble being it was at midnight and I was movied-out that day (I wish that wasn’t a thing.) I just rented it on Netflix, the non-director’s cut, but definitely could deal with another hour or so of Dewey Cox this year when I have the time. I did fulfill my original plan for Sunday to watch Born to Be Blue and Walk Hard as a double feature and, while one is a strict biopic drama and the other is a complete farce, they are both brilliant and a perfect pairing.

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Ethan Hawke as Chet Baker

I thought Born to Be Blue might be my new Whiplash (which I saw three times in the theater) this year and it did have the same effect of completely taking me into the story of the characters and the music. If I had the time, I know could watch Born to Be Blue over and over.

Born to Be Blue is a true story, depicting Chet Baker in his 40s and later in his career, with Ethan Hawke completely transforming into his character and persona. I didn’t even know I was watching him on screen most of the time, that’s how good he is in this film. Born to Be Blue is clearly a passion project for Hawke and director and writer Robert Budreau. Hawke even wanted to play Baker in a movie by Richard Linklater 20 years ago, but the project didn’t get off the ground. Hawke, in a Village Voice interview, said he’s felt like he’s been thinking about playing Baker in a movie for 20 years. That explains, perhaps, how he completely embodies Baker on screen. I didn’t even know much about Baker in real life but felt the opposite immediately upon seeing Hawke with trumpet in hand and crooning at Birdland in New York City. Hawke performs with a stylistically beautiful film in his background, juggling between color and black and white and different moments in Baker’s later life after he loses his front teeth and has to find a way to play the trumpet again. It seems he was happy in the end, but there was always a looming tone of sadness and heartbreak throughout the film — fitting with the final line by Hawke “Born to Be Blue.” (It doesn’t have spoilers, really, but after you see this film I definitely recommend listening to Hawke’s interview with Marc Maron on WTF.)

Whether you need some cheering up after Born to Be Blue or not, a good follow up is Walk Hard: The Dewey Cox Story. It presents the perfect parody of music biopics without being too silly and the comedic writing (Judd Apatow and Jake Kasdan- also the director) was top-notch in my book. It mostly follows a similar story to that of Johnny Cash in Walk the Line but crosses over with applicable themes that are in most biopics: tragedy , addiction, death, career ups-and-downs, love and of course rising above challenges. Dewey Cox (John C. Reilly), the oldest looking 14-year-old ever, has a quick rise in his career even though he has no sense of smell and goes on spiral that every young pop star with a hit like “Take My Hand” is expected to have. Walk Hard hits all the right notes (sorry had to say it) and has so many good cameos, the scene with The Beatles has to be my favorite, and shows Reilly’s continued comedic genius alongside a cast of Jenna Fischer, Kristen Wiig, Tim Meadows, Matt Besser, Chris Parnell and so many other Saturday Night Live and improv comedy stars.

To conclude, okay I am nowhere near being done, I also watched Saturday Night Fever (a 1,001 Movies You Must See Before You Die recommendation) with John Travolta. I was mostly surprised about how dark the film is. It’s more a coming-of-age story about family and friendship with the 1970s Brooklyn disco scene in the background than an exploration of that era and dancing than I thought it was.

Travolta (Tony) spends his days at a paint store and nights at the disco club breaking in his platforms and bell bottoms until he realizes he really wants to dance all the time. He switches his days to the studio practicing with an older woman, Stephanie, to enter a disco competition. Tony smokes while dancing and is always in his skin tight silk shirt and bell bottoms while Stephanie is ready to work in the most uncomfortable-looking leotard. Those moments focus on the dance and bring you into the 1970s, but the film really is more about the characters at transitional moments in their lives they release through breaking out their boogie shoes until it all becomes too much. Gosh that does sound really dark, but it just is that type of film.All-in-all Saturday Night Fever somehow successfully bridges the gap between exploring a significant era in pop culture history and delivering a character-driven drama.

While it’s a documentary that may never have the fame of Saturday Night Fever, Presenting Princess Shaw could be known in that way years from now. I saw the film during the Minneapolis St. Paul Film Festival this week followed by a  Q&A and after party with Princess Shaw herself.

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Princess Shaw

Princess Shaw, aka Samantha, grew up in Chicago with a rough childhood and moved to New Orleans as an adult. There she works with patients in nursing home, often singing to them, and at home makes YouTube videos of her songs. Across the world in Israel, Kutiman explores YouTube for musician’s work to make “mashups” between instrumentation and vocals. He comes across Princess Shaw’s work, including one video where she says she is looking for a beat to go with it, and the rest is history. It’s not so much about a “YouTuber” being discovered as it is a connection between two kindred spirits across the world and how success can come in unexpected ways to the most deserving people like Samantha. She graciously answered the audience’s questions after the film and it is evident she just wants to make her music, live her life and doesn’t expect any fame from it. I learned more about that listening to her talk at the after party. My friend and I sat at a big open table only to be bombarded by board members from MSPIFF and I was one seat away from Samantha. She is humble and again gracious in answering the board member’s questions, mostly about what YouTube is and if the story about how she and Kutiman found each other was authentic or “reenacted.” It was a little uncomfortable for me (mostly because of my self-diagnosed mid-30s social anxiety and awkwardness) as more and more board members crowded our table and I couldn’t get a word in edge-wise when I wanted to ask Samantha a question. BUT when they calmed down a bit and took a break to complain about the deejay being too loud I did ask her what her favorite movie is. The answer: Zombieland because of Bill Murray’s cameo role.

I like that. A lot.

It was a honor to be in the presence of Princess Shaw’s music royalty this week, even though she probably wouldn’t describe it that way, she is really a star in life and I admire her. The film will be out soon on Amazon, iTunes and the like and you must see it.

Okay folks, that is all. I did obsess about this blog quite a bit but once a week should be manageable.

“I think a healthy dose of doubt makes you better.”

Gary Oldman on Nerdist.

 

 

 

 

 

 

92 and 93 of 366: Five Easy Pieces and Carol

I AM SO BEHIND ON THIS CHALLENGE!

I feel better now after venting just a little, but if anyone has the power to stop time so I can catch up on my movies, please please please let me know.

I did watch two movies over the weekend; please hold your applause, Carol and Five Easy Pieces.

carol

I still can’t get the visual and audible elements from Carol, including the costumes, music and exterior scenery of 1950s New York, out of my mind.

Cate Blanchett and Rooney Mara carry the film with a strong supporting cast of Kyle Chandler and Sarah Paulson but, even with its elements of conflict, romance and drama, the pace was a little slow.

Those elements make for dynamic story but I am still left with the feeling that not a lot happened in the film, and I’m not sure why.

Blanchett plays Carol Aird, who is married to Harge (Chandler), and they have a daughter together. It’s not long into the film when Carol meets Therese (Mara) while Christmas shopping at the store she works at and they develop a relationship. Carol has dated women before and her new relationship further angers her husband and shows how society reacted to same-sex relationships in that era. It is also an impetus for Harge to keep their daughter away from Carol and he goes to all lengths to prove her infidelity.

Therese, an aspiring photographer, is less tied down than Carol, but she does have a boyfriend Richard (Jake Lacy), who she knows she doesn’t want to be with forever. It’s either her sexuality or lack of love for him specifically, or both that causes their relationship to end, especially when she meets Carol.

Carol presents the themes of not only sexuality and the acceptance of it decades ago but also those of love and passion and what people will do when those feelings come into play.

The film, directed by Todd Haynes and based on The Price of Salt by Patricia Highsmith, is overall told in a flashback after one glimpse of Carol and Therese together. That style of the film, in my opinion, resulted in an ending that felt a little flat and predictable as far as how relationships that are considered forbidden are portrayed in cinema.

Carol is worth seeing for the visual elements and acting but, although I haven’t read it, perhaps Highsmith’s book is the more complete of the two versions of the story.

five

I also felt Five Easy Pieces, while Jack Nicholson is amazing in it and I could watch him act all day long was a little slow-paced despite the performances, visuals and music.

Music is a key part of the film given that Nicholson plays a classical pianist-turned oil rigger, Robert Eroica Dupea,  who returns to his hometown to visit his ailing father and other family.

It’s known as a standout performance for Nicholson in his career after his supporting role in Easy Rider, which I still need to see, but that was the primary high point of the film for me.

It could be the time that has passed since it was released that took away from the film for me, but I did somehow still feel connected to the depiction of the 1970s middle-America despite not having been born yet

Five Easy Pieces maybe didn’t make Nicholson’s career in its entirety, I’ll decide on that after I see as many of his movies that I can this year, but it is a part of the puzzle that makes him one of my heroes and best actors today. Even if there were other people in the scenes, Nicholson’s character was always the focus in the film — from when he plays a piano on a truck stuck in traffic to the more intimate, and heartbreaking, moments when he sees his Dad after many years.

The ending was similar to that of Carol in that there was some uncertainty about the future of the characters and their relationships, but I think it was a more effective choice in Five Easy Pieces given Robert’s establishment as a loner and independent spirit.

There isn’t much audio in the end of the film, leaving me to imagine Robert saying (to quote Mr. Dana Gould in his latest podcast episode, Look Back in Langour) “All I … want is solitude and Fritos.”

 

89 of 366: What a Way to Go!

What_a_Way_to_Go_0Shirley MacLaine is fierce in What a Way to Go! This is a term I can’t really get away with saying in real life while wearing my cardigans and jeans and, while it certainly wasn’t in the common vernacular circa 1964, it fits MacLaine’s portrayal of Louisa May Foster and her extensive costumes in the film.

Foster is a woman seeking a simple life and a husband who wants the same, but each time she tries said husband lets a quest for money and riches get the better of him and she ends up a widow — four times.

There is the, at first, humble shop owner Edgar (Dick Van Dyke); the eccentric artist Larry (Paul Newman); the millionaire tycoon Rod (Robert Mitchum); and finally the showstopping Pinky Benson (Gene Kelly.)

Yes some of those characters have money, but they didn’t let it get to their head until Foster entered the picture, making her think she is cursed.

Foster recalls her failed marriages – by death and riches – to her psychiatrist over the course of the film and each story is played out throughout the world and different lifestyles. Foster even imagines how each of her marriages would be portrayed in Hollywood, such as a silent film, French romance or lavish musical.

The film is funny and delivers through the on-screen chemistry between MacLaine and each leading man. That said, she is definitely the star of the show while rocking and all pink gown with a Chinchilla fur coat one minute and overalls and big hair the next.

It was a long path for Foster to get there, but she does find happiness in the end — just in the most unexpected place and with the most unexpected person.

Money isn’t everything and love conquers all, at least in the world of Louisa May Foster Hopper Flint Anderson Benson and …

 

79 of 366: Hannah and Her Sisters

hannah
imdb.com

I am in desperate need of artwork for the walls in my apartment. Luckily, I just watched Hannah and Her Sisters and now have one of those lovely pieces with red yarn, thumbtacks and note cards I used to try and connect the characters and their ongoing love triangle.

It’s not that complex really, but I found myself obsessed with who was courting who as Woody Allen’s vignette about three sisters, Hannah, Holly and Lee and their romantic lives and careers played out.

Hannah (Mia Farrow) is married to Elliot (Michael Caine), who becomes interested in her sister Lee (Barbara Hershey).

“God, she is beautiful,” Elliot says of Holly in the intro of the film before a Thanksgiving dinner with the family.

Hannah is also divorced from Mickey (Woody Allen) who wants to rekindle his relationship with the third sister, Holly (Dianne Wiest.)

“Love is really unpredictable.” – Mickey

Allen’s film, an Oscar winner for best screenplay as well as supporting actor and actress for Wiest and Caine, is a wonderfully neurotic and poetic telling of romance and family relationships set against the backdrop of mid-1980s New York.

He uses music consistently in the film, often jazz, yet one of my favorite scenes starts with a 1980s rock concert date between Mickey and Holly.

They try to reconnect on the date, but it’s clear Mickey doesn’t fit in as Holly does just a little cocaine and chastises him for all his quirks.

“Why are you making those faces? … I cannot communicate with you, I never knew you were such a tight ass.” — Holly

Mickey takes Holly to a place a little more his tempo, a jazz concert, in the next scene. Of course she feels out of place, showing it by continuing to use cocaine, smoke and drink among people she says wouldn’t realize it because they’re embalmed.

“You don’t deserve Cole Porter, you should stay with those groups that look like they’re going to stab their mothers,” Mickey responds as they leave the concert.

It’s as much of a humorous moment as it is revealing of the characters, a theme throughout the scenes in the film. The scenes are split by one word or a quote as script on the screen, often connected to the character they focus on as they search for happiness in love and their careers as well.

“The only absolute knowledge attainable by man is that life is meaningless,” Tolstoy.

Hannah and Her Sisters has the standards of a Woody Allen film with a bookend going back to the family’s Thanksgiving dinner and a reunion between the seemingly mismatched Mickey and Holly in a record store — often a location for love connections in film.

“I think it’s lucky I ran into you, maybe.”

I loved the ending and conclusion of all the separate stories in one final short scene showing the paths the characters went on weren’t all that bad and that, maybe, what’s meant to be will happen.

 

 

 

77 of 366: Your Sister’s Sister

Hey hey, happy Flashback Friday. Is that a thing or just for people who missed celebrating Throwback Thursday?

sistersIn any case, here is an old picture of my sister Carla and I from Spring of 1982 at our old house on Springdale Court.

I am also celebrating Flashback Friday by going back to movie 77 of my quest to watch 366 this year, Your Sister’s Sister.

I am hurting a bit by not writing about the film after I saw it. Even though I take notes, my feelings about a film is hard to express days later.

sisterssister
imdb.com

What has continued to be on my mind about it, however, is the ending. There was one moment when I thought it was going to end and then one more short scene after that took it away from a predictable conclusion to the story.

I enjoyed the film up until that point anyway but the last addition to the plot was effective to conclude a story focused on character development, family relationships, love and loss.

There are only three main characters in the film, written and directed by Lynn Shelton, Iris and Hannah, who are sisters, and Jack.

Jack (Mark Duplass) is Iris’s (Emily Blunt) best friend and Hannah (Rosemarie DeWitt) is her sister.

Jack, at the suggestion of Iris, decides to spend some time alone at her family’s cabin after his brother dies.

Hannah has the same plan, going to the cabin after a tough break up, leaving the two lost souls together in a time when they planned to be alone.

They have a drunken night together only to be visited the next day by Iris, who decides to go check on Jack, and possibly express her romantic feelings for him.

Each character went to the cabin for their own reasons, but they end up discovering as much about themselves as they do about their dynamic together with a good share of challenges along the way.

Having only three characters presented a solid platform for focusing on the individuals as much as their relationships together as their feelings and life decisions were tested in a concentrated environment.

I feel like I’m being a little vague here but there were some surprises in Your Sister’s Sister, in addition to the ending, that took the well-written and developed film to a more mysterious level open to interpretation by the viewer.

With that, here’s a quote for today from a randomly-selected page in Cormac McCarthy’s All the Pretty Horses.

“We shall see what fate has in store for us, won’t we?

I thought you didn’t believe in fate.

She waved her hand. It’s not so much that I don’t believe in it. I don’t subscribed to its nomination. If fate is the law then is fate also subject to the law? At some point we cannot escape naming responsibility. It’s in our nature. Sometimes I think we are all like that myopic coiner at his press, taking the blind slugs one by one from the tray, all of us bent so jealously at our work, determined that not even chaos be outside of our own making.”

 

 

 

 

76 of 366: Hello, My Name is Doris

doris
imdb.com

Hello, My Name is Doris is a film I would say is not entirely what it seems. If you watch the trailer (I recommend you don’t because they often ruin the whole movie and/or create false expectations) it appears to be a quirky comedy about an older woman who pursues a younger man she works with and nothing beyond that. That is in fact a main plot point of the film, but director and writer Michael Showalter and writer Laura Terruso take that story to a deeper level to present a heartwarming, sad and yes sometimes comedic character study of Doris (Sally Field.)

According to an interview with Michael Showalter and Sally Field on Nerdist, he wanted her to star as the title character and her involvement in the film was critical to getting it made.

Doris lives on Staten Island and works in the city where one day she meets John, her company’s new art director from California. Having just lost her mother and continuing a lifetime of putting herself aside for other people, Doris meeting John (Max Greenfield) is an awakening that, while misdirected for a while, takes her to a new point in her life she has been wanting to get to for a long, long time.

It’s not just their meeting, but a friendship, that movies Doris forward even as she takes a few missteps along the way and misconstrues what is happening with John.

I think that had to happen for Doris and I also think, bridging the gap between cinema and real life for a second, most people will find some way to relate to Doris, and even John, as they experience love and loss all with a good share of social awkwardness in the background.

Hello, My Name Is Doris is a simple story that maybe has been done before in some form or another, but together Showalter, Terruso, Field and Greenfield take it to another level.

I think it’s how they used just enough restraint in the situations Doris faces with John combined with an imaginative look at the many facets of her character to balance who she was and who she becomes that makes this film and story work.

Field, as an established actress with an admirable library of work in her career, explores something new in Doris and didn’t let anything hold her back while showing the character during her high and low moments.

I really think anyone can appreciate this film, including scholars of the subject, comedy nerds and anyone in between.

It will also stand the test of time, I think, or as Doris says about her aged duck sauce in the fridge, “It keeps!”

For complete lack of a better phrase, don’t judge a book by its cover with Hello, My Name is Doris. It will surprise you, make you laugh and look at your own life through the eyes of Doris. If you don’t take away any life lessons from this story, at least consider a fashion tip or two from Doris.

She’s a baller.

 

 

 

75 of 366: That Touch of Mink

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Cary Grant is certainly the epitome of a leading man, and the moment he is introduced to Doris Day’s character, Cathy Timberlake, in That Touch of Mink proves why but I didn’t care for the dynamic of their relationship from that point on in the film much less its depiction of gender roles.

I should take into account the date of the film, 1962, but Cathy’s transition from meeting Philip Shane (Grant) for the purpose of confronting him about splashing her with his car as he drove by on the street in New York to being completely smitten and willing to do anything to win his heart just didn’t go over well with me.

Philip is a wealthy businessman who can give Cathy anything she wants and a taste of his lifestyle or “a touch of mink” as he buys her fancy clothes and takes her on a trip to Bermuda. But what she doesn’t get is respect or the acknowledgment that she is more than a side piece for Philip and even worse Cathy mostly gives into it.

Perhaps it was supposed to be a tongue-in-cheek commentary about gender roles in society at the time, but I think things have changed so much it’s hard for me to see the film in that way.

Cathy is on her way to the unemployment office when she meets Philip and then was supposed to go to a job interview. Instead, she ends up chasing after him and he just strings her along with the promise of a marriage proposal.

I understand the film is supposed to be a comedy and Day even made a series of films with a similar premise and character, but the “humor” of it all only goes so far in my opinion.

Stylistically, I enjoy the theatrics of the classic films I’ve seen so far this year and That Touch of Mink does have strong points in that regard with its costumes and scenes in New York. It also has solid writing, despite the flaws in its themes and the actual dialogue between Cathy and Philip. Day and  Grant work well together, but their on-screen chemistry wasn’t enough to offset the imbalance in their relationship dynamic.

The film is built with undertones that you’re supposed to want Cathy and Philip to be together and that theme, even for the sake of comedy, doesn’t work when his character mostly degrades women and doesn’t see anything beyond a darling in need of being rescued.

Emily V. Gordon is back today:

“You do not have the responsibility to change yourself in order to meet your partner’s needs. You can make a choice to change if you are able and would like to. And note: this goes both ways. The person you are dating is not the perfected version you see in your head; the person you are dating is the person in front of you.”

74 of 366: Upstream Color

 

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erbpfilm.com

Upstream Color is a beautifully experimental film exploring man’s relationship with nature and at the same time human relationships and love. From there, the film honestly was difficult to understand and, from the brief commentaries I’ve read, it’s supposed to be that way.

Shane Carruth’s (Primer) film festival darling starts with a woman infected with a parasite in her blood stream and evolves from there to a story of survival, independence and the themes I mentioned above, if you choose to interpret it that way.

Carruth, in addition to writing and directing the film, stars in it as Jeff, who later falls in love with the infected woman, Kris.

The film takes a turn from the plot about Kris to their relationship and fight against the world, but there are many other subplots going on that I know fit, but again, didn’t comprehend.

It’s actually a film that I feel okay about not understanding because I think it’s meant to be experienced as a visual film as much as it is a literary exploration of some deep ideas bordering on science fiction.

Carruth effectively balances science fiction with a story about love and presents a project you can appreciate at any level. I think it’s a film worth watching again, for people who have the time (not me), to experience what other themes and meanings stand out without reading any of the analysis available in many places on the Internet first.

Henry David Thoreau’s Walden has a strong presence in the film, both in readings by Kris’ character and physical copies in many scenes. That, combined with many scenes in and about nature, presented the theme that exploring how humans fit into nature was one of Carruth’s ideas.

If you want to dig deeper, Indiewire has a cheat sheet on Upstream Color (I only skimmed it before writing this post) that would be worth reading as well whether you watch the film one or 10 times.

Overall, I like the choose your own adventure style of Upstream Color. Its story is piecemeal and, as I said, can be interpreted at any level of depth and intensity you like or just taken at face value as visually mesmerizing artwork expressing the magic of film and storytelling.