Month: November 2015

Rewind Review: Coco Chanel and Igor Stravinsky

Posted on by bernardovillela

Coco Chanel & Igor Stravinsky is an odd case of a tale, at least as it is recounted in this film, that may have been best left as a historical footnote, or better yet a historical rumor which this is.The set up is certainly one that is loaded with promise. The film begins with the then controversial premiere of Stravinsky’s The Rite of Spring. After which his fame and fortune topple and seven years later he was living hand-to-mouth in a hotel with his wife being seriously ill. Chanel who admires his work offers him and his family residence in her country home. This leads to an affair and that’s about the apex of the film.

The beginning of the film where in we see not only a hint of their attraction between Chanel and Stravinsky but also the fiasco that is the opening of his show in 1913 is nothing short of riveting. However, making a compelling first act is not the difficulty it’s the other two that often present the challenge. This three-pronged beginning is worth noting though. First, there is the pre-show where we see not only him and Chanel but also his pre-show jitters and an intimation of what his family life is like. Second, there is the chronicling of what the show itself was like which is quite something because listening to the music with modern ears it’s difficult to see what is so offensive. The music is wonderful but ahead of its time and thus receives a negative reaction. The last part of the opening is also compelling as you see opposite sides of the then failed symphonic ballet pointing fingers at each other. You have Nijinsky blaming Stavinsky and vice versa with Diaghilev trying to play mediator.

The positive effect that the move to Chanel’s has on Stravinsky’s work is obvious. He is able to compose. The difficulty the film ends up having is in the conveyance of the affair. To be just it doesn’t seem to be unrealistic but that’s where the issues come in. It is possibly too realistic for there to be sustainable drama and conflict that is truly compelling.

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The affair begins and they are secretive about it but of course they are discovered, not only do Chanel’s friends suspect, as one scene illustrates, but Stravinsky’s wife and oldest son find out. Not that things need to blow up into melodrama but not enough does happen. Stravinsky’s wife takes it for as long as she can. She confronts both her husband and Chanel but in very subdued ways not making any overt threats or fuss. Again realistic for period but not necessarily making for the best drama.

Also you have an issue in that the two protagonists are quite similar in many ways. They are both driven to succeed in their profession and both consider themselves to be instinctual artists. They are demanding and not very open but physically passionate. When you have two characters who do not wear their hearts on the sleeves you need more incisive, perhaps even intrusive, filmmaking than you get in this film. It is all surface, glimpses beneath are few and far between and the water is murky.

Though you do get interesting time cuts which allow you to see the two in their old age hearkening back to their tryst it doesn’t stir up much emotion because the dénouement in this film seems massive. Chanel and Stravinsky fight, essentially ending their affair but he has work to finish and stays until he does. She attends his opening and applauds as people now appreciate his work. However, their relationship is over and we know it. We also know they will not fight for it. Similarly, Stravinsky’s wife really doesn’t fight for him to come back but hopes that he will.

2009_coco_chanel_and_igor_stravinsky_001

It is unseen but he does go back and there is another failing. You have here a triangle with no real tug and pull. He is never truly torn, we assume he will return to his wife who doesn’t struggle to get him back so aside from seeing the great work both he and Chanel create by the fact that they are mutual muses what else is the tale really telling aside from an interesting footnote?

At one point Stravinsky’s wife cites the effect of the affair on the children but we don’t see it. We take her word for it. On occasion we get a glimpse into how she feels but not enough and the fact of the matter is how she feels isn’t that unique either. She loves him, wants success for him, wants him for only her but knows she can only push him so far.

Whether through adding more points-of-view or perhaps exaggerating historical facts or hearsay something needed to be done to up the ante in this film because all through the film there just wasn’t enough conflict and the outcome of the tale was ultimately a bit too predictable.

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Some good acting and interesting cinematography is ultimately wasted in service to a script that seems to never want to, and never does, go for the jugular.

5/10

Mini-Review: Frances Ha

Posted on by bernardovillela

Introduction

This is a post that is a repurposing of an old-school Mini-Review Round-Up post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically. Enjoy!

Frances Ha

What you have here is a tale of female arrested development wherein the protagonist Frances (Greta Gerwig) watches the world (i.e. her friends) grow up and move on around her, and she has to shape up or ship out in order to not be left miserable and alone. Shot in black-and-white, located in and around New York, save for some of her aimless soul-searching; it tries to hearken to Woody Allen in the ’70s but forgets to include the comedy, acerbic wit or insight. The protagonist isn’t even as dubiously engaging as an obviously-flawed Allen creation, merely annoying.

Mind you I’ve seen an even more immature man-child in The Almost Man. However, Henrik needs to be beaten over the head less often before snapping out of his fantasy life and starting his soul-searching and latter-life maturation; with Frances she’s not humorous, engagingly rendering, intriguingly portrayed or more complex, yet she takes more prodding and is more bothersome. “You’re bullshit,” Frances’ bestie snaps at her. Indeed she is, and it takes her far too long to agree and get her shit together, and even if that was excusable it’s not an engaging watch before then.

2/10

Rewind Review: City Island

Posted on by bernardovillela

Sometimes it seems like fate when you hear about a film. Again this plays a bit into pre-life but this connection is a little more direct as I agree with the sentiments to follow. I had never heard of the film City Island until Jake T. Austin, the actor best known for Wizards of Waverly Place and the upcoming The Perfect Game, tweeted that he had just seen it at last year’s Tribeca Film Festival and said it’s the kind of film he wants to be involved in. Which is high praise from any actor and equivalent to a director saying “I wish I made that movie.”
This film concerns itself with the secrets a nuclear family keeps from each other that are unearthed as its patriarch, Andy Garcia, brings home an ex-con who is his son from a pre-marital tryst.This is the best most accurate way to encapsulate the film other cutesy pitch-like attempts give you some but not all of the tale like a partial modern day Greek tragedy with a comedic slant or Secrets & Lies with a sense of humor – both while somewhat true don’t say it all and even the secrets angle borders on hyperbole because what the film is really about is disconnect within a family unit and all members living separately, as if on islands, such that any communication is a task and keeping secrets is easier than saying what’s really going on in their lives.
 
This truly is a cast that is flawless and has absolutely no weak link whatsoever even in the smallest part. First, you have Andy Garcia who narrates the tale and carries us through it we see how he likes to define his existence simply such that anything beyond being a corrections officer threatens his sense of normalcy. There is Julianna Margulies who plays his wife and finally gets a chance to shine on the silver screen in a meaty role after so many successful years on TV.  Emily Mortimer, who even though most of the time she serves to give Vince (Garcia) confidence, has her own baggage and is like those we may meet shortly in life that left something behind for reasons we don’t quite know. Steven Strait as the prodigal son is also an outsider who sees things in this family dynamic so much more clearly than any of them do for he never lived in it. Ezra Miller as Vince, Jr. is the family clown but only because he seeks to break the cycle and not get caught up in the secrets himself and just be himself. There is Alan Arkin’s character whose acting class plays so beautifully into the plot of the film and he even has his own moments of struggle and frustration. There’s also Dominik García-Lorido as their fiery daughter who frequently butts heads with her mom and believe it or not I could go on.
Here is another example of where a film’s setting plays a role as the locale not only serves as a backdrop but it also influences the protagonist’s outlook on life as he defines all people by the local vernacular of Clamdiggers, those born and raised on City Island, and Musselsuckers, those who moved there. It’s more rare for a film to utilize its location to its advantage as a book would as typically you’re trying to disguise one location for another but being the title of the film as well as the location City Island was definitely a strength.

City Island (2009, Anchor Bay)
What does ultimately make this film as successful as it is that it’s a comedy. The drama is there, of course, as it is the foundation upon which all other genres are created but if all these situations are played out and revealed in a straightforward manner it ultimately would lose its effectiveness. It’s because you laugh that it feels more real because some familial situations are so crazy all you can do is laugh.
As demonstrated above where the cast deserves very high praise but note that most of what is mentioned is character related and not performance related. It truly is a character driven piece in which all the people we meet are drawn out and made to seem real. Some scenes are momentarily broken, for example, as Vince is away to build Vince Jr.’s secret/character. It’s the kind of film where one can likely walk away from it identifying with any number of characters. For example, what I found interesting was that to me Vince, Jr. seemed the most well-adjusted or at least the least crippled by his secret. He didn’t panic when Tony (Strait) indicated that he knew his secret and when Vince, Jr. found that the webcam he was watching was across the street he didn’t hesitate to go there. Also, at the end he didn’t hesitate to go outside and see what was happening at his house and interject in the conversation though he was dining with two girls.
This film is truly well-written and directed and is a strong debut that is most deserving of the Audience Award it won at Tribeca last year. Aspiring writers and/or directors should read Raymond De Felitta’s blog on the making of the film on Facebook and Twitter. If you have a chance you should seek this film out. It’s the kind of independent cinema you seek to see more often: truthful and insightful and not different just for the sake of being different- absolutely spot on.
10/10

Free Movie Friday: Semper Est Sperare (Always Hope)

Posted on by bernardovillela

Similar to my last post in this category this is one where I recuse myself on commenting too much in a critical capacity, but do want to link to it, and promote it, because one of the stories within this documentary pertains to close personal friends of mine.

And, following on the heels of sharing this film from Jacks Gap on other forms of social media, I believe in both opening avenues to discussion on mental health issues, and doing what I can to try and end the stigma.

This is a topic that actually has some current traction in the States as this recent piece by John Oliver comes to mind.

The feature is little more than and hour, so if you see all three you have three strong voices; young, older, and in between trying to keep the debate going and end stigmatization. Keep the conversation going.

The Wonderful Grace Kelly Blogathon: The Swan (1956)

Posted on by bernardovillela

Introduction

This is the first of two consecutive blogathon participations where I had intended to read the original texts (the play in this case, and the novel in the next). As it stands, these grandiose plans will have to be scrapped, and I will need to include both The Swan along with the Tin Drum (should I get to the book) to the long list of titles I watched before I read. Most of the Hungarian playwright, Ferenc Molnár’s, works are available online in the public domain either on Project Gutenberg or Internet Archive.

As for the film version, which was released in 1956 (four years after Molnár’s death) was one of Grace Kelly’s final screen credits before retiring from the screen after becoming Queen of Monaco.

A renewed interest in Kelly, sparked partially by the forgettable Grace of Monaco, is what drew me to this blogathon, and Molnár and this connection to her late career drew me to The Swan.

Grace Kelly the Swan

The Swan (1956, MGM)

Firstly, yes, I believe I will be reading Molnár’s work after having seen this film. More on that later, but first the focus of the blogathon: Grace.

One thing that was interesting to see, as someone who has now seen nearly 1/3 of her scant titles, was the added range this role allows her. We all have blind spots almost everywhere, even film enthusiasts, and Grace outside Hitch’s movies was one of mine. Kelly was Hitchcock’s perfect blond not only in terms of appearance but for how he could cool down her refined class, and make her be quiet, or calculating, or a cipher as the case may be. Here she was likely drawing off real-life emotions but was allowed several facets – a few I’d not quite seen.

Firstly, there is the physical prowess she exudes. Now, it’s very clear from the first time you watch her that few actors’ names were ever so fitting as Grace Kelly’s. She has a regal air and gait anyway, always, did but when you add her fencing, ballroom dancing, and some of her emotional vulnerability it’s very impressive. Emotionally she’s ill-at-ease, distraught, nervous, and very noticeably listening and reacting in the most intense scenes.

The Swan (1956, MGM)

That and she’s practically a textbook example, even in Cinemascope, of the rule that actors on film must adjust to the framing; having more leeway of movement and gestures in wide shots and being more subtle the closer the camera comes. Not that it’s ever that close as there are lots of wide shots and long takes.

This and the minimal airing out of the play were used to exploit Cinemascope, which was created to offer something TV couldn’t play up some the of theatrical elements in a cinematic milieu, fitting as much early TV were playhouse shows and the lines of theatre, television, and film were blurred.

The drawing from real life experience is not me stretching that she was royalty later and plays royalty here, this film was actually released shortly after her marriage to Prince Rainier of Monaco, surely that was part of the appeal to her and to MGM’s marketing department. “I want to be a queen” she protests at one point as her becoming a princess was imminent.

Hungary

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The setting of this film is labeled as Central Europe 1910, but it’s really the Austro-Hungarian Empire right before World War One. The decadence of the Empire in its latter days has been fodder for Hungarian writers and will likely continue to be. This was a project that director Charles Vidor could relate to as he was one of many who left either Hungary or Austria-Hungary before it to Hollywood. Born Károly Vidor in Budapest, 1900; he was around the age of Alexandra’s brothers at this time.

However, some of the setting is evident even in Anglicized text like the paddle game, mentions of the great plain, the Puszta; which I never heard being referred to as a place where mirages frequently happen; Szeged and (where your paprika likely comes from). I was also glad they broke into French on occasion which was almost universally the language of European royal courts. At least this is a compromise of the convention of translating to English.

Whereas sometimes foreign comedies don’t translate this does because it’s about dry wit, impropriety in highly proper environments and some well-played, subtle physical comedy.

Themes and Motifs

The Swan (1956, MGM)

The themes and motifs in this film are quite apparent but very much appreciate nonetheless. Among them are the role of religion in politics and maintaining the status quo. Father Hyacinth, the monk and a relative, is likely an underrated character and quite shrewd. He’s nearly duplicitous in his ability to influence even though he also admonishes the royals, most of the characters are layered like this rather than being archetypes. There are also overtures of class warfare, the rights to culture and one’s “place in society.” As is not atypical with royals, and in Hollywood couples, there is an age difference of 15 years. The plot also centers on marrying for political gain versus love, there’s a refreshing spin on jealousy plots and a jilted lover.

Conclusion

Grace Kelly wedding photo

This film is also proof that older films are worth watching despite their Oscar pedigree or lack thereof. The film is an early Cinemascope title, the sets are as opulent as Golden Age mise-en-scènes, and the score by Bronislau Kaper, albeit sparsely used is mellifluous.

Despite focusing on Kelly it is an ensemble piece and aptly performed by Alec Guinness, Louis Jourdan, Jessie Royce Landis, Brian Aherne, Estelle Winwood, Agnes Moorehead, Christopher Cook and Van Dyke Parks.

Even though there is a slight bit of predictability, I appreciated the refereshing take on a manipulated love triangle and the sociopolitical themes aside from the romance.

The Swan (1956, MGM)
The Swan, a nickname and metaphor that plays early and late in the film. To not tease the end too much I was not surprised what the ending was after seeing Internet commentary like “the end didn’t work for me.” Keeping in mind the cultural relativism of Hungrian works, which I am familiar with, as well as realistic expectations in the real worls and not in Hollywood claptrap the ending makes perfect sense and it is all the more bittersweetly beautiful for it.

Review: Off White Lies

Posted on by bernardovillela

Off White Lies

I find myself commenting on a film’s subtlety quite often. Rather than sounding like a broken record I will expound on that. It’s one think to tell an intricate story without spoon-feeding an audience like say Tinker Tailor Soldier Spy, and another to tell a simple story in a straightforward way. However, to tell a simple story, subtly; jumping in medias res and making revelations indirectly rather than with overt exposition is quite a feat. As is often the case, it’s not necessarily the end destination that matters with a film, it’s the journey. With necessary information being delivered when absolutely necessary and without drawing attention to itself we are allowed instead to focus on the characters and how they interact. This is especially helpful when dealing with a father-daughter dynamic. We see how they interact and the why becomes more and more apparent as we learn more about them.

The story, such as it is, moves rather smoothly ends at an appropriate time and features good performances all around.

8/10

Rewind Review: Despicable Me

Posted on by bernardovillela

Probably the hallmark of Despicable Me is that it has great sight gags and they will hit you very frequently indeed. Whether through dialogue or by visuals this film will have you laughing one way or another and that kind of persistence is something you have to love. It is a surprisingly good film because you may have thought it revealed all the tricks up its sleeve over the year plus Universal has been promoting it but there is more in store believe me.
It is also a film that asks you to take things at face value. It will not bend over backwards to establish this is the universe in which our story exists but instead will show you it. It may be challenging for adults who have to willfully suspend disbelief while children will gladly do so. One thing to keep in mind is that the inciting incident of this film is the discovery that a pyramid has been stolen and been replaced by an inflatable. In a world where such a thing can happen nearly anything can like orphans selling cookies, same-day adoption, shrink rays, etc.

A standout feature of the film was the score and particularly the “Despicable Me” theme song sung by Pharrell Williams. Heitor Pereira has long been making valuable contributions to film scores but his work on this film might be his calling card in the future.

Despicable Me (2010, Universal)

Despite the fact that the names of the actors were heavily advertised as well, the cast does a fantastic job of becoming invisible and blending in to their characters. Examples being Russell Brand who plays the elderly assistant Dr. Nefario. Miranda Cosgrove who plays Margo the oldest girl and you do even stop thinking about Steve Carell as Gru and just see Gru.

This is a film the effectively incorporates flashbacks to illustrate who Gru is on more than one occasion so we can see what his motivation for his lunatic plan is and why he feels he must do it but we also take the journey and start to see his change of heart. It is a film that also finds an extra villain, at least a temporary one, in a somewhat unexpected place.

The film really is ingenious on a number of fronts with its gadgets and gizmos, aforementioned sight gags, with the whole plot about the moon but especially with the creation of the minions. You get here the rare thing created in animation that just you can’t quite classify, you know not what language they speak or where they’re from but they’re just there and it’s great.

Despicable Me (2010, Universal)

The creativity and the quality of this film again illustrates how the animated feature is flourishing. About the only thing you can hold against the film is that Gru doesn’t explain that he didn’t call the orphanage, you understand he is torn at the moment but considering the character he is dealing with she could’ve been even more forceful in taking them back leaving him feeling worse.

Even with that Despicable Me is a joy to watch from start to finish and one of the summer’s most pleasant surprises and was, overall, a more throughly enjoyable experience than Toy Story 3. This film will likely be the most entitled to feel robbed should the Academy’s love affair with Pixar continue.
8/10

Review: Goosebumps (2015)

Posted on by bernardovillela

Not long ago my personal history with the works of R.L. Stine was discussed here in another post:

As I’ve reference a few times, in my youth I had an aversion to horror. I didn’t relish being scared back then. As someone who gravitated to the genre later in life, I take no umbrage with the idea of juvenile horror such as the likes that R.L. Stine creates. Yes, many kids (much younger than I when I was started to read Desperation), cut their teeth on Stephen King. However, not all kids are the same (which is a small part of why I avoid giving parental guidance advice). However, I can remember instances where a certain frightening tale did intrigue me; Poe would be an example. Had I at a young age know of Stine I may have gravitated to the genre earlier.

This year, having had a number of his books come to me secondhand, I’ve read quite a few before donating them to the local library; and as evidenced by the TV shows that bear his name, they are twisted tales that don’t always work out so great for the protagonist, which can really scare kids. (I hope to prepare aa post [or a series of them] about The Haunting Hour, the series, before Halloween).

In having read some titles naturally one’s flim-inclined tendency is to mentally adapt as you go; see it as a film and think it as a film. The issue then becomes which of his myriad books to cover, which is why this film version is not only so ingenious, but also timely.

Goosebumps (2015, Columbia)

This film tells its tale from the perspective of a new kid in town, Zach (Dylan Minnette), who is intrigued by his mysterious next door neighbor, Hannah (Odeya Rush), and then threatened by her unfriendly father (Jack Black). The father is a fictionalized version of Stine whose literary monsters have become real, and must be kept bound in their manuscripts. A trio of kids along with the quirky, insistent new best friend, Champ very aptly portrayed by Ryan Lee; use their smarts on the subject, wits and bravery to battle this legion of nasties.

The angle of approach employing not only the meta aspect for additional comedy but introducing a new cinematic universe, which is clearly in vogue at the moment, is clever. Granted at times there is some of it that comes off as a very humorous, well-produced infomercial but it flows naturally. And let’s face it, name recognition comes into play in existing cinematic universes as well and Stine, despite his popularity with a certain set isn’t as renowned as say Stephen King.

The strongest segment of the film is the first act, which is in turn both a good and bad thing. It sets the film out in a strong way with a great build, the comedy clicks, the performers are in tune, the score excels and pushes the film along. Into the second and third act the innovation and freshness slow a bit apace and some steam runs out of the clever conception but it remains enjoyable throughout.

Goosebumps (2015, Columbia)

Danny Elfman’s score, one of his best in a number of years, is nearly all that remains consistently on point throughout. The Sony Animation Studios credit is noteworthy as the animation is very present effects are strong throughout – even though very much animated the blend is quite good.

Jack Black is a performer who I had not appreciated until he won me over entirely with his virtuoso performance in School of Rock. Over the past five years the only film of his that I’ve seen is another Linklater project, Bernie, which was rather a departure for him. It was good to see him again, and in great form at that. He’s restrained as Stine and cuts loose as the voice of Slappy and The Invisible Boy – a fact I didn’t know until I checked the end credits.

The other standout in the adult cast is Jillian Bell as Lorraine. Her scene with Black is comedic gold.

Goosebumps (2015, Columbia)

Whereas, Goosebumps as a show revealed many young stars, this film does a bit more of what The Haunting Hour did and use some proven younger actors Minnette, most recently seen in Alexander…, Ryan Lee, one of the revelations of Super 8 continues to cultivate his frantically nebbish cinematic persona.

Quality films that are also appropriate for kids are perhaps the most rare, even more so when they can actually scare kids also. Stine has that knack and this film that bears his most famous series’ name does too.

Swashathon: Robin Hood Daffy (1958)

Posted on by bernardovillela

Introduction

This is my contribution for the Swashathon hosted by Movies Silently.

Robin Hood Daffy (1958)

Robin Hood Daffy (1958, Warner Bros.)

This was another blogathon where I thought I would not have a title to contribute. Part of it had to do with the fact that Swashbuckling is such a niche that I didn’t think I’d have much to contribute as it’s not one I can claim any level of expertise in. I could’ve offered up for Kim but that would require a re-watch and it didn’t jibe with my schedule. That’s when on a double-check (triple-check? quadruple-check?) I noticed that Robin Hood Daffy was there and I just had to write about it. Any chance to discuss the Looney Tunes is a good one.

I know this short very well, as I know many, so it prompted me to look up the precise definition of swashbuckling as my understanding over-emphisized sword-play and I knew Daffy’s Robin Hood never had a sword.

The definition reads as follows:
—noun
1 a swaggering swordsman, soldier, or adventurer; daredevil.

Robin Hood Daffy (1958, Warner Bros.)

So there it fits.

As for the Looney rendering of the tale of Robin Hood there are some things that are worth noting without giving a blow-by-blow of a short that runs fewer than seven minutes.

Perhaps first and most importantly is the notion of cartoon casting. And by this I do not mean voice actors. For once Warner had Mel Blanc in the fold they knew they had a good thing and he was one-man show. What I mean is match the existing characters in a stable of cartoon talent as the parts in an adaptation, matching the correct types. Daffy as a hapless Robin and Porky as a jolly and sarcastic Tuck is perfect and offers a brilliant send-up of the Robin Hood tropes and story.

Another commonality this shares with other great Looney Tunes is the direction of Chuck Jones. Jones being one I so admired he was the first director whose writing I read, in Chuck Reducks.

Robin Hood Daffy (1958, Warner Bros.)

This short is also a reflection of my understanding of film progressing, or maybe it’s more proper to say it is an astute example of children’s innate ability to grasp adaptation and different renditions of similar material. What I mean is that Disney’s Robin Hood was at the time likely my favorite movie, and remains my favorite Disney film. They represent two drastically different approaches to the anthropomorphizing of the Robin Hood characters, in two different film forms, but use the same medium (animation). I loved them both growing up, much in the same way as I enjoyed the goofy 1966 Batman TV series as well as the 1989 Tim Burton film, and the new school. I later saw the Errol Flynn-starring Robin Hood in High School.

The gags are spectacular, and some are among my all time favorites such as Daffy’s minstrel song, “Ho, ho, very funny. Haha, it is to laugh”, “Yoicks! And away!”, and more.

The work is elevated to the level of genius in set-up (Tuck/Porky doesn’t believe Daffy is Hood). And then the payoff at the end. It so perfectly befits them both and should be known to children and film buffs everywhere if it isn’t already.