Greetings again from the darkness. At least two generations are too young to have experienced the 1973 media circus that was the tennis match between Billie Jean King and Bobby Riggs. However, what matters is that the impact and social changes that began in earnest that night at the Astrodome are still being felt and evolving today. It might seem incredulous that the 29 year old top-ranked women’s player emerging victorious against a 55 year old who played his last professional match 14 years prior would have an impact on anything other than TV rankings, but in fact, it caused a significant societal shift.
Real life married couple and co-directors Jonathan Dayton and Valerie Faris are well known for their collaborations on iconic music videos and TV commercials, and since joining the movie world have brought us LITTLE MISS SUNSHINEand RUBY SPARKS. Their talent for visual presentation is on display here in both the tennis scenes and the more intimate character moments. And, oh my, there are some intimate moments thanks to the script from Oscar winning screenwriter Simon Beaufoy (SLUMDOG MILLIONAIRE). There is no shying away from Ms. King’s sexual confusion/awareness/preferences.
Emma Stone (Oscar winner for LA LA LAND) stars as tennis legend Billie Jean King and manages to convey three different sides: the ultra-competitor, the champion for equal rights, and the married woman coming to grips with her sexual identity. Steve Carell captures the essence and mannerisms of Bobby Riggs, the former tennis champ, floundering in middle-age and always on the lookout for his next hustle or gambling opportunity. Surprisingly, only a minor portion of the film deals with the actual tennis match. Instead, the film dives into the personal lives of these two polar opposite personalities, each with their own challenges and issues.
Despite the fun and outrageousness that the Riggs character delivers, the film might have been better served focusing even more on Ms. King. While she needed the “villain”, it was really her dedication to the cause and strength amidst the backlash that made the difference … along with her court skills. Watching her stand tall in confrontations with the chauvinistic and powerful Jack Kramer (Bill Pullman) is something to behold. Again, those that weren’t around might not believe some of the outrageous claims by the men of the times.
Supporting work comes from Andrea Riseborough as the all-important Marilyn, who turns Billie Jean away from her husband Larry (Austin Stowell), Sarah Silverman as promoter Gladys Heldman, Natalie Morales as Rosie Casales, Alan Cumming as the colorful clothes designer, an underutilized Elisabeth Shue as Riggs’ wife, Fred Armisen as Rheo Blair – Riggs’ partner in the herbs and vitamins game, and Lewis Pullman (Bill’s real life son) as Riggs’ son, Larry. We are even treated to a Bob Stephenson sighting as the Sugar Daddy PR guy at the match.
This was the era when the Vietnam War was winding down, the Watergate scandal was raging, outside “the norm” sexual preferences were kept in the closet, prize money for men’s tennis was 8-10 times that of women, and the overall respect for women and their sports was excruciatingly misguided. Listening to Howard Cosell speak so condescendingly during the national broadcast merely confirms the inequity. Of course, these same issues are discussed and debated even today, as society evolution is often slow, even when moving in the right direction. The film might not add much to today’s cause, but it reinforces the early legacy of Billie Jean King as a difference-maker.
Greetings again from the darkness. Director Stephen Frears has enjoyed a long career by focusing on the interesting stories of people, rather than the salient specifics of history or politics. He received Oscar nominations for THE QUEENand THE GRIFTERS, and helmed other crowd-pleasers such as MRS. HENDERSON PRESENTS, PHILOMENA, HIGH FIDELITY, and FLORENCE FOSTER JENKINS. While purely entertaining movies are always welcome, it’s important to note the filmmaker’s approach when the story is entwined with historical importance.
“Based on real events … mostly” is Mr. Frears’ cutesy way of kicking off the film and asking us to enjoy the unusual story of connection between a Queen and a servant, and cut him some slack on the historical depth. For most of us, the real enjoyment will be derived from watching yet another standout performance from Oscar winner (and 7 time nominee) Dame Judi Dench as the longest-reigning monarch, Queen Victoria in her elderly years. It’s a role she played twenty years ago in MRS. BROWN, and her relationship with John Brown (presented in that film) has some parallels to what we see here with Abdul Karim (Ali Fazal). Dame Judi is the rare actress who can capture both the loneliness and tiresome burden of six decades of rule and the re-invigorated woman we see learning a new language and new religion. She plays weary and spunky with equal believability.
Victoria was Queen of the United Kingdom of Great Britain and Ireland and Empress of India, and in 1861 her beloved husband Prince Albert died. This film picks up in 1887 with the pomp and circumstance of the Golden Jubilee – a celebration of her 50 years of rule. The early scenes tease us with obstructed views, and the comedic element becomes quite obvious as we see her so carelessly slurping her soup at the formal lunch. Part of the celebration includes the presentation of an honorary coin by two Indians peasants Abdul (Fazal) and Mohammed (Adeel Akhtar), the first chosen because of his height, and the second as a last minute fill-in.
Lee Hall (Oscar nominated for BILLY ELLIOT) wrote the screenplay based on the book by Shrabani Basu. The journals of Abdul Karim were only discovered in 2010, a hundred years after his death. Some of the less favorable moments of this era are mentioned, but most of the Queen’s lack of knowledge or awareness is attributed to the “boring” reports from her advisers. This leads to some awkward moments later in the film regarding the Muslim mutiny and the subsequent Fatwa.
Rather than dwell on history, the film prefers to focus on the unconventional friendship and the re-awakening of the Queen. Abdul becomes her “Munshi” – a spiritual advisor and her teacher of Urda and the Koran. As you would expect, this is all quite scandalous and frustrating for those such as Prime Minister Lord Salisbury (Michael Gambon), Lady Churchill (Olivia Williams), Victoria’s son Bertie (Eddie Izzard), and the royal staff: Sir Henry (the recently deceased Tim Pigott-Smith), her physician Dr Reid (Paul Higgins), and her quivering maid Miss Phipps (Fenella Woolgar). There is even a comical sequence with the great singer Puccini (Simon Callow) as the Queen herself belts out the Gilbert and Sullivan song “I’m Called Little Buttercup”.
Balmoral, the Isle of Wight, and Windsor Castle are all part of the breath-taking scenery, while the absurdity of the royal status is viewed through the eyes of the Indian servants. Most of the focus is on Victoria’s transformation from joyless, isolated monarch to the anything-but-insane (an Oscar worthy scene) and eager to engage elderly woman (one who has an entire era named after her) falling back in love with life as she fights off “the banquet of eternity”. Come for the laughs and the performance of Dame Judi … just not for a history lesson.
Greetings again from the darkness. The face of his sport. An American icon. A living legend. Each of these would be accurate in describing super-surfer Laird Hamilton. Oscar nominated in 2014 for her LAST DAYS IN VIETNAM, documentarian Rory Kennedy (daughter of Ethel and Robert F Kennedy) delivers the most in-depth look yet at Hamilton and his unconventional life.
Before he was born, his pregnant mother underwent a procedure that basically created free-swim time for the fetus (Laird). Whether this played a role in his life as a water man can be debated, but after his dad left the family to join the Merchant Marines, Laird’s mom Joann Zerfas moved with her young son to Hawaii. Her free-spirited nature certainly influenced Laird’s approach to life, and we are led to believe that as a 4 year old, he encouraged the union between his mother and Bill Hamilton, the best known surfer of the time.
We view some incredible archival footage of Laird’s early years, along with photographs leading through his childhood. In fact, it isn’t always easy to tell what is “old” footage and what is new from the lens of cinematographers Alice Gu and Don King. Even if you find Hamilton’s personality and approach off-putting, you will likely be awed by the surfing footage. His younger brother Lyon describes him as a 100% disobedient child, and we learn Laird was often picked on as one of the few white kids in a Hawaiian school in the 1970’s. He found solace from school and an abusive step-dad in the “honesty of the ocean”, where if you do it right – you are rewarded, and if you make a mistake – you pay the price.
It doesn’t require a psychology degree to see that Laird eschews most rules and has pretty much lived his life according the tide patterns and swells of Maui’s north shore. He has been heavy on ambition and conquering fear, and a bit light on societal norms and loyalty (ex-wife and his fellow Strap surfers). Director Kennedy is balanced in her approach here. As we begin to judge him by our standards, she reminds us of his unique nature … stand-up barrels in 7th grade, refusing to join in the parade for a high-paying career in modeling or acting, etc.
Known as the master of big wave surfing (he never competed on the traditional pro surfing tour), Laird’s life as a true Water Man took him paddle surfing through the English Channel, and the early stages of wind-surfing, connected surfing, tow-surfing, and hydro-foil boarding. He and his buddies were the first to ride the infamous Jaws waves of Pe’ ahi.
Along the way, we learn about the beginnings of his relationship with former pro volleyball player Gabrielle Reece and how he shifted ever-so-slightly into a family man role … without losing his desire to continually conquer the ocean. We see his intense training program and the beat up body he now has to work around. There is a bit of a peek into the surfer community and the jealousies and tension that aren’t obvious to outsiders. Laird’s “fear defect” is accompanied here by periodic punk rock music that seems the perfect fit for a man who is a natural phenomenon in the water and on a board, while showing no interest in the conventions most of us live by. You might not appreciate his personality, but there is nothing but respect for his courage in riding those 80 foot waves.
Greetings again from the darkness. Totally unexpected is a documentary on big game hunting that doesn’t come down squarely on one side of this argument. Co-directors Christina Clusiau and Shaul Schwarz do an admirable job of laying out the facts and leaving the viewer to contemplate how these moving pieces create a blurred line between conservation and commerce.
Expect a couple of scenes that might be difficult to watch – after all, it is a documentary on hunting animals. There are plenty of facts and statistics provided, with one of the most staggering being since 1970, the world has lost 60% of its wild animals. Rhinos alone are down from 500,000 to 30,000, and we meet a rhino breeder who has devoted his life and fortune to saving the species. On the surface, his stance seems difficult to debate, but African law prevents the sale of rhino horn, which means this breeder is sitting on millions of dollars of warehoused horns, while poachers profit by picking off his animals and selling the horns on the black market. Not so clear now, is it?
Additional segments involve elephants, alligators, and other species. We visit the massive Safari Club hunting convention in Las Vegas, as well as stock auctions where breeders battle over the next generation. The safari clubs argue that much of the money paid by big game hunters is distributed back into the conservation efforts of the country, though the corruption of politicians can’t be ignored.
The contrast between shooters and hunters, killers and sportsmen, is noted and legitimate detailed information is provided. Focus goes to the “Big 5”: hunters trying to bag each of water buffalo, leopard, elephant, lion and rhino. The process is slow and expensive, and the three affected tentacles – hunting, breeding, conservation – have evolved to facilitate the future of the species and those dependent on the industries.
Hunter’s remorse is admitted, as is a connection to the animals by the otherwise stoic and businesslike breeders. When one hunter quotes the bible in saying that man shall have dominion over animals, it’s a reminder that no matter one’s stance on these topics, there is always an argument to be had and a defense to be made. The still unanswered question is, can the industry be run in a manner that allows the animals to survive, the villagers to benefit, and the vendors to profit? In theory, this seems doable … but reality and self-interest often destroy best intentions.
Greetings again from the darkness. Despite my lack of interest in high heels, or really high fashion in general, it’s always exciting to gain some insight into the creative process of an acclaimed artist such as Manolo Blahnik. Unfortunately, Michael Roberts’ (fashion writer by trade) directorial debut delivers more of a tribute than any type of peek behind the curtain. Heck, let’s call it what it is … it’s a fluff piece, plain and simple.
Mr. Blahnik has been labeled “the best shoemaker of the 20th and 21st centuries”, despite his claims of being merely a humble cobbler. There are dramatizations mixed with interviews, and plenty of famous faces to fill the screen. In fact, Vogue editor Anna Wintour seems to log nearly as much screen time as Blahnik himself … and shockingly, she’s giggling and smiling through most of it. Mr. Blahnik does make many of his own statements, including an admission of having no interest in politics or relationships. It seems designing the shoes is what keeps him going each day. And it’s this point where the filmmaker misses the real opportunity to dive deep into the creative process.
As is common in the fashion world, celebrities are usually front and center. There is an extended segment with Rhiannon, and there’s a glimpse of Donald Trump near the runway. Bianca Jagger, Diana Vreeland, and Sarah Jessica Parker all have their moments. We are shown a clip of Princess Diana wearing Manolo stilettos, and of course, a scene from “Sex and the City” is included … confirming the real audience for the film. Director Sofia Coppola describes her reasons for dressing the titular character of her film MARIE ANTOINETTEin Manolos, and there is an odd and slightly uncomfortable portion where Blahnik buddy Rupert Everett discusses Manolos for men, though seemingly in a contradictory manner.
There is nothing wrong with a lovefest celebration, but it is somewhat frustrating to listen to the gushing of admirers when a more insightful project is deserved, and would have been welcome.
Greetings again from the darkness. There is a fine line between getting chewed out by your Costco supervisor one day and having the country claim you as a hero the next. Just ask Jeff Bauman. On April 15, 2013 Jeff was near the finish line for the Boston Marathon, holding a handmade sign in support of his runner-girlfriend Erin. When she was still about a mile away, the two bombs went off, killing three people and injuring hundreds. Mr. Bauman lost his legs that day.
When Jeff regained consciousness in the hospital (after two surgeries), he was able to provide the FBI a detailed physical description of one of the bombers. His information led directly to the identification of one of the scumbag brothers responsible for this atrocity. Immediately, Jeff was hailed as a hero – both locally and nationally. The film does a nice job of telling Jeff’s story and how his life unfolded over the next few months.
Director David Gordon Green is responsible for such disparate film projects as OUR BRAND IS CRISIS, MANGLEHORN, and PINEAPPLE EXPRESS. He may seem an odd choice to adapt the film from the book by Jeff Bauman and Bret Witter (screenplay by John Pollono), but the story is so moving and heart-warming, and the three lead actors are so good that we immediately connect with each of them.
Jake Gyllenhaal plays Jeff, Tatiana Maslany (“Orphan Black”) plays Erin, and Miranda Richardson tears up the screen as Jeff’s mother, Patty. Mr. Gyllenhaal is remarkable (as usual) as the working class local boy who truly believes his lucky seat and beer determine success or failure for his beloved Bruins and Red Sox. His initial portrayal is spot on for the normal guy who seems caught in the web of eternal teenage mentality so common in the male species. As he struggles with his new life challenges, he strives to do better, but simply doesn’t understand why he is viewed as a hero … and doesn’t particularly embrace what comes with the label, at least early on. Ms. Maslany is terrific as the guilt-ridden, confused-yet-strong, on-again-off-again girlfriend to Jeff. She fights through being treated as an outsider by the family, and the daily grind of caring for a guy who needs constant help. The twice Oscar nominated Miranda Richardson is unlike we have ever seen her on screen. Despite being a Brit, Ms. Richardson captures the Boston sauciness (in more ways than one) and takes no ‘stuff’ from anyone. Her performance is stunning.
Of course, at its core, this is an inspirational story about how a normal guy became a hero after a tragic event. The recent Mark Wahlberg film PATRIOTS DAYfocused on the aftermath and investigation, while here the attention is on the emotional story of one man and one family. We see the recreation of the flag-waving at the Boston Bruins game, and the ceremonial first pitch at Fenway Park. We also see the obstacles faced when rehabilitation and care-giving becomes too much to bear. Carlos Arredondo and his cowboy hat and heroics are also given much-deserved space here. His back story is heart-breaking, and a reminder that everyone has a story, and each of us can be a hero in some way. Since life isn’t a movie, the realities are that Jeff and Erin have since divorced, but that in no way reduces the impact of their touching story that inspires each of us to be stronger.
Greetings again from the darkness. Mid-life crisis has long been a popular movie topic. A list of the best would include: Fellini’s 8 ½,Blake Edwards’ 10, AMERICAN BEAUTY, CRAZY STUPID LOVE, SCENES FROM A MARRIAGE, THE BRIDGES OF MADISON COUNTY, THE SEVEN YEAR ITCH, and THELMA & LOUISE. Some of these are outright comedies, while others are turbulent dramas. With the label ‘white male privilege’ being applied so broadly these days, it’s impressive how writer/director Mike White (THE GOOD GIRL, SCHOOL OF ROCK, creator of TV’s “Enlightened”) so expertly and gracefully takes on the familiar topic.
Ben Stiller stars as Brad Sloan, a married man raising a teenage son and running a Non-Profit Organization in middle-class Sacramento. As Brad and his son Troy (Austin Abrams, PAPER TOWNS) embark on an elite northeast college visitation trip, we get the sense that Brad is only now waking up to his son’s rapid approach to adulthood and remarkable talent as a student and musical prodigy. This happens congruently to Brad’s mid-life realization that his own college buddies are richer and more famous than he. Self-loathing, insecurities and concern over the jealousy he feels towards his own son are the focus of Brad’s inner thoughts, which we hear courtesy of his narration.
Brad’s college friends who are unknowingly driving his defeatist attitude include: Jemaine Clement as Billy Wearsiter who retired in Hawaii at age 40 after selling his tech company; Mike White (the film’s director) as successful movie director Nick Pascale whose house is featured in Architecture Digest; Luke Wilson as hedge fund manager Jason Hatfield who married into money; and Michael Sheen as Craig Fisher, a best -selling author and frequently seen on TV political commentator. In comparison, and by today’s societal levels of achievement, Brad views himself as a failure – a man whose early idealism didn’t change the world, and instead prevented him from reaching the capitalistic heights of his friends.
There are a couple of elements that allow the film to work. First, Ben Stiller softens his usual snark, making him more relatable than his usual woe-is-me character. Next, the film isn’t as harsh on the white man as we’ve come to expect. There is no feeling sorry for Brad, but there is at least compassion … space for him to explore what he’s feeling and take stock in his life. The difference maker is Mr. White’s script. The underside of human nature is explored with a deft comedic touch and incisive societal observations.
Stiller’s tightly wound Brad contrasts with Troy’s easy-confidence leading to some unusual father-son scenes. When Troy questions whether his dad is having a breakdown, we understand that the existential crisis is actually fairly common. We certainly enjoy watching as Troy’s Harvard friend, and fellow musician Ananya (Shazi Raja) listens patiently before slapping Brad with the dose of reality he so desperately needs. Ananya’s beyond-her-years wisdom leads Brad to a moment of self-awakening during her concert of Dvorak’s “Humoresque”. Ms. Raja’s role is given much more weight than that of Jenna Fischer as Brad’s wife/Troy’s mother, who inexplicably only appears about every 20 minutes as a check-in during the boys’ trip.
Keeping up with the Jones is a no-win approach to life, and if a Hollywood film can help a few more people understand this, then it’s a beneficial way to spend a couple of hours. The Mark Mothersbaugh score has a sharpness to it that mirrors Brad’s tarnished idealism and search for self. We are reminded that normal insecurities can blow up if we focus too much on what others have, and not enough on what we do.
Greetings again from the darkness. Despite my fascination and quasi-obsession with movies, the Science Fiction genre has never really appealed to me. Sure, there have been a few dozen exceptions over the years (and it depends how you categorize certain movies), but it’s the non-classics in the genre that just never seem to connect with my love of film. So when Steven Spielberg states that he doesn’t consider his beloved CLOSE ENCOUNTER OF THE THIRD KIND(CE3K) to be a “sci-fi” film, you won’t see me get offended, or even offer a contrary argument. Of course, the difference is that Mr. Spielberg makes his claim based on his belief of life “out there”, while I simply have no desire to defend the category label.
For its 40th anniversary, the film is making the rounds in selected theatres, and the big screen is a must for this gem. Released in the same year and just a few months after George Lucas’ groundbreaking STAR WARS, Spielberg’s follow-up to JAWSconfirmed his status as a revolutionary filmmaker, and cemented 1977 as one of the finest movie years of all-time (including ANNIE HALL, SATURDAY NIGHT FEVER, A BRIDGE TOO FAR, JULIA). CE3K would become the first of 7 Best Director Oscar nominations for Spielberg (inexplicably only one win to date).
Spielberg is credited as the writer, though many contributors are “uncredited”: Hal Barwood (now known for video games), Jerry Belson (Emmy winner for “The Odd Couple” and his work with Tracey Ullman), and John Hill (QUIGLEY DOWN UNDER), and Matthew Robbins (CRIMSON PEAK). Paul Schrader and Walter Hill also contributed to the script, making this the veritable vegetable soup of screenplays. The film came at a time when Columbia Pictures was struggling, so in order to remain under budget, Spielberg had to make some compromises on the final version. In a highly unusual development in the movie industry, Spielberg was able to revise, re-edit, and add new scenes to a 1980 re-release of the film – realizing his original vision.
Richard Dreyfuss stars as Roy Neary, a blue collar family man from Muncie, Indiana. With an acting career spanning more than 50 years (many recognize his baby face in THE GRADUATEas he offers to call the cops), it was AMERICAN GRAFFITIthat caused his career to take off, leading to JAWS in 1975, and his stellar 1977 with both CE3K and THE GOODBYE GIRL. He later overcame a severe drug habit to star in such crowd favorites as WHAT ABOUT BOB?,MR. HOLLAND’S OPUSand “Madoff”. His wife Ronnie in CE3K is played by Teri Garr, whose acting career also covers more than 50 years, including small roles in five different Elvis movies in the 1960’s and her best known roles in YOUNG FRANKENSTEINand TOOTSIE (for which she received a Best Supporting Actress Oscar nomination). In recent years, she has had to turn her energy and attention to health issues.
Melinda Dillon stars as Jillian, mother to young Barry (Cary Guffey) who is abducted by the aliens. Ms. Dillon received her first (of two) Oscar nomination for her work in the film, and is still seen annually breaking a leg lamp in the holiday favorite A CHRISTMAS STORY, although she retired from acting ten years ago. Young Mr. Guffey is now 45 years old and hasn’t acted since 1985. Director Stanley Kubrick considered him for the role of Danny in THE SHINING, but ultimately decided on Danny Lloyd, another youngster who decided against remaining in showbiz.
Francois Truffaut was an Oscar nominated director known for kicking off the French New Wave of Cinema with his all-time classics THE 400 BLOWSand JULES AND JIM, and it was quite surprising to see him cast in the role of UFO expert Claude Lecombe. It’s likely that cinephile Spielberg loved the idea of working with a peer whose work he so admired. Truffaut is a significant screen presence despite his challenges with the English language (which led to “dialogue cheat sheets” throughout filming). Bob Balaban, so familiar to “Seinfeld” fans, plays the translator, while Justin Dreyfuss (Richard’s real life nephew) is the noisy and obnoxious son during the hectic family scene. Roberts Blossom is the one in the film who admits to spotting Bigfoot, and is best known as Kevin’s neighbor in HOME ALONE and the braced-up car seller in CHRISTINE. He was also a well-respected poet before passing away in 2011. Other familiar faces include Lance Henrikson (ALIENS), George DiCenzo (BACK TO THE FUTURE), Carl Weathers (ROCKY), CY YOUNG (OK, more a name than a face), Bill Thurman (Coach Popper from THE LAST PICTURE SHOW), and gas mask salesman Gene Rader, who hails from Paris, Texas.
Desert discoveries are a key here, and offer more insight into Spielberg’s attention to history. The “lost” plane is a tribute to real life Flight 19 which disappeared in 1945, and The Cotopaxi was a real cargo ship that sunk … both becoming part of Bermuda Triangle lore. Devil’s Tower in Wyoming is also significant here, and it’s Spielberg’s nod to John Ford’s frequent use of Monument Valley in his westerns. Spielberg has admitted to watching Ford’s THE SEARCHERSdozens of times while filming CE3K. Another tribute comes in the form of a wind-up monkey with cymbals. It was previously seen in REBEL WITHOUT A CAUSE, and can also be viewed as a precursor to the infamous clown in POLTERGEIST.
Spielberg acknowledges being inspired by President Nixon and the Watergate scandal. He wondered what else the government might be hiding from us. Remarkably, he gets his point across with a total absence of modern day cynicism. As opposed to what we usually see these days, the military isn’t trying to bomb the mothership and citizens aren’t retreating in a panic to bunkers. Instead, the military is working to keep the public safe (albeit through some sneaky strategy), the scientists are approaching communication through a protocol steeped in research and data gathering, and Dreyfuss and Dillon are trying to figure out why they were “chosen”. Spielberg delivers sweetness and warmth rather than a show of power and might. It’s such a pleasant viewing experience to watch people we like and to whom we can relate.
Some points of interest related to the film include a cameo from famed UFOologist J Allen Hynek, who is seen smoking a pipe as the abductees are released from the mothership. Mr. Hynek actually created the phrases Close Encounters of the First, Second, and Third Kinds. ABC news anchor Howard K Smith is seen since CBS would not grant permission for Walter Cronkite to appear. The film’s stunning visual effects come courtesy of Douglas Trumball, who also collaborated with Stanley Kubrick on 2001: A SPACE ODYSSEY. Of course, the Visual Effects Oscar that year went to STAR WARS, and that speaks to the contrast between the films. STAR WARSis clearly a special effects movie, while CE3K is much more of a character study … a study of human emotions.
As for other Oscar categories, the film was nominated for 9 total, with the only win going to Cinematographer Vilmos Zsigmond, though it was also awarded a Special Achievement Oscar for Sound Effects Editing. Spielberg was nominated, but Woody Allen won Best Director for ANNIE HALL, and Richard Dreyfuss actually won the Best Actor Oscar that year for THE GOODBYE GIRL. The great John Williams was of course nominated for his iconic 5 note melody (following up his immortal JAWS theme), and he instead won the Oscar that year for … repeat after me … STAR WARS. A quirky note on the music – the “voice” of the mothership was a tuba, not an instrument that typically gets much publicity.
While Stanley Kubrick opted not to show aliens in 2001: A SPACE ODYSSEY, this film not only puts the aliens front and center, it reminds us to keep an open mind to those unfamiliar to us … a lesson that is still important today. The film was named to the National Film Registry in 2007, and seeing it on the big screen allows for the full impact of awe and wonderment. It’s rated PG and can be enjoyed by most ages. Spielberg only asks that you leave the cynicism at home.
Greetings again from the darkness. Him. Mother. Man. Woman. When those are the identifiers of the four main characters (none have a real name), one might assume that the filmmaker is lazy. However, after watching the latest from the psycho-creative force known as Darren Aronofsky, we understand that names weren’t necessary, and even if they had been, he was probably too mentally exhausted from finding ways to torture those characters and confound the viewers.
The first half of the film is discomforting and creepy while the second half is downright crazed and deranged. You won’t find many story details in this review, as the fun is in the shock. Most of the film is through the eyes of Jennifer Lawrence, and we share her confusion and disoriented state. She is married to a famous poet played by Javier Bardem (yes, the age difference is acknowledged). While she spends her days refurbishing their stunning country home, he battles severe writer’s block. Needless to say, their domestic bliss goes wrong … but it’s not the kind of wrong we’ve ever seen before.
Aronofsky and cinematographer Matthew Libatique (both Oscar nominees) confine us in excruciatingly tight shots resulting in further disorientation and claustrophobia through most of the film. By the time we get a single wide shot of the home’s exterior, we’ve just about given up hope. And once Ed Harris and Michelle Pfeiffer show up, we kick into full ROSEMARY’S BABYmode … only more frenetic and hyper.
It should be noted that it’s not a traditional horror film – heck, it’s hardly a traditional film at all. It’s built on confusion, and metaphors abound. Aronofsky seems intent on causing endless post-viewing discussions and debate over what it “means”. A case can be made for commentary on ego, fame, Mother Nature, deity/religion, and a sign of the times – the entitled “takers” of the world. The most obvious explanation is that the price paid for creativity is quite dear, and often causes a release from reality. There is a vicious cycle occurring here and our realization happens after the crescendo of insanity that is the film’s peak.
WTF moments are too many to count, and Ms. Lawrence pulls off what has to be the roughest on screen pregnancy we’ve seen. It’s a real treat to see Michelle Pfeiffer back in form after being out of the spotlight for four years. The score from Johan Johannsson is remarkable and there are ground-breaking visual effects (easy to miss during the audacious, frenzied second half action). Aronofsky is clearly provoking us, though it’s abundantly unclear to what end. His previous twisted, mind-benders include REQUIEM FOR A DREAM and BLACK SWAN… both of which seem like mainstream family fare in comparison. This is a love it or hate it project, and most will likely fall into the latter. But for those who embrace the deranged and audacious, the love will be everlasting.
Greetings again from the darkness. A nice story set-up is always welcome, and this one delivers a creative attention-grabber that draws us in pretty quickly. Brothers and long-time filmmaking collaborators Jean-Pierre Dardenne and Luc Dardenne (TWO DAYS, ONE NIGHT, THE KID WITH A BIKE) edited the film a bit after its Cannes screening, and the result is a quiet little whodunit with an interesting lead actress performance.
A doctor and her intern have a disagreement at closing time, and opt not to answer the clinic door when a young lady rings after hours. The doctor’s guilty conscience leads her to become obsessed with finding out the name of the lady when she turns up murdered the next morning. It’s passionate and amateur sleuthing at its most awkward, unconventional, and dangerous.
Dr Jenny Davin has recently accepted a post at the prestigious Kennedy Hospital, replacing a retiring doctor. The tragedy causes a change of mind on the job so that she may focus on the case and on continuing patient care through her clinic. The filmmakers initially wanted Marion Cotillard for the role (what filmmaker wouldn’t?), but Adele Haenel (LOVE AT FIRST FIGHT) brings her own approach, and though she doesn’t come across as the warmest person, it’s quite apparent that she is a dedicated doctor who cares very much for her patients. Even when she tells her intern Julien (Olivier Bonnaud) that “a good doctor must control his emotions”, she is ever-stoic with her delivery.
The story is missing the usual Dardenne brothers’ twist, and instead, at its core is an ill-advised detective story and a case of morality, guilt, and the drive to do the right thing. The house calls and open communication with doctors will confound some U.S. viewers, but the various vignettes during Dr. Davin’s gumshoe work keep us engaged. The sub-plot with Dr. Davin reigniting intern Julien’s passion for medicine also maintains the minimalist approach and restrained performances … all with a very grounded approach with mostly handheld cameras.
Greetings again from the darkness. At least two generations are too young to have experienced the 1973 media circus that was the tennis match between Billie Jean King and Bobby Riggs. However, what matters is that the impact and social changes that began in earnest that night at the Astrodome are still being felt and evolving today. It might seem incredulous that the 29 year old top-ranked women’s player emerging victorious against a 55 year old who played his last professional match 14 years prior would have an impact on anything other than TV rankings, but in fact, it caused a significant societal shift.
Posted by David Ferguson 
Movie Reviews from the Dark 