BABYLON (2022)

December 23, 2022

Greetings again from the darkness. It’s 1926 and a movie mogul is planning yet another massive debauchery-filled industry party at his palace of a home in still-developing Bel-Air, California. Lest we have any doubt that this party is over-the-top, we are forced to witness the handlers of the main attraction – a circus elephant – get sprayed from the wrong end as they push the colossal beast up the hill. Once the party starts, things get even crazier. Orgies, drugs, nudity, wild dancing, and a golden shower and drug overdose in the room of a Fatty Arbuckle type … yes, this opening party sequence lasts 20-30 minutes, and occurs before the opening credits. The only touch of class is the old school Paramount logo.

Writer-director Damien Chazelle (Oscar winner, LA LA LAND, 2016) sets the stage for his wild and frenzied epic meant (I think) as a tribute to early Hollywood and the uneasy transition from silent films to talkies. Of course, that topic has been handled in other prestige films – recently with THE ARTIST (2011), as well as the classic SINGIN’ IN THE RAIN (1952). It’s the latter which serves as a template or guidepost for Chazelle, to such an extent that he shows clips from it, quotes it, and even has a couple of his characters share similarities with Lina Lamont and Don Lockwood.

From the moment she crashes onto the party scene, this becomes Margot Robbie’s movie. Fully engaged doesn’t begin to describe how she embodies the Nellie LaRoy character. Nellie is a displaced Jersey girl desperate to break into showbiz, and she pursues stardom with everything she has to offer. Nellie is a risk-taker and literal gambler, and the character is supposedly inspired by the infamous Clara Bow. It’s at that first wild party where she meets both Jack Conrad (Oscar winner Brad Pitt) and Manny Torres (Diego Calva). Conrad is a huge silent movie star, and also a boozing womanizer with the accompanying swagger (supposedly based on actor John Gilbert). Manny, though a much quieter soul, is much like Nellie in that his ambition is to work in the movie business. The two discuss their dreams while tearing into mounds of cocaine.

Nellie’s fearlessness in front of the camera (much like Ms. Robbie’s) pays off as the offers roll in and she makes her name. She and Manny periodically cross paths as he climbs the ladder towards studio executive. We also keep up with Jack Conrad and his stream of wives, and how things begin to change with THE JAZZ SINGER and the advent of talking motion pictures. While all this is happening, the film also (sorta) follows the career of jazz trumpeter Sidney Powell (Jovan Adepo) as he builds a career as a black performer on screen. One of the more interesting characters who we wish had more screen time is Lady Fay (played by Li Jun Li). We are rarely treated to a Chinese lesbian chanteuse, and she makes each of her scenes quite fascinating.

Others in the cast include Olivia Wilde as one of Jack Conrad’s many wives, Lukas Haas as an industry guy, Eric Roberts as Nellie’s hustler dad, Pat Skipper as William Randolph Hearst, and Max Minghella as the legendary Irving Thalberg. They are each fine, but none as memorable as Tobey Maguire (also a producer on the film), who has a funny/creepy cameo as a fictional giggling gangster named James McKay. However, it’s Jean Smart as Elinor St John, a gossip columnist in the mold of Hedda Hopper and Louella Parsons, who has the film’s best scene when she deals the hard truth to Jack Conrad. Ms. Smart seems to excel in every role she takes these days, and this may be one of her best, albeit with limited screen time.

The issues with the film have nothing to do with its entertainment value and outrageous moments or with the performances. Each of those things keep us watching. It’s only when we stop and think about it when the problems come into focus. Most blatant is the love story between Manny and Nellie. They actually spend very little time together after their cocaine feast. Certainly not enough to fall in love. There is a ‘blackface’ scene unlike anything you’ve seen before, and in 3 hours and 8 minutes director Chazelle follows up the projectile elephant poop with vomit from a drug overdose, vomit from something other than a drug overdose, a urine stream, and rattlesnake venom. At times it seems like he wanted to see just how much he could get away with.

Chazelle collaborators from LA LA LAND include cinematographer Linus Sandgren composer Justin Hurwitz, and Film Editor Tom Cross, all three are Oscar winners from that film, and all provide superb work here. The technical aspects of the film are terrific, it’s as a story (or stories) where things unravel. It’s simply bloated and overly ambitious, while having some of the frenetic pacing of Baz Luhrman’s MOULIN ROUGE! or THE GREAT GATSBY. It appears filmmaker Chazelle is attempting to reinforce cinema is art as a spectacle, when most of us don’t require more proof. The movie montage at the end is fun to watch, but strikes this viewer as a bit indulgent after a long movie. Buckle up for a wild ride and enjoy the good stuff.

Opens in theaters on December 23, 2022

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Posted by David Ferguson

CORSAGE (2022)

December 23, 2022

Greetings again from the darkness. Royals are having a moment. Well, actually, the Royals have had a few hundred years of moments … but now, they are having their moment in the entertainment world. It seems almost everyone watched “Downton Abbey” and now “The Crown”, and last year we saw Kristen Stewart’s Oscar nominated performance as Lady Di in SPENCER. Of course, there have been countless other films focused on Kings and Queens and other royal types, and now writer-director Marie Krutzer (THE GROUND BENEATH MY FEET, 2019) serves up a (mostly) fictional account of Empress Elisabeth of Austria from the 19th century.

Vicky Krieps (PHANTOM THREAD, 2017) delivers a wonderful performance as Empress Elisabeth, also known as Sissi. It’s late 1877 and we follow her through one year of life … the year she turns 40. Now that’s an age that generates consternation amongst many, but for an Empress obsessed with age and beauty, and one considered a fashion icon of the era, it’s nearly traumatizing for her. She struggles with her weight and though she’s not often seen in public, she constantly worries about the people’s perception of her physical appearance. This leads to the torturous tightening of her corset (referenced in the film’s title).

Filmmaker Krutzer presents Sissi as the epitome of a life of entitlement, and one who has little purpose or happiness. Her young daughter and older son are mere afterthoughts to her, and instead she pursues hobbies such as horseback riding and fencing. Her marriage to Emperor Franz Joseph (Florian Teichtmeister) seems mostly absent of love (although history tells us otherwise), and his affairs feed her insecurities surrounding her age.

On screen captions walk us through the timeline and numerous locations so that we always know where the Empress is and how long she stays. There is a particular sequence that historians should appreciate, as the Empress meets Louis Le Prince (Finnegan Oldfield), the inventor of an early motion picture camera. He chooses the Empress as a subject for his camera, and we witness the results. The historical relevance is with Le Prince and not the action shots of the Empress, as those (and their meeting) are quite fictional.

An unusual mix of music includes a version of Kris Kristofferson’s “Help Me Make it Through the Night” and an especially enjoyable version of “As Tears Go By” (written by Mick Jagger and Keith Richards), as well as terrific music from Camille Dalmais. In many ways, this is Marie Krutzer’s love letter to a long ago royal, however it’s clearly a fictional depiction since the manner of death is so dramatically changed in type and timing. Ms. Krieps allows us to feel the frustrations of time felt by the Empress, and we understand the body double approach (replete with matching anchor tattoos). Subtle humor is injected periodically, and maybe the best is the doctor explaining how “harmless” the new drug heroin is. There is plenty here for those attracted to “royal” stories.

Opens in theaters on December 23, 2022

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Posted by David Ferguson

THE PALE BLUE EYE (2022)

December 23, 2022

Greetings again from the darkness. This is Scott Cooper’s sixth film to write and direct, and I have found each of them interesting. He has a style that leans towards atmospheric with meticulous pacing, and this latest fits the mold. Cooper’s films include CRAZY HEART (2009) and this will make his third collaboration with Oscar winner Christian Bale (HOSTILES, 2017, and OUT OF THE FURNACE, 2013).

Cooper adapted this screenplay from Louis Bayard’s 2003 novel, and it’s set in 1830 in the early stages of the West Point Academy in Hudson Valley, New York. It’s a fictional murder mystery with a couple of intriguing characters. When a cadet is found hanging from a tree with his heart removed, Colonel Thayer (Timothy Spall sporting full Spall scowl) and Captain Hitchcock (Simon McBurney) summon retired constable/detective Augustus Landor (Bale) to quietly and discreetly solve the case to prevent unwanted attention on the Academy. Landor is renowned for solving tough cases, but as a widower, he’s also weary and has an affinity for the bottle.

It may seem odd for a West Point film to open with the Edgar Allan Poe quote, “The boundaries which divide life from death are at best shadowy and vague.” However, it doesn’t take long for this to make sense, as shortly after Landor arrives, he asks the inquisitive Cadet E.A. Poe (Harry Melling, Dudley in the Harry Potter movies) to assist with the investigation. That’s right, the infamous dark poet who wrote such classics as “The Raven”, “The Murders in the Rue Morgue”, “The Pit and the Pendulum”, and most fittingly, “The Tell-Tale Heart”, actually spent some time at West Point prior to focusing on his short stories and poetry. Cadet jumps at the chance to work with super sleuth Landor, and as you would expect, things get messy and complicated rather quickly.

Soon, Landor is consulting with occult specialist Jean Pepe (Oscar winner Robert Duvall), who fills him in on Henri LeClerc and the instruction guide to gaining immortality. By this time, Landor has interviewed Dr. Daniel Marquis (Toby Jones) who performed the autopsy, and Cadet Poe has romantic leanings towards the doctor’s daughter Lea (Lucy Boynton, SING STREET, 2016), despite her cadet brother Artemis (Harry Lawtey) bullying him. Also in the picture is Julia Marquis (Gillian Anderson), the doctor’s quite bizarre wife who relishes her interaction with Poe and Landor.

Charlotte Gainsbourg has a small role as a barkeep at the local pub, but the first two acts of the film belong to Bale and Melling. That first hour and a half hooked me with the murder mystery and the strange characters, but I wasn’t prepared (or happy) for the sharp turn and the twist in the final act. Many of Cooper’s patented vista wide shots are included and cinematographer (and frequent Cooper collaborator) Masanobu Takayanagi excels with the eerie atmosphere aided by dark interiors lit by flickering candles. Though there are numerous references to Poe’s writings – the most obvious being a screeching crow and Landor’s name (Poe’s short story, “Landor’s Cottage”), but it’s the eerie atmosphere that is the film’s best asset. I did find it unusual for a film based on a U.S. military academy to feature so many Europeans in the cast, even if they are fine performers.

 Opens in theaters on December 23, 2022 and on Netflix beginning January 6, 2023

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Posted by David Ferguson

BONES AND ALL (2022)

December 15, 2022

Greetings again from the darkness. Given the onslaught of Zombie movies over this past decade, the release of a film about first love between two fine young cannibals barely raises an eyebrow in regards to subject matter. However, when the film is directed by Luca Guadagnino, the man behind such films as CALL ME BY YOUR NAME (2017) and I AM LOVE (2007), well the interest level is quickly piqued, as we know the approach will be one that’s unique. David Kajganich, who collaborated with Guadagnino on SUSPIRIA (2018) and A BiGGER SPLASH (2015), adapted this screenplay from the 2016 novel by Camille DeAngelis.

Maren (a terrific Taylor Russell, WAVES, 2019) lives in a Virginia trailer park with her father (Andre Holland). He’s extremely protective of her and even locks her in the bedroom at night. The one time she sneaks out to meet some friends at a sleepover, her gruesome actions clue us in to the reason dad worries so much. Soon after, dad deserts Maren, leaving only some cash, her birth certificate, and a cassette tape he recorded detailing all he knows about her past and her rare disorder (a need to feed on human flesh). We get to listen to the cassette right along with Maren, which gives us the background we need to follow along.

This quickly turns into an ‘on the road’ movie as she begins the search for her birth mother. Traveling by bus, and shooting through her funds pretty quickly, Maren heads through Maryland and on to Ohio. Along the way, she crosses paths with two who prove crucial to the story. Sully (played by Oscar winner Mark Rylance, BRIDGE OF SPIES, 2015) is an eccentric oddity of a man with a soft-spoken manner who excels at twisting a phrase. Sully explains what it means to be an “eater” … how their heightened sense of smell allows them to identify others, and his own rule of “never eat an eater”, a rule Maren later discovers isn’t a true industry standard. The first Sully sequence is difficult to watch, yet Guadagnino finds a way to film this that minimizes the visible gore without losing any impact on viewers … or Maren. Sully also shares that he carries trophies of his victims, yet another creepy aspect of this full-scale creepy dude.

Maren’s next key ‘meet’ is Lee (Timothee Chalamet, a Guadagnino returnee from CALL ME BY YOUR NAME). Chalamet plays right into his strength as a low-key performer. This character just happens to kill people and eat them. It should be noted that this is a biological need for these characters … in fact, they have a conversation about being “nice.” Lee and Maren fall for each other much the same as any other young lovers fall for each other. It’s just that their dates often involve ingesting human flesh and blood. Lee’s only real personality seems to be his obsession with 1980’s rock, and he gets to cut loose on KISS’s “Lick it Up”.

The impressive supporting cast includes Chloe Sevigny, Michael Stuhlbarg, David Gordon Green, Sean Bridgers, and Jessica Harper. The road trip continues through Kentucky (where we see a Chia Pet at Lee’s sister’s house), Iowa, Minnesota (Maren’s roots), and Nebraska. A trip to the sanitarium brings unfortunate closer for one of the characters, and it should be stressed that these are teen cannibals, not zombies. These two lovebirds do not possess the giant egos of Mickey and Mallory in NATURAL BORN KILLERS (1994). Director Guadagnino has remarkably produced a love story that springs from these most disgusting traits and urges, and he has done so with the unorthodox screen presence of his three lead actors.

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Posted by David Ferguson

DECISION TO LEAVE (2022, South Korea)

December 14, 2022

Greetings again from the darkness. For the first half hour, we can’t help but think, “we’ve seen this all before.” A straight-as-an-arrow police detective falls hard for a suspect in a murder case. Sure, the familiar story line is often fun to watch, but we are initially a bit disappointed since this is the work of writer-director Park Chan-wook, the filmmaker behind OLD BOY (2003) and THE HANDMAIDEN (2016). Of course, we worried needlessly. The masterful director then begins twisting and turning characters and events in this homage to Hitchcock’s VERTIGO.

A crime thriller built upon fatalistic romanticism is the foundation of the best film noirs in history, and that is exactly how Park and co-writer Jeong Seo-Kyeong construct this story. Park Hae-il stars as Hae Jun, a married Busan police detective who suffers from insomnia and withdrawals from the cigarettes his wife (Jung Yi-seo) prohibits him to smoke. As with many detectives, Hae Jun obsesses over his unsolved cases, but things change quickly when the mangled body of a married man is found at the foot of a mountain. Did he fall? Did he jump? Was he pushed? The victim’s wife Seo-rae (a phenomenal Tang Wei) is suspected, but Hae Jun defends her as not capable.

The best love stories involve obsession, and Hae Jun becomes obsessed with Seo-rae, or is it she who becomes obsessed with him? The number of twists and turns director Park throws at us are nearly impossible to track … and we aren’t sure which are pertinent and which are distractions. The tiresome cell phone trope comes into play, only this time it plays a vital role and is not just used as a tech cop out. At times we are led to believe Seo-rae, despite being a beloved caregiver for the elderly, is the devil in disguise. Other times we aren’t sure if she is the clever one, or whether that’s Hae Jun. His “daydreams” of being in the same room and spending time with her are well played.

The script is well-written and the score works perfectly. Some of the dialogue is sharp and serious, while some carries subtle humor. My three favorites were the best ever use of “shattered”, a man introducing himself as “the next husband”, and this line: “Killing is like smoking. Only the first time is hard.” For those who enjoy noir crime thrillers with a dark romantic undertone, you’re very likely to appreciate this film from director Park Chan-wook and the mesmerizing performance by Tang Wei.

***NOTE: this is South Korea’s official submission for Best Foreign Language Oscar.

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Posted by David Ferguson

THE WHALE (2022)

December 10, 2022

Greetings again from the darkness. Brendan Fraser deserves an Oscar nomination. There’s a sentence I never even imagined writing. If you recall (and you are excused if you don’t), Mr. Fraser’s early acting career is noted for such ‘prestige’ films as ENCINO MAN (1992), GEORGE OF THE JUNGLE (1997), DUDLEY DO-RIGHT (1999), and BEDAZZLED (2000). And yes, I’m being a bit unfair in the films I chose to name, as he has also had some solid performances along the way. However, nothing on his resume could have prepared us for what he delivers on screen in this latest from director Darren Aronofsky (BLACK SWAN, 2010).

Award-winning playwright Samuel D Hunter adapted his own play for the big screen, and it’s one that will surely drag you down and pound your emotions, even as it mesmerizes you. We first hear Charlie’s (Fraser) soothing voice as he addresses the online college writing class he teaches. We see the students’ faces on his laptop, but Charlie’s square is blacked out. He explains the camera on his laptop is still “broken”. Class ends and Charlie’s friend Liz (a terrific Hong Chau, “Watchmen”) shows up to read his blood pressure at 238/134. Charlie is a massive human being, barely mobile, and nearing death.

Liz is also a nurse and tends to Charlie in a sense of loyalty and caring through their friendship … the origin of which we learn later in the story. Thomas (Ty Simpkins, JURASSIC WORLD, 2015), who says he’s a missionary from New Life Ministries, knocks on the door as Charlie is in medical distress. Liz treats Thomas as an intruder and demands he leave, while Charlie remains civil to him. Given his ticking clock, Charlie reaches out to his teenage daughter Ellie (Sadie Sink, “Stranger Things”). The two haven’t seen each other in the years since Charlie left for a new lover. To say that Ellie has pent-up rage and anger directed at her long-lost dad would be understating the situation. She blows into his apartment like a tornado, spewing venom towards Charlie. They do come to an arrangement that entices her to return to visit while he agrees to assist with her delinquent school assignments.

Almost the entirety of the story takes place in about 300 square feet of the upstairs apartment Charlie is confined to. The tight space adds tension to every interaction between the four characters, including Charlie’s ex-wife Mary (Samantha Morton, IN AMERICA, one of my favorite forgotten gems from 20 years ago). Brendan Fraser uses his eyes to convey so many thoughts, even as we turn in disgust at his eating habits. An excellent score from Rob Simonsen and expert camera work from cinematographer Matthew Libatique complement the stunning performance from Fraser, and the numerous moments of intense tension and emotional turmoil. There are only a few times throughout where the live stage source material sticks out, and the ending is handled beautifully, allowing us a respite from the emotional rollercoaster of the past two hours.

Now showing in theaters

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Posted by David Ferguson

EMPIRE OF LIGHT (2022)

December 9, 2022

Greetings again from the darkness. Writer-director Sam Mendes won an Oscar for AMERICAN BEAUTY (1999), and has directed other popular movies, including ROAD TO PERDITION (2002) and a couple of James Bond films: SPECTRE (2015) and SKYFALL (2012). This is his first movie since the 3-Oscar winning war film 1917 (2019), and it’s a project that seems designed for Mendes to proclaim his love of movies and belief in movie magic. However, a funny thing happened on the way to movie magic … a movie about mental health, racism, and the Margaret Thatcher era broke out.

By now we’ve all realized that a movie starring Olivia Colman (Oscar winner for THE FAVOURITE, 2018) features at least one outstanding performance. Here, she delivers as Hilary, a theater manager who doesn’t watch movies, and is in therapy for some type of breakdown that occurred over the past year. Her smile for the customers isn’t always able to hide her depression and mood swings – and neither are the ‘quickie’ meetings the married theater owner, Mr. Ellis (Oscar winner Colin Firth, THE KING’S SPEECH, 2010), calls when the urge strikes. Her vulnerability and solitude are on full display.

The closeness of the theater staff is evident by the time new employee, Stephen (Michael Ward), shows up. He brings a spark, along with an ambition for advanced education, and he and Hilary hit it off immediately. Romance blossoms between the odd couple, and we soon learn Stephen has grown accustomed to facing racism, while Hilary seems oblivious to such things happening in the world. Empire Cinema is located on the seaside boardwalk, and the plush lobby is coated in heavy red velvet and adorned with sparkling brass fixtures. The timeframe is evident from the theater’s movie posters: BLUES BROTHERS, ALL THAT JAZZ, STIR CRAZY, etc.

The closed off screens 3 and 4 and the upper-level abandoned ballroom act as the rendezvous spot for Hilary and Stephen, while fireworks and a New Year’s rooftop kiss bring joy and excitement into Hilary’s life. The always interesting Toby Jones plays old school projectionist Norman, and he helps explain the second meaning of the film’s title when he describes the beam of light that flashes through the 24 frames/second of film. He terms that beam of light an “escape”, which is how so many view the movies.

Hilary’s history of schizophrenia and depression and lithium treatment mean that smooth sailing will not last for her. A street riot spills over into the theater and the scene shifts to the local hospital, where another character is introduced – one that might have added quite a bit to the story if expanded. Mendes chooses an odd approach to paying tribute to cinema, even when Hilary does finally realize the magic in a scene that recalls CINEMA PARADISO (although Hal Ashby’s gem BEING THERE is what she watches). Cinematographer extraordinaire and two-time Oscar winner Roger Deakins proves yet again how his work can elevate a film, as does the score from Trent Reznor and Atticus Ross (the Oscar winning composers).

Mendes chooses a restrained presentation, and though many of us believe in that feeling of elation associated with movies, no one believes movie magic is a cure for anything as serious as mental illness or racism. There are some terrific individual scenes that work better than the movie as a whole, but it’s unclear whether the film needed to be shorter, longer, or just better constructed.

Opens in theaters on December 9, 2022

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Posted by David Ferguson

EMANCIPATION (2022)

December 9, 2022

Greetings again from the darkness. Persistence. It’s the word used to describe “runners” by the man known for tracking the slaves who try to escape the abusive treatment and back-breaking work of plantations. However, the word can also be used to describe how the movie industry ‘persists’ in bringing us stories about how white slave owners created a brutal environment for black slaves. We really do get it. The history is awful and the treatment is inexcusable. It’s just difficult to understand how more movies are going to make any difference in what happened 150 years ago.

Steve McQueen’s 12 YEARS A SLAVE was released in 2013 and won the Oscar for Best Picture. In that film, Solomon Northrup was a free man dragged into slavery. In this film, Peter (Oscar winner Will Smith, KING RICHARD) has never known freedom, but fights for it. Both are based on true stories, and the biggest difference is in the scripts. The first was a terrific script that established many characters and told a remarkable tale. This latest film focuses too much on action pieces (a specialty of director Antoine Fuqua, TRAINING DAY,2001), and really boils down to two distinct segments: a chase scene and a battlefield. While thrilling to watch, neither segment delivers anything near the emotional heft of McQueen’s movie.

Will Smith spent decades carefully cultivating an image of a nice guy playing characters that were easy to root for. All of that recently changed in the blink of a slap. This first role since that stunning on stage event seems designed to get his career and reputation back in line. Peter is a man-of-faith, a beloved family man, and a lifelong slave from Haiti. When he is separated from his wife Dodienne (Charmaine Bingwa) and kids in order to go build a railroad for the confederate army, he vows to return to them. Not long after, he overhears that President Lincoln has freed the slaves, and so he plans his escape. As a “runner”, he is tracked by Jim Fassell, played with the cold, steely eyes of Ben Foster. Foster is mostly relegated to riding a horse and following his dogs, but he does get one campfire scene to explain the racism he was born into.

The cat and mouse game of life and death between pursuer and runaway takes up more than half of the film’s run time, and most of it sloshes through the swamps of Louisiana. Snakes, gators, injuries, and the challenges of water all present obstacles for Peter to complete his journey to Baton Rouge, without being killed. The story (written by Bill Collage) has been drawn from the infamous “Whipped Peter” photo that was used to bring the atrocities of slavery to the masses, and has since appeared in many history books. It’s recreated here in a short scene, one that probably deserved a bit more screen time. As for the Civil War battlefield, it continues the fantastic work of cinematographer Robert Richardson, a three-time Oscar winner. In fact, the entire film is a work of visual art, filmed in what has the look of black and white, with only splashes of muted color for effect. For those seeking another film on slavery, you’d be hard pressed to find a better looking one than this. Just don’t expect it to dig deep for meaning.

The film will have a limited theatrical run and opens on AppleTV+ on December 9, 2022

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Posted by David Ferguson

THE FABELMANS (2022)

December 4, 2022

Greetings again from the darkness. For most of us movie lovers, Steven Spielberg has been at the forefront of our cinema experiences since the mid-1970s. He has won 3 Oscars (along with 20 nominations) while delivering such classics and memorable films as: JAWS (1975), CLOSE ENCOUNTERS OF THE THIRD KIND (1977), the “Indiana Jones” franchise (1981, 1984, 1989, 2008), E.T. THE EXTRA-TERRESTRIAL (1982), THE COLOR PURPLE (1985), JURRASIC PARK (1993), SCHINDLER’S LIST (1993), SAVING PRIVATE RYAN (1998), MINORITY REPORT (2002), CATCH ME IF YOU CAN (2002), LINCOLN (2012), and WEST SIDE STORY (2021). Remarkably, that’s a partial list of his films and doesn’t take into account others that he’s directed or produced, or his commitment to preserving film history. Despite (or perhaps because of) his diverse catalog of films, Spielberg always manages to find the human element while entertaining us. In fact, some have criticized him for putting too much emphasis on entertainment, as if that is somehow a problem.

As you likely know, this latest (co-written with his frequent collaborator Tony Kushner), is Spielberg’s look back at his own childhood, his family, and his early obsession with making movies. It’s a semi-autobiographical case study of the early development of one of our most influential and prolific and popular filmmakers … with some dramatic license taken for entertainment purposes, of course. Michelle Williams and Paul Dano star as Mitzi and Burt Fabelman, parents to four children, including Sam Fabelman (the stand-in for Steven). Mitzi is a former concert pianist who gave up her career to be a mom and wife, while Burt is a brilliant engineer working on the cusp of the computer age – this story begins just after WWII.

Most of us remember our first movie in a theater. This film opens with parents Mitzi and Burt taking young Sam to his first: Cecil B DeMille’s THE GREATEST SHOW ON EARTH (1952). This opening scene perfectly sets the stage. Engineer Dad details to his anxious son that movies are nothing more than lighting and still images being shown at 24 images per second, while artist mom assures him that movies are “dreams” (or as we interpret, “the stuff that dreams are made of”). It’s this contrast between mom and dad that has such an impact on Sam and the family, and we see this as they follow Burt’s career progression from New Jersey to Arizona to California. Mom encourages and supports Sam’s interest in filmmaking, while dad continually belittles it as nothing more than a hobby.

Gabriel LaBelle plays Sam as a teenager, and not only does he deliver a terrific performance, he also bears a striking resemblance to young Spielberg (the similarity startled me at first). Seth Rogen has a role as Bennie, a friend to the family – especially to Mitzi We see Sam’s struggles as a high schooler facing bullies and antisemitism for being a nerdy, non-athletic Jew, as well as the challenges he faces with his own family, and in a touching sequence, with first love. Two scenes involving non-immediate family members really stand out. Uncle Boris (an energetic Judd Hirsch) comes to visit and explains how his lion-taming is an art form that he felt compelled to pursue, and that he sees that same artistic streak in Sam … while perfectly explaining how art and family ties can tug against each other, yet the artistic pursuit must never be forsaken. Another excellent scene occurs when Sam has a short meeting with a legendary director (a memorable cameo from director David Lynch) who offers a filmmaking tip that provides the film’s final shot gag.

As strong as LaBelle is as Sam, it’s Michelle Williams who truly shines in a complex role that is easily one of the best of the year. She’s an artist who knows she’s trapped and struggles to make the best of thing. – right up until she can no longer do so. Brigning a pet monkey home is usually a good indicator that someone has reached their limit. Her depression and internal chaos lead to a break in the family, but in a way, serves to drive Sam forward in his pursuit of filmmaking. The great John Williams provides the score (of course), while cinematographer Janusz Kaminski delivers masterful images. It’s rare for an (wildly successful) artist to open up about his family, his past, and his influences. Even though each scene and line of dialogue here has Spielberg’s stamp of approval, there remains a vulnerability in pulling back the curtain for others. We do see how so much of life goes into the work of an artist, and how the pursuit of a passion may or may not lead to happiness. Spielberg proves yet again when it comes to history and legend, print the legend.

***Note: the film leads us to believe that Spielberg stayed away from working in television, but in reality, he directed quite a few TV episodes, and his first movie was a made-for-TV movie entitled, DUEL … one I highly recommend.

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Posted by David Ferguson

NANNY (2022)

December 2, 2022

Greetings again from the darkness. The first feature film from writer-director Nikyatu Jusu is a supernatural psychological thriller that may or may not belong in the horror genre. It’s filled with original concepts, innovative camera shots, and a truly powerful lead performance. Despite all it has going for it, the film never quite gels for us, instead creating a bit of confusion as to whether it was trying to make a point or not.

Anna Diop (US, 2019) stars as Aisha. She seizes the role from her first scene and never relinquishes control. Aisha is an immigrant from Senegal who has come to the United States for a better life. She left her son behind in the home country until she can send for him. Aisha is educated and overqualified for the domestic help job she takes for a couple in a swanky Manhattan apartment. However, she’s committed to doing what she must to reunite with her son Lamine, whom she sees on FaceTime. Rose (Rose Spector) is the young girl she is hired to look after, and her parents are Amy (Michelle Monaghan), an anxiety-filled working mom trying to ascend the corporate ladder, and Adam (Morgan Spector), a photojournalist who thinks he can relate to Aisha’s background. Amy and Adam have a strained relationship, and neither seems keen to be a parent to Rose.

We witness Aisha’s ease with Rose, as well as the tension she has with Amy and Adam who seem to take advantage of her in every possible way – including slow payment, cheating her on hours worked, last minute schedule changes, and even invading her personal space. All of this builds in Aisha to the point where her dreams/nightmares/daydreams become a real issue. Water is featured heavily, and we initially relate this to her feeling like she is drowning in the frustrating situation. However soon African folklore enters with spiders and mermaids, and the visions become more alarming. We realize the water has more significance.

The use of color is startling. Aisha’s workplace (the apartment) is washed out gray with cold stone surfaces, while her personal time features vibrant primary colors and music. A sweet romance with Malik (Sinqua Walls), the doorman, provides Aisha with hope. Unfortunately, the psychological character study that has been building through most of the film turns to mostly horror in the final act. The film excels, as does Ms. Diop, when the stress and tension and frustrations of the real world are in the forefront. Still, despite the often bumpy storylines, Aisha’s character and the visuals in the film provide high expectations for Nikyatu Jusu as a filmmaker, and announces Anna Diop as a true leading actor.

Opens on December 2, 2022

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2 Comments | Drama, Horror | Tagged: , , , , , | Permalink
Posted by David Ferguson

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