QUEER (2024)

December 6, 2024

Greetings again from the darkness. Some filmmakers have earned the benefit of the doubt to the point where each film they release is worthy of consideration. Luca Guadagnino is one such filmmaker. He first captured my attention with I AM LOVE (2009) and has since followed that with such interesting films as A BIGGER SPLASH (2015), CALL ME BY YOUR NAME (2017), SUSPIRIA (2018), BONES AND ALL (2022), and CHALLENGERS, his first film released in 2024. This time he and his CHALLENGERS screenwriter, Justin Kuritzkes, take on the 1985 William S Burroughs novella, “Queer”, which was linked to his 1953 novel, “Junkie”.  Taking on the writing of William S Burroughs is challenging enough as a reader, much less as a filmmaker.

Daniel Craig stars as William Lee. If you are familiar with Burroughs’ writing, then you are aware the character of William Lee shares many of the same personal attributes as Burroughs himself. He’s a gay man who drinks too much, does hard drugs, and is quite sexually promiscuous. The film opens with Chapter 1: How do you like Mexico?  Lee spends his time drinking non-stop and carousing for his next roll in the proverbial hay. He has a few fellow ex-pat friends, including Joe Guidry (Jason Schwartzman), but it’s a certain cool cat that catches his eye. Eugene Allerton (Drew Starkey) is a young ex-soldier and Lee is quickly enamored.

The two hang out together, although Lee is never really certain if Eugene is gay or not since he spends much of his time playing chess with fellow bar patron, Mary (Andra Ursula). One night of passion between Lee and Eugene leads to Chapter 2: Travel Companions. The two men make their way to South America as their awkward relationship (and agreement) leads to more booze. Chapter 3: The Botanist in the Jungle is certainly one of the most bizarre segments of any movie this year, as the men hike deep in the jungle to connect with a doctor who has researched some ‘vegetation’ that may solve Lee’s fascination/obsession with telepathy. There is no viable description for this segment, but kudos to anyone who recognizes Leslie Manville – the one who has a pet sloth and keeps a viper for home security.

The Epilogue picks up two years later, and it’s here where Lee’s long struggle with loneliness becomes most apparent. His time with Eugene provides home of a true, lasting relationship with something other than a tequila bottle or a heroin needle. Daniel Craig and Drew Starkey are both excellent here, and may each receive awards consideration. If your previous exposure to Mr. Craig is through the James Bond movies, you might find this role a bit surprising, but those who have followed his career are in the know. One final note (no pun intended), the score from Trent Reznor and Atticus Ross perfectly captures the longing for connection (aka loneliness).

Opening in theaters on December 6, 2024

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Posted by David Ferguson

MRS. HARRIS GOES TO PARIS (2022)

July 14, 2022

Greetings again from the darkness. Leslie Manville is one of those actors we take for granted. She’s so talented and versatile and typically “perfect” in the supporting roles she embodies. For us followers of British filmmaker Mike Leigh, we’ve been treated to numerous Manville performances over the years, but it’s likely she’s most widely recognized for her Oscar nominated performance in Paul Thomas Anderson’s PHANTOM THREAD (2017), where she played Daniel Day-Lewis’ sister and business partner with an icy efficiency that added heft to a terrific film. This time, Ms. Manville embraces the lead and delivers a turn as a Mrs. Harris that we would all welcome into our lives.

Writer-director Anthony Fabian (SKIN, 2008) co-wrote the script with Carroll Cartwright (WHAT MAISIE KNEW, 2012), Keith Thompson, and Olivia Hetreed (GIRL WITH A PEARL EARRING, 2003), and it is based on the 1958 Paul Gallico novel, “Mrs. ‘Arris goes to Paris”. There were four books in the series (leading to speculation of sequels), and Mr. Gallico also wrote “The Poseidon Adventure”, from which the 1972 disaster movie was adapted. We first meet Ada Harris (Manville) as she makes her rounds cleaning the homes of upper crest society. She rides the bus with her best friend Vi (Ellen Thomas), and occasionally meets up for an end of the day drink at the local pub, where Archie (Jason Isaacs) flirts a bit with her. Mrs. Harris has been biding her time for news of her beloved Air Force husband, MIA for 12 years. It’s a simple life she leads, but it’s one filled with optimism and hope and determination to live the right way.

The film shifts into ‘Adult Fairy Tale’ mode when one day Mrs. Harris falls hard for a couture Dior dress purchased by one of her clients. It’s a symbol of the beauty and opulence that has eluded Mrs. Harris her entire life. At that moment, she commits to saving enough money to purchase her own Dior dress … something that she has no rational use for. It’s mostly just a way for one ‘invisible’ woman to fulfill her own fantasy by experiencing a taste of dreamlike luxury … a rare pursuit of pleasure for this woman. A somewhat comical chain of events occurs in montage fashion as Mrs. Harris scrimps and saves (and gambles) her way to the monetary goal that puts the dress in play.

Once she arrives in Paris, the film becomes a fish-out-of-water story, as Mrs. Harris seemed to think she could stroll up to the House of Dior and have a dress wrapped up for the trip home. Claudine Colbert (the always great Isabelle Huppert), the gatekeeper of Dior, will have none of this … Dior is only for those who are deserving, not the riffraff. The scenes with the two women expertly highlight the personality differences. Mrs. Harris immediately begins to win people over with her nice demeanor. One of the keys is Marquis de Chassagne (Lambert Wilson), who takes a liking to her and invites her to view the new line as his guest. Another is Andre Fauvel (Lucas Bravo), the young accountant whose cutting-edge ideas are ignored by the “old school” stodgy types in charge. Lastly, there is supermodel Natasha (Alba Baptista), as the “Face of Dior”. She admires Mrs. Harris’ tenacity and kindness, which assists Natasha is discovering her true self.

Seeking to reach her own goal, Mrs. Harris ends up affecting the future of many others, as well as the future of the House of Dior. She has the kind of demeanor and spirit that draws in other people, while inspiring goodness. This is less about exposing elitism than applauding niceness. People are drawn to inherently nice people. As an adult fantasy, the film is likely to hold the most appeal for middle-aged women, and should be a perfect day at the theater for mothers and their adult kids.

Opening in theaters on July 15, 2022

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Posted by David Ferguson

PHANTOM THREAD (2018)

January 11, 2018

 Greetings again from the darkness. There is a certain feeling that envelops me while experiencing exquisite filmmaking. It’s a singular blend of peacefulness and excitement as an anticipation of greatness builds in those early scenes. That feeling has rarely swept over me as quickly as the opening moments of this new film from writer/director Paul Thomas Anderson, a six-time Oscar nominee.

We need only watch Reynolds Woodcock (Daniel Day-Lewis) go through his morning ritual to understand that he is a fastidious individual to the point that could easily be described as obsessive-compulsive. It’s 1955 London, and this is the House of Woodcock. He lives and works in a home that serves as the canvas for his art, as well as a place to lay his head for sleep. His art is dressmaking. It’s also his obsession and purpose for living. This is the story of a man with transformative talent, who, despite his stated lack of need for those outside his solitary realm, is dragged into the humanity of love and caring.

This is an odd film about odd people. It’s about a dressmaker and it features people making beautiful clothes … yet it’s not a fashion movie. No, this is the study of a genius man and his muse – who is also his lover – and their unconventional saga of love. It’s also a consistently funny movie (and surprisingly so). Evidence that that 3 will always be a crowd, Woodcock’s devoted sister and buttoned-up business partner Cyril (a terrific Leslie Manville) runs a tight ship, while simultaneously using her near preternatural ability to read his moods and idiosyncrasies and respond accordingly. He refers to her as “my old so-and-so” in a way that reflects a lifelong bond unlikely to be broken.

The woman who prevents this from simply being a story of a reclusive genius is the aforementioned muse Alma (played by the effervescent Vicky Krieps). Is she his muse, a model, or his lover? Well, yes to all. And yet those labels fall short in describing the subtleties and nuances of their relationship. When does she play which role in order to maintain the balance so key to his work? Alma is often confused about the best approach in any moment, but she reaches him as none before. When she tells Woodcock that a certain client “doesn’t deserve your dress”, it strikes a chord with him that no one else has ever understood. It’s as close to ‘getting him’ as one can attain.

Ms. Krieps goes toe-to-toe with Daniel Day-Lewis in their scenes. He is simply the greatest living actor, and maybe the best ever at his profession. Her blushy cheeks and determined eye of observation bely an inner strength that isn’t necessarily obvious at first glance. The twist in this “romance” is unlike any other love story from the big screen. While he is haunted by the memories of a cherished mother, Alma presents a more immediate force of reckoning. Is she his tender savior or a menace of danger? It’s fascinating to watch this unfold.

Most know by now that Daniel Day-Lewis has announced this will be his final acting role. We can only compare this to the retirements of Sandy Koufax or Jim Brown. We feel cheated by the void of greatness left by their departures, and if this is truly his final role, the DDL legacy is supremely secure. His meticulous performance shines not only through the quirky OCD moments, but even moreso in the seemingly spontaneous moments of bickering and annoyance … moments that come across ad-libbed instead of scripted – these sound (and feel) like real life arguments!

Supposedly, filmmaker Anderson based the character on Spanish-Basque designer Cristobal Balenciaga, and Day-Lewis research added other elements of authenticity. It’s their first movie together since the fantastic THERE WILL BE BLOOD ten years ago, and theirs seems to be a synchronicity that few actors and directors ever share. Mr. Anderson shot the movie himself, and his use of close-ups – faces, fingers, sewing needles – capture the delicacies as well as the power. The final piece of this glorious puzzle is the orchestral score provided by Radiohead’s Jonny Greenwood. It’s both prominent and intricate, with stunning piano work that stands on its own. This is a movie about greatness by those who are also great.

watch the trailer:

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Posted by David Ferguson

MR TURNER (2014)

January 11, 2015

mr turner Greetings again from the darkness. Director Mike Leigh is one of the least celebrated expert filmmakers working today. It’s a shame more people aren’t familiar with his films, and it’s also a shame that his latest, a fantastic biopic of artist J.M.W. Turner, probably won’t generate much mainstream appeal.

The spectacle begins with Timothy Spall’s performance as Joseph Mallord William Turner, an artist known for his use of light and color in seascapes and landscapes. Turner communicates in three ways, sometimes blending all three for quite a unique sequence: 1. Artwork 2. Verbal eloquence 3, Guttural grunts. We get to know Turner and his unusual methods of conversation in environments such as: the high society gatherings of the London art scene, at home with his aging father and uber-loyal housekeeper, and at the inspirational seaside community of Margate.

Director Leigh and cinematographer Dick Pope brilliantly use color, light and texture in an artistic and atmospheric manner to complement the style of Turner the painter. Rather than run through a catalog of Turner’s most famous paintings, the time is spent showing us his method for inspiration and his frequent sketching to capture a potential sight for later work.

This is a most unsympathetic presentation of a creative man. Turner’s commitment to hard work and diligence with his art often rubs wrong those who most admire him, including the mother of his two children and those who make the art world thrive. One of the most glaring examples is his treatment of 19th century art critic John Ruskin (Josh McGuire) who dares favorably compare Turner’s work to other artists.

Mr. Leigh brings back many of his usual and familiar acting troupe including Ruth Sheen as Turner’s angry and boisterous ex, Paul Jesson as Turner’s dad (Turner really was an SOB – son of a barber), Dorothy Atkinson as the heart-breaking housekeeper (who ironically also adds a dash of humor), and Leslie Manville as Mary Somerville – the scientist who shared Turner’s fascination with light and color. Of special note is Marion Bailey who brings extraordinary and welcome energy and warmth to her role of Sophia Booth, who dredges up an inkling of intimacy from Turner.

Timothy Spall’s performance is reason enough to watch the film a second time. He physically and emotionally embodies the being of Turner in a manner never before seen on screen. From his thunderous footsteps (reminiscent of Robocop) to his pained and telling facial gestures to the aforementioned grunts and groans, Spall delivers one of the most interesting and captivating performances of the year. If you are a Mike Leigh fan, you will surely be quick to see this one. If you are unfamiliar with his work, this is one worth seeking out.

watch the trailer:

 

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Posted by David Ferguson