GLORIA BELL (2019)

March 21, 2019

 Greetings again from the darkness. Having previously mentioned my general annoyance at the frequency of which the ‘Americanization’ of World Cinema projects occur, I was initially dismayed to hear about the remake of the excellent Chilean film GLORIA. That 2013 featured a terrific performance from Paulina Garcia, and provided a grounded look at life of a single woman of a certain age. However, when it was announced that the American version would be directed by Sebastian Lelio, who also directed the earlier version, and that it would star Julianne Moore in the lead role, the idea became much more palatable.

Oscar winner (and 4 time nominee) Julianne Moore has been one of our more interesting actors since she jumped off the screen (in a supporting role) in 1992’s THE HAND THAT ROCKED THE CRADLE. She’s now approaching 60 years of age, and is a true master at capturing the essence of a character. She brings Gloria Bell to life in the most believable and grounded manner possible. Rather than a movie caricature, Gloria is a real woman. She plugs away at her daily work in the insurance business. She belts out the songs on the radio as she drives her car. She gets annoyed at the stray cat who sneaks into her apartment. She smokes and drinks. She tries to be part of her adult kids’ lives. She tries to ignore, but ultimately reports the loud noises from her upstairs neighbor to her landlord. She loves dancing in clubs with men she doesn’t know, or even alone. In conclusion, Gloria lives her life.

Much of the film focuses on the odd developing relationship Gloria has with Arnold (John Turturro). Their eyes meet across the dance floor, spend some time chit-chatting, and soon, his Velcro-back brace is being ripped off. As with many folks, Arnold’s baggage is more burden than history. He seems to be in an unhealthy marriage with ultra-dependent grown daughters and a wife who can’t get through a day without his help. The cell phone ring becomes a running gag … one Gloria finds little humor in.

Supporting work is provided by Sean Astin (a Las Vegas mistake), Brad Garrett (Gloria’s ex), Jeanne Tripplehorn (Garrett’s new wife), and Holland Taylor (Gloria’s mom). Each of these characters get a brief sub-story, as do Gloria’s grown kids, played by Michael Cera and Caren Pistorius. With the son’s marriage in shambles, and the daughter heading to Sweden to live with a man, Gloria experiences the trials and tribulations of life while still looking for meaning and companionship … each a search worth pursuing.

Alice Johnson Boher adapted the screenplay for this version from the original by director Sebastian Lelio and Gonzalo Maza. She refrains from the usual American melodrama or corniness, and instead delivers something to which the actors and viewers can easily relate. The fine line between independence and loneliness is in a delicate balance, and one that’s deftly handled here. And of course, there are scenes that are elevated thanks to the brilliance of Julianne Moore’s performance. All in all, fans of GLORIA will not be disappointed … just lay off the post-yoga cigarette.

watch the trailer:

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MOLLY’S GAME (2017)

December 23, 2017

 Greetings again from the darkness. Aaron Sorkin’s dialogue is like a rap battle with proper grammar and no down-beat. He must have been abused by pregnant pauses and moments of silence as a kid, as his screen banter gives new meaning to ‘the fast and the furious’. This latest is his directorial debut, but his loquacious diatribes have previously tested our attention spans in such films as STEVE JOBS, MONEYBALL, and of course, THE SOCIAL NETWORK (for which he won an Oscar).

Molly Bloom’s memoir is the adapted source material, and though her story might be a bit challenging to show, there is certainly much to tell … which is right in Mr. Sorkin’s wheelhouse. The verbal sparring amongst characters rarely pauses, and when it does, we have Molly immediately jumping in as narrator and guide.  The ultra-talented Jessica Chastain (ZERO DARK THIRTY) takes on the Molly role, and narrates her back story at break-neck speed (there is a pun in there). We learn her psychologist father (Kevin Costner) pushed her hard as a kid and she became off-the-charts intelligent while also being a world-class downhill skier.

A freak accident ended her athletic career, and after deciding to delay law school, Molly found herself working for a real estate agent in Los Angeles. Soon he got her involved with hosting the high-stakes underground poker games he ran for local celebrities, and being a quick study, she was soon running and managing her own games. When Molly was forced to take her game to New York, the players transformed from movie stars and professional athletes to business magnates, hedge-fund managers and, unbeknownst to her, the Russian mob.

Don’t mistake this for a poker movie. Cards and chips are everywhere, but this is Molly’s story, and Sorkin wisely simplifies the poker details and focuses more on Molly’s brilliant strategy to build her business. Of course, there wouldn’t be much to this were it just rich people playing poker. Less than a decade in, Molly is arrested in an overblown FBI sting featuring 17 armed agents at her pre-dawn door. The charges ranged from money-laundering to hedge-fund fraud to dealings with the Russian mob.

The criminal charges lead Molly into the offices of defense attorney Charlie Jaffey (Idris Elba), who is reticent to take what appears to be an unwinnable case. The Sorkin back-and-forth kicks into full gear as Molly and Jaffey expertly verbally spar until she convinces him that she is adamant in not wanting anyone else to get hurt – even if it might save her proverbial rear-end.

Although Sorkin doesn’t name names, it takes very little research effort to determine some of the featured players in Molly’s games. Hints are provided such as “green screen”, New York Yankee player, and Oscar winner. Michael Cera is identified only as Player X, but it’s quite obvious he is playing the noted green screen actor, and he does a nice job in a small, but vital role. The rest of the cast offers up colorful work: Jeremy Strong as Molly’s first boss, a very funny Chris O’Dowd, Brian d’Arcy as “Bad Brad”, Justin Kirk as a rock star, Angela Gots as the wise table dealer, and the always great Bill Camp as Harlan, whose story highlights the true risk in this supposed game of skill. Graham Greene has a nice moment as the judge hearing Molly’s case, and it’s likely the first time he and Kevin Costner have appeared in the same film since DANCES WITH WOLVES.

At times the film and story bear a slight resemblance to THE WOLF OF WALL STREET, but mostly it’s one woman’s journey through entrepreneurship and a web of legalities. Arthur Miller’s “The Crucible” is used as a comparable for protecting one’s own name, as well as a life lesson for Jaffey’s young daughter. Writer Sorkin predictably surpasses first time director Sorkin, and never is that more obvious than a cringe-inducing father/daughter scene on a park bench near the end of the film. It’s designed to wrap up Molly’s inspiration and influence, but plays like a cheap Hollywood ploy to mop up loose ends. Molly deserved better, and fortunately most of the movie delivers.

watch the trailer: