BLUE JASMINE (2013)

August 15, 2013

blue j1 Greetings again from the darkness. Writer/director Woody Allen returns to the United States for his latest and examines a topic he knows much about … how to handle a public life that gets blown apart. Jasmine (Cate Blanchett) and Hal (Alec Baldwin) are living the extreme life of NYC power and luxury. It all crashes down around them when Hal is exposed and arrested as a Bernie Madoff type Ponzi-scheme white collar criminal, and Jasmine is tossed to the curb with no money or prospects.

Disoriented from this whirlwind personal tragedy, Jasmine heads west to San Francisco to live with her sister Ginger (Sally Hawkins), a blue collar single mom. The sisters haven’t been close for a couple of reasons. First, Hal scammed Ginger and her husband at the time (Andrew Dice Clay) out of their lottery winnings. Second, they are both adopted and Ginger constantly claims Jasmine got the “good genes” so it’s expected that she gets the breaks blue j2in life.

We quickly realize that Jasmine is bouncing between her fantasy of re-capturing her life of luxury and the harsh reality of her situation. She is not handling it well and falls back on things like going “back to school” to become an interior decorator. Additionally, she vocally disapproves of Ginger’s choices in men and poisons her thoughts that she (Ginger) can do much better than Dice or her current boyfriend (Bobby Cannavale). That leads to an expected turn of events featuring Louis C.K.

While Jasmine is absolutely unpleasant as a person or character, Ms. Blanchett does a fine job of keeping us tuned in to this slow-burning breakdown. Her scenes with Michael Stuhlbarg are awkward and excellent. It’s impossible not to be reminded of Blanche in A Streetcar Named Desire, and even Gena Rowlands’ remarkable performance in A Woman Under blue j3the Influence (1974). Is Jasmine a monster who refuses to face reality or a severely damaged soul incapable of thinking clearly? Our opinion varies from scene to scene.

The best and most insightful line of the movie comes courtesy of Ginger when she says “Jasmine has always had a way of looking in the other direction.” Her way of handling reality is to look away and pretend it doesn’t exist. The disgust at her sister’s working class environment and lack of empathy has us as viewers wishing someone would just slap her. Ms. Hawkins somehow manages to shine here despite the massive presence of Blanchett’s Jasmine. Woody Allen leaves us wishing we were all as strong as Hawkins’ character and thankful that we have no connection to a Jasmine.

SEE THIS MOVIE IF: you believe the richest people deserve any and all possible comeuppance OR you never thought Andrew Dice Clay could recover from The Adventures of Ford Fairlane

SKIP THIS MOVIE IF: you have no interest in seeing a spoiled princess make no effort to live like the rest of us

watch the trailer:

http://www.youtube.com/watch?v=FER3C394aI8

 

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Posted by David Ferguson

JANE EYRE (2011)

March 21, 2011

 Greetings again from the darkness. For a film to rate highly with me, mass appeal is not necessary. The requirements are an interesting story that is well cast, well acted and well directed. Though it is often required reading in high school, the novel by Charlotte Bronte is a timeless classic and among the most popular of all time. The key roles in this latest film version are played well by Dame Judi Dench (Mrs. Fairfax), Michael Fassbender (Rochester) and Mia Wasikowska (Jane). Cary Fukunaga directs. He was also responsible for the powerful 2009 film Sin Nombre (highly recommended).

There have been numerous film and TV versions of this classic over the years, with the 1943 version being the most famous. Orson Welles starred as Rochester and Joan Fontaine was Jane. While that version still works, this year’s model is the first that I believe surpasses that one in quality. The two keys are the performance of Mia Wasikowska and the direction of Mr. Fukunaga.

 The film surprises a bit with it’s flashback approach, but it works well in linking the older Jane with her early struggles. This version really rests heavy on Wasikowska’s shoulders and she does not disappoint. You will recognize her from her recent turns in Alice in Wonderland, and The Kids Are All Right. She quickly jumps to the head of the Jane Eyre class. Very impressive.

Fukunaga’s direction relies on art direction and spectacular lighting. He draws in the viewer to this dark and mysterious world where much goes unstated, yet so much is communicated. The good girl/bad boy battle is always fun and moreso when the good girl is a remarkably independent and brassy girl, while the bad boy is very dark and dangerous. Of course, this is Hollywood so the novel’s unattractive Rochester is played by the strapping Fassbender (Inglourious Basterds).  I even thought the “reveal” was well-handled and the fall-out simple enough to follow.

 What always attracted me to this story was the strength and perseverance of Jane herself. To find a girl with such fortitude and moral stamina despite her upbringing and longings means the central character is both fascinating and easy to pull for. She is what we would wish of our own daughters … self confident, full of character and observant of what is fair and just.

If you aren’t the literary type, don’t expect to enjoy this film. Watching it is truly like the visualization that occurs when reading a top novel. I was completely drawn into life at Thornfield Hall and the life of Jane Eyre.

SEE THIS MOVIE IF: you read the classic novel OR enjoy strong female characters OR appreciate an atmospheric approach to literary subject 

SKIP THIS MOVIE IF: the nuanced courtship of two polar opposite characters does not provide enough action, gun play or explosions for your taste

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Posted by David Ferguson

MADE IN DAGENHAM

January 1, 2011

 Greetings again from the darkness. The first thing that strikes you about this movie is that it looks and feels like ancient history. In fact, it is based on the real life happenings in 1968 – only about 40 years ago. Sally Hawkins (so wonderful in Happy-Go-Lucky) portrays Rita O’Grady, the Ford sewing machinist who reluctantly takes on the leadership role in the battle for equal pay for women in Great Britain.

Director Nigel Cole tells this story minus the heavy-handedness of the times. In fact, it’s a very entertaining tale of right vs wrong (but, “that’s how we have always done it”). He uses actual archival footage of Ford plants, cars and workers, as well as general footage of England circa 1968. These cuts give the film a feel for the times and prevent any over-analysis of wardrobe and sets in the movie. Mr. Cole clearly has an understanding of women based on this film and his previous work in Calendar Girls.  He also pulls no punches on his views of unions of the day.

The cross-fire between the unions, Ford Motor, the workers and the government really bang home the notion of just how ridiculous this entire argument was (and is). Rita O’Grady was so effective because she cut through the muck and made it what it  really is … a simple case of right vs. wrong. Rights vs. privilege. This was never more apparent than in her meeting with Secretary of State Barbara Castle (Miranda Richardson). Madam Secretary is attempting to negotiate a settlement that will keep Ford happy, but quickly realizes … with help from O’Grady … that there is really only one correct course of action.

Supporting work is excellent from Bob Hoskins, Ms. Richardson, Daniel Mayes (as O’Grady’s husband), Rupert Graves and Rosamund Pike (husband and wife on different sides of the debate) and the rest of the cast of women, as well as the Ford executives and Union leaders. The film mostly rests on the shoulders of Sally Hawkins, who breezes through with a natural energy that just makes you want to pull for her. She was terrific in Happy-Go-Lucky, and even better here.

The film stops short of detailing the massive battle that escalated the following year between Secretary Castle and the Labor Unions. Most attribute these fights to the downfall of the Labour Party in 1970. However, Ms. Castle’s contributions are very clear in these all-important topics and led directly to England’s Equal Pay laws of 1970, which in turn paved the way for most other countries to follow.

This is a very uplifting film and shows the bravery and determination required of those who change the course of history. Whenever you hear talk regarding the lack of strong female movie roles, this film is exhibit number one that fact is often more powerful than fiction!  And it helps when told in a jolly good fashion.

SEE THIS MOVIE IF: you enjoyed Norma Rae OR you agree with the old saying “what’s good for the goose, is good for the gander”

SKIP THIS MOVIE IF: you prefer serious social issues be confined to CNN – even if presented in an entertaining way

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Posted by David Ferguson

NEVER LET ME GO (2010)

September 26, 2010

 Greetings again from the darkness. Let me say that it’s great to have Mark Romanek back directing films. His most recent feature was 2002’s One Hour Photo which I found masterful. Here he has source material from the acclaimed novel of Kazuo Ishiguro (The Remains of the Day) and does an admirable job depicting this underground world of test tube-grown replacement parts. Despite the numerous opportunities for moral and philosophical statements, the film does a nice job of staying true to the novel and avoiding the soapbox.

We are introduced to Kathy, Tommy and Ruth. They are 3 friends being raised at Hailsham – a cross between an orphanage, boarding school and laboratory. The kids have no idea of their purpose in life and just go about their days as instructed – never really finding a need to question their existence … though many “stories” of the place have evolved over the years.

One day, a teacher played by Sally Hawkins breaks the code and explains to the children that their sole purpose in life is to be harvested for body parts. Sure this theme has been explored previously, but not really from the kids’ perspective. Ms. Hawkins’ character is instantly relieved of her duties by the cold-natured head mistress played perfectly by Charlotte Rampling.

Flash forward a few years and the three are played by Carey Mulligan (Kathy), Andrew Garfield (Tommy) and Keira Knightley (Ruth). We see a romance develop between Ruth and Tommy, though it’s obvious the real connection is between Kathy and Tommy. As they move to “the cottages” (a middle step in development), they learn a bit more about the curious real world.

It’s not until a few years later when we see how two of them have fulfilled their obligation, while one has delayed by playing a “carer” to donors, that we see just how bleak this existence is. The real questions are raised by Kathy as she wonders just how different their lives are than those in the real world. It seems both sides have regrets, unrealized dreams and a shortage of time. Here endeth the lesson.

This film is gathering a bit of Oscar buzz from the critics, but I must admit that I found it leaving entirely too much up to the audience. There are too many gaps to fill and not really much conflict or drama. It is finely made and well acted, but comes up short of what I would expect from a true Oscar contender.

SEE THIS MOVIE IF: you read the novel and/or are intrigued by the idea of creating replacement parts for humans OR you just want to see the guy replacing Tobey Maguire as Spider-Man.

SKIP THIS MOVIE IF: you prefer your films on the cheery side of the emotional scale

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Posted by David Ferguson

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