I have always been amazed at the impact our perceptions have on our interpersonal relationships. Our biases and blemishes can create a smokescreen of sorts that blind even the most astute observer; this is how misunderstands abound and feuds begin. Film noir, a style best seen in black and white detective films of the 1940’s and 50’s, was perfectly used to examine and challenge our perceptions: could the gorgeous temptress really be a cold-blooded murderer? What has made this trenchcoated private eye such a cynical loner?
In 1974, Roman Polanski directed a film that hearkened back to the style and character types of the old film noirs, while dealing with subject matters that couldn’t be touched in the censored Hollywood of yore. This would be a film to deal with power, greed, and murder; the men who made LA and the men who search for the truth. The film was Chinatown, which can be found in the Grace Doherty Library DVD collection.
The hard-boiled detective is a staple of film noir, but this film offers Jack Nicholson is truly the greatest actor of his generation; watching his “J.J. Gittes,” it’s hard not to notice the emotions he experiences. A lesser actor would completely flub his personal transformation, making it appear either too concrete or too sappy; Nicholson, however, keeps Gittes entirely believable and grounded in reality. In one famous scene, Gittes is held at knifepoint; Nicholson is aptly able to channel his fear of a malfunctioning prop blade into the character’s terror. Nicholson is in every scene and all the film’s events are seen through his eye; his perceptions are our perceptions, his prejudices are our prejudices. This is the closest as an audience member can get to actually diving into the character’s skin.
Every film noir has to have a femme fatale, and Faye Dunaway’s “Evelyn Mulwray” at first glance seems to fit that bill; she initially appears on the screen with the sauntering menace of the “Black Widow” of lore. Imagine our surprise when later events force us to question our perceptions of her; we are never quite sure of Evelyn’s intentions or secrets until the film’s conclusion, but Dunaway gives this character a quiet desperation that slowly seeps through her cold exterior until she makes a drastic, devastating decision in the film’s final moments that becomes a total game-changer for the film.
Every actor, from a larger-than-life John Huston to a shifty Diane Ladd in a very small part, delivers bravura performances; even characters who appear in just two or three scenes make an indelible impact on the viewer, thanks in large part to the beautiful screenplay.
As an English major, when viewing films, I tend to notice dialogue rapidly; a great script can make a film on the most dismal subject pleasurable, while a terrible script can weigh an otherwise great film down. Chinatown’s script, on the whole, was extraordinary; not a single phrase, situation, or character seemed contrived or false; screenwriter Robert Towne richly deserved the Oscar for Best Original Screenplay he won for his work here.
Jerry Goldsmith’s rich, jazzy score melds beautifully with the time and place, and serves to heighten the emotion, but never really to lead you to a set emotion.
John Alonzo’s cinematography is beautifully saturated with a light golden hue, but never so much that it feels artificial or contrived, like the lighting on The Godfather films can sometimes appear to be.
No matter how you perceive it, this is a film for the ages; you can’t forget it…It’s Chinatown.
4 flames out of 4!
Friday, March 20, 2009
Friday, March 6, 2009
Michael Clayton- Will the Truth Set You Free?
Michael Clayton- Will the Truth Set You Free?
The world has taught us since the day we were born that we should always aspire to honesty, and some historical figures have lost much depth and truth to become maxims for this virtue. However, this moralizing pedagogy is derived from a system concurrently whispering in our naive ears that we must do whatever it takes to succeed. The perils of such a disconnect are evident in Tony Gilroy’s 2007 film Michael Clayton, which can be found in the Grace Doherty Library DVD collection.
The title character, portrayed by George Clooney, is a disaffected “fixer” for a prominent New York law firm who, due to financial problems created by a wayward brother, has become quite desperate. Clooney’s performance is absolutely astonishing; here, he sheds his “pretty boy” image, taking on the role of a modern-day Atlas: when we first see Michael, we know this is a man who carries the problems of his world on his back. Rarely has the screen given shape to a character so visibly fatigued. Even after the film’s conclusion, Clooney continues to give a bravura performance, which alone would have been enough to earn him an Oscar nomination; be sure to watch the credits, featuring a beautiful pantomime performance of a man who has made an incredibly tough decision and must now live with the consequences
Clayton is sent by his firm to Milwaukee to rectify a situation involving the instability of one of their top lawyers, Arthur Edens, who is representing U-North, a major manufacturer of agricultural products, in a class-action lawsuit. Edens, as played by Tom Wilkinson, is not your standard insane character; on the contrary, he’s the sanest guy in the room, becoming the only person able to see the truth of the hypocrisy and greed he has disturbingly enabled for so long, then attempts to distance himself from it, intending to bring the corruption and truth of U-North to public scrutiny.
Completing the main cast is Tilda Swinton as Karen Crowder, the new head of Legal Affairs for U-North. What Ms. Swinton has done here is transform a character that could be performed as your cardboard creation into a living, breathing persona. Crowder develops into the film’s main villain, but unlike most devious fictional creations, we never feel like she’s a bad person, but instead someone who is desperate to show her bosses she can take care of business. In one scene, as Crowder’s preparing to take drastic action to keep company information secret, she hesitates and ponders the ramifications to be unleashed, she hesitates for several seconds, and in those moments, the viewer watches a soul searching itself, questioning what should be done. Such evidence of humanity makes Crowder one of the most intriguing screen antagonists in years; it’s no wonder Ms. Swinton won the Academy Award for Best Supporting Actress for this performance.
However, this is far from a perfect film. The subplot involving Michael and his brother, while giving the title character additional angst, does not seem real and fluid, but stale and tacked on, and one crucial point of an important concluding scene has been used in so many works that it has become quite clichéd. Nevertheless, Gilroy’s script, save for the above reservations, is tight, compact, but open-ended enough to leave the fate of Michael Clayton up to the viewer. While the truth may set you free, Michael Clayton is exactly the type of film that pulls you in and rarely lets you go, even when it ends.
Three-and-a-half flames out of four.
The world has taught us since the day we were born that we should always aspire to honesty, and some historical figures have lost much depth and truth to become maxims for this virtue. However, this moralizing pedagogy is derived from a system concurrently whispering in our naive ears that we must do whatever it takes to succeed. The perils of such a disconnect are evident in Tony Gilroy’s 2007 film Michael Clayton, which can be found in the Grace Doherty Library DVD collection.
The title character, portrayed by George Clooney, is a disaffected “fixer” for a prominent New York law firm who, due to financial problems created by a wayward brother, has become quite desperate. Clooney’s performance is absolutely astonishing; here, he sheds his “pretty boy” image, taking on the role of a modern-day Atlas: when we first see Michael, we know this is a man who carries the problems of his world on his back. Rarely has the screen given shape to a character so visibly fatigued. Even after the film’s conclusion, Clooney continues to give a bravura performance, which alone would have been enough to earn him an Oscar nomination; be sure to watch the credits, featuring a beautiful pantomime performance of a man who has made an incredibly tough decision and must now live with the consequences
Clayton is sent by his firm to Milwaukee to rectify a situation involving the instability of one of their top lawyers, Arthur Edens, who is representing U-North, a major manufacturer of agricultural products, in a class-action lawsuit. Edens, as played by Tom Wilkinson, is not your standard insane character; on the contrary, he’s the sanest guy in the room, becoming the only person able to see the truth of the hypocrisy and greed he has disturbingly enabled for so long, then attempts to distance himself from it, intending to bring the corruption and truth of U-North to public scrutiny.
Completing the main cast is Tilda Swinton as Karen Crowder, the new head of Legal Affairs for U-North. What Ms. Swinton has done here is transform a character that could be performed as your cardboard creation into a living, breathing persona. Crowder develops into the film’s main villain, but unlike most devious fictional creations, we never feel like she’s a bad person, but instead someone who is desperate to show her bosses she can take care of business. In one scene, as Crowder’s preparing to take drastic action to keep company information secret, she hesitates and ponders the ramifications to be unleashed, she hesitates for several seconds, and in those moments, the viewer watches a soul searching itself, questioning what should be done. Such evidence of humanity makes Crowder one of the most intriguing screen antagonists in years; it’s no wonder Ms. Swinton won the Academy Award for Best Supporting Actress for this performance.
However, this is far from a perfect film. The subplot involving Michael and his brother, while giving the title character additional angst, does not seem real and fluid, but stale and tacked on, and one crucial point of an important concluding scene has been used in so many works that it has become quite clichéd. Nevertheless, Gilroy’s script, save for the above reservations, is tight, compact, but open-ended enough to leave the fate of Michael Clayton up to the viewer. While the truth may set you free, Michael Clayton is exactly the type of film that pulls you in and rarely lets you go, even when it ends.
Three-and-a-half flames out of four.
Thursday, March 5, 2009
Nervous Excitment and Random Notes
My big day is dawning. My first film review, on Michael Clayton, should appear in tomorrow's Cento. Of course, for those of you off-campus, I will post my complete, unedited remarks on the film tomorrow. Be advised that my space limit for the piece was 600 words, so I'm sure I could have written more had I space, but I really do think I highlighted what made that film work for me. I'm quite nervous, and I ask all of you to supply me with some constructive criticism. Remember that this is a fluid process, and with any luck, my analytical and writing skills will improve over time. Please bear with me.
As soon as I see the general reaction to this piece, I'll start working on my next one, a review of Roman Polanski's Chinatown, released in 1974 and starring Jack Nicholson and Faye Dunaway. Of course, I'm always open to suggestions, as long as they can be found within the Centre College Library.
Random thoughts:
-I saw the trailer for the new Michael Mann film Public Enemies, starring Johnny Depp (as John Dillinger), Christian Bale, and Marion Cotillard (Best Actress winner for La Vie en Rose). Mann's digital camerawork, which really brought his Collateral to vivid life for me, looks beautiful here. Given the Academy's predisposition for a.) Johnny Depp and b.) real-life characters, I would not be surprised to see him in the running for Best Actor in less than a year's time. I think we're at a point where the Academy is no longer reluctant to give accolades to antagonists, as the past three years, major Oscar wins have gone towards devious characters. If there is a film this year that I don't want to fail, this is it.
-Watchmen, based on the graphic novel, is being released this week. I won't be able to watch it this weekend probably, but I do hope to see it (after I see certain Oscar winners that I have been unable to watch). I read the graphic novel last December, and it is very good....I just wonder how the transition from page to screen went.
-Horton Foote, two-time Oscar winner for the scripts of To Kill a Mockingbird and Tender Mercies, died today. I've not seen the latter, which won Robert Duvall his only Oscar to date, but Mockingbird is a great American film. I'm sure it's always difficult to adapt someone's work; you've got to make sure you get it to a point where the story is film-able, yet still remains true to the sprit of the original. Harper Lee, upon viewing the film version of her novel, sent a telegram to congratulate Foote on his adaptation. Rest in peace, Mr. Foote; thank you for your work. If there is a firmament of films, Mockingbird can be found there, and it couldn't have been done without you.
-I found out today that my British Literature II professor was once the Film Queen...interesting.
-I've been thinking about great biopics they've not made yet. Here are some I think I'd like to see:
1. Vladimir Nabokov - truly remarkable life; was able to write a novel in his third language that has since become one of the best English novels ever written (Lolita).
2.George Gordon, Lord Byron
3. Theodore Roosevelt
4. Dante Alighieri
5. Geoffrey Chaucer
Feel free to send plenty of feedback; invite your friends, tell your neighbors, paint banners, write poems, proclaim to the word to read my blog. The more, the merrier.
As soon as I see the general reaction to this piece, I'll start working on my next one, a review of Roman Polanski's Chinatown, released in 1974 and starring Jack Nicholson and Faye Dunaway. Of course, I'm always open to suggestions, as long as they can be found within the Centre College Library.
Random thoughts:
-I saw the trailer for the new Michael Mann film Public Enemies, starring Johnny Depp (as John Dillinger), Christian Bale, and Marion Cotillard (Best Actress winner for La Vie en Rose). Mann's digital camerawork, which really brought his Collateral to vivid life for me, looks beautiful here. Given the Academy's predisposition for a.) Johnny Depp and b.) real-life characters, I would not be surprised to see him in the running for Best Actor in less than a year's time. I think we're at a point where the Academy is no longer reluctant to give accolades to antagonists, as the past three years, major Oscar wins have gone towards devious characters. If there is a film this year that I don't want to fail, this is it.
-Watchmen, based on the graphic novel, is being released this week. I won't be able to watch it this weekend probably, but I do hope to see it (after I see certain Oscar winners that I have been unable to watch). I read the graphic novel last December, and it is very good....I just wonder how the transition from page to screen went.
-Horton Foote, two-time Oscar winner for the scripts of To Kill a Mockingbird and Tender Mercies, died today. I've not seen the latter, which won Robert Duvall his only Oscar to date, but Mockingbird is a great American film. I'm sure it's always difficult to adapt someone's work; you've got to make sure you get it to a point where the story is film-able, yet still remains true to the sprit of the original. Harper Lee, upon viewing the film version of her novel, sent a telegram to congratulate Foote on his adaptation. Rest in peace, Mr. Foote; thank you for your work. If there is a firmament of films, Mockingbird can be found there, and it couldn't have been done without you.
-I found out today that my British Literature II professor was once the Film Queen...interesting.
-I've been thinking about great biopics they've not made yet. Here are some I think I'd like to see:
1. Vladimir Nabokov - truly remarkable life; was able to write a novel in his third language that has since become one of the best English novels ever written (Lolita).
2.George Gordon, Lord Byron
3. Theodore Roosevelt
4. Dante Alighieri
5. Geoffrey Chaucer
Feel free to send plenty of feedback; invite your friends, tell your neighbors, paint banners, write poems, proclaim to the word to read my blog. The more, the merrier.
First Post
Good evening, Clarice....or whomever is reading this.
I am a movie fanatic. There is nothing I enjoy better than watching a great motion picture, analyzing it, and expressing my thoughts on it. I'm lucky enough to have been recently offered a film section in my campus paper, the Cento, and I'm hoping it will be the first step in a long career and life that incorporates film and film studies into my everyday life.
In an interview with the Cento, I was asked my favorite films and performers; I've tried to reproduce them as best as I can recall in order for you to get an understanding of who I am:
Favorite films (in no particular order):
Metropolis
Gone With the Wind (sentimental reasons)
Raging Bull
The Passion of Joan of Arc
The Bicycle Thief
Actors:
Jack Nicholson
Laurence Oliver
Al Pachino
Marlon Brando
Actresses:
Vivien Leigh
Katherine Hepburn
Audrey Hepburn
Meryl Streep
Faye Dunaway
Right now, it's a bit late for me to be posting too much, so I'll leave you all with those tidbits for now. Look soon for my review of 2007's Michael Clayton, which hopefully will be published soon. For those of you outside the Centre bubble, I'll be sure to post my thoughts online as well. Good night to all in Movieland!
I am a movie fanatic. There is nothing I enjoy better than watching a great motion picture, analyzing it, and expressing my thoughts on it. I'm lucky enough to have been recently offered a film section in my campus paper, the Cento, and I'm hoping it will be the first step in a long career and life that incorporates film and film studies into my everyday life.
In an interview with the Cento, I was asked my favorite films and performers; I've tried to reproduce them as best as I can recall in order for you to get an understanding of who I am:
Favorite films (in no particular order):
Metropolis
Gone With the Wind (sentimental reasons)
Raging Bull
The Passion of Joan of Arc
The Bicycle Thief
Actors:
Jack Nicholson
Laurence Oliver
Al Pachino
Marlon Brando
Actresses:
Vivien Leigh
Katherine Hepburn
Audrey Hepburn
Meryl Streep
Faye Dunaway
Right now, it's a bit late for me to be posting too much, so I'll leave you all with those tidbits for now. Look soon for my review of 2007's Michael Clayton, which hopefully will be published soon. For those of you outside the Centre bubble, I'll be sure to post my thoughts online as well. Good night to all in Movieland!
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