Friday, November 30, 2007
I'm home sick and stuff so finally get around to watching "Revenge of the Siths" - and I'm cool with the embarassing little helium voices of the droids and that Lucas seemed to have just taped the cooings of his infants for a script. One guy just sounds like he's holding it in waiting in line for the bathroom. And I dig that Lucas is so insecure that not even a single second can pass without something zooming around on gravity beams in the background. What's a drag is that even for a "family movie" SITH's lame, since all the relationships are seething with hostility and dysfunction.
Lucas claims to love family, but his family dynamics have grown hopelessly dour and ill-humored. Obi Wan goes into battle with Hayden Christensen and rather than be either brave and alert or calm and Zen, they gripe at each other like old Chelsea queens who've been together forever and who probably need to start seeing other people (the evil emperor I guess is to become Hayden's new sugar daddy). Christensen does smolder effectively; he instinctively knows that deadpan solemn is the only way to get through this "space night at Chuck E Cheese" embarrassment, but Ewan MacGregor is unable to find a shred of dignity within himself. Rather than just plunging into the shit pool like Bela the trouper did in BRIDE OF THE MONSTER, MacGregor puts a little prance in his voice as if to forge a secret parachute of conscience: "I did TRAINSPOTTING, Mate, remember? If you leave the theater early, please take me with you."
Lucas' dialogue is so poor that for an actor to make it sound natural they would need about four hours to get out one sentence. Lucas gives them exactly .004 of a second, and then he cuts to a blurble, an explosion, or a swoosh of a ship. As an editor myself, I can tell you we call that flop sweat - you don't trust a single shot to stand on its own, so you try to de-claw future film criticism with as much smoke and mirrors as you can cram. I'm now certain that the original Star Wars would have bombed back in 1977 if not for Harrison Ford and the unsung hero of the hour, producer Gary Kurtz, who worked on the only two good films (Star Wars and Empire) in the franchise, and spent the majority of time talking Lucas out of reams of awful dialogue and kiddie crap. Then he got pissed and left and the result was RETURN OF THE JEDI.
And of course Harrison Ford helped a lot. I remember seeing it in the theater, the original 1977 STAR WARS, at 11 years old, the day it opened and before it became huge. I dug all the monsterness but was too young to understand much of what was going on, I thought it kind of sucked, then Harrison shows up and the Falcon takes off and suddenly it all came into focus. Ford was the big brother who brought the right kind of logic, perspective and humor to the film.
That kind of real man cannot survive for long in the land of the 40 hour work week, minivan, and drive-through Starbucks. Lucases by the dozen can, though. They live for mundanity. That's the wretched part about these last Star Wars films: how so much can be happening to such little effect. John Wayne could show you what it was like to be a real, living grown up man just by walking from the jail to the hotel; Hawks realized he was filming myth in action and letting the guy take his time. In the world of Lucas, the Ned Flanders is in effect - Obi Wan bounces through supposedly life threatening situations like one of the portly old fathers in the post-Mermaid Disney cartoons. He's afraid if he stops spinning his arms and going "whoa whoa look at me!" the kids will forget him and go back to eating paint.
I'm thinking now, of course, of James Dean in REBEL WITHOUT A CAUSE, standing in mute horror before his dad... Jim Backus in a girly apron.
I want Harrison Ford to reach his hand through time and take James Dean forward into outer space, let Annakin go back in time and grow up in that sterile Norman Rockwell-hell that Lucas and Backus seem to embrace. Let Dean stand before us again and show us that once man was not split between being sweet/sensitive and strong/certain, that a good father figure should embody a certain mystery and majesty... not since Matthew Broderick finally got some balls in THE LION KING have we seen any of these little adenoidal Dreyfusses do more than call the cops or whine for their moms. Darth Vader was a scary customer with James Earle Jones' voice and a cool helmet, and while Christensen tries hard and I predict in a few years he will have some real gravitas to share (Barbara Stanwyck at 19 years old had more gravitas than Hayden will at 49); his deep rich voice indicates the possibility.
Voice is, ultimately, far more important than Lucas thinks. He knew once that boys do not want to see their dads put on an apron and act all Mister Rogers friendly. And I'm not knocking Fred Rogers, but I don't think he would intend that character to be someone's full-time father. And if Fred Rogers had to go into battle, I bet you he would take the effort to show a little respect and stop grinning like a ninny. Lucas is like that dad you don't want to bring on war maneuvers because he doesn't take it seriously. You shoot him in a fair fight and he refuses to die, saying "no but I ate kryptonite! wooga booga! I'm the mummy!" or some other ignorant, condescending b**lshit.
There's only one director working today who understands the importance of this kind of mythic manhood and that's Tarantino. But then he has to go and act in his own films and so you realize he can't be king either. Russell Crowe and Mel Gibson are Aussies. So I guess it's up to you, JOSH BROLIN!
Wednesday, November 28, 2007
So I had to review the Luc Besson-produced, video game adaptation HITMAN and it wasn't near as bad as some of them critics said it should be. Of course low expectations will get you through every time. Yeah it's stupid enough, and derivative, but aren't they all? What save its ass is its French n'cest pas...
Naturally the actors all speak English and whatnot but what I mean is the film has a French producer, Luc Besson, who invented the "model with a gun" genre with LA FEMME NIKITA back in 1990. He's riffed on the same sexy mix of perfume ad nonchalance and bloody violence (raw, as zee Americans love eet) ever since, gradually giving up the director reins to focus on producing and--presumably--living the high life.
What's cool with Besson is that his Gallic intellect and compassion are not subsumed by the junk food overkill that flattens most Hollywood action pics. Underneath the polish, NIKITA was genuinely warm and mythic: she starts out as a junkie punk, dies and is reborn as a mature woman. In the Besson films that followed, tough men with bald heads took care of runaway runway girls and often died for their troubles. Bruce and Milla in FIFTH ELEMENT aside, they were platonic relationships. Mon dieu! For a man to just say no, he must be some kind of already sex-saturated Frenchman.
TV-blinded America is presumed to be standing at erect attention whenever Natalie Portman or any other beauty with too much black eye-liner steps onto the killing floor. The super-model as signifier is the glitter-covered cardboard angel atop capitalism's overloaded Xmas tree. Friends, family and the French know the truth: gorgeous looks have their drawbacks and all is balanced in the end on the serpentine scales of karma. For the mules who haul the gravy train however, this is considered too "unsexy" and therefore uninteresting.
The hot model white Russian white slavery victim, then, is the angel on top of the "other" Xmas tree, the sordid shadow of the other, where sex is shown for its ugly criminal bestial truth. Besson's decorated both of these trees and is here to tell you, don't touch a present under either one, they're all booby-trapped. So Besson tears them down as fast he puts them up. He slyly lets you see the barcodes on the products; he may traffic in rehash like his Hollywood peers but the post-modern spirit of Godard darts through his mise-en-scenes, adding little touches of the truth. The best part of HITMAN is when the Russian white slave girl (Olga Kurylenko) has finally learned to trust, or whatever, that our Hitman is not going to molest her or hurt her, etc., so she climbs on top to seduce him in what would normally be a steamy montage of gloves coming off, tattoos, lips, breasts, thighs, and implied trust-bonding. Instead, our hero zaps her with a jet-gun injection knockout drug and gets up and goes about his business (but not before making sure she's comfortable, with blanket).
I imagine that at some point in the original script there was a lengthy DA VINCI CODE-ish explanation for this ungrateful behavior, but it was airbrushed out. I'm glad. Now what his refusal to make love to her deconstructs to is nothing less than a full rejection of modern consumerism. The last time something this big happened in an action movie was in THE WARRIORS when Swan (Michael Beck) said those immortal words to his scavenger hunt gang deb, "you're just like everything else that's been happening tonight... and it's all bad!"
Swan wasn't condemning her of course, but "everything" that's been happening, which is all bad. He is recognizing his and her part in the web of delusion that is "all our turf" and thus he is able to take a stand, as a man instead of a punk to the genetic con job perpetuated on us by the gray alien "system." As long as we think sex will solve all our problems, we're rubes to the system, y'all. The French, being so much more laid than we in the States, perhaps are in a better position to understand and eschew.
For another excellent and sadly underseen movie wherein a recovering junky says no to temptation and in doing so heals both himself and a cool young European girl whose been kicked around through the white slave drug mills, please Netflix Neil Jordan's amazing THE GOOD THIEF, starring Nick Nolte. He don't need a barcode... he's a priceless treasure.
Friday, November 23, 2007
After thanksgiving dinner with all the trimmings, then meeting a friend to watch AMERICAN GANGSTER later that night at the cinema, I come home feeling the need to scrub America off me with a wire brush. Russell Crowe's honest cop is the descendant of SERPICO, Popeye Doyle and Travis in TAXI DRIVER. They're janitors in a sewer with a mop and pail, and they're the only ones clean. They're obsessive-compulsive that way, the rest of the world has to suffer and get saved, grudgingly, by these control freaks. We keep hoping Denzel Washington's gangster will start sass-talking like Harvey Keitel (as Sport, that damned elusive pimp to Nell!), but Denzel prefers to stay emotionless, in a suit with lapels too thin that's way too chalky gray for the era, a representative of 00's corporate culture returned through time to buy up as much cheap pre-Giuliani real estate as the traffic will allow, sneering at the hideous polyester knits around him as he goes. Denzel bitch-slaps his underlings when they try to pimp up their outerwear, but he seldom bothers to correct them when they slip out of time (the film is set between 1968-1973) and use black lingo that didn't exit until Run DMC coined it in the late 1980's. Ridley's writers should've listened close to Lightnin' Rod's Hustler's Convention while writing the dialogue, instead of Eminem.
Another problem is that Ridley Scott and co. don't trust the audience's attention span: so much money is thrown at the screen that you hope they're planning a future extended cut to run about 34 hours. A whole trip to Vietnam and back--replete with massive poppy fields and decadent US-occupied Saigon streets--whisks by in perhaps five minutes. You feel for the hundreds of extras, slaving day after day, topless, over white powder while Ridley stomps around and changes his mind, and then their scene is cut down to a single minute. We don't get to know anything tangible about any of the vast cast of characters, except grandma likes money. They're even worse than blank slates; they're cliches out of time.
Crowe may be a composite of 70's antiheroes and to his credit, actually seems to from and in the decade, but Denzel is a composite only of past Denzel, more at the well-dressed end of the spectrum, which means early 00s. But if he thought he could play his psychological hand close-to-the-vest the way, say, Pacino was allowed to do in THE GODFATHER II and have it work, he was mistaken. Coppola knew when his actors were doing interesting stuff, and he trusted the audience to stay with it (or was that Robert Evans?). But now, instead of the colorful method acting at the Corleone table we get the relentless second-guessing of Ridley, who whittles things down in the editing room until there's nothing left but little actions from different eras, each with a complete new costume change and lens filter. More than anything, what Ridley has wrought is the home shopping network of bling: he throws open the closets of yesterday's rich and infamous, and when it all starts to get tiresome, he takes an expensive fur coat and hurls it on the fire. Did Ridley really burn that expensive ass coat? And does it matter, since that day's catering bill alone was probably more expensive than a dozen such garments?
Many are my maddening questions. Robert Evans is not on the producer's list and too bad, because he would have made Ridley throw on the brakes, and maybe even try for some original touches rather than ratcheting together FRENCH CONNECTION/SERPICO gritty momentum and the sort of insecure crosscutting that worked in the GODFATHERs but showed to be a real bad habit for Coppola in every film since (Gregory Hines tap dancing as gangsters are killed outside in COTTON CLUB? Why?). Like Coppola, Ridley's got the "second-guess" disease, like the sort of nervous mother-in-law that plans every last drop of life out of her daughter's wedding. He can't just have a big sting operation with micro-second cross-cuts between the cops in the hall, the crack factory workers inside, gunsels, and so forth, it has to go down right as the head bad guy is at church, ala GODFATHER II, and there has to be a baby bouncing a ball in the tenement hallway right where the shooting's about to start. Surely Scott could've spliced in a sexy wife tossing and turning in bed, waking up with the premonition something bad's about to happen and trying to talk her man out of going to work? And maybe a scene of hunters about to shoot down a high-flying hawk? And the old lady having a heart attack, and the ambulance coming in slow motion? Come on, Ridley. You're getting lazy!
I wouldn't mind if this was a result of giddy fanboy homage to POTEMKIN and INTOLERANCE as it was once with De Palma, but there's no giddy fanboy joy here, just nervous second-guessing, which I can only guess led to swiping, copying other kids' tests at school rather than trusting those old DUELIST instincts. With so much $$ involved, I can only accuse them all of bowing down to a corporate "memo" mentality. No one wants to stick their neck out, so everything is groupthink, and in the end, no one has any faith in any one single moment in the film. In Ridley's case, that means no faith in the scene as it is, no realization that any further additions is going to overpainting.
The way every scene--except maybe big Oscar-bait moments with momma schooling her errant son--are cut before they're allowed to develop organically, in an original direction. Instead every bit, every shot, has to have been proven in past classics. Ditto for Denzel and his white co-star duelist, now a thanksgiving tradition - wasn't last year the tangle with Clive Owen in INSIDE MAN? And before that little Ethan Hawke in TRAINING DAY? Ridley's version is careful to include nearly everything that worked from both those movies this time around. Temptation of a cop with easy money? Check! Hot Latina babe as the spouse? Check! Dog, leopard, cuckatoo, or other pet? Check, mate!
Washington's interest in this sort of rote-a-role is understandable, as it's a well-respected course around which he can outrace the white man and not piss off the red state box office. As history records, a black actor with excessive pride and intellect as opposed to mere posture and dignity can create big waves; Washington is the waviest since Paul Robeson and he knows it. He even invites the spirit of Robeson into him for key moments, but is careful not to overdo it, to not step out of the careful blocking for the shot and call it like it is. In that, Ridley Scott is the perfect Thanksgiving director, hurtling through the action like he's racing to catch his plane, making silent eye contact to the rest of his immediate family, all as anxious to split as he is as they sit scattered along the table playing with the remnants of their flavorless pumpkin pie and earning their grateful smile by silently pointing at his watch and mouthing "ten minutes." Keeping an eye on the stove all the while, Ridley lifts Denzel off the burner the second he starts to blacken.
Crowe on the other hand is the opposite to Washington's tailored-out-of-time look; Crowe makes himself all mangy and disrespectful, punchy and greased-up -- and thus he is all the more kingly. He's the legit patriarch, a pitbull's jaw of a man. Denzel's gangster has to keep stockpiling the long green or else he's simply a cipher, but Crowe stays Crowe. He's a man's man actor, a person who in real life you can tell has faced himself in the mirror; he's had drinking contests with his inner demons; he's earned the right to be a stand-up guy who can look the world in the eye. In that he's the closest thing we have to Bogart or John Wayne this decade. In TRAINING DAY, Denzel proved he could access some of that same sort of noble power, but there he was the bad guy so it was okay to loom bigger than life; when strait-jacked as a "man of the people" he keeps trying add some well-tempered Poitier and it just seems to stall his development as Denzel the persona, whomever that may be. Poitier could roar when need be. "They call me Mister Pibbs" is justifiably legendary. It cut way higher than average. Denzel plays the coiled serpent so long he forgets the coiled serpent is supposed to rattle and strike occasionally.
Like CATCH ME IF YOU CAN, another holiday film about crooks and the cops who love them, AMERICAN GANGSTER presents two main characters who are fearless and therefore somewhat uninvolving; their bravery has no merit as there is nothing to overcome. We don't see the inner fire that makes Denzel's kingpin so calm about carrying hundreds of thousands of dollars into the jungles at the height of the Vietnam war or shooting a rival in broad daylight on the Harlem streets and then going back to his breakfast. Instead of the air of a coiled panther, Denzel has the air only of a man who has already read the script of his own life, already seen the GODFATHER, twice, not to mention SCARFACE, GOODFELLAS, BLOW and even MASTERS OF WAR. When he first sees the tall Latina hottie in the foyer even he knows that in three brief courtship-spanning edits, she will be drinking champagne with him in the evening sun on some exotic beach, and in another two cuts, married or in bed or both. When life is this certain, why even break a sweat?
There are good things about AMERICAN GANGSTER, mostly what it chooses to leave out: unlike earlier versions of this true story, such as Larry Cohen's blaxploitation-era hit, BLACK CEASER, or the recent rap-centric gangster films too numerous to mention, there are only a handful of cliche'd pop songs used as shorthand to indicate time and place tropes in the film. And until Vin Diesel resurfaces, I'm nominating Josh Brolin as the coolest up and comer tough guy actor around. His sleazy cop on the take is a beam of unprocessed realness: he can stretch out the seconds he's on screen in such a way that he can relax and convey great comfort in the stress he causes others. That's something that comes from him, Josh Brolin, not from a focus group, three rounds of memos, second-guesswork, and a cliche handbook. Brolin just has something unique, something he was allowed to radiate and may not even know consciously he was doing. Lucky Ridley didn't notice it, or he would have probably felt the urge to call attention to it more, until it was as stale as hearing "All Along the Watchtower" over a montage of 60s imagery and a voiceover talking about "a time when anything went.. and often did."
Maybe what these Hollywood types need is to be able to smoke cigarettes in their offices again, smoke pot and take LSD and listen to the rest of Electric Ladyland, not just the focus group-sanctioned hits. Am I the only one who sees the parallel between the bans on smoking and the overall decline in American intelligence? In the 1970s people were still smoking in the doctor's waiting room. There were ashtrays in the grocery stores. Now we have our health, but at what cost? We've lost that loving, intellectual maturity. We've lost faith in our fellow man's ability to perceive the obvious. Instead of learning guitar, we're playing GUITAR HERO. Instead of dancing in the fires of creation and destruction, we're recycling... and recycling... until the slightest expression of originality sounds like the threatening cries of the wasteful heretic.
Monday, November 12, 2007
Much as I detest Cruise as a persona, I can respect him to a point as a movie craftsman, knowing how much effort he throws into his films, which you can feel in pics like LAST SAMURAI and MI3. That said, his persona represents much of what sucks about contemporary masculinity - style over substance, spoiled bratty misogyny (when his characters finally gets their head out their asses, we're supposed to applaud, like an audience of doting potty-trainers) and self-confidence ratcheted up to dangerous heights based on his motor skills and little else.
Kubrick tries to capture this Cruisian narcissist regression in EWS, I think, to comment on marriage as a self-imposed prison protecting one from the dangers of their own misperceptions about reality and sex, but Kubrick himself seems guilty of this myopia as well.
All I could keep thinking is "Man, Kubrick really didn't get out much, did he?"
The world of NYC-17 sexuality Kubrick creates is one where hyper-stylization seems more like a smokescreen for lack of familiarity with the environment than a choice backed by any creative need. One gets the impression of threatened 17 year-old virgin lying about his exploits to sound experienced to his more worldly friends, and the friends then pressing him on details to expose his lack of actual experience. The erotically challenged orgy sequence and Cruise's ridiculous "rescue" of the overdosed prostitute are the most obvious and embarrassing examples.
Of course part of Kubrick's enduring popularity is how open to interpretation his films are: 2001 can be duller than paint drying or a spiritual awakening depending on your state of mind when you see it, and maybe the time of day, so who knows, maybe one day I'll see this film again and love it, but for right now SHUT stands in my mind as the definitive example of when genius becomes paralyzed by its own shadow.
Incidentally, if you want to see a really great Nicole Kidman-Kubrick film, check out BIRTH. Kubrick actually had nothing to do with it, but it seems like the film EYES should have been, and as such it borrows heavily from the master's sense of framing, pacing and tone. It even features Kidman in the same role, that of a pampered upper East Side socialite with a penchant for making bad marriage choices. My review is here.