Sunday, August 17, 2014
Although The Fisher King is definitely much more of a Terry Gilliam film than a Robin Williams show, I’d never seen it before and so took the unfortunate occasion of Williams’ death to watch and review it. I say it’s a Gilliam film, but thtat’s based almost entirely on the visual style. The story elements contain themes that continually come up in Gilliam’s films such as the age-old conflict between good and evil. But in the character of Parry, a homeless ex-college professor suffering traumatic delusions owing to the witnessing of the brutal murder of his wife, it also becomes, in retrospect, a great Robin Williams vehicle.
Saturday, August 16, 2014
To watch Good Morning, Vietnam is to see Robin Williams at his best, at the top of his game. There’s a reason he earned his first Oscar nomination playing Adrian Cronauer, an Armed Forces Radio DJ who takes a transfer from his cushy post in Greece to Saigon during the war – or Conflict as it is referred to in the movie as in the military and political arenas of the 1960s.
There may not be a filmmaker more grounded in realism who also frequently touches on elements of magical realism than Woody Allen. Here is a man who has a strong philosophical view of life, death, and existence, who seems resigned to the idea that what you see is what you get and that there is no deity or afterlife. Here is a man who dabbled in magic tricks as a boy and who grew up to become one of the late 20th century’s most important and prolific generators of the greatest magic tricks of all – motion pictures. For what are the movies but an illusion? Not only are the stories told fictional tales through which we, the audience, have a chance to live out fantasy wish fulfillment, but the physical process of film projection is a series of still photographs presented in such rapid succession that it gives the illusion of movement.
Thursday, August 14, 2014
Tuesday, August 12, 2014
Master spy novelist John le Carré’s novels have been adapted into films several times. One, Tinker Tailor Soldier Spy was made twice, the more recent of which may go down as one of the great spy thrillers. Now comes A Most Wanted Man, based on his 2008 novel, which is on the same plane, if not as deeply intricate and taut as Tinker Tailor Soldier Spy. The film, directed by Anton Corbijn and adapted by Andrew Bovell, is a brilliant exercise in restraint. Unlike Corbijn’s last film, The American, it has a great deal of forward momentum, generates real suspense, and is not nearly as opaque. And make no mistake about it – A Most Wanted Man is profoundly and subtly critical of American foreign policy with regard to the war on terror.
I wonder if there re more long-time married couples who grate on each other’s nerves almost constantly than ones who, in that clichéd way, still love each other like they did when they first got married. I think I’ve lways been cynical about this, but it seems nearly impossible to spend thirty-plus years with someone, with all the compromise, dreams deferred, and just plain putting up with minor irritations that eventually balloon into major offenses, without building up a foundation weakened by resentments (however big or small) and displeasure. These couples do tend to make for more interesting drama anyway. In Le Week-End, a British couple whose children are grown and recently departed take an anniversary trip to Paris where they last visited for their honeymoon. Though it’s not explicitly expressed, this seems to be a trip designed for relationship revitalization. But ny two people who have been at each other’s throats for as many years as they have are likely to continue the practice on a weekend getaway.
Tuesday, August 5, 2014
|Matt Lankes/IFC Films|
As far as process in art goes, it’s not often something we consider in movies. When it comes to painting and sculpture, the methods and materials used are often integral to the finished product. More than that, it is often essential whether an artist has produced from a subject or the extents of his own imagination. Narrative filmmaking and the criticism thereof usually focuses on the finished product without much consideration for how the director arrived there. This is, I suppose, because actual production times on movies – not including the script writing process – is usually fairly standard without a great deal of variation, taking no more than a few weeks to a couple of months. But now there is Richard Linklater’s Boyhood, a movie that demands attention to the method behind the process. Because Linklater made the film over a period of twelve years, gathering the same actors together for several days once a year to chronicle the growing up process of Mason Evans (played through a dozen years by Ellar Coltrane), we have little choice but to examine how that method makes Boyhood different from any other movie that takes place over a long period of time.