Dario Argento’s first full-fledged masterpiece, Deep Red is a riveting thriller whose secrets carefully unravel via a series of carefully calibrated compositions that become not unlike virtual gateways into Freudian pasts. Like Argento’s ever-flowing camera, Deep Red’s killer is everywhere—the protagonist’s claustrophobia becomes a physical response both to the film’s oppressive mise-en-scène and Argento’s formal framing. Unlike The Cat O’ Nine Tails, there’s no silly scientific rationale here for the film’s murders (indeed, there are no easy answers). Argento delicately grapples with issues feminism and masculinity within Deep Red’s meticulously visual exegesis of a troubled psyche. If the truth in Antonioni’s Blowup was inscribed in a photograph of a potential crime scene, truth in Deep Red is stamped in the memory of pianist Marcus Daly (David Hemmings, also the star of the Antonioni classic). The film’s murders are gorgeous to the point of distraction. This is Argento’s intent though—to scare and awe the spectator so that he or she won’t see the obvious. The film’s final piece de resistance evokes the elusiveness of memory but, more importantly, shows that the identity of the film’s killer was always available to the careful spectator.
If Ennio Moriccone’s lullabies from The Cat O’ Nine Tails seemed discordant, Deep Red’s Goblin score is the perfect complement to Argento’s id-driven narrative. The film’s recurring lullaby is one from the killer’s troubled past, chillingly played on a handheld tape player before every crime. As the film progresses, the airiness of this music gives way to retro organ sounds that owe plenty to the legendary underground soundtrack to Vampyros Lesbos. A remarkable tableaux mort punctuates the film’s opening credits as the menacing Goblin score is overwhelmed by the sounds of the lullaby. Argento’s subversive static shot could be a snapshot torn from the pages of a Grimm photo album. A murder is committed (evoked merely by the dueling shadows of the victim and killer) in a room containing a table, a record player and a garish Christmas tree. A bloody knife falls to the floor and a child’s feet step into the frame. (Interestingly, the scene brings to mind the opening sequence of John Carpenter’s Halloween, released three years after Deep Red.) The lullaby fades out and the credits—here, standard white letters on a black background—recommence. Is this a scene from the past? Is it a dream? Is the child a girl or a boy? Did the child commit the murder? But even before you ask these questions, you might forget you ever witnessed this distant memory.
Argento’s camera hypnotically zooms in on Marcus (Hemmings) after an unsuccessful jam session. Standing up, he utters: “Too clean. Yes, too precise. Too formal. It should be more trashy. This kind of jazz came from the brothels.” This is perhaps the first instance of self-reflexivity in Argento’s films. Indeed, part of Deep Red’s success is Argento’s ability to transcend the trashy material with the remarkable formalism of his camera. Before Marcus can even finish his speech, Argento begins to zoom into a room where a parapsychology conference is taking place. This steady accumulation of shots zooming in on their subjects is strangely unnerving, as if Argento is stealthily luring us into his world. Three figures are seated at a table on the auditorium’s stage: the telepathic Mrs. Helga Ulman (Macha Méril), animal-enthusiast Professor Giordani (Glauco Mauri) and the supposedly clairvoyant Mario Bardi (Piero Mazzinghi). While Giordani’s discussion on telepathy in animals may amount to little more than gibberish, it seemingly prefigures the themes that highlight and undermine Argento’s Phenomena. Helga “can see thoughts just as they are formed” and is suddenly overcome with intense emotions. She mumbles something about a nursery rhyme, a house and a hidden body while envisioning a sharp knife entering her torso. There’s a killer in the room (perhaps the killer from the film’s opening flashback scenario?) and he/she will commit more murders. Joyously aware of his cinema as a kind of performance art, Argento zooms out of the conference and the door’s surrounding red drapes close before the camera.
The film’s camera pans over objects lying on a black table: a miniature crib being toppled by a marble, a voodoo doll made of red yarn, a child’s drawing depicting a murder and a series of knives. More remarkable than the rich colors that highlight this scene and others like it are the psychoanalytic nature of Argento’s close-ups. Argento likens the innocence of youth with killer objects, evoking the murder’s troubled past. In one repulsive close-up, the killer applies mascara to one of his or her eyes. Is the killer a woman or, as a later scene may suggests, a transvestite? Helga is speaking on the phone with a friend when she hears the sounds of the film’s nursery rhyme. Then, a knock on the door—it’s the killer, who barges into the apartment even before Helga can run away. She is axed with such brutal and expert precision that Argento doesn’t even allow her to ponder just how expertly he predicted her own demise. Argento’s camera crawls over Helga’s fabulous furniture (there’s a table in the shape of the Star of David in one part of the room—during her funeral, it’s revealed that she’s Jewish) before the killer’s gloved hands enter the frame and settle on Helga’s notes. The killer must erase all evidence of the woman’s premonition.
Just before Helga is killed, Marcus is seen having a conversation with his alcoholic best friend, Carlo (Gabriele Lavia). The men discuss politics, music and human survival before the grotesque statue of a Greek God hovering above a fountain. Marcus walks past the bar where he works as a performer, which Argento purposefully and eerily models after Helnwein’s “Nighthawks” (a.k.a. “The Boulevard of Broken Dreams”). It’s no coincidence that Argento chooses the Helnwein painting to emulate. Not unlike the painting’s famous stars (Marilyn Monroe, James Dean), Argento’s characters resemble ghosts. Not only does most of the film take place at night and the streets are barely populated. Even the few people that walk through the streets of Argento’s ghost world come to resemble mannequins trapped in time. The Greek statue separates Carlo and Marcus during a conversation later in the film. Not only does the statue’s nakedness serve to emphasize the honesty of their relationship but also seemingly anticipates the revelation of Carlo’s homosexuality.
Marcus watches as Helga’s face is thrust through a window and her neck is pierced with shards of glass. Marcus enters Helga’s apartment (she lives below his own apartment) and pulls Helga away from the window. The hallway in Helga’s apartment is lined with a series of small Munchian paintings. It is here that Argento forces the spectator to take on Marcus’s point of view as the camera begins to track down the hallway. A small niche to the side of the hallway reveals a series of pale, gruesome portraits. Staring out onto the promenade below, Marcus sees a figure clad in black running from the building. Carlo drunkenly walks by the bar, seemingly oblivious to what has just transpired. Once the police arrive and Marcus makes his way down Helga’s hallway, he comes to believe that a painting has been stolen from the apartment but seemingly pays little attention to this suspicion. Later, when Marcus and Carlo discuss the events, Carlo suggests the obvious: “But maybe the painting was made to disappear, because it represented something important.” This missing painting, of course, is the ultimate clue to solving the identity of the film’s killer though Argento doesn’t call too much attention to David’s trip down the hallway should the spectator solve the mystery entirely too early.
At the crime scene, Marcus is introduced to an overzealous reporter named Gianna Brezzi (Daria Nicolodi), who publishes his picture in the local newspaper, thus perpetuating the killer’s pursuit of Marcus. Throughout the film, Argento seemingly challenges Marcus’s masculinity through a series of comic encounters with Nicolodi’s feminist construct. Carlo has already built a wall between himself and Marcus when he says, “I am the proletarian of the pianoforte while you are the bourgeois. You play for the sake of art and you enjoy it. I play for survival.” It’s no coincidence then that a police officer seems to ridicule Marcus for being a pianist. Marcus is defensive, saying: “You think playing the piano isn’t a job? What is it then, a joke?” Marcus later tells Gianna that artists are very sensitive people while reporters have the hides of elephants. Gianna proclaims that she became a reporter in order to be independent from men while Marcus humorously acknowledges the source of his musical talents: “My psychiatrist would say that it’s because I hated my father, so when I bang the keys I’m really bashing his teeth in.” Though Marcus sets himself up as a sexist and a self-acknowledged weakling, Argento is more than willing to deflate his fragile ego. Gianna challenges Marcus to a round of hand wrestling—she beats him twice though he calls her a cheater on both occasions.
Looking for Carlo, Marcus makes small talk with his friend’s mother, Martha (Clara Calamai). Before disclosing her son’s location, the woman rambles on about an acting career that she once had to put on hold. On the walls are pictures from her supposed film career (the stills, in fact, are those from Calamai’s early career in Italian cinema). Marcus finds Carlo inside his lover Massimo Ricci’s (Geraldine Hooper) apartment. Carlo’s secret is out and he’s clearly resentful: “Good old Carlo, he’s not only a drunk but a faggot as well.” Since Marcus is so used to having his masculinity called into question, he barely bats an eye when he discovers Carlo’s secret. Gay characters figure prominently in Argento films though they’ve never been revealed to be the film’s killers. Since Argento suspects everyone equally, the spectator has to turn to his mise-en-scène for clues. A lesser director may have pegged Massimo as the Deep Red killer. Seeing as he is a transvestite, this would explain the earlier close-up of mascara being applied to an eye. Interestingly, Massimo is never heard from again. He is merely Carlo’s considerate lover who just happens to be effeminate.
Argento’s camera zooms back from an archway, pans up the outside of his stage-like apartment and zooms into his rehearsal studio. The camera then pans across the staff on Marcus’s sheet music, revealing that the pianist is currently composing a song. Argento’s hideously silent cinematic language remarkably evokes Marcus’s claustrophobia. Marcus doesn’t notice that plaster dust has fallen from the ceiling and onto his piano. Once Marcus realizes that someone was walking on the roof and has invaded his space (he knows because he can hear the lullaby), he continues to play his music in order to give the killer the illusion that he’s lost in his music. With one hand he locks the door to his studio and calls Gianna for help. From outside the door the killer is heard whispering, “This time you’re safe. But I’ll kill you sooner or later.” Once Marcus manages to secure an LP that contains the killer’s lullaby, Professor Giordani recommends that Marcus read “Ghosts of Today and Legends of the Modern Age,” by Amanda Righetti. Sitting inside an unusually spacious library chamber, Marcus reads from the book’s first chapter (“The House of the Screaming Boy”) and comes across a ghoulish tale of ghostly wails and haunting lullabies. Marcus believes this is a clue and begins to search for the house pictured inside the book.
Amanda Righetti is about to pay the price for transcribing the killer’s dangerous past. Stepping into her country house, she notices a toy baby hanging from a rope. Perturbed though not quite scared senseless, Amanda decides to stay inside her home. Soon the lights go out and Amanda’s precious birds turn against her. Argento remarkable use of widescreen teases the spectator with the possibility that the killer can jump into frame any second—most remarkable is that the killer doesn’t! Amanda dies inside her bathroom during a set piece that arguably remains Argento’s greatest to date. Amanda’s death is Argento’s ingenious wink at the spectator. Emphasizing the nature of Deep Red as a literal puzzle, Argento fashions the woman’s demise as a virtual clue waiting to be cracked. After smashing Amanda’s teeth against the bathroom counter, the killer turns on the bathtub’s hot water and gives the woman a deadly facial. Amanda falls to the floor and is left to scribble a last-minute note on her steam-coated linoleum walls.
Marcus stumbles on Amanda’s body and informs Giordani of the bizarre positioning of the woman’s finger, almost as if she were pointing to something. Giordani doesn’t give Marcus’s observation a second thought until he arrives at Amanda’s house. There he meets Amanda’s maid, who cleans the blood off the bathroom sink. The anticipation is unnerving—how long will it take for Giordani to break the linoleum code? As the bathroom fills with hot steam emanating from the sink, the message on the wall reappears: “IT WAS.” As if this anticipation weren’t grueling enough, Argento continues to daringly leave the spectator in the dark. Argento’s long shots truly evoke the pervasiveness of killer’s reach. From the library to the Amanda’s home, the killer is seemingly everywhere. Regardless of whether the killer spent the night at Amanda’s or not is beside the point—Giordani is a dead man. Sitting in his study, Giordani witnesses a mechanical doll advancing in his direction. Why would the killer go to such bizarre lengths to kill Giordani? No matter. The doll shocks Giordani into submission—perhaps more frightening than his death is the way his bold-faced horror turns into smug self-satisfaction. Curiously, the doll’s gangly movements seem to call attention to the rigorous nature of Argento’s camera and Giordani’s formal death.
Marcus stumbles upon “the house of the screaming child” pictured inside Amanda’s book. After meeting the home’s elderly caretaker, Rodi (Furio Meniconi), Marcus witnesses a strange transaction between the man and his young daughter. Slapped for what appears to be no reason, Olga (Nicoletta Elmi) laughs ghoulishly in appreciation. Argento pans down Rodi’s legs and reveals a lizard struggling against death. Pierced by what appears to be a small sewing needle, the lizard seemingly dies as a consequence of living next to a house of demons. Some have made a connection between the lizard and Giordani’s study of animal telepathy though I’d wager that the animal is little more than Argento’s favorite reptile. (Lizards appear in Opera, Trauma and, most curiously, in Inferno while animal telepathy plays a key role in Phenomena.) Making his way into the house, Marcus discovers a child’s gruesome drawing concealed on a wall covered in plaster. The drawing depicts the film’s opening tableaux mort: a bloodied older man screams as a smaller figure prepares to stab him. In the background a Christmas tree keeps watch. To Marcus, the image suggests that the small child must now be the hatchet murderer.
While Marcus certainly has enough to go on, Argento once more winks at his audience. After Marcus leaves the room of the screaming child, a small portion of the wall’s plaster falls to the ground revealing a missing piece of the puzzle: next to the dying man appears a third figure that seemingly partook in his Christmastime murder. Argento cleverly sets up a later set piece when Marcus drives past a group of trucks from the Road Assistance for Heavy Transportation. Looking closely at the picture of the home as it appears in Amanda’s book, Marcus discovers that a room has been sealed off. How remarkable is it that Deep Red comes to resemble a 1000-piece puzzle slowly and coming together to reveal a horrifying secret? Marcus discovers a decayed body sitting on a chair (the man in the child’s drawing) in the hidden room though he’s unceremoniously knocked unconscious before he can make any sense out of this discovery. Marcus awakens with Gianna hovering above him, the mansion burning to pieces in the background. Judging by Gianna’s grim expression, Argento teasingly suggests she might be the killer before she begins to take pleasure in the fact that she pulled him from the blaze. Remember: Deep Red is more than a virtual puzzle, it’s also a game of sexual politics.
Gianna calls the fire department from Rodi’s home and Marcus walks into Olga’s room only to discover a picture hanging on her wall that is identical to the one drawn by the screaming boy. “She’s a strange child. She likes the macabre,” says Rodi to a dumbfounded Marcus. To Marcus, it’s impossible of course for the girl to have drawn a painting so remarkably similar to that of the screaming boy’s. Having seen the painting at the Leonardo Da Vinci School while she was cleaning up the archives, the girl unknowingly recreates the tortured past of the very boy who lived in the house next to her own. Once Gianna and Marcus make it to the school and find the screaming boy’s sketch, a signature on the drawing seemingly links Carlo to the crimes. Even though Carlo stabs Gianna with his knife, the careful spectator already knows he is innocent. Remember: he was speaking with Marcus at the piazza during the time of Helga’s demise. Standing before Marcus, a gun-wielding Carlo admits to the crimes before threatening to shoot his best friend. When the police arrive, Carlo runs into the street and is violently dragged to his death when his foot gets stuck on a hook attached to one of the Road Assistance trucks. Marcus, though, isn’t convinced of Carlo’s guilt and heads back to the scene of the original crime. There he comes in contact with the many faces of the film’s killer but not before he’s forced to displace memory into the present.
The elements of Argento’s “animal trilogy” (The Bird with the Crystal Plumage, Cat O’ Nine Tails and Four Flies on Grey Velvet) don’t particularly lend themselves to explanations within any system of associations implied by the rest of the filmic experience. Deep Red’s elements on the other hand work as a group collective, shaping and reshaping Marcus’s view of reality as the film moves along. If Blowup is a film about the impossibility of perception, then Deep Red is entirely more hopeful. Marcus solves the identity of the film’s murderer as he makes one final trip down Helga’s hallway. What he first thought was a missing Munchian painting was indeed the killer’s reflection on a mirror that still hangs in the niche adjacent to the hallway. (This fabulous revelation was always available to the spectator should they have been unfortunate enough to replay Marcus’s earlier trip down the hallway using their rewind button.) Marcus makes the final connection just as he turns to greet the film’s killer: Carlo’s mother, Marta. She is the deluded biddy whose acting career was put on hold because of her husband’s demands. Her resentment for the man led to his Christmas slaughter. Take Marta as Argento’s doppelganger—the elaborateness of Deep Red’s murders have sprung forth from the mind of a stifled artist and feminist. Marta’s final performance is especially gruesome not because of the fabulous nature with which she meets her demise but because Marcus is forced to stare at his reflection in a pool of blood. Once again, Argento emphasizes the relentlessness of the gaze and the importance of “looking” in order to get the supreme truth.
Cast: David Hemmings, Daria Nicolodi, Gabriele Lavia, Macha Meril, Eros Pagni, Clara Calamai, Glauco Mauri, Piero Mazzinghi, Giuliana Calandra Director: Dario Argento Screenwriter: Dario Argento, Bernardino Zapponi Running Time: 126 min Rating: R Year: 1975 Buy: Video
Review: The Perfection Walks Impersonally Though a Labyrinth of Gimmicks
The crazier Richard Shepard’s film gets, the more routine and mechanical it comes to feel.2.5
Richard Shepard’s The Perfection is, for better and worse, an ingenious toy. The plot is clever, but the film is all plot. Shepard and co-writers Eric C. Charmelo and Nicole Snyder repeatedly paint themselves into corners, only to free themselves with twists that bring about increasingly diminishing returns. The first switchback is legitimately startling, but the fourth is exhausting and belabored even by the standards of self-consciously cheeky exploitation shockers. As The Perfection mutates from gothic-tinged lesbian romance to body-horror thriller to revenge film, its lack of atmosphere becomes apparent, and the characters begin to seem as if they exist only to move through a labyrinth of gimmicks.
The film opens, promisingly, in Black Swan mode, introducing us to women with potentially rickety senses of self who may come to eat one another alive for our delectation. Charlotte (Allison Williams) travels to Shanghai to reconnect with her mentor, Anton (Steven Weber), who nurtured her to become one of the world’s great cello players, before she retired to care for her ailing mother. (We also pointedly learn, via shock cuts, that Charlotte was institutionalized after her mother’s death.) Charlotte meets Anton’s new pet prodigy, Lizzie (Logan Browning), at a swanky party, and Shepard springs the first and subtlest of the narrative’s many surprises. Conditioned by films such as All About Eve, we expect Charlotte and Lizzie to resent one another and fall into a catty rivalry. However, Lizzie worships Charlotte, and Charlotte doesn’t seem to want to return to the industry, and so the women, free of envy, connect after a night of collaboration, drinking, dancing, and sex.
Shepard’s handling of Charlotte and Lizzie’s lovely, companionable night together is telling of his direction of the film at large. He rushes through it with a montage, collapsing Charlotte and Lizzie’s cello duet, their clubbing, and their coupling all together, reducing their union to a math equation: Meet Cute + Flirtation + Sex = Inciting Incident. For, say, Peter Strickland, this sequence might’ve taken up half the film, allowing him to celebrate and fetishize these gorgeous women while stylishly exploring their loneliness and alienation. And for Dario Argento in his prime, this scene might’ve been an opening aria of erotic terror.
For Shepard, though, it’s just business, and his disappointing haste squanders the heat that’s been worked up in one of The Perfection’s best scenes, when Lizzie observes an infidelity at a concert and whispers to Charlotte that it makes her wet. Even more egregiously, Shepard glosses over a significant bit of information, as Charlotte claims to have lost her virginity to Lizzie. What would it feel like to be sexually arrested and then to so suddenly fall into bed with someone as attractive, worldly, and confident as Lizzie? Shepard doesn’t care to know—and this confession is eventually revealed to be fodder for one of the film’s many twists.
Shepard’s mercenary pace at times serves the film well. When Charlotte and Lizzie awaken the morning after, the filmmaker sustains, for about 15 minutes, an expert tone of slow-dawning dread. Both women are hungover, but Lizzie is spectacularly sick, and Shepard plunges us into her panic and helplessness, capping the scene with the perverse spectacle of Lizzie vomiting yellow maggots against a bus’s windows, clutching her head in pain. Several tensions merge at this point in The Perfection: the fear of being sick in another country, of having to grapple with a new lover’s biological eccentricities, and a basic tension wrought by the violation of narrative expectation, as we’re meant to wonder how we moved from a film in the vein of Black Swan to something in the key of a zombie-outbreak movie. Shepard merges these tonal disparities with a lurid reveal, at which point his film goes completely bonkers.
Funny thing, though: The crazier The Perfection gets, the more mechanical it becomes. Shepard appears to be so proud of the film’s first twist—which pivots on a spectacular gaslighting—that he can’t leave well enough alone. It’s then that the film’s narrative “rules” start changing every few minutes, with Charlotte, Lizzie, and Anton trading the batons of “hero,” “villain,” “victim,” and “avenger” back and forth between them. A film as impersonal and plot-centric as The Perfection needs at least some kind of warped logic to sustain a sense of there being stakes at play. In this case, if anything goes then nothing matters.
Cast: Allison Williams, Logan Browning, Steven Weber, Alaina Huffman, Milah Thompson, Molly Grace, Winnie Hung Director: Richard Shepard Screenwriter: Eric C. Charmelo, Richard Shepard, Nicole Snyder Distributor: Netflix Running Time: 90 min Rating: TV-MA Year: 2019
Review: Once Upon a Time…in Hollywood Is an Elegy to an Era’s Sunset
The film is Quentin Tarantino’s magnum opus, a sweeping statement on an entire generation of American popular culture.4
Quentin Tarantino’s Once Upon a Time…in Hollywood is presented, right down to the ellipses in its title, as a diptych. But instead of just being a way to structure a piece of entertainment for commercial reasons—like the Grindhouse double feature, the two-part Kill Bill, and the “roadshow” version of The Hateful Eight, which was broken up by an intermission—this demarcation separates two distinct periods: the beginning of the end (February 1969) and the end itself (the summer of ‘69). And it’s a juxtaposition that shows old Hollywood in a time of transition, from dog days to death throes.
While Tarantino’s films tend to provide audiences with much evidence of where the auteur’s love of Hollywood’s lurid lore finds root (in blaxploitation, World War II dramas, kung-fu movies, or spaghetti westerns), Once Upon a Time…in Hollywood gets the closest of any to giving us the complete picture. In this sense, the film is nothing less than Tarantino’s magnum opus—a sweeping statement on an entire generation of American popular culture and an almost expressionistic rendering of the counterculture forming at its margins, gradually growing in influence. It’s an uncharacteristically thoughtful and sobering film for Tarantino, while somehow also being his funniest, and most casually entertaining.
In the film’s first section, old Hollywood comes to life through montages of flashing neon signs, majestic old movie theater marquees on the Sunset Strip, and long-haired hippies hanging out on street corners, trying to bum rides from people who pass them by in their hot cars. Tarantino’s late-‘60s Hollywood is an immersive playground of opulence and iconicity, and thanks to the many exhilarating driving sequences that dot the film, the Los Angeles neighborhood conjures the adrenalized sensation of velocity and acceleration.
Navigating through this fast-paced Hollywood is Rick Dalton (Leonardo DiCaprio), a fading star of TV westerns trying to break into the movies, and his best friend and longtime stuntman, Cliff Booth (Brad Pitt). Both characters are complete fabrications, as are most of the titles they’re associated with, like Kill Me Now Ringo, Said the Gringo and Three in an Attic. And as Tarantino detours his narrative through depictions of these fictional projects, subjecting us to many scenes of Dalton playing different characters, this at first just seems like an excuse to make spoofy versions of disposable Hollywood product, like the fake trailers that appear between Planet Terror and Death Proof in Grindhouse. But these scenes actually serve to sketch the shifting dynamics on film sets of the late-‘60s, like the emergence of Method acting, and they also position Dalton as a kind of Tarantino surrogate.
In one of the film’s most clever sequences, Dalton regales his eight-year-old co-star (Julia Butters), in between takes on the set of some low-budget western, with the story of the novel that he’s been reading. The character in the story is an aging cowboy who used to be the best but now is a shadow of his former self. As Dalton tells the story of the man’s misfortune, and all his aches and pains, he starts to well up, obviously recognizing how much this all applies to him. But the way the sequence plays out, with the young girl with the forceful feminist outlook putting Dalton in his place when he tries to call her by a cute nickname, effectively puts Tarantino in the hot seat, and for that matter DiCaprio, another artist whose aging career comes with the danger of obsolescence and of falling out of step with the times.
Progressing on a parallel track to Dalton and Booth’s narratives is another storyline, and the one that Once Upon a Time…in Hollywood has already become infamous for. The real-life Sharon Tate (Margo Robbie) comes to feel like the flipside of Dalton and Booth, her next-door neighbors in the film. The “It” girl flits through parties with her celebrated Polish filmmaker husband, Roman Polanski (Rafal Zawierucha), and good friend, Jay Sebring (Emile Hirsch). If the changing times threaten to discard and ignore Dalton and Booth, they’re bringing Tate too much attention: At various points in Tarantino’s film, she’s watched and coveted from afar, as in a scene in which Steve McQueen (Damian Lewis) gossips while ogling her at a party.
In the film’s finest scene, Tate even watches herself: at a matinee screening of Phil Karlson’s 1968 Dean Martin vehicle The Wrecking Crew. The sequence is resonant in no small part for its layers, with Robbie, as Tate, watching the real Tate (Tarantino uses actual footage from The Wrecking Crew for the scene). The whole thing suggests a kind of eerie feedback loop of celebrity and its cycles of consumption, but it’s also a profoundly moving scene: Effortlessly nailing the moment, and without any dialogue, Robbie responds, in character, to the film on a diegetic level, watching her own performance, but at the same time, there’s also the added metatextual layer of Robbie watching the very actress whom she’s playing.
It’s the film’s commitment to fortifying its themes with such layers of self-reflexivity, while still anchoring its concepts to fully realized, emotionally invested characters, that makes it one of Tarantino’s great films—a dense but focused effort that validates the divisive artist’s status as one of American cinema’s preeminent pop-cultural figures. It’s also that self-reflexive lens through which to read Once Upon a Time…in Hollywood that makes its finale harder to write off as the misstep that it would otherwise seem to be. Tarantino does, perhaps unsurprisingly, revert to some of his more vexing shock-jock tendencies, and even squanders some of his film’s emotional gravitas. But it’s difficult to deny how effectively he sets up what’s to come, when, in the midst of a tense debate between members of the Manson Family, one young woman (Mikey Madison) delivers an incendiary edict: “If you grew up watching TV, you grew up watching murder—my idea is to kill the people who taught us to kill!”
This chilling sentiment becomes the nexus of the film’s significantly darker second half, which jumps six months ahead to take the temperature of Hollywood on the eve of the Charles Manson murders. As the landscape and the sociocultural identity of Hollywood continue to change, inching toward a post-Flower Generation comedown, Once Upon a Time…in Hollywood takes on an elegiac quality. The shift facilitates one of Tarantino’s more brilliant needle drops to date: of the Rolling Stones’s wistful, wounded, and ominous “Out of Time” playing over a montage of Dalton and Booth returning to L.A. from a sojourn to Europe and a pregnant Tate preparing her home for the arrival of her baby boy.
The flash and fun of the film’s first half gives way to a haunting decline into the valley of alcoholism, and to increasing signs that a new generation is about to push the old one out. And, then, inevitably, those tensions come to a head one August night on Cielo Drive in the Hollywood Hills. It’s this sequence, and the Tarantino-branded ultraviolence that it ushers in, that puts the greatest strain on a film that had been setting itself up for tragedy but ends far afield from that. Still, this subversion points a path to our understanding of the broader intent of Tarantino’s commentary in Once Upon a Time…in Hollywood, which is less about addressing the violence that people commit against each other than it is about lamenting the existential violence that sustains some and leaves others out of time.
Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Margaret Qualley, Timothy Olyphant, Julia Butters, Austin Butler, Dakota Fanning, Bruce Dern, Mike Moh, Luke Perry, Damian Lewis, Al Pacino, Nicholas Hammond, Samantha Robinson, Lorenza Izzo, Costa Ronin, Perla Haney-Jardine, Damon Herriman, Lena Dunham, Kurt Russell, Scoot McNairy, Michael Madsen, Rumer Willis, Rafal Zawierucha Director: Quentin Tarantino Screenwriter: Quentin Tarantino Distributor: Columbia Pictures Running Time: 159 min Rating: R Year: 2019
Jeonju IFF 2019: Coincoin and the Extra-Humans, L. Cohen, & Introduzione all’oscuro
These are three enigmatic, challenging, and weird works of art by filmmakers pushing at the boundaries of the cinematic form.
Shortly after arriving in Jeonju, the mid-sized Korean city about 200 kilometers south of Seoul that serves as the site of the Jeonju International Film Festival, I pulled my bedraggled, jet-lagged body over to the guest center to pick up my press credentials. As I made my way through the carnivalesque open-air city block known as Jeonju Cinema Town, I found myself, to my surprise, in the midst of a rather peculiar, almost surreal scenario as a bunch of white- and black-suited stormtroopers marched in lockstep toward me, weapons at the ready, flanking none other than the Grand Imperial Poobah himself, Darth Vader.
The group maneuvered around me without incident, eager to pose for selfies with the crowd of locals assembled in the area, but after over 20 hours of travel, the encounter took on a vaguely sinister air, as if the forces of Hollywood monoculture had been dispatched to this relatively remote cinephile retreat to ensure that no one here got the wrong idea: Have fun with your cute little art films, but remember who really wields the power in the world of cinema.
I suppose these are the sorts of strange inclinations that strike you when your body’s circadian rhythms have been shaken up like a snow globe, but, despite the presence of the Walt Disney Company as one of the festival’s premier sponsors, the films I saw—personal, challenging, at times exhilarating work from all across the world—couldn’t have seemed further away from the market-tested franchises that clog American cineplexes. Having said that, it’s with some irony that one of the first films I took in at Jeonju IFF was in fact a sequel—albeit one whose eccentric sense of humor and repetitive, unresolved narrative mean it’s never going to be mistaken for the latest from the Marvel Cinematic Universe.
The sequel in question is Coincoin and the Extra-Humans, Bruno Dumont’s follow-up to Li’l Quinquin. One of the great left turns in the history of auteurism, Dumont’s 2014 miniseries signaled his transition from austere Bressonian miserablism to a singular brand of deadpan grotesquerie that gleefully explodes the thin line between the clever and the stupid. Dumont doesn’t vary his style too much for the sequel, as it’s another bizarre sunlit mystery set in the windswept countryside of Dumont’s native Nord-Pas-de-Calais. And Dumont has reassembled the same cast of non-professional local oddballs led by Bernard Pruvost as Commandant Van der Weyden, a twitchy, hapless police detective investigating matters way beyond his depths.
Dumont, though, still finds ways to mess with his audience’s expectations, starting with the baffling and completely inexplicable change of the title character’s name. If the earlier film felt like Dumont’s riff on popular international crime dramas like Broadchurch and The Killing, Coincoin turns out to be his spin on The X-Files, a sci-fi pod-people procedural featuring a mysterious black goo from outer space that inhabits its victims and forces them to give birth to their own uncanny clones. Like many stories about body-snatching, the series is a satire—here on provincial racism, the poor treatment of African migrants, and the rise of the French far right—but Dumont isn’t simply interested in topical point-scoring against Marine Le Pen, the anti-immigrant politician who represents Nord-Pas-de-Calais.
Rather, with its ambling, directionless narrative and lackadaisical long shots that perversely undercut the screenplay’s gags, Coincoin evokes a deep-rooted spirit of reactionary malaise, of people whose lives are hopelessly circumscribed by their own fears and prejudices. Dumont rigorously resists developing his plot or deepening his characters: They’re all trapped in an absurd loop, doomed to endlessly say the same things and reenact the same jokes.
Van der Weyden sums up that mentality in a single line: “Progress isn’t inevitable.” There’s a group of black men who periodically appear throughout the film only to be consistently and summarily dismissed in a fit of racist panic. Each time, we expect the film to create some meaningful interaction between the white townsfolk and these migrants, and each time we’re rebuffed—that is, until a final musical explosion of kumbaya-like camaraderie that’s somehow goofy, moving, tedious, and invigorating all at the same time.
Dumont is one of the few artists in cinema willing to risk exhausting his audience to induce a particular effect, but he’s not the only one, as demonstrated by James Benning’s L. Cohen, a 45-minute static shot of a seemingly unremarkable field with a mountain visible in the distance. It’s an elegantly composed frame, reminiscent of an American Regionalist painting and whose centrally located peak perhaps coyly refers to the Paramount logo.
After 20 minutes, even the most hardened cinephiles are bound to be squirming in their seat, at which point Benning reveals his remarkable trump card: As the sky quickly darkens and blackness falls over the Earth, we realize that we’ve been watching the leadup to a total solar eclipse. It’s a moment of quiet astonishment and confusion for anyone who doesn’t know it’s coming, bringing us close to the feeling a caveman might’ve had when the same event occurred. With typical mathematical precision, Benning has placed the eclipse at the exact center of the film, allowing us to explore the subtle shadows that precede and follow it.
The film, however, isn’t just some academic structuralist exercise, as it’s also a meditation on death, a fact highlighted by the next startling moment: the inclusion of Leonard Cohen’s “Love Itself” on the soundtrack, a stark divergence from the ominous drone (identified by Benning during his festival Q&A as the hum of airplanes flying overhead) that fills the rest of the film. This song and the dedication of the film to the recently deceased Cohen add a deeper layer of meaning to Benning’s precisely calibrated study of light and time.
L. Cohen is in essence a meditation on temporality. All things are fleeting, even grand interplanetary ballets. Considering the brief alignment of these celestial bodies puts one in a cosmic mood and calls to mind a cryptic, haunting line from a different Cohen song, “Stories of the Street”: “We are so small between the stars, so large against the sky.”
One could also find the specter of death looming over Introduzione all’oscuro, an expressionistic tribute to director Gastón Solnicki’s good friend, Hans Hurch, the recently departed director of the Viennale, the Vienna International Film Festival. Described by the director not as a film about Hurch, but a film for him, Introduzione all’oscuro dispenses with biography entirely, instead evoking its subject’s buoyant, ragtag spirit in an almost subliminal fashion: through music, film, and the city of Vienna. Hurch “appears” in the film primarily through his letters and through his voice, recorded by Solnicki when he provided notes on one of the director’s previous films. Solnicki does appear on screen: a comically lonely figure visiting some of Hurch’s favorite Viennese haunts—such as the Café Engländer, from which he would periodically steal cups—on a journey that drolly recalls Holly Martins’s investigation into the apparent death of his pal Harry Lime in The Third Man.
Like Solnicki’s Kékszakállú before it, Introduzione all’oscuro is what might be called “slideshow cinema”—a procession of taut, piquant compositions whose relationship to one another isn’t precisely clear but which, when taken together, create an indelible impression of a highly specific milieu. Structured more like a piece of avant-garde music than a narrative work or traditional documentary, the film has a hypnotic yet often dissonant allure. It pulls us into a strange liminal zone where Hurch seems to be simultaneously present and absent, haunting the film like a benevolent spirit. Solnicki simply has one of the best eyes in cinema today, and it’s the pungency of his images which makes the film such an endlessly compelling experience, even when the reasons behind Solnicki’s individual choices remain obscure.
Abstruseness, though, is no crime. In fact, the greatest pleasures of Jeonju IFF were to be found in grappling with “difficult” films such as Coincoin and the Extra-Humans, L. Cohen, and Introduzione all’oscuro: enigmatic, challenging, and even downright weird works of art made by filmmakers pushing at the boundaries of the cinematic form.
The Jeonju International Film Festival ran from May 2—11.
Review: As Teen Comedy, Booksmart Is Sweet and Nasty in Fine Balance
It’s an R-rated teen comedy that proves that you can center girls’ experiences without sacrificing grossness.3
An uncharitable way of describing Olivia Wilde’s feature directorial debut, Booksmart, is as a gender-flipped version of Superbad. Like Greg Mottola’s 2007 film, it concerns a pair of best friends who’ve spent their high school years as outsiders but, at the end of their senior year, decide to attend the biggest, coolest graduation party imaginable. As in Superbad, getting to the party devolves into an almost picaresque gauntlet through suburban nightlife, consisting of comical encounters with outlandish characters (both films even feature a “creepy car guy”). Booksmart and Superbad also share a ribald, R-rated sense of humor and a sex scene interrupted by vomit—even the same casting director (the venerable Allison Jones).
For all that, Wilde’s film is less a derivative of Mottola’s teen comedy than a corrective to it. Its exaggerated universe is less mean-spirited than the one depicted in Superbad, where so much of the humor depended on Jonah Hill loudly proclaiming his character’s misogyny. Booksmart isn’t above getting laughs from sex jokes that land somewhere between honest and outrageous—there’s a recurring bit about Amy (Kaitlyn Dever) masturbating with her stuffed panda doll—but it does show that teenage conversations about sex can be funny without being demeaning. And its belief in its main characters as more than just stand-ins for the most distorted beliefs that virginal high schoolers have about sex gives the film a fuller, more satisfying arc.
Amy and her best friend, Molly (Beanie Feldstein), are their elite Valley High School’s A-type-personality do-gooders, well-meaning in their ambition and their wokeness, but with streaks of haughtiness and self-righteousness. Beanie is class president, the kind of kid who pushes the school principal (Jason Sudeikis) to arrange a budget meeting with the juniors on the last day of class. In contrast to the brashly assertive Molly, Amy is meek, barely able to eke out syllables when talking to her crush, Ryan (Victoria Ruesga), but she’s also intensely woke, adorning her denim jacket with feminist-slogan patches and her car with “Elizabeth Warren 2020” bumper stickers. The pair are so close that they’re often mistaken for being a couple (Amy has been out since the 10th grade), and they definitely don’t party.
As school is letting out, Molly discovers that her and Amy’s monk-like approach to high school life has been for naught. Although the two pride themselves on respectively getting into Yale and Columbia, it seems that virtually all of their classmates have a similarly propitious future lined up. Even the horny goofball Theo (Eduardo Franco), who repeated seventh grade three times, was recruited for a six-figure job with Google. Molly adopts partying as her new project, dragging the reluctant Amy, all the more anxious because Ryan will be at the party, along with her. The problem is that, not being a part of their school’s social scene, they have no idea where the party actually is, and limited means of figuring it out.
The obliviously indefatigable Molly is a star-making role for Feldstein, who keeps let her highly dynamic character—Molly can be both very rigid and very foolhardy—from feeling inconsistent, or leading to broad caricature. As the quieter Amy, Devers’s role is mostly reactive, but, in the tumultuous climax, she supplies the film’s most poignant and relatable moments. As the omnipresent Gigi, a troubled party girl who inexplicably appears at each of the girls’ wayward stops on their journey to the party, Billie Lourd channels a chaotic energy, becoming the film’s strung-out jester. Lourd is just part of an altogether impressive ensemble that also includes Jessica Williams as the teacher who loves Amy and Molly perhaps a bit too much, and Will Forte and Lisa Kudrow as Amy’s super-Christian, super-supportive parents.
For the most part sharply written, and tighter and more consistently funny than the fragmented improv-style Superbad, Booksmart nevertheless has a couple of stretches that don’t quite land. There’s a claymated ayahuasca-tripping sequence that neither suits the rest of the film nor is followed up on in any way by the narrative. And the film’s conclusion is more than a little formally messy, with Wilde relying on a too-rapid succession of non-diegetic pop songs as emotional accents and to fast-forward the plot—at one crucial moment even drowning out the dialogue. But despite these small missteps, Booksmart feels like an innovation, an R-rated teen comedy that proves that you can center girls’ experiences without sacrificing grossness, and that you can be gross without being too mean.
Cast: Kaitlyn Dever, Beanie Feldstein, Jessica Williams, Jason Sudeikis, Billie Lourd, Diana Silvers, Mason Gooding, Skyler Gisondo, Noah Galvin, Eduardo Franco, Lisa Kudrow, Will Forte, Mike O’Brien Director: Olivia Wilde Screenwriter: Olivia Wilde Katie Silberman, Susanna Fogel, Emily Halpern, Sarah Haskins Distributor: Annapurna Pictures Running Time: 102 min Rating: R Year: 2019
Terminator: Dark Fate Official Trailer: Going Back to the Well with Sarah Connor
Linda Hamilton at least makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.
Today, Paramount dropped the trailer for the sixth entry in the Terminator series, Terminator: Dark Fate, which promises to deliver…more of the same? With this film, Deadpool director Tim Miller aims to give the series a reboot: by pretending that none of the films that came after Terminator 2: Judgement Day ever existed (sorry, Rise of the Machines fans), maybe even Terminator: The Sarah Connor Chronicles. “Welcome to the day after judgment day,” reads the poster, promising the badass return of Linda Hamilton’s Sarah Connor. And on that front, the film looks to deliver, as Hamilton certainly makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.
But based on everything else that’s on display throughout the trailer, we’re worried that there’s not anything new that a film in this series stands to bring to the table besides running and gunning, with the occasional wink thrown in for good measure. Cast in point: Mackenzie Davis stars as Grace, an “enhanced human” who looks to fill the hanger-on role to Connor that Edward Furlong’s John Connor did to Arnold Schwarzenegger’s T-800, now apparently living in woodsy retirement, and at the ready to give sage advice. In short, we’re not impressed, and that also holds true of that cover of Björk’s “Hunter” by some zombie man singer.
Watch the official trailer below:
Paramount Pictures will release Terminator Dark Fate on November 1.
Review: Woodstock Offers a New Look at the Three Days that Defined a Generation
Throughout, the era-defining yet problem-plagued music festival astounds in large part for all the disasters that didn’t occur.3
According to Woodstock: Three Days that Defined a Generation, the 1969 Woodstock festival seemed fated to fail. But a rare convergence of good luck, good intentions, and good vibes somehow snapped into place and crystallized over a few days in August the aspirations of a counterculture about to hit its peak. The festival’s planners, mostly promoters and music-industry pros, talk off-camera throughout this gloriously gleeful documentary about their somewhat spur-of-the-moment concept in a purposefully overlapping mosaic that makes it difficult to determine who’s saying what. Their original idea was simply a big concert that would celebrate the opening of a recording studio in the bucolic artist community of Woodstock, NY and take advantage of the musicians living nearby.
That conceit ballooned into a sprawling three-day cultural amoeba of feel-good psychedelia billed as “An Aquarian Exposition” to be held in a bucolic setting. It would ideally seem, according to one organizer, “like visiting another world.” Creating that gateway to paradise, however, hit one snag after another. Conservative fears about an invasion of hippies led to much anger among locals and triggered permitting issues. Original desired stars like Bob Dylan, the Doors, and the Rolling Stones all passed on the vent. Months’ worth of construction at the original site in Wallkill, NY had to be scrapped at the last minute.
But Woodstock shows also how both lucky circumstances and in-depth planning saved the day. The lineup swelled with a killer roster of acts whom David Crosby defines simply as “everybody we thought was cool”: Jimi Hendrix, the Who, Sly and the Family Stone, Santana, Creedence Clearwater, Janis Joplin, and so on. According to writer Bob Spitz, interest grew as the organizers put the word out through the underground press, and though their top estimates of attendance topped out at 150,000, the eventual total was closer to a potentially unmanageable 400,000. Seemingly foolhardy ideas like hiring Wavy Gravy’s Hog Farm commune to handle what they termed “security” and what Wavy defined as trying to “spread grooviness,” helped the increasingly massive enterprise maintain an appealingly mellow tone. Then, a Republican dairy farmer named Max Yasgur, who just happened to have a visually gorgeous sweep of land shaped like a natural amphitheater, agreed to host the festival.
Just about everyone interviewed in Barak Goodman and Jamilia Ephron’s documentary still marvels a half-century on at the scope and tranquility of what happened, though the potential for disaster provides some dramatic grit to the narrative. Much of the festival’s harmoniousnes was a result of on-the-spot empathetic resourcefulness, from Hog Farm’s thrown-together Sunday-morning “breakfast in bed” and “freak-out” tents for people on bad acid trips to the previously resentful locals who spontaneously emptied their pantries to feed the long-haired kids who had been tromping through their front yards. The crowds were soothed by the reassuring voice of the festival announcer, whose “we”-focused addresses over the PA system strengthened the communal spirit, which is then echoed in the film’s starry-eyed reminiscences of interviewees who all sound as though they wish they could go back.
Woodstock cannot hope to supplant Michael Wadleigh’s more symphonic and experiential 1970 documentary. But conversely, its tighter, narrower focus on narrative and context ultimately tells a bigger story at roughly half the length. Co-director Goodman has shown in some of his darker work for PBS’s American Experience, like his episode about the Oklahoma City bombing, a knack for building suspense. He deploys that skill here marvelously when showing the sea of humanity converging on Yasgur’s farm, balancing a fear of impending disaster (short supplies, last-minute glitches, a crowd many times larger than the highest estimates) with the dawning realization that things might just work out.
That tightrope-walking drama is maintained through the actual concert portion of the movie. The musical highs, Hendrix’s squalling “Star-Spangled Banner” and Richie Haven’s raucous two-hour jam (filling the gap while helicopters ferried musicians in over the blocked roads), play out while the vast crowd contends with food shortages and an unexpected rainstorm. But even though the attendees rushed past the mostly unbuilt fencing and by default created what organizer John Roberts here terms “the world’s greatest three-day freebie,” he and his partners appear now happier about the instant community that metamorphosed in the mud than the fact that as a business venture the concert was “in deep shit.”
Woodstock hits many of the expected notes about the concert’s place in the nation’s cultural history. But it’s refreshingly less self-satisfied than awestruck at the simple beauty of what happened at the Woodstock festival and the utopian example it provided to the world. Though unmentioned here, the disastrous music festival that occurred four months later at Altamont Speedway, in the hills of Northern California’s East Bay, where the organizers’ callous indifference to advance planning led to chaos and multiple deaths, shows just how rare the event that occurred in Bethel across three days back in August ‘69 remains to this day.
Director: Barak Goodman, Jamila Ephron Distributor: PBS Distribution Running Time: 90 min Rating: NR Year: 2019
Review: Joanna Hogg’s The Souvenir Is a Knotty Trip Down Memory Lane
Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today.3.5
True to the mission of its protagonist, a well-meaning student filmmaker working on a thesis feature about a community foreign to her, writer-director Joanna Hogg’s The Souvenir is engaged in a running dialogue with itself around the notion of how—and how not—to make a personal narrative. Julie (Honor Swinton Byrne) is a London-based, upper-middle-class young woman coming of age in Margaret Thatcher’s England who feels a moral imperative to transpose her own experiences onto a fictional story set in working-class Sunderland, and she’s given ongoing opportunities in her film workshops to try to articulate why that is. Hogg, who based the character on her own early experiences as an artist, views Julie’s trajectory tenderly but through the lens of a greater maturity, dotting the young woman’s path with interlocutors who challenge and redirect her inclinations. Gradually, Julie’s certitude seems to fall out from under her, transforming Hogg’s film in the process.
Pivotal among these forces is Anthony (Tom Burke), a spectacularly smug older man with ambiguous professional and personal affiliations who becomes inexorably drawn to Julie, and she to him. When he first appears on screen across a table from Julie at a café, Hogg frames the scene in the kind of spacious, sophisticated master shot that defined her 2013 film Exhibition, snapping The Souvenir out of the close-up-heavy, fly-on-the-wall aesthetic with which it opens. The shift in style registers the exhilarating impact Anthony has on Julie, who is up to that point seen as a wallflower at college parties, taking photos and rolling a Bolex in the corner while bouncing in and out of conversations. Sizing up Julie’s film project with suave dismissiveness, Anthony suggests that she might heed the influence of Michael Powell and Emeric Pressburger, who were able to express personal emotions free of the constraints of realism, and later proposes that “it’s not enough to be sincere or authentic.”
Julie takes such counseling in stride even when it comes from her casually condescending professors (also men), giving her a headstrong resilience that Swinton-Byrne beautifully underplays. But Julie’s toughness doesn’t equate to stubborn pride, and soon The Souvenir turns away from its portrait of early filmmaking ambition and toward the knotty dynamics of Anthony and Julie’s strengthening relationship—itself modeled off a fling in Hogg’s past. The director orchestrates this formal shapeshift with sly subtlety, first introducing the couple’s scenes together as elliptical diversions from the central storyline, then gradually lengthening them until the sequences set in and around Julie’s film school take a backseat entirely. Now sharing an apartment, Anthony and Julie go through the growing pains of coexistence—the former posits a “Wall of Jericho” made of pillows in a reference to It Happened One Night to solve his discomfort in bed—but nonetheless find a strange harmony in their dissonant personalities, with his brutal honesty charming her and her placidity disarming him.
In Anthony’s case, however, this apparent personality yardstick proves misleading, as it turns out that he’s frank about everything but his own life. Talk of a vague government job creates an impression of a posh background belied by Anthony and Julie’s trip to visit his parents, and later, an offhand remark made by one of Anthony’s friends when he’s in the bathroom yields the startling revelation—cued by spatially disorienting mirror shots and the gentle use of Dutch angles—that Julie’s boyfriend is a heroin addict. Hogg omits the scene where Julie confronts Anthony about this revelation, but the mark it leaves on their relationship is implicitly, delicately apparent in every part of The Souvenir moving forward. The neatly organized, white-walled apartment where much of the action takes place becomes charged with tension, not only from the threat of dissident bombing that percolates outside its windows (a reality contemporaneous to the film’s early-‘80s setting), but also from Anthony’s frequent, unexplained comings and goings, which starkly contrast Julie’s more fixed physicality as she spends her time hunched over a typewriter.
The Souvenir flirts with a few conventional movie premises—the doomed romance, the spiral into the hell of drug addiction, the pursuit of self-actualization—without ever fully engaging one, which doesn’t indicate an uncertainty on Hogg’s part so much as a supreme confidence in the intricacies of her own material. Likely to some viewers’ dismay, Julie’s story isn’t one that ever comes to hinge on an a-ha moment, a sudden realization that she’s strayed from her artistic passion in her entanglement with a toxic partner. Rather, Hogg evokes both the seductive appeal of an irrational romance and the less sexy but nonetheless potent comfort of falling into the role of nurturer, a discipline shown in a few touching scenes to be inherited by Julie from her mother (Tilda Swinton). What’s more, it can’t be said that Anthony’s influence is purely deleterious, as his bouts of real vulnerability, carried off with a persuasive display of wounded pride by Burke, repeatedly push Julie toward greater sensitivity and awareness.
Perhaps ambivalent herself to Anthony’s recommendation that Julie seek inspiration from Powell and Pressburger’s work, Hogg shoots in a grainy, underlit 16mm palette that has less to do with period fetishism than with draining the sparkle from Julie’s privileged upbringing. The Souvenir is shot from a measured distance, often with the camera in rooms adjacent to the actors so that walls and other objects populate the foreground, and the resulting sense is of being simultaneously immersed in the spaces of Hogg’s early adulthood and at an intellectual remove from them, a fusion seemingly reflective of the director’s own mixed emotions in revisiting this story. In this case, however, that quality of fluctuation isn’t a deficiency but a virtue, a sign of a filmmaker really wrestling with how she became the woman and artist she is today, and the mark of a film that’s beholden to no recipe but its own.
Cast: Honor Swinton Byrne, Tom Burke, Tilda Swinton, Jack McMullen, Frankie Wilson, Richard Ayoade, Jaygann Ayeh Director: Joanna Hogg Screenwriter: Joanna Hogg Distributor: A24 Running Time: 119 min Rating: R Year: 2019
Review: Aladdin Is a Magic Corporate Ride to Nowhere Special
Guy Ritchie’s live-action remake is content to trace the original’s narrative beats with perfunctory indifference.1
Compared to a few other recent live-action remakes of Disney’s animated films, which at least attempted to bring striking story wrinkles or an auteurist perspective to bear on their interpretations, Guy Ritchie’s Aladdin is a remake in the most literal sense. Much of the film’s first act traces the narrative beats of the 1992 animated feature, and in shot-for-shot fashion: Thieving street rat Aladdin (Mena Massoud) meets and charms the princess of his native Agrabah, Jasmine (Naomi Scott), and ultimately runs afoul of scheming grand vizier Jafar (Marwan Kenzari), before obtaining a magic lamp containing a genie (Will Smith) who has the power to transform the young pauper into a prince worthy of Jasmine’s station.
The steadfastness with which every aspect of the original is replicated by this new Aladdin makes Ritchie’s film a grueling example of the streaming-era notion of art as content. Because there’s no chemistry between Massoud and Scott, the legitimacy of Aladdin and Jasmine’s flirtations is largely sold on the basis of the viewer’s preexisting knowledge that these two will become a couple. Elsewhere, the relationship between Jafar and the Sultan (Navid Negahban) is an even paler imitation. In the original, Jafar’s viciousness was at least partially driven by his hatred of the Sultan, who issued inane commands to his grand vizier in all sorts of parodically infantile and buffoonish of ways. Here, though, the Sultan is a negligible figure, neither callous nor especially influential, thus robbing his subordinate of a compelling motive. The Jafar of this film is evil simply because he’s been designated as the story’s big bad.
If the dogged faithfulness of Ritchie’s film to the original proves consistently stultifying, it’s the most noticeable deviations that ultimately damn the remake. In an attempt to give Jasmine something to do other than be the object of men’s affections, Ritchie and co-writer John August blend the character’s traditional frustrations at being trapped behind palace walls with a newfound resentment over how her capacity to rule as sultan is thwarted by traditional gender roles. Nonetheless, her desires to lead are bluntly articulated and reflective of a broader tendency among the film’s characters to express their awareness of their own repression by tilting their heads back and staring off into the distance as they speak extemporaneously about their dreams. Poor Scott is also burdened with the film’s big new song, “Speechless,” an instantly dated empowerment anthem that suggests the sonic equivalent of that old woman’s botched restoration of the Ecce Homo fresco in Borja, Spain.
The film does come somewhat to life during its musical numbers. Though these sequences are marked by simplistic and unengaging choreography, they don’t quell the verve of Howard Ashman and Tim Rice’s original songs. Less successful is Smith, who, unable to match the intensity of Robin Williams’s performance as the Genie in the original film, leans into his signature drawling sarcasm to bring his spin on the character to life, effectively draining the Genie of everything that made him so memorably larger than life in the first place. Even when portraying some of the Genie’s more antic behavior, Smith mostly takes the path of least resistance, injecting just enough energy into his performance to hint at Williams’s memorable take on the character but without seeming as if he’s actually working up a sweat.
Elsewhere, Massoud mostly goes through the motions in establishing Aladdin as a rakish pauper, but the actor comes alive in a comic scene that sees his street urchin, newly styled as a prince by the Genie, presenting himself to the Sultan’s court. Having never been trained on any points of social graces, Aladdin can only stammer out pleasantries, using strange honorifics to refer to the Sultan as he curtsies instead of bows. Later, the Genie helps Aladdin perform an elaborate dance by controlling the young man’s body in order to wow the Sultan’s court. Impressively, Massoud manages to perform complicated steps while looking as if every movement is done against his will, giving Aladdin’s flailing motions a slapstick quality.
Such flashes of personality, though, are few and far between in this remake. Certainly there was a lot of room to bring a contemporary perspective to this material—to counter the original’s problematic representation of its Middle-Eastern milieu and deepen its characters. Instead, the film settles for telling you a joke you’ve already heard and botching the delivery.
Cast: Mena Massoud, Naomi Scott, Will Smith, Marwan Kenzari, Navid Negahban, Nasim Pedrad, Alan Tudyk, Frank Welker, Billy Magnussen Director: Guy Ritchie Screenwriter: John August, Guy Ritchie Distributor: Walt Disney Studios Motion Pictures Running Time: 128 min Rating: PG Year: 2019 Buy: Soundtrack
Review: Brightburn Is a Soulless Mishmash of Disparate Genre Elements
The way the film shuttles through its 90 minutes, it’s as if it’s been stripped of its most crucial narrative parts.1
Like a lot of kids squirming through puberty, Brandon Breyer (Jackson A. Dunn) is an asshole. Unlike most, however, he’s from outer space and possessed of formidable superpowers. Soon after learning of his abilities, he stalks a classmate, Caitlyn (Emmie Hunter), who consoled him in class after he was teased for his incredible smarts. Brandon makes a show of controlling Caitlyn’s laptop before appearing outside her bedroom window, eerily floating in the air. By this point in director David Yarovesky’s Brightburn, one is still optimistic that Brandon’s creeper tendencies will be the most insidious of his problems. But when Caitlyn calls him a pervert, after letting him fall to the ground during a “trust fall” exercise in gym class, Brandon crushes the bones in her hand after she’s forced to help him up. By the end of the film, Caitlyn will prove to be one of the lucky ones.
That Yarovesky and screenwriters Brian and Mark Gunn don’t exactly push the link between Brandon’s pubescence and his growing self-awareness isn’t the first sign that something is amiss here. Right out of the gate, Brightburn reveals itself unwilling to animate its characters’ emotional dramas, using visual shorthand to simply hint at them. In the opening scene, set more than 10 years in the past, the camera pans across a bookshelf full of fertility books, informing the audience that Brandon’s parents, Tori (Elizabeth Banks) and Kyle (David Denman), really want to have a baby. Later, while helping his dad with chores, Brandon accidentally throws a lawnmower halfway across the family farm. This is when he recognizes that he has superpowers, but rather than prolong the kid’s doubt across more than one scene, the film zips straight to the moment where he’s about to shove his hand into the lawn mower’s spinning blades to confirm his suspicions that he’s nothing short of invincible.
More genre films—more films, period—could stand to have a lot less fat on their bones, but the way Brightburn shuttles through its 90 minutes, it’s as if it’s been stripped even of its most crucial narrative parts. Outside of one pulpy hallucination sequence, the film stubbornly refuses to give a concrete sense of the desperation that drove Tori and Kyle to adopt Brandon, just as it can’t be bothered to give shape to the mythology of his creation—or rather, his arrival. For a spell, though, this suggests a purposeful show of evasion. Much is made of the red light that peeks out from the floorboards in the family barn and to which Brandon is drawn throughout the film. If you’re a fan of Larry Cohen’s canon, you may wonder if the kid will be revealed as a kindred spirit of the ever-glowing human-alien antagonist from God Told Me To, here to make sport of our biological urge to procreate in our increasingly decaying world.
No such luck, as Brightburn is a meaningless mishmash of disparate genre elements. The truth of what lurks beneath the floorboards turns out to be of no particular consequence—not exactly a red herring, just a bit of hogwash that confirms Brandon to be a gene splice of Damien and Superman. Maybe a sense of majesty, of mythic grandeur, might have made him feel as if he was less arbitrarily willed into being, though Yarovesky certainly conveys the weight of the kid’s killing spree. Not its existential weight, only its repugnant force. At one point, one of his victims struggles to hold up the lower part of his grotesquely shattered jaw, as Brandon pulls off the mask that he wears because, presumably, he understands that that’s what someone with superhuman powers should do. Brightburn never shows us how Brandon came to such a realization, but it does let us glimpse the stone-cold delight he takes in erasing human life—a spectacle of violence that exists for its own soulless sake.
Cast: Elizabeth Banks, David Denman, Jackson A. Dunn, Jennifer Holland, Matt Jones, Meredith Hagner, Becky Wahlstrom, Gregory Alan Williams, Steve Agee, Emmie Hunter Director: David Yarovesky Screenwriter: Brian Gunn, Mark Gunn Distributor: Screen Gems Running Time: 90 min Rating: R Year: 2019
The Nightingale Trailer: Aisling Franciosi and Sam Claflin Star in Jennifer Kent’s Follow-Up to The Babadook
Today, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825.
Jennifer Kent’s The Nightingale, the Aussie filmmaker’s much-anticipated follow-up to The Babadook, premiered way back in September at the Venice Film Festival, and to mostly positive notices. Today, ahead of its U.S. theatrical release in August, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825 and follows a young Irish convict settler, Clare (played by Aisling Franciosi), who, after finishing her seven-year sentence, struggles to be free of her abusive master, Lieutenant Hawkins (Sam Claflin). According to the studio’s official description of the film:
Clare’s husband Aidan (Michael Sheasby) retaliates and she becomes the victim of a harrowing crime at the hands of the lieutenant and his cronies. When British authorities fail to deliver justice, Clare decides to pursue Hawkins, who leaves his post suddenly to secure a captaincy up north. Unable to find compatriots for her journey, she is forced to enlist the help of a young Aboriginal tracker Billy (Baykali Ganambarr) who grudgingly takes her through the rugged wilderness to track down Hawkins. The terrain and the prevailing hostilities are frightening, as fighting between the original inhabitants of the land and its colonizers plays out in what is now known as “The Black War.” Clare and Billy are hostile towards each other from the outset, both suffering their own traumas and mutual distrust, but as their journey leads them deeper into the wilderness, they must learn to find empathy for one another, while weighing the true cost of revenge.
Watch the official trailer below:
IFC Films will release The Nightingale in NY and LA on August 2.
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