Coming Up In This Column: Cloudy with a Chance of Meatballs, Bright Star, Whip It, The Phenix City Story, Georgia O’Keeffe, Mad Men (2), The Following Weeks of the 2009-2010 Television Season, but first:
Fan Mail: dfantico suggested the ways he would rewrite Law Abiding Citizen in his comments on US#34. I generally avoid telling people how to rewrite a script, although I sometimes fall into that trap. As a screenwriting instructor I try to not to tell students how to rewrite their scripts. I just point out the problems and let them figure it out. They learn more that way.
Since I did not do any comments on the comments on my piece “Talking Back to Documentaries,” let me just throw in a thanks to the people who wrote in on it. I was glad to give you some ideas of stuff to watch. I was particularly touched by the comments from joan, who seemed from the comments to be Betsy MacLane, the co-author of the textbook I use. Glad to know the class meets with your approval.
Cloudy with a Chance of Meatballs (2009. Screenplay by Phil Lord and Chris Miller, based on the book by Judi Barrett and Ron Barrett. 90 minutes): O.K. banana, but a great credit.
I suspect that the children’s book this is based on is probably a charmer, and I can see why kids would love it. Flint Lockwood invents a device that takes the water in clouds and turns it into food: cheeseburgers, pizza, pancakes with butter and syrup, etc. The food drops on the small town Flint lives in and makes it famous, but then the device gets out of control. Nice little story. The problem is the film is 90 minutes long and there is not enough story for 90 minutes. The filmmakers have, pardon the expression, larded up the story with more and more and more food sight gags. It gets relentless. An additional problem is that the characters are rather bland and one-dimensional and they cannot sustain a 90-minute film either. Once the plane takes off to try to stop the device, it is all action, all the time. And of course it is a huge hit, especially with kids, who love the excessive food jokes. I suppose this means that the writers know their audience, but still…
There are the occasional nice moments with the characters, but not enough of them. Sam, the TV weather intern given her big shot at covering the story, has a habit of saying something very smart and then realizing it was too smart for the room. She then resorts to pretending to be stupid. Flint, finally, after way too many examples, calls her on it and she admits she really is smart. Flint changes her look from cutsie weather girl back to nerd, complete with glasses. We are supposed to applaud, but can’t she be cute and smart at the same time? Flint’s father is a fisherman who talks (with James Caan’s voice, a perfect bit of voice casting) in fish metaphors, which also gets tiresome, but the father has a good gag when he tries to e-mail the kill code for the device to his son.
In writing about The Mouse That Roared, I mentioned that it got off to a great start with the gag of a mouse scaring the Columbia logo lady. This film starts off with a banana falling from the sky and hitting her. Not as funny. But then the film recovers beautifully with a main credit that starts: “A Film by…” and then adds “A lot of people.” For once, truth in the credits. Too bad the rest of the film is not up to that joke.
Bright Star (2009. Written by Jane Campion. 119 minutes): Define bright.
My wife and I were really in the mood for a romantic drama, complete with English poets (Keats in this case) and the lovely countryside (my wife is English and I have a nostalgic view of the good old sceptre’d isle). I do have to tell you that my wife stayed awake through the entire film (she is notorious for sleeping through the first act of plays—where do you think I developed by skill at quickly summarizing a play or movie?), but I had trouble keeping my eyes open.
John Keats, as written and directed by Campion, is a real drag. He hardly ever does anything but cough, and he does not seem to have much of a reaction to anything around him. Surely a guy who writes stuff like his would be paying at least some attention to the world. Campion’s real interest is in Fanny Brawne, a seamstress who falls in love with Keats. Now she is paying attention to everything that is going on, and that’s in the writing as well as the directing and acting. Abbie Cornish gives a star performance as Fanny, blowing Ben Whishaw as Keats off the screen, which is not what you want in a love story. Compounding the problem though is that Abbie is not all that sympathetic a character. She mopes a lot (not as much as Keats, but still) and seems rather silly a lot of time. I know people in love act silly, but as screenwriters you have to protect them a little. Just to make matters worse, Keats’s friend and protector, Charles Brown, is set up to be the minimal bad guy in the piece. He keeps dragging Keats away from Abbie to get him to work on his poems. Which makes him the most sympathetic as well as hard-headed of the characters. Referring to another poet entirely, Faulkner said, “The writer’s only responsibility is to his art. He will be completely ruthless if he is a good one… If a writer has to rob his mother, he will not hesitate; the ’Ode on a Grecian Urn’ is worth any number of old ladies.”
The England we see in the film is rather dreary, although Campion has provided us with some nice butterflies, but even Rome is dark and gloomy when we see Keats’s coffin there. I realize it is a tragic story, but a little sun might be nice as a counterpoint. The closest we get is Fanny’s little sister “Toots,” who has more charm than anybody else in the movie.
Whip It (2009. Screenplay by Shauna Cross, based on her novel. 111 minutes): Not just Juno joining the roller derby.
Bliss is a teenaged girl who joints the roller derby, unbeknownst to her mom Brooke, who forces Bliss to compete in teen beauty pageants. In the middle of the picture Brooke and her husband Earl find out. The confrontation scene between Bliss and Brooke is the only mediocre scene in the entire script—very flat and “on the nose.” The rest of the script is terrific.
Cross has a great feel for the locale of her film: white trash Texas (and the production design is very convincing; I was amazed to discover in the end credits that it was filmed in Michigan), and she gets the details of the lives of her characters right. What would you say to get your best friend to vomit up the alcohol she drank when she doesn’t want to? Listen to what Bliss tells her best friend Pash. More importantly, Cross is not condescending to the characters. They all are not only rich and funny, especially the derby girls, but Cross gives them nice counterpoints. It comes as a surprise to learn that Brooke, for all her pretensions, is a mail delivery person. Earl is not as dumb as you may first think. Pash has an interesting relationship with their boss at the diner. Late in the film, in a charming little scene in a car, we learn that “Maggie Mayhem,” one of the Hurl Scouts team, has a very interesting relationship with a much younger guy. Much, much younger.
This is Cross’s second screenplay, but it is the director’s first film as a director. She is Drew Barrymore, and she has been producing commercially successful, if not exactly critically acclaimed, movies for years. Her DNA from one of America’s greatest acting families shows up in her direction of the actors, most of whom haven’t been this good in years. Look at what Barrymore does with the reactions Cross has given to Marcia Gay Harden’s Brooke in the first scene in the film. Ellen Page as Bliss gives a wider-ranger performance than she did in Juno. Barrymore, unlike a lot of directors, LOVES actors, and it shows. Cross has given Barrymore a great set of characters to play with and Barrymore lets the actors go. True, she lets herself overact a bit in a supporting role, but she’ll learn. The outtakes at the end show the great time everybody had making the movie, and unlike some movies with outtakes at the end, the film gets that feeling across to the audience. Barrymore has given the film an energy and drive that Campion does not give to Bright Star. Now if Campion had just put Keats on roller skates…
The Phenix City Story (1955. Screenplay by Daniel Mainwaring and Crane Wilbur. 100 minutes): Doesn’t quite live up to its reputation.
Writing about The Captive City in US#8, I mentioned this film as “an example of how it [a script based on a true crime story] ought to be done.” I wrote there that it never showed up on DVD or on television. Well now it has appeared on Turner Classic Movies and I have to revise my opinion a bit. I saw this film when it first came out and found it stark and compelling. Since I was also about 13 at the time, some of my love for the film came from the early scene when actress-singer Meg Myles, a very buxom young lady in a low-cut dress, sings the “Phenix City Blues,” but I remember the impact the rest of the film had.
Phenix City, Alabama, was the legendary Sin City for most of the first half of the twentieth century. It was right across the Chattahoochee River from Columbus, Georgia, and therefore near Fort Benning. Soldiers went across the river for gambling, prostitution and whatever other vices they could find. During World War II the bordellos drove “mattress trucks” up to the gates of Fort Benning to cut down on the soldiers’ travel time. In 1954, Albert Patterson, a local lawyer who had just received the Democratic nomination for State Attorney General, was assassinated, which finally provoked a cleanup of Phenix City. The story made the newspapers and magazines around the country, and the film came out the following year.
This is shot on location in Phenix City, but it is a lot more relentless about making sure we know this than, say, On the Waterfront was the year before about its location shooting. When actor Edward Andrews, playing Rhett Tennant, the owner of the worst club, runs into a little old lady on the street and has a nice chat with her, people at the time knew she was the real notorious town madam. Nowadays, who cares? Like The Captive City, the script is so determined to document the story that it comes out rather flat. There is one really good scene near the beginning where Tennant goes to persuade Patterson not to join the crusaders. Andrews and John McIntyre, two first-rate character actors of the period, get a lot out of the scene. Too many of the rest of the scenes are very flat, and others, particularly those with Richard Kiley as Patterson’s son John, are too melodramatic. Another problem with the script is that it is vague about several points. There are suggestions, but only suggestions, that the sin merchants are connect to organized crime. Part of the vagueness may be that several trials were still going on at the time and the filmmakers could not be too specific. It does hurt the film. There are moments that still shock, such as a death of a little girl, but the script is not good enough to have the film impact today as it did then.
Georgia O’Keeffe (2009. Written by Michael Cristofer. 120 minutes): Another back-up-the-truck film.
In US#24 I brought up the idea that some movies and television shows are so good that instead of having all the nominations and award shows, you can just back up the truck and start shoveling out the awards. I raised that while writing about Grey Gardens. Check the list of Emmy winners this year.
Although the title is Georgia O’Keeffe, this made-for-television movie is about the long, difficult relationship between O’Keeffe, the painter, and her mentor, lover, and salesman, Alfred Steiglitz, one of the great American photographers. One of the comments on the message boards at IMDb complained that the film did not go on after his death and show the rest of her life. Well, you got to leave something for the sequel. And there is more than enough material in her life for another film.
Michael Cristofer is an actor and a playwright. He is best known for his 1977 play The Shadow Box, but he has done several screenplays. His screenplay for The Witches of Eastwick (1987) may have been messed up during that troubled production, and his script for The Bonfire of the Vanities (1990) certainly was. I always found it interesting that Julie Salamon, who wrote the book The Devil’s Candy: The Bonfire of the Vanities Goes to Hollywood appears never to have talked to Cristofer. Salamon started the project intending to show how a great director, Brian De Palma, makes a great film. What happened of course was a disaster, and in a spectacular failure of nerve, Salamon fails to acknowledge in the book what is clear from everything else in the book: the problem with the film was that De Palma directed it very badly. Cristofer’s comments would have been very illuminating.
Because Cristofer is an actor as well as a writer, he has written a lot of great scenes for Joan Allen as O’Keeffe and Jeremy Irons as Steiglitz to play. Look at the first scene in the apartment he sets her up in. Look at the argument they have late in the picture and how the emotions turn on a dime. Look at the scene with her in the hospital and him trying to persuade her to let his gallery have a show. That last scene is a beautiful example of making a scene work where only one person talks.
Cristofer also lets us see her development as an artist. When she temporarily leaves Steiglitz in New York and goes to New Mexico, we see what attracts her about the place. One of the commentators on the IMDb boards complained that the cinematography made the East Coast scenes look all blue and green. Yes, and they are supposed to look that way so we feel the contrast when she comes West.
The film was shown on Lifetime and should pop up again. Look for it, especially if you have a big screen TV. Do NOT watch it on your iPhone.
Mad Men (2009. “The Gypsy and the Hobo” episode written by Marti Noxon & Cathryn Humphris and Matthew Weiner. 60 minutes): The Best Commercial Break of the Year.
Rather than look at the entire episode (Todd VanDer Werff and Luke de Smet are doing great jobs on their summaries/commentaries, aren’t they?), I want to look at one, or two, of the best scenes of this year. Not just on Mad Men, but in any movie or television show this year.
In the previous episode Betty had found the key to Don’s secret drawer. She looked in the old shoebox and discovered his “stuff,” including the fact that he had been married and divorced before. She did not do anything then, but we knew the day was coming. In this episode she takes the kids off to Philadelphia to see her brother, but as we discover, also to talk to her family’s lawyer about her situation with Don. The lawyer pretty much tells her to stick with Don, since the other options are not good. Meanwhile, Don is planning a getaway with Miss Farrell. They drive by his house and he leaves her in the car to go in for a minute. But he finds that Betty and the kids have come home early. Betty tells the kids to go upstairs to bed and says to Don, “I need to talk to you.”
So how would you write the scene that follows? Yelling, screaming, throwing things? Not with these writers. What we get is a very quiet but very tense scene in which Betty confronts Don. What the writers are very good at in this scene are the silences, which give the actors a lot to do. We see Betty’s anger, hurt, and bafflement, as well as her determination to find out what the hell is going on with the man she thought she knew. Don is devastated that his secrets have been found out. He says he can explain and Betty tells him he is good at that. So Don is forced to tell the truth for a change, and the one time he strays from it (about when he got the divorce) Betty nails him on it. We know he is telling the truth because we have seen nearly everything he says take place.
Now, what makes this a great scene? First of all, it delivers what we have been waiting for, and as much as I love the show, I keep wishing it would speed up the days of reckoning. I feel that way even more now that I see from this scene how the reckonings will be delivered. Second, the scene rewards the longtime viewers because we know what all this means, even if we don’t know where it will end up. Third, the scene provides, especially in those silences, great opportunities for the actors. Jon Hamm has shown Don skating through a lot, but here he is stunning, particularly in his first closeup when he realizes that Betty knows what is in the drawer. January Jones matches him in suggesting, not telling, all the conflicting feelings Betty is going through. Fourth, the scene provides the opportunity for the director, Jennifer Getzinger, to do it right by not doing much. Getzinger is smart enough to know we just want to watch these characters in this situation. With this quality of writing and acting, all she has to do is let the camera watch. Anything more would be redundant. Fifth, the writers let our knowledge of Miss Farrell out in the car hang over the entire scene (much later we see her get out of the car and walk home). Sixth, the writers and producers are willing to let the scene run longer than any scene I can remember in this series, and longer than almost any other scene in any television series. The entire scene runs nine minutes, which is an eternity in series television. It breaks the rhythm of the show, which is generally shorter scenes, intercutting with other scenes of other characters. This scene stays on these characters as long as it does because the artists know we want to see these characters and how they deal with this situation.
And then we get a commercial break. After which we come back to some of the other characters? Nope. We come back to Don and Betty in their bedroom as Don explains who the people in the photographs are. This scene runs five minutes, also long for a television scene, but again we want to be with these characters and see how it plays out. Don, talking about his brother, begins to cry, and for the first time Betty seems to have at least a little sympathy for him. Would this scene seem too much if there were not a commercial break between it and the previous scene? It might, which is why the writers place the commercial break where they do. I think it is probably easier for us to get back emotionally to Don and Betty if we are completely out of the story than if they had just cut to a scene of the other characters. We are used to commercial breaks by now, and this is one of the best uses of the commercial break I have ever seen.
I said that I would only deal with this one scene, but I cannot resist a comment on the final line of the episode, one of the best fadeout lines of recent years. In the two scenes discussed above, Betty is constantly trying to find out who Don is, not just in terms of names, but of character. In the final scene Don and Betty take their two older kids trick-or-treating. At one house, the guy who comes to the door correctly identifies the kids as a gypsy and a hobo, then looks at Don in his ad man suit and asks, “And who are you supposed to be?” Todd thought in his comments the line was “incredibly on the nose,” but I disagree. “Who are you?” would be on the nose. “Who are you supposed to be?” is a whole lot richer. When you are writing dialogue, one word can make all the difference.
Mad Men (2009. “The Grown Ups” episode written by Brett Johnson and Matthew Weiner. 60 minutes): Structure, structure, structure, and structure.
As I write this on November 7th, I have not yet read Luke’s comments on this episode, nor watched the season finale, but I wanted to get this column finished and into Keith. I am not going to go into this episode as deeply as I am sure Luke is going to (see comments in previous item). However, having dealt with just a couple of scenes in the previous item, I want to say a word about the structure of this episode, which is brilliant. I had assumed Weiner and his team were saving the Kennedy Assassination for the final episode of the season. I think the filmmakers were assuming we were assuming that, and they protected their episode by sending out completely bogus loglines to TV Guide and newspapers: “A candidate makes an impression on Don. Peggy is questioning her taste in men.” Well, that worked. I for one was caught off-guard when Pete goes in to talk to Harry and the television is on. Harry dismisses it as saying he has to watch to check the commercials, but he does turn off the sound. The notice of a news bulletin comes up on the set, and Pete and Harry just continue talking. We are well into the scene before others come in and they turn up the sound. It is twenty some minutes into the episode, which means the writers are giving themselves enough time to show the immediate impact of the assassination on nearly everybody in the cast.
So right away we get the famous Cronkite footage? Guess again. We see Betty and Carla, sitting at opposite ends of the couch, watching the NBC announcement of Kennedy’s death. Using that footage tells us in a subtle way that we are not just going to get the obvious clips or obvious reactions; a shoutout here to the show’s researchers, who found all kinds of interesting footage for this episode. We do get the Cronkite stuff, but only after Duck has unplugged the TV set in his hotel room before Peggy shows up for their tryst. He plugs it back in and they watch Cronkite together.
Don tells his kids at home that everything will be O.K. (how Don of him) and we will just have a new president. Pete matches that with the comment to his wife that nothing will change with Johnson as president. Joe Dougherty, whom I interviewed for my book Storytellers to the Nation: A History of American Television Writing, said that one problem they had on thirtysomething was that the networks would never let them have a character be wrong. About anything. Thank goodness television has grown up a little bit since those ancient days in the eighties. Mad Men could not exist under those rules.
We of course have assumed that the wedding of Roger’s daughter would be called off, since it was scheduled for the day after the assassination. No, big public events were canceled or postponed, but the wedding goes on, which gives the writers a lot to work with. Not all those invited show up. Several attendees are in the kitchen watching the news coverage, which give us another great selection of footage. They seem to be watching the Texas lawmen whom we know from the famous clip of Oswald being shot, but the shooting does not occur here. The writers also have time to give us a wide variety of reactions to the assassination. I believe it was Peter’s wife who says, “You don’t shoot the President of the United States,” which was my reaction when, as a 21 year-old Navy officer, I heard the news. (My second thought was, “What about Jackie?” and my third thought was “Well, that ruins Vaughn Meader’s career.” Look him up.)
We then get the clip of the Oswald shooting at the end of the episode, with Betty watching. She goes out for a walk “to clear her head,” but meets Harry. He sort of proposes, and they kiss, but she returns to Don. Don thinks she’s just upset at the assassination, but she tells him he can’t hear her. Don may have a point, but it may be that the writers have in mind a line that someone said at the time. It was that America could recover from the Kennedy Assassination, but probably not from the Oswald killing.
So, what the writers have done here is shaped an episode around the public event and brilliantly interwoven it with the private lives of the characters. Which certainly anticipates the sixties.
The Following Weeks of the 2009-2010 Television Season: Carrying on.
As you may have noticed, the newer movies I have looked at in this column have been in theaters for a while. I did not get out to any new movies during the month of October. Some of that is that there were not that many I wanted to see, but mostly it was that I was busier than usual teaching at Los Angeles City College. At least partially due to the tanking job market in California, our enrollments are higher than ever. Since I require papers and essay tests in my film history classes, that has meant a lot of paper-grading. Add to that a whole bureaucratic hassle involving the state assessment of our classes, and time was short. I did, however, manage to keep up with the television season. Here are some comments on some shows from the last several weeks.
Community just got so stupid that I had to give up watching it. I eagerly await someone doing a really good, sharp, funny comedy about community colleges.
The Good Wife is turning out to be as good as I thought it would be (see US#34). The writers are keeping a nice balance between Alicia’s private and public life. In “Conjugal” (written by Angela Amato Velez), Will and Diane, the two heads of the law firm Alicia is working for, discuss what Alicia brings to the firm, which is that she thoroughly buffaloes all those lawyers who used to work for her husband. The series writers have been very good about developing the supporting characters. I mentioned in US#34 that the pilot did not overdo establishing the other characters, but you just knew that if they had hired Josh Charles as Will and Christine Baranski as Diane, it wasn’t to keep them unemployed. This scene shows why, as does the way the “Fixed” episode (written by Todd Ellis Kessler) gives Diane an interesting B story about a potential addition to the firm. Cary (Matt Czuchry), the other new associate, is in competition with Alicia for the full-time job. Czuchry was Logan Huntzberger on Gilmore Girls and caught Logan’s Ivy League arrogance and smarmy charm a little too well. I know it was a good performance, but Logan was wrong for our Rory (that’s the grandfather in me talking), and I was glad to see she dumped him. Czurchy, who I am sure in private is kind to widows and orphans, brings some of those same smarmy qualities to Cary. The “Home” episode (written by Dee Johnson) has him working on a case with Alicia, and Johnson lets us know that he has had virtually no trial experience. This gives him a legitimate vulnerability, as well as providing an opportunity for Alicia to shine in court. I also loved that Johnson had Alicia take her two kids back to the suburbs where they lived. The kids really wanted to go back to living there, but by the end of the episode they had come to see the suburbs’ flaws and were perfectly happy in their new big city digs.
Eastwick is still mostly charming, although it has been slow about developing the women’s powers. I found the “Bonfire and Betrayal” episode (written by showrunner Maggie Friedman and Rina Mimoun) particularly irritating in that the three women kept saying, “I’m sorry” to each other and everybody else. Come on, folks, we watch this show to see the women use their powers, not apologize for them. I was thinking of suggesting an Eastwick drinking game where you take a drink every time one of the women says “I’m sorry,” but everybody would be completely blotto by the thirty minute commercial break.
Castle has gotten a little off its game. The mysteries are getting more complicated, and until the “Famous Last Words” episode (written by Jose Molina), the show was in danger of getting away from what made it special: the relationships between Castle, Beckett, Castle’s daughter Alexis, and Castle’s mom. The “Famous Last Words” episode got that balance back.
Cougar Town settled down a bit in subsequent episodes. Some were about sex, some were not. In “Don’t Come Around Here No More” (written by Sanjay Shah), Jules, out of desperation, has a date with a man old enough to be her father. We don’t see the date, which turns out just to be a setup for a neighborhood barbecue. Too bad, since the show could have gotten some mileage out of a woman wanting to date younger guys stuck with an older guy. The show this seems to be turning into is a more conventional sitcom than it started out to be. That may or may not be a good thing.
Modern Family is growing on me. They have pretty much cut out the idea that this is a documentary, at least in the way the story scenes are shot. The interview material is still there, and some of that writing is very good. The writers are developing the characters beyond the stereotypes the show started with, always a good sign. I particularly like Mitchell and Cameron, the gay married couple. They are both so ordinary and so gay at the same time, something that a lot of other shows have had problems dealing with (were you ever really convinced that Will of Will and Grace was gay? I wasn’t). I loved that Cameron once played college football and is as big a football fan as his father-in-law Jay.
The Barney-Robin relationship is still providing much more entertainment on How I Met Your Mother than Ted’s supposed search for the mother. I was particularly impressed with the writing of the “Bagpipes” episode. The writer was Robia Rashad, who was new to me, although she has written for other shows I have watched, including the wonderful Aliens in America. Her speech for Marshall in which he describes himself as a master of relationships (i.e., watching Sandra Bullock movies without complaining) was nicely crafted, as were a couple of other speeches. She has been hired this season on the show as a story editor. Obviously a talent to watch. And listen to.
Tom Stempel is the author of several books on film. His most recent is Understanding Screenwriting: Learning From Good, Not-Quite-So Good, and Bad Screenplays.
Cannes Film Festival 2019: Oh Mercy!, Les Misérables, Young Ahmed, & Atlantics
Many of the selections at this year’s festival were genre films, or, at least, exhibited notable genre-adjacent elements.
Surprisingly, many of the selections at this year’s Cannes Film Festival were genre films, or, at least, exhibited notable genre-adjacent elements. By and large, audiences recognized the influence of genre on these works in the moment, as in a UFO randomly popping into frame during Kleber Mendonça Filho and Juliano Dornelles’s Bacurau, or the eyes of a group of women rolling back in their heads during Mati Diop’s Atlantics.
Sometimes, though, a film turned out to be exactly as advertised, and that’s for the worse in the case of Oh Mercy!, Arnaud Desplechin’s follow-up to his prismatic, semi-autobiographical Ismael’s Ghosts. Set in the director’s hometown of Roubaix, this modest film about the work of maintaining order in a community stars Days of Glory actor Roschdy Zem as a level-headed police chief in charge of overseeing a number of investigations. Captain Daoud largely farms out his duties to a phalanx of hot-headed underlings, but he takes a determined interest in one case involving the murder of an old woman, possibly at the hands of her two neighbors, Claude (Léa Seydoux) and her girlfriend, Marie (Sara Forestier).
This case paves the way for the film’s most impressive sequence: two parallel interrogations depicting the methods used to meticulously weaken Claude and Marie’s resistance to being interrogated and draw out the truth. Otherwise, there isn’t much depth to this scenario to capture the viewer’s attention. At the margins of the plot, Desplechin’s attentiveness to local color is noticeable, which at least imparts a sense that he knows this community quite well and understands how social dynamics play out within it. But it isn’t too long into its running time that Oh Mercy!, in its generally abiding faith in the effectiveness and general well-meaning of police work, comes off as undiscerning in its pro-cop stance.
Still, Oh Mercy! somehow manages to seem a lot more empathetic and realistic than Les Misérables, Ladj Ly’s police drama set in the Parisian commune of Montfermeil. Ly’s feature directorial debut pretentiously co-opts the cultural cache of its Victor Hugo-penned namesake as a means of bolstering its activist political message. A brief and promising montage opens the film, and depicts jubilant Parisians of all races in a state of revelry. (This is actually documentary footage from the aftermath of France’s 2018 World Cup victory, so not exactly the June Rebellion that closes Hugo’s opus.) From this point forward, Ly largely relies on gritty faux-doc aesthetics redolent of The Wire to maneuver through a narrative that splits its time between police on the job and embedding itself with the people they’re meant to serve.
Nonetheless, the focus remains largely on Stéphane (Damien Bonnard), the newest recruit of the dubiously named Anti-Crime Squad that’s tasked with patrolling Montfermeil’s crime-ridden Les Bosquets social estate, and the way the soft-spoken man’s conscience is tested on his first day as he rides alongside two corrupt cops (Alexis Manenti and Djibril Zonga). Ly seems to give the cops too much latitude, or at least he muddles his condemnation of their behavior by lumping it in with a broader message about an untamable chaos in the suburbs of Paris. The film’s explosive finale, which sees the oppressed city kids rise up and start a war with law enforcement, could be interpreted as a call for revolution, but it could just as easily be read as a fortification of the idea that The Streets Aren’t Safe, and a film like this shouldn’t make the conflation of progressive and conservative politics that easy.
Les Misérables does, at the very least, lay bare the reality of an everyday form of violence and prejudice and makes some kind of attempt at responding to it, which is more than Jean-Pierre and Luc Dardenne bother to do with Young Ahmed. In the film, the eponymous Ahmed (Idir Ben Addi) puts distance between himself and his family, deciding that his Arabic teacher is a heretic before, finally, turning to violence. The Dardennes’ signature observational cinema, one that’s shaped by lightly applied genre conventions and subjected to chain reactions of dramatic incident, comes to feel exploitative in this context, as Young Ahmed demonstrates little interest in understanding the psychology or pathology of the troubled youth at its center, or even in grasping the sociocultural conditions that affect him.
As is their wont, the Dardennes start their film in medias res, which proves to be their first big mistake: Ahmed has already been radicalized, and so from here on out we observe his actions in a kind of vacuum. The film, then, becomes just an exercise in redundancy for the Dardennes, hitting as it does the same narrative beats of sin and redemption that all their character studies do, albeit with a different cultural face. This isn’t a well written or conceived narrative either, especially in its contrived and manipulative finale. But what makes the film outright offensive is its flippancy toward the Muslim faith. At one point, we get a match cut between Ahmed being kissed by a non-Muslim girl and the young man vigorously washing out his mouth—a moment that elicited much laughter at the film’s gala premiere.
In the past, the veracity and realism of the Dardennes’ aesthetic mode has made for convincing portraits of life on the margins, but here there’s an uncomfortable friction between the way their technique engenders a feeling of truthfulness and the calculated and methodical depiction of Ahmed’s actions. The only party that benefits here are the Dardennes, who’ve brazenly attached themselves to a subject that grants their film an unearned political weight.
One film at Cannes this year that got its genre inflections, its social commentary, and its understanding of race generally right was the steely and quixotic Atlantics, Mati Diop’s first feature-length fiction film. Atlantics derives some of the broader strokes of its narrative from a short of the same name that Diop directed a decade ago, about Senegalese youths discussing the possibility of crossing the Atlantic toward Europe. The feature version of Atlantics is set in Dakar and follows Ada (Mame Bineta Sane), a 17-year-old who’s in love with a boy named Souleimane (Ibrahim Traore) but who’s been arranged by her parents to marry a wealthy older business man. After this ostensible love triangle ends in tragedy, Diop’s film briefly morphs into something of a procedural, as a young detective (Amadou Mbow) is called on to investigate a mysterious act of arson committed on Ada’s wedding day.
It’s the way that Atlantics pivots into the realm of the supernatural, and even flirts with the horror genre, that makes it so unique. The blend of folklore spiritualism and commitment to social realism, paired with an ethereal visual sense that emphasizes the spectral experience of the subaltern, can be imprecise in terms of its political implications, but Atlantics nonetheless evokes the palpable feelings of its characters’ displacement through its shift into ghost-movie terrain. Even Diop’s balance between a more visually poetic register and a devotion to maintaining her narrative’s momentum seems less like a compromise than a reflection of this filmmaker’s confidence in her own ability to tell complicated and unusual stories in the guise of familiar narrative form. In fact, that’s a good way to frame a lot of Cannes’ competition films this year: Many are genre-adjacent, but it’s those from filmmakers that display a sense of confidence in their approach that have tended to leave the best impression.
The Cannes Film Festival runs from May 14—25.
Review: Parasite Satirically Feeds on the Ills That Divide a Society
Bong Joon-ho’s excoriation of a dehumanizing social culture is mounted with dazzling formal invention.3
The first film Bong Joon-ho has made in 10 years that’s set entirely in his native South Korea, Parasite finds the eccentric, genre-driven auteur scaling back the high-concept ambitions of his prior two films, the post-apocalyptic Snowpiercer and the globe-trotting ecological fable Okja, in favor of examining a close-knit family dynamic that’s reminiscent of the one at the center of The Host, Bong’s 2007 breakout monster flick. Except this time the monster isn’t some amphibious abomination that results from extreme genetic mutation, but the insidious forces of class and capital that divide a society’s people.
In a cramped apartment, a family of four are sent into a panic when the WiFi network they’ve been pirating goes offline. Ki-jung (Park So-dam) and her brother, Ki-woo (Choi Woo-shik), scurry about as their father, Ki-taek (Song Kang-ho), instructs them to try holding their phones up to the ceiling, and to stand in every nook and cranny of their home until they find a new connection. All the while, Moon-gwang (Lee Jung-eun) bemoans her husband’s laziness and prods him to find work. But it’s Ki-woo who pulls his family out of their impoverished life, when he gets an opportunity to tutor Da-hye (Jung Ziso), daughter of the rich Park family.
Parasite essentially puts an absurdist spin on both the concept behind Hirokazu Kore-eda’s sentimental Shoplifters from last year and the bitter class commentary that underpins Nagisa Oshima’s 1969 film Boy. Bong positions Ki-taek and his family as grifters so adept at pulling off cons as a unit that they successfully convince the Parks to bring them all into their employ, in one capacity or another. Ki-jung becomes an “arts therapy” teacher for the Park clan’s precocious young son, Da-song (Jung Hyeon-jun), and, later, the rich family’s driver and nanny are pushed out of their jobs through elaborate scandals manufactured by the poor family, in order to install Ki-taek and Moon-gwang, respectively, into those roles.
Bong pulls off a neat trick by insinuating that the parasite of his film’s title must be Ki-taek’s family; after all, they certainly live off the “host” to which they’ve attached themselves. But in typical fashion, Bong starts to lace Parasite with all sorts of complications that begin to challenge the audience’s perceptions—left turns and big reveals that not only bring new layers to the film’s social commentary, but also develop the characters and their attendant psychologies, which encompass the psychic toll of shame, lack of empathy, and deception.
The twists in this narrative also activate some of Bong’s more inspired and sociopolitically loaded visual ideas. At one point in the film, the slum village where Ki-taek and his family live is devastated by a massive flood during a night of severe weather. Meanwhile, in the upper-class neighborhood where the Park clan lives, a backyard camping trip is ruined by rain. The particular layout of one unexpected setting, which sees members of the lower class literally occupying a space below the rich, doubles as an ingenious metaphor for class subjugation. Remarkably, Bong even finds room for a commentary on Korean peninsula relations.
The only thing that keeps Parasite just slightly below the tier of Bong’s best work, namely The Host and his underrated and similarly themed 2000 debut film, Barking Dogs Never Bite, is the overstuffed pile-up of incident that occurs toward the end. This is frequently an issue for Bong’s films (both Snowpiercer and Okja climax with busy and disorientating action set pieces that lose sight of their characters in the process), and here it manifests in a boldly gruesome scene of violence that’s undercut by a lengthy and rather contrived denouement.
Ultimately, Bong’s excoriating indictment of South Korea’s dehumanizing social culture isn’t far removed from that of Lee Chang-dong’s Burning, but he mounts it with a dazzling control of genre conventions that he continues to seamlessly bend to his absurd comic rhythms. Parasite also reinstates the emotional core that’s been missing from Bong’s recent work, and even feigns a concise narrative structure. It’s the kind of bold and uncompromising work that confirms why Bong is one of our most exciting auteurs, for how his sociocultural criticisms can be so biting, so pungent, when they’re imbued with such great focus and sense of intent.
Cast: Song Kang-ho, Choi Woo-shik, Lee Sun-kyun, Park So-dam, Cho Yeo-jeong, Lee Jung-eun, Chang Hyae-jin, Jung Ziso, Jung Hyeon-jun Director: Bong Joon-ho Screenwriter: Bong Joon-ho, Han Jin-won Running Time: 131 min Rating: NR Year: 2019
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 dramatically ill, 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
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