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Jerome Robbins was one of the greatest choreographers and director in theater. But he was almost universally hated and it’s hard to find anyone who had a nice thing to say about him. There is one story, probably apocryphal, which sums up this feeling about the grand master: during West Side Story, he was slowly backing up toward the apron; everyone was so angry at him, they didn’t try to stop him and just watched him go off the edge of the stage.
On the other hand, Bob Fosse, at least equally as brilliant (possibly more), though a tough taskmaster, was universally loved. Even his ex-wives and lovers tended not to wax rapturously about the negative aspects of his personality.
Yet both, through different approaches, achieved wondrous things with their actors and dancers.
I thought of this as I was watching the new film Whiplash, written and directed by Damien Chazelle, a story about Fletcher, a tyrannical conductor and teacher of jazz at what the story contends is the greatest music school in the U.S. (Julliard is chopped liver, I suppose) and his new victim, I mean, pupil/discovery, Andrew, someone Fletcher thinks, through his Stalinesque methods, can be turned into a drummer on the level of Charlie Parker. Read the rest of this entry »
This year has been something of a horse race for coming of age films. I don’t think I’ve ever really kept count, but I don’t remember seeing as many in one year as I have this one. It’s not a particularly close horse race as horse races go. The lead, when it comes to quality, is obviously, as far as I’m concerned, a dead heat between Something in the Air and The Bling Ring. Behind those two, and lagging far behind it should be noted, are The Way, Way Back and Mud. And behind that, in a distant, distant, distant last place, is The Kings of Summer. However, a movie has now come along that may just about dislodge The Kings of Summer from its singular location.
After seeing The Spectacular Now, I turned to my friend and told him, I swear I’ve seen this film before; it was part of a TV series called The Afterschool Special; starred a couple of familiar TV kids of the day; and was about teenage alcoholics (there were actually a couple of shows like this: a made for TV movie, The Boy Who Drank Too Much with Scott Baio and Lance Kerwin and that Afterschool Special one, The Late Great Me! Story of a Teenage Alcoholic). No, The Spectacular Now is not a remake; but overall, I really couldn’t see all that much of a difference between The Spectacular Now and an episode of a series that was often made fun of in its day for it’s obviousness and PSA feel (it was only a few steps up from those films shown in school in the 1950’s on the dangers of premarital sex).
I really don’t understand the big hoopla over this film. It gets the job done, but I’m not convinced it does much else. But for some reason everyone, including film critics who should know better, is calling it original and non-formulaic—perhaps the two very words that could never be honestly used in describing this picture (directed adequately by James Ponsoldt, with a screenplay by Scott Neustadter and Michael H. Weber—a far cry from their exciting work of (500) Days of Summer). It’s one of those movies in which every plot turn is telegraphed minutes, if not hours, before it happens; in which everything pretty much happens the way it always does, and always has, in movies like this; and just about worst of all, it’s one of those movies where, if you haven’t gotten the message that has been so obviously preached for the majority of the film, the central character actually tells you what it is in the final scene (really? I mean, really?—Jesus, it’s like the ending of The Breakfast Club, except at least that movie had a bit more interesting of a message to its message).
The story revolves around high school senior Sutter (played by Miles Teller, who is perfectly fine and does his Shia Lebouf best when it comes to his lines, though I’m not sure I ever fully bought him in the role). Sutter has the smarmy personality of a used car salesman, and the drinking problem to go with it. He’s one of these characters who is described in a way that is never dramatized: he claims to be one of the most popular kids at school and that no party is successful without him—of course, we have to take his word for it since he never does anything to prove it. At one point at prom (which feels very underpopulated), he yells out that he loves these guys—why he does, I have no idea (in his defense, this is also the point where he has the best line in the movie: “we’ll never be this young again”). His most moving and honest scene (and the one, perhaps, least encumbered by formula and predictability) is a moment he has with his boss, played by Breaking Bad’s Bob Odenkirk, in which he is very honest about himself and describes himself in a way that, for the first time in the film, is actually supported by events in the story.
It’s not that the movie is without some moving scenes. As clichéd as it is, Sutter has a scene with his father whom he hasn’t seen since he was a child that is quite memorable. It’s not just that his father turns out to be someone other than what he seems at first (who didn’t see that coming). Sutter’s father (played spot on by Kyle Chandler) is more than you’re run of the mill alcoholic; he is one mean drunk and the scene has some unexpected menace that the rest of the movie could have used.
Perhaps the biggest crime of the film, though, bigger than the triteness of the formula and simplistic story telling, is the use of Jennifer Jason Leigh as Sutter’s mother. Leigh is someone who had potential to become one of our greatest actresses with incredible performances in such movies as Last Exit to Brooklyn, Miami Blues, Rush and Georgia, but has now been reduced to playing parts easily beneath her, throwaway roles in movies she is too good for. That is perhaps the only thing in this movie I didn’t see coming.
Writer/director Niell Blonkamp is brilliant when it comes to metaphors. The movie that made his name, District 9, is a comment on race relations and immigration revolving around aliens from another planet making their way to earth and ghettoized in South Africa. Elysium, his new sci-fi story, is a metaphor on the haves and have nots, the 1 percenters having fled a decaying earth to a state of the art space station, leaving the earth to the 99 percenters. Unfortunately, this is about where any interest in this movie stops.
The metaphor is original and exciting, but the set up, the concept, the back story, never seems well thought out and doesn’t feel remotely convincing. After leaving the theater, all I and my friends did was pick apart how unbelievable it all was (it’s a world in which the population has not just sub-par, but almost no medical care; lives on a planet that is losing its resources; an earth where the pollution is deadly, and yet the place is overpopulated—a neat trick if there ever was one, and just one of the many parts of the film that never made sense).
But the fact that after the movie was over all we could talk about was the errors in the premise suggests a much deeper problem here. We were talking about the errors because none of us cared about the characters or what was happening to them. Everyone in the movie seemed bland and one dimensional, spouting dialog that had no bite to it. And the over crushing direction with the emphasis on disco-like pounding action, over crushed any possibility of an emotional connection to what was happening on screen. And it all ends with a scene so ludicrous, I and my friends were desperately trying to be polite and not burst out laughing.
There are plenty of interesting names in the cast. Matt Damon plays the lead with an absurdly ripped body that feels out of place in a world where people can’t get the right kind of nutrition. His chief opponent is played amusingly by Sharlot Copley (who has the lead in District 9); but what’s amusing about it all is not his performance, but that he’s taken the Anthony Michael Hall approach to his career and built up his body so he doesn’t have to play the bullied pipsqueak anymore. And it’s always nice to see Alice Braga and Diego Luna. But perhaps the biggest irony of the movie is that the best and worst performance of the movie is given by the same person, Jodie Foster, as the head of security on Elysium. Bless her heart, she gives it her all and works her ass off, including giving her character an odd, clipped accent; but almost nothing about her performance works. At the same time, she’s compulsively watchable, so what are you going to do?
But speaking of Jody Foster, though the film preaches understanding and sympathy and how we should treat each other with respect and as equals and all the other ten points of the Sermon on the Mount law, I did find it odd that in the movie women were given only two choices: the female trying to do the job of a male and by doing so, becomes a bitch of a Lady Macbeth because, well, that’s what happens to women who try to do a man’s job; and the female who is an adjunct to the male and is defined by her relationship to him—in this film, she’s not even allowed to be a doctor, no that’s a man’s job, she has to be the nurse in the equation.
That’s not even bringing up the other issue in that we have a world where the vast majority of people on Elysium are white and the more than the vast majority of people on earth tend to be minorities, mainly Hispanic. But who is the savior of the world? The whitest of the white, Matt Damon.
In the end, I am quite worried that with this second movie, Blonkamp may be on his way to becoming the next M. Night Shyamalan, someone with only one good picture in him. What is worse, Blonkamp may turn into one of those filmmakers who is a great visual stylist and thinks that that also automatically makes him a good writer or that he doesn’t need a good screenplay as long as he is at the helm. Even District 9 suggested that this might be the way of the world for Blonkamp; it was a great idea with a strong first half, but the second half become much more formulaic and lost much of the originality and vibrancy of what came before.