26 February 2012
Here’s why I always lose Oscar betting pools with my friends: I try to make the Oscars about something bigger.
For example: I truly don’t understand why The Descendants gets so much love. It’s the story of a rich guy who’s selling off thousands of acres of pristine land so he and his family can phenomenally richer — and all of this when unemployment was still at 9% or whatever … well, you can appreciate why I get cranky about things.
I was also nonplussed by last year’s Up in the Air. We’re in the midst of a financial crisis and I’m supposed to emote on behalf of the dude who goes around firing people? It’s gonna have to be a goddamn fantastic film to get me over that obstacle.
Don’t worry: this post has its eyes on the actual nominees, not the films that didn’t get noticed (but how did Take Shelter not get a single nomination?).
Best Actor and Actress: in which I apply the “99% rule,” aka “redistribute the wealth.”
Critics seem to be guessing that George Clooney will win this, according to some kind of logic that we all like the guy and he’s been doing good work. I say that sounds like an old boys’ club if I ever heard one; this is why that “good guy” at work gets promoted and you don’t.
Don’t get me wrong: I love Clooney. I love love him. But I don’t think he’s the best actor of the year, and certainly not for this film. The award should probably go to Jean Dujardin, who was effervescent in a lovely (and better) film. I’ll be delighted if Dujardin wins.
But because I’m feeling contrarian, I’m rooting for Demián Bichir — the stellar Mexican actor who’s so unknown in the U.S. he’s not even a dark horse in this category; the guy who appears as an undocumented worker just trying to make a better life for his kid in L.A. Bichir’s character is so much a member of the 99% that he’s practically off the map — and that’s why he should win Best Actor.
Look, A Better Life wasn’t great. Neither was The Help or The Iron Lady, for that matter. C’mon, members of the Academy — look beyond your white, male, privileged bubbles to the world around you, even just that guy who cuts your grass, and vote for something beyond yourselves.
Using the same logic, my Best Actress choice is Viola Davis, who gives a stellar performance in a pretty crappy film. It’s impossible to compare her role to Meryl Streep’s — Streep dominates virtually every scene in The Iron Lady and shows off so many virtuoso chops that Streep almost looks like a little rich kid surrounded by presents at Christmas. Davis, meanwhile, is so much a part of an ensemble production that she might well have been relegated to the Supporting Actress category.
But you know what? No matter how disappointing was The Help, we’ll remember Davis. She’s just so good — so transcendent in a sea of embarrassing writing and directing — and her kind of goodness is important to the field of acting in 2012. 99%, bitchez!
What a year for the ladies! I’m so delighted with this field that I’m not sure where to go. Should I stick with my 99% rule and root for the magnificent Octavia Spencer? Should I stick with my Foreigners Deserve to Win Oscars rule and root for Bejo? (Well, that probably wasn’t going to happen, honestly.) Should I assert my Women Of All Sizes rule and root for McCarthy, who practically stole Bridesmaids out from under all those top-billed/ skinny women?
I’m going with my heart on this one, as well as with my own insight that 2011 was the Year of the Trans Ladies. Janet McTeer made Albert Nobbs — she was the real heart and soul of this film, raised the whole thing to a higher level, and was ridiculously hot as a man, to boot. This film has received less love than it should have; yeah, it felt a little bit more like something that would have been profound in 1982 but in 2011 feels like yeah, already. Like Bichir in A Better Life, you don’t get more marginalized than trans persons. But honestly, I’ll be happy with any one of these choices. Even better: they should give three Oscars — to Spencer, McCarthy, and McTeer.
Meanwhile, the men’s category seems less competitive to me. Christopher Plummer will — and should — win Best Supporting Actor for his work in Beginners as the father who comes out as an 80-year-old. ‘Nuff said.
Best Picture and Director: In which I wrestle with my own “degree of difficulty” rule.
I’m rooting for two titles: The Artist and Tree of Life. The former is the film I’ll want to see again and again. It’s a crystalline, lovely piece of romantic comedy and melodrama; I found it especially sweet for the way it earnestly wants to teach viewers how to fall in love with classic cinema. I vote for The Artist to take Best Picture.
On the other hand, The Tree of Life attempted a much higher degree of difficulty; like a great diver or ice skater, it took wild risks and didn’t succeed all the time, but what it did accomplish was remarkable: a tale of childhood and early pubescence more real than any I can remember seeing onscreen. If notions like “degree of difficulty” mattered to the Academy, that’s the film that should win.
Best Screenplay, Original and Adapted: in which I root for the foreigners and commit fully to losing the pool.
The latter is just a beautiful film production — I can’t even imagine how hard it was to come up with a screenplay for this twisting novel that has already received a 7-part miniseries by the BBC in 1979. Starring Alec Guinness, no less. How do you get that down to a bankable 2 hours or so?
Don’t ask me, but Bridget O’Connor and Peter Straughan did it. Nailed it. (Bonus: an actual woman nominated for an Oscar behind the scenes!)
So if I’m so pro-lady, why am I not rooting for Wiig and Mumolo for Bridesmaids? Because A Separation is so spectacular that the former just seems slight in comparison. Also: Leila Hatami:
From all accounts, I’m going to lose on both scores; I’ve heard people guess that Midnight in Paris and The Descendants will take these categories. That’s too bad. The best I can say is that at least I’m prepared for disappointment.
Best Original Score: how can this go to anyone else?
Listen to this medley of nominations for Best Original Score and tell me if the one for The Artist doesn’t leap out as so memorable that it actually recalls specific scenes. Also: because I found the Kim Novak reaction to be absurd.
It’s not that the other scores aren’t nice and emotional; it’s just that the one for The Artist means more to the film. (Runner-up: Tinker Tailor Soldier Spy. I loved its 1970s derivative, jazzy ambivalence, just like the film. The one for Hugo was okay too, but like the rest of that film, it felt over-cooked to me.)
Best Cinematography and Film Editing:
Is it even possible for something other than The Tree of Life to win for Best Cinematography? I will throw an absolute fit if it doesn’t.
But in Film Editing, I’m more ambivalent. I think the truly Oscar-worthy editing jobs were overlooked in the nominations process — Martha Marcy May Marlene, Take Shelter, and Tinker Tailor Soldier Spy — so I’m left to wrangle with a disappointing list. Stuck between the rock of my frustration about how these nominations work, on the one hand, and the hard place of a group of films whose editing I didn’t notice as being tight and evocative, I choose The Girl With the Dragon Tattoo.
Like Tinker Tailor, it took the tightest of editing to shape an expansive story to cram this into a watchable 2-hour film; it also demanded cuts and segues that forwarded the tale, evoked emotions with absolute efficiency. A couple of months later and I want to see David Fincher’s Girl With the Dragon Tattoo again so I can pay even closer attention to what its editors, Kirk Baxter and Angus Wall, did to propel us through that story at such a clip.
There are other categories I’m not commenting on, obviously — a series of documentaries that are so lackluster in comparison to the ones that didn’t get nominated that I can barely breathe, categories I don’t really understand:
- Why does costume design only get applied to period pieces? As Dana Stevens of Slate put it last year, the clothes worn by Julianne Moore and Annette Bening in The Kids are All Right were so absolutely perfect; why isn’t that costume designer nominated for anything?
- What does “Art Direction” mean — does this mean, for lack of a better term, some kind of unholy combination of “Stage Design” and “Location Specialist”? Or does it mean something else?
- And while we’re on the subject: is there some kind of connection between Cinematographer and “Art Director”?
- Why are there different categories for “Sound Editing” and “Sound Mixing”? Why isn’t this all just “Sound Editing”? Do I sound like an idiot for asking this question?
- Why can’t I watch all the nominated short films on iTunes or some other service? (Here I go again with my complaints about access.)
Meanwhile, there’s the all-important issue of gowns. Please tell me that Leila Hatami will appear in something stunning, that Jessica Chastain wears something that shows off that strawberry hair, and that Janet McTeer wears a tuxedo.
Here’s hoping! and here’s hoping, too, that I don’t throw anything at the screen when Hugo wins everything in sight.
You’ll see right away that this is not all BBC and Jane Austen. Once I started constructing this list, I realized that there’s no material difference between The Godfather, Parts I and II and The Forsyte Saga. They’re usually literary adaptations (which range from cynical to gritty to romantic to eminently silly). They almost always tell intense, character-driven tales of families or communities to throw the reader into a moment in the past — not just for history geeks or people with weird corset fetishes. Period drama ultimately addresses issues of love and power, adventures and domestic lives, self-understanding and self-delusion, and the institutions or cultural expectations of the past that condition people’s lives. Class boundaries, sexism, political institutions, and (less often) race — seeing those things at work in the past helps illuminate their work in our own time.
Most of all, it makes no sense that period dramas are so strongly associated with “women’s” viewing. Okay, it does make sense: PBS is dribbling Downton Abbey to us every Sunday, and my female Facebook friends twitter delightedly afterward. But that’s just because all those dudes refuse to admit that Deadwood is a costume drama, too. This is a working draft, so please tell me what I’ve missed — or argue with me. I love arguments and recommendations.
- American Graffiti (1973), which isn’t a literary adaptation but was probably the first film that wove together pop songs with the leisurely yearning of high school kids into something that feels literary. Who knew George Lucas could write dialogue like this? An amazing document about one night in the early 60s that Roger Ebert calls “not only a great movie but a brilliant work of historical fiction; no sociological treatise could duplicate the movie’s success in remembering exactly how it was to be alive at that cultural instant.”
- Cold Comfort Farm (1995), which functions for me as true comfort on a regular basis. This supremely silly film, based on the Stella Gibbons novel and directed by John Schlesinger, tells of a young society girl (Kate Beckinsale) in the 1920s who arrives at her cousins’ miserably awful farm and sets to work tidying things up. I can’t even speak about the total wonderfulness of how she solves the problem of her oversexed cousin Seth (Rufus Sewell); suffice it to say that this film only gets better on frequent re-viewings. (Right, Nan F.?)
- Days of Heaven (1973), the lyrical film by Terrence Malick about migrant farm workers in the 1910s and narrated by the froggy-voiced, New York-accented, cynical and tiny teenager Linda Manz. Beautiful and elegant, and one of my favorite films ever — and a lesson about how a simple, familiar, even clichéd story can be enough to shape a film and still permit viewers to be surprised. (The scene with the locusts rests right up there as a great horror scene in film history, if you ask me.)
- Deadwood (2004-06), the great HBO series about Deadwood, South Dakota in its very earliest days of existence — a place with no law, only raw power. Fantastic: and David Milch’s Shakespearean dialogue somehow renders that world ever more weird and awful. Excessively dude-heavy, yes; but hey, by all accounts that was accurate for the American West in the 1860s. And let’s not forget about Trixie.
- The Forsyte Saga (2002-03), the Granada/ITV series based on the John Galsworthy novel which I wrote about with love here. Those turn-of-the-century clothes! The miseries of marriage! The lustful glances while in the ballroom! The many, many episodes!
- The Godfather Parts I and II (1972, 1974). I still think Al Pacino’s work in these films is just extraordinary, considering what a newbie he was to film acting; and the street scenes with Robert De Niro from turn-of-the-century New York in Part II! spectacular! Directed by Francis Ford Coppola and based on the Mario Puzo novel, of course, with political intrigues and family in-fighting that matches anything the 19th-century novel could possibly produce.
- Jane Eyre (2011), again, a film I’ve raved about numerous times. I’ve got piles of reasons to believe this is the best version ever, so don’t even try to fight it. ‘Nuff said.
- L.A. Confidential (1997), a film by Curtis Hanson I’ve only given glancing attention to considering how much I love it. At some point I’ve got to fix this. It won’t pass the Bechdel Test, but by all accounts the sprawling James Ellroy novel about postwar Los Angeles was far more offending in that regard; and despite all that, Kim Basinger’s terrific role as the elusive Veronica Lake lookalike is always the first person I think of when looking back on it. She lashes into Edmund Exley (Guy Pearce) mercilessly, and he wants her all the more. Of course.
- Little Dorrit (2008), which saved me from one of the worst semesters of my life — shortly to be followed by two more terrible semesters. This was a magic tonic at just the right time. Charles Dickens at his twisting, turning best; and screenwriter Andrew Davies doing what he does best in taking a long novel and transforming it for a joint BBC/PBS production. Oodles of episodes, all of which are awesome.
- Lust, Caution (2007), which I only saw this month. I’m not sure I’ve ever seen such a sensual, dangerous, beautifully-acted period film. And that Tang Wei! I’m still marveling over her performance. Ang Lee directed this WWII resistance thriller, based on a novel by Eileen Chang.
- Mad Men (2007-present). It’s been a while since Season 4, which I loved; they tell me the long-awaited fifth season is coming back to AMC this March. Oh Peggy, oh Joan, oh Betty, and little Sally Draper…whither goes the women in Season 5? I’m not sure there’s a modern director amongst us who cares so much for both the historical minutiae (a woman’s watch, the design of a clock on the wall) and the feeling of the early- to mid-60s as Matthew Weiner.
- Marie Antoinette (2006), surely the most controversial choice on this list. Director Sofia Coppola creates a mood film about a young woman plopped into a lonely, miserable world of luxury and excess. The back of the film throbs with the quasi-dark, quasi-pop rhythms of 80s music — such an unexpected pairing, and one that really just worked. Kirsten Dunst’s characteristic openness of face, together with her slight wickedness, made her the perfect star.
- Middlemarch (1994). Can you believe how many of these films & series I’ve already written about? Juliet Aubrey, Patrick Malahide, Rufus Sewell et als. just bring it with this adaptation of George Eliot’s sprawling (and best) novel. Marriage never looked so foolish, except until Galsworthy wrote The Forsyte Saga. It’s yet another BBC production and yet another terrific screenplay by Andrew Davies.
- My Brilliant Career (1979), the film that initated me into costume drama love, and which gave me a lasting affection for Australians. Judy Davis, with those freckles and that unmanageable hair, was such a model for me as a kid that I think of her as one of my favorite actresses. Directed by the great Gillian Armstrong and based on the novel by Miles Franklin about the early 20th century outback, this still stands up — and it makes me cry a little to think that Davis has gotten such a relatively small amount of attention in the US over the years.
- North and South (2004). The piece I wrote on this brilliant BBC series is very much for the already-initiated; at some point soon I’m going to write about how many times I’ve shown this little-known series to my friends practically as a form of evangelism. “The industrial revolution has never been so sexy,” I was told when I first watched it. You’ll never forget the scenes of the 1850s cotton mill and the workers’ tenements; and your romantic feelings about trains will forever been confirmed.
- Our Mutual Friend (1998), which I absorbed in an unholy moment of costume-drama overload while on an overseas research trip. You’ll never look at actor Stephen Mackintosh again without a little pang of longing for his plain, unadorned face and quiet pining. Another crazy mishmash of Dickensian characters, creatively named and weirdly motivated by the BBC by screenwriter Sandy Welch for our viewing pleasure.
- The Painted Veil (2006). Now, the writer Somerset Maugham usually only had one trick up his sleeve; he loved poetic justice with only the slightest twist of agony. Maugham fans won’t get a lot of surprises in this John Curran film, but this adaptation set in 1930s China is just beautifully rendered, and features spectacular images from the mountain region of Guanxi Province. It also features terrific performances by Naomi Watts, Liev Shreiber (slurp!), and especially Edward Norton, who’s just stunningly good.
- The Piano (1993), written and directed by the superlative Jane Campion about a mute woman (Holly Hunter) and her small daughter (Anna Paquin) arriving at the home of her new husband, a lonely 1850s New Zealand frontiersman (Harvey Keitel) who has essentially purchased them from the woman’s father. As with Lust, Caution you’d be surprised how sexy sex in past decades can be. And the music!
- Pride and Prejudice (1995). Is it a cliché to include this? Or would it be wrong to snub the costume drama to end all costume drama? Considering this series logged in at a full 6 hours, it’s impressive I’ve watched it as many times as I have. Jennifer Ehle, Colin Firth, and a cracklingly faithful script by Andrew Davies — now this is what one needs on a grim winter weekend if one is saddles with the sniffles.
- The Remains of the Day (1993). I still think the Kazuo Ishiguro novel is one of his best, almost as breathtaking as An Artist of the Floating World (why hasn’t that great novel been made into a film, by the way?). This adaptation by Ismail Merchant and James Ivory gets the social stultification of prewar Britain and the class system absolutely. Antony Hopkins, Emma Thompson, and that Ruth Prawer Jhabvala script!
- A Room With a View (1985), which I include for sentimental reasons — because I saw it at that precise moment in my teens when I was utterly and completely swept away by the late 19th century romance. In retrospect, even though that final makeout scene in the Florentine window still gets my engines runnin’, I’m more impressed by the whole Merchant/Ivory/Jhabvala production of the E. M. Forster novel — its humor, the dialogue, the amazing cast. Maggie Smith and Daniel Day Lewis alone are enough to steal the show.
- The Tenant of Wildfell Hall (1996). This novel runs a pretty close second to Jane Eyre in my list of favorite Brontë Sisters Power Novels (FYI: Villette comes next) due to the absolute fury Anne Brontë directed at the institution of marriage. And this BBC series, featuring Tara Fitzgerald, Toby Stephens, and the darkest of all dark villains Rupert Graves, is gorgeous and stark. I haven’t seen much of Fitzgerald lately, but this series makes you love her outspoken sharpness.
- Tinker, Tailor, Soldier, Spy (2011), Tomas Alfredson’s terrific condensation of a labyrinthine John Le Carré novel into a 2-hour film. Whereas the earlier version — a terrific 7-part miniseries featuring the incomparable Alec Guinness as Smiley — was made shortly after the book’s publication, Alfredson’s version reads as a grim period drama of the 1970s. I dare you to imagine a more bleak set of institutional interiors than those inhabited by The Circus.
- True Grit (2010), the Coen Brothers’ very funny, wordy retelling of the Charles Portis novel that has the most pleasurable dialogue of any film in my recent imagination. The rapid-fire legalities that 14-year-old Mattie Ross (Hailee Steinfeld) fires during the film’s earliest scenes; the banter between Ross, Rooster Cogburn (Jeff Bridges), and La Boeuf (Matt Damon) as they sit around campfires or leisurely make their way across hardscrabble landscapes — now, that’s a 19th century I like imagining.
- A Very Long Engagement (2004), Jean-Pierre Jeunet’s sole historical film and one that combines his penchant for great gee-whiz stuff and physical humor with a full-hearted romanticism. Maybe not the most accurate portrayal of immediate period after WWI, but what a terrific world to fall into for a couple of hours.
A few final notes: I’ve never seen a few classics, including I, Claudius; Brideshead Revisited; Upstairs/Downstairs; Maurice; and The Duchess of Duke Street. (They’re on my queue, I promise!)
I included Pride and Prejudice rather than Ang Lee’s Sense and Sensibility and I’m still not certain I’m comfortable without it. But secretly, I think I liked Lee’s Lust, Caution a little bit better.
There are no samurai films here, despite the fact that I’m on record for loving them. Why not? I’m not sure. Maybe it’s because I have no grasp whatsoever of Japanese history, and the films I know and love seem to see history less as something to recapture than to exploit. I’m certain I’m wrong about that — tell me why.
I reluctantly left off 2009’s A Single Man because it’s just not as good a film as I would have liked, no matter how good Colin Firth was, and no matter how gorgeous those early ’60s Los Angeles homes.
That said, you need to tell me: what do you say?
Do you remember how it felt as a child to misbehave — to behave so badly that you wondered if your soul had turned permanently bad? For me it was sometime around age 11. I became a horrible person, and I couldn’t stop being that person. I was mean to my sister on a new level, outdoing my previous triumphs at cruelty. Worse, I could not stand my mother. We entered a short period in which I was unbearable to her in a way that I still cannot quite understand, intellectually or otherwise.
If I had been Terrence Malick and had grown up in 1950s Waco, Texas, I’m quite certain I would have understood this part of my life through a biblical framework. How could you not? The bible is full of tales of fathers and rebellious sons, brothers who battle one another — and distinctions between those who are chosen and those who are fallen. Good and evil; choices; fateful acts. In that context would I have seen myself as evil? Would I have asked whether one be saved from evil, or regain grace? Instead, I grew up female, later in history, and without religion. Thus I wonder, are these questions of Malick’s, so beautifully captured in The Tree of Life, not just Christian but male ways of seeing the world?
I loved, loved The Tree of Life — and because none of you needs yet another critical assessment of the film as a whole, let me don my gender hat instead. I do so in part because Malick’s work always struck me as painfully, extraordinarily sensitive to women and the strange, dark, inexpressible relations between women and men. Even just thinking of the voiceovers by Sissy Spacek in Badlands (1973) and Linda Manz in Days of Heaven (1978) breaks my heart. Tree of Life seems different, male. This is the most amazing film about childhood I’ve ever seen; but it seems to me not a universal story but one about boys.
This film is deeply, profoundly concerned with manliness and patriarchs. “There are two ways through life,” his mother (Jessica Chastain) tells Jack (Hunter McCracken), “the way of nature, and the way of grace.” So close to grace that she’s nearly angelic, she infuses her young son with close attention to the wonder of nature and protects him from the world’s terrors. In one scene she dances with a monarch butterfly, which lands on her hand; in another short clip, she spirits her son away from the disturbing sight of a man having a seizure on their front lawn. Yet ultimately her way of grace can’t protect them from the husband/father (Brad Pitt) whose dissatisfied, striving character makes the “way of nature” so impossible to ignore, and so interchangeable with “feet of clay.” Surrounded by brothers and those neighborhood boys who run in packs, Jack is utterly focused on his father’s quickly changing moods, on the project of being male.
Pitt’s jaw juts out just a little bit more than usual in this role — it’s so subtle, so evocative of the resentment and cussedness always simmering below his steely surface. (This is the best acting I’ve ever seen from Pitt; it’s crazy good, and he’s absolutely found his match in the exceptional Hunter McCracken as the young Jack.) He can be such a loving father, but the love is overshadowed by terrifying moments in which he educates his sons in manliness. “Hit me!” he says to his sons when he tries to teach them how to box, simultaneously glaring and smacking his own jaw to indicate where to aim. In another, rare confessional moment he admits his mistakes to Jack: “Don’t do what I did.” He rules the dinner table with an iron fist; it’s tricky even to know how to pass the mashed potatoes, so Jack watches his father closely. Everything about his father’s physical presence — those heavy glasses that serve as a mask, the military-trim crew cut, the beefy hand with which he grabs his son by the neck in an expression of simultaneous affection and control — bespeaks a man constantly wrestling with himself. Kartina Richardson puts it most succinctly: the film shows that “to be white and male is not only to be in a prison, but to be the prison itself,” over at her elegant blog, Mirror.
Malick spins outward from this personal story — especially the tale of the older Jack (Sean Penn) still disturbed by the death of his brother at age 19, a moment we only see via a telegram arriving at his aged parents’ house — to the biggest questions we have. In breathy voiceovers, we hear Jack at various ages asking, “Where are you?” “Why am I here?”, that universal set of questions about existence we keep asking over and over. Is he asking God these questions? Is he asking his dead brother? “Mother. Father. Always you wrestle inside me. Always you will,” the younger Jack whispers to us. But it’s really Father, isn’t it? And beyond that, isn’t Malick really wrestling with a Christian god?
Thus, as much as I loved, loved, loved the film, I ultimately found it oddly disconcerting that for him, the universal questions have that Christian overlay with its oppressive, problematic manliness. As important as my father is to me and was to my childhood, his role was so non-patriarchal that I feel all my own hard questions were inflected by different problematics than Malick’s. I knew when I walked into the theater that Malick infused his story with some of those piercing, unanswerable questions; but when I walked out I felt a little bit farther away from my own questions, those which troubled me so deeply and which still occasionally wake me at 3 a.m.
The Tree of Life seems ultimately to tell a story of a particular kind of man looking backward. But whether or not it portrays something universal, it produces a sense of wonder in the viewer — by means of those amazing shots of nature, astronomy, bubbling volcanic magma, mysterious fires — such that I spent all afternoon today hiking in those beautiful rare wild parts of New Jersey with all five senses heightened. Sometimes the beauty of a bird flying, light shining through a canyon, or a shot underwater of waves crashing up above is enough to humble you to the core, to break your heart at the passage of time.
Oh, the back and forth between the divine and the specific. Most of all, the scene that stays with me is that of the boys racing out to greet the DDT truck that wandered the streets in the 1950s to eliminate mosquitoes with a delicious cloud of fog. My mother tells an identical story from a different 1950s childhood (indeed, she and Malick are nearly the same age). Somehow the specificity of this scene creates the same delight as the waves and canyons and cathedrals. It’s in that cloud of whispered questions, lost innocence, half-remembered moments, and that fog of shots that you lose yourself. All of it, including the autobiographical parts, seem to show the world from a child’s height, as the camera looks up at Jack’s parents or at the dome of a beautiful building: spectacular. This film may be the story only of one boy’s life, his own patriarchal Christian questions, but you won’t leave the theater quite the same.
25 June 2011
Certainly one doesn’t need a particular organization of the planets to get into an existential mood, but it’s midsummer, and we here at Feminéma like to mark big seasonal events with some pondering. (Lord, what fools these mortals be!) And if there’s one thing film can help us do, it’s to ponder the big questions. My own star-gazing has been assisted this weekend with two big releases in my teeny home-away-from-home in Central Jersey: Mike Mills’ Beginners (you’ll remember how much I loved Thumbsucker, his first feature) and Terrence Malick’s The Tree of Life, which I’ll write about tomorrow if possible. Beginners may flirt with the twee — there are some incredibly cute montages of great dates between Ewan McGregor and Mélanie Laurent in which they rollerskate down a hotel’s hallways or hike in the Hollywood hills; but it’s no rom-com. It’s a serious, ultimately hopeful film with a perfect cast that keep you riveted in every scene.
The specific nexus of problems addressed by Oliver (McGregor) involves love, one’s parents, and death. In a series of vignettes ricocheting back and forth between Oliver’s present and his past, the film is oriented around Oliver’s reconsideration of his parents’ unhappy marriage, his father Hal (Christopher Plummer)’s announcement after his wife’s death that he’s gay, and Hal’s relationship with a lovely, gangly, and hopelessly transparent man named Andy (Goran Visnjic, whom I barely recognized in a floppy haircut and unflattering clothes). Most important, it treats Hal’s illness and death, during which Oliver cared for his father through some wholly realistic and intimate ups and downs. Don’t all of us wrestle with our parents’ relationships when we think about our own? That’s Oliver’s problem; his parents’ unhappiness haunts him such that he can’t keep a girlfriend.
Oliver works as a graphic artist, though he’s suffering some serious blocks following Hal’s death: it seems he cannot help but create a cartoon History of Sadness in panels rather than the cd-cover art he’s been assigned. (Ahem, Mr. Mills: please publish that History, as I found it delightfully perverse.) The art is a neat mirror onto his thoughts. He often says things to himself, which I appreciate: the act of list-making as a bulwark against interior chaos. When he says to himself, “Sex. Life. Healing. Nature. Magic,” he’s reprising something he hears from the beautiful Anna (Laurent), whom he meets-cute at a costume party: “People like us, half of them believe things will never work out. The other half believe in magic.” She says it in a way that reveals more than a little disdain for that latter group; she and Oliver are, decidedly, members of the former who — despite themselves — long, desperately, for magic.
Is it his nature or the specific circumstances of mourning his father that makes Oliver so skittish about relationships? At first it appears that he has simply rejected the kind of marriage his parents endured: not loveless but perpetually dissatisfied, a quality he perceived in them even as a child. (His childhood closeness to his eccentric mother [Mary Page Keller] is displayed beautifully; I wished there had been more.) But the more we plumb his depths, the more we see that he’s managed to repeat his parents’ relationship mistakes, even if he’s avoided a marriage that looks like their relationship on the surface.
In fact, Oliver seems to wonder whether Hal’s late-in-life embrace of his sexual orientation, as well as his eagerness to engage with gay rights movements and communities, indicates that he possessed a capacity for self-understanding that still evades Oliver. In teeny, tiny moments — when the two men bicker over whether “everyone” knows that a rainbow flag indicates gay rights, or whether Hal should tell his lover Andy about the cancer — we see that there are no clear answers to Oliver’s soul-searching and his attempts to understand his father.
Walking out of the theater, my partner nailed it best: as he put it, Beginners is a film that might have failed in someone else’s hands. But between Mills’ gentle and serious vision, a terrific editing job, and the perfect and subtle acting of every single member of the cast — and here let me beg the heavens: please let me go through my next existential crisis in bed with Mélanie Laurent and Ewan McGregor — the film balances light and dark, whimsical and heartbreaking, and the interaction between repression and self-revelation. It’s elegantly done. Even the scenes with the needy little Jack Russell terrier, which could have plummeted into the depths of hopeless cuteness, always appealed to me as just delightful enough without a sugar rush.
I didn’t love it as much as I loved Thumbsucker, I think because I found the sets and locations distractingly posh. It’s almost Woody Allen-like — the extraordinarily well-appointed Los Angeles hillside homes, the great art on the walls, the way that Laurent’s hair is always so perfectly unbrushed. In contrast, I found the Oregon drabness of Thumbsucker and its subtle family resemblances between the actors Tilda Swinton and Lou Pucci so exquisitely wrought, right down to their hopeful, needy unloveliness; I longed, in this film, for a bit more of that realism rather than a rarefied LA world.
But oh, what Mike Mills can do with great actors — and oh, his gift for getting them into his films! Beginners is compelling in every scene due to McGregor’s and Plummer’s acting, their handsomeness, their appreciation for their lovers. If this film answers its questions with “the eternal Yes” of love, as Mr. Emerson puts it in Room with a View (1985), it doesn’t do so cheaply, or easily. See it, and enjoy your midsummer questions about life and existence — till anon, when I think on the screen about Tree of Life.