27 June 2011
Here’s my rule: I don’t want to put any movies on this list that feel like cheap manipulators. Did I cry during The Notebook? Well, of course, and the whole time I felt as if I’d been used. In fact, I have a list of films I refuse to see because I anticipate that those tearjerkers will merely make me feel jerked around (Titanic, etc. — and despite the promises of my Dear Friend I can’t bring myself to watch Love Actually).
That said, readers of Feminéma know that I emote at the movies all the time — why, only recently I’ve mentioned having unexpected outbursts during Summer Hours, Killer of Sheep, and The Beaches of Agnès. (What can I say, but that I feel movies truly, madly, deeply?) Let me explain that this list emerges not from an eagerness to weep, but rather the firm belief that some of the best films draw tears without making you feel cheap — in fact, I’d watch these movies again this minute if I had the chance — and without making you determined never to watch them again (ahem: Breaking the Waves. Never, ever again). The tears they provoke seem to spring from something honest and human. Inspired by a comment from Tam (and borrowing shamelessly from the list she offered) this is a preliminary attempt to think about when, and how, outpourings of sentiment at the movies seem authentic as well as pleasurable.
Weeping ritually with Departures (Okuribito, Yôjirô Takita, 2008). A beautiful film about a young man who finally gives up on his plans to be a musician and returns to his hometown to start working — mostly by accident — as someone who ritually prepares dead bodies for burial. It’s funny and surprising for many reasons, and you start to wish someone will display that much care with your body when you die.
Weeping for lost chances with 84, Charing Cross Road (David Hugh Jones, 1987). I’ve already discussed this film, which is oriented around the long, beautiful, eccentric correspondence between a New Yorker and the London bookstore clerk who supplies her with good reading material. Books, letters, and a quasi-romance between Anne Bancroft and Antony Hopkins — weeper heaven.
Weeping out of pride for your fellow humans with Harlan County, U.S.A. (Barbara Kopple, 1976). I have a whole post a-brewin’ about labor, but suffice it to say that this might be the most amazing documentary you’ll ever see — about a strike by coal miners in Kentucky who express eloquently their rights as workers in America. It brings tears to your eyes for what we’ve lost: a sense of pride in labor and the strikers’ certainty that employers are not always right. Oh, how far we’ve fallen as a nation since 1976.
Weeping for reality with The Return of Navajo Boy (Jeff Spitz & Bennie Klain, 2000). Another documentary. Sometimes my students make statements that reveal that they don’t think Indians exist anymore. This documentary about the most-photographed Navajo family in history — people typically photographed in “traditional” clothing, making blankets or some other goddamn “traditional” Indian thing — is about their real lives and the difficulties they face when most Americans refuse to believe they are anything but cardboard cutouts, much less a people whose history is always changing.
Weeping for love with Truly, Madly, Deeply (Anthony Minghella, 1990). Back to narrative film with this amazing tale of a woman missing, terribly and deeply, her dead boyfriend — when suddenly his ghost returns to her. She’s so happy to see him, except having a ghost for a boyfriend turns out to be more of a problem than it might appear at first.
Weeping for nostalgia and happiness with Up (Pixar, 2009). Criminey. Who would’ve thought, walking into a big 3-D Pixar summer release, that within 5 minutes you’d have lost weight from the weeping? Loved everything about this movie, and I’d see it again this minute, but next time I’ll have a stockpile of kleenex close by.
…and Tam also recommends The Winter Guest (Alan Rickman, 1997), which I haven’t seen yet.
Honorable mentions, for their massive tear-jerking capability primarily in the very last scenes:
- Before Sunset (Richard Linklater, 2004).
- Three films by Ang Lee: Sense and Sensibility (1995), Crouching Tiger, Hidden Dragon (2000), and Brokeback Mountain (2005). What can I say but that that guy is crazy good at drawing big tears out of me.
- Lost in Translation (Sofia Coppola, 2003).
- Toy Story 3 (Pixar, 2010).
Note that I’ve left off all the overdetermined tearjerkers: An Affair to Remember (1957) because of that cringe-making scene from Sleepless in Seattle (1993); all those dude weepers that I don’t quite get, like Good Will Hunting (1997), Field of Dreams (1989), and Brian’s Song (1971); and a couple of films like Dancer in the Dark that are just too goddamn much.
I know we’ve got a whole set of cheap stereotypes about women weeping at the movies. But the best films make us cry because we can’t help but feel with those characters. Admit it: you love it.
28 March 2010
The most precise thing I can say about this evocative film is that it filled my dreams after watching it. How much do I love French films, which seem to aimlessly touch on nerves, get lost in dead-end streets, curve around again, draw out tears?
This isn’t the kind of film you can easily summarize, because it’s about all the complex unsaid emotions that inhabit real life. There’s no protagonist, really. It made my partner and I argue about its meaning afterward in that tedious way (“it’s about nostalgia!” “no, it’s about how we value things!”). It revolves around three grown siblings who must determine what to do with their mother’s house and belongings when she dies — a house that, weirdly, somehow isn’t really hers, for she has long been the self-appointed guardian of this magical country home full of the art and collections of her uncle, an artist who had a remarkable eye for buying extraordinary pieces that the family proceeds to live with, use for meals, bump into, break or lose, and treat as everyday household objects.
The house itself seems so significant to me. The film begins and ends with shots of children and teenagers romping down the sloping hills, dancing, having treasure hunts, racing through its lovely rooms. The shots of the interior of the house seem full of possibility, even when they’re stripped of the museum-quality objets that constitute the family’s inheritance. Yet the house is also almost too weighty for its characters, too, with its things and its upkeep and its memories — that’s why some of the siblings are willing to give it up. The way the film keeps coming back to issues of ownership and loss, the meaning of things, petty family battles, memory and considerations about the future … all I can say is it has haunted my dreams. I’m not sure I remember a film that did so much with so much modesty. Those scenes of utter childhood joy, contrasted with the image of the semi-tragic Edith Scob as the mother, walking bleakly back up to her empty house after the family leaves and sitting in the dark in that austere chair….