Jan 11, 2009

Cadillac Records


It's amazing how a perfectly average movie like Cadillac Records can be such a source of enjoyment.
The reason is the amazing music of Muddy Waters, Willie Dixon, Chuck Berry, Little Walter, and Etta James, rerecorded and sung quite decently by the wonderfully game cast of the film (Jeffrey Wright, Mos Def, Cedric the Entertainer, Beyonce, Eamonn Walker, etc).
The movie is about the story of Chess Records, founded by Leonard Chess (Adrian Brody, going through the motions) and about the real birth of rock & roll, which if you don't know this by now, was fully created by Black artists, who were cheated out of their royalties because geniuses that they were, they came from humble origins and they were Black, and therefore were patronized and discriminated.
The movie is written in very broad strokes, but the personalities shine through, as does the terrible racism of the time.
The acting is all over the place. In the camp of great performances, Jeffrey Wright is mesmerizing as Muddy Waters, although I could barely understand a word he says in the film, and not only because he has a deep Mississippi sharecropper accent, but because he mumbles. Still, he comes across as a proud man, bedazzled by the surprising power of his own talent, confused about how to deal with fame, power, talent all while being Black. Mos Def is an inspired choice for Chuck Berry and his charm, intelligence and playfulness come through (he is most definitely not the bitter and uncooperative diva of Jonathan Demme's amazing documentary Hail, Hail Rock & Roll, but this is before he screwed up and went to jail and was screwed by music biz execs). He is great. Eammonn Walker is the one guy I would include in a nod for best supporting actor as Howlin' Wolf. He is almost frighteningly intense and utterly convincing. I thought Columbus Short, who played Little Walter was a huge hambone, and so, unfortunately, were the women, most notably Gabrielle Union as Muddy's wife.
Beyonce is much better here than she was in Dreamgirls. Now she can act (not her fault that director Darnell Martin does not rein in the hammier stuff) and boy, can she sing. She is gorgeous and she gives a serious, committed performance. And she may not be Etta James, but she brings power and feeling to the wonderful songs she sings. And she's paying her respects, as well she should.
At this point I have to say that Chuck Berry is everybody's Daddy and without the invention of his incredible sound and the best rock guitar riffs EVER, we'd have had no rock and roll and no pop music as we know it.
Not only was he a musical genius, but his lyrics are a hoot. This is one of my favorite songs of all time:

Riding along in my automobile
My baby beside me at the wheel
I stole a kiss at the turn of a mile
my curiosity running wild
crusin' and playin' the radio
with no particular place to go

Riding along in my automobile
I's anxious to tell her the way I feel
So I told her softly and sincere
and she leaned and whispered in my ear
cuddlin' more and drivin' slow
with no particular place to go

No particular place to go
So we parked way out on the Ko-ko-mo
The night was young and the moon was gold
So we both decided to take a stroll
Can you imagine the way I felt
I couldn't unfasten her safety belt

Riding along in my calaboose
Still trying to get her belt a-loose
all the way home I held a grudge
for the safety belt that wouldn't budge
Crusin' and playing the radio
with no particular place to go

Jan 4, 2009

Waltz with Bashir


One of the best movies of the year, this Israeli documentary animation film by Ari Folman is a powerful war film as well as an act of expiation and remembrance of the first Israeli invasion of Lebanon in the 80's. As the film begins, Ari Folman claims he can't remember anything about his deployment to Lebanon, but when he hears the recurring nightmare of a friend 20 years later, he has a flashback of swimming in the Beirut sea with fellow soldiers, but he can't remember anything about the massacre of Sabra and Shatila, perpetrated by Christian Lebanese Phalangists as the Israeli army turned a blind eye. The movie is as much about this amnesia as it is about the moral debasement that this invasion brought to Israel and its army. They can thank Ariel Sharon for that.
Through a series of interviews with former army mates and psychologists and a journalist, Folman weaves a tale of loss, memory and the horror of war, and as he engages in conversation, mining other people's recollections, he starts remembering more and more clearly where he was and what he did. Through his personal story and the surreal, compelling stories of his friends, he not only recovers his memory but questions the motivations for the invasion, which was the first time that Israel engaged in an offensive war. I can remember a time (actually all the way up to the Eighties) when there were no such films in Israel questioning the military and its operations. Up to that point all of Israel's wars were defensive and therefore they were deemed just. Nobody dreamed of objecting to serve or of questioning the morality or the motivations of the IDF. Lebanon opened up a can of worms that is still festering, but its aftermath also allowed some needed dissent in Israeli culture.
Now, I don't know what vitamins the Israeli film industry has been taking, but they are working: the recent output is extremely impressive. And if defiance must come through film, like in this movie and the excellent Beaufort, all the better.
Waltz with Bashir is a very intelligent film, and a most convincing war film. Had it been shot in live action, it could not have conveyed with such power, effectiveness, immediacy and originality the eerie madness of war, which it does better than any war movie I can think of in recent memory. The animation somehow makes it more real. (I also think it helps when the filmmakers themselves have been to war. They know exactly what it feels like. They're not making it up). Paradoxically, with animation we are not protected and distanced by the knowledge that the explosions are fake and the blood is make up and the soldiers are actors. The spare, rough animation style is perfectly suited to the topic. It does not beautify nor exaggerate war, but it does give it a surreal, existential sheen. It is totally compelling. And the emotional impact is harrowing.
Meanwhile, critics wax rhapsodic about Wall•e, a calculated, predictable, conventional, formulaic piece of fluff. Movies like Waltz with Bashir and last year's excellent Persepolis show the incredible emotional range and the capacity for mature art of animation. But here, we'd rather live in lalaland.

Dec 28, 2008

The Curious Case of Benjamin Button



It's not a good thing when a movie reminds one of Forrest Gump, which is on my list of execrable films of all time.
Once again, we sat through three hours of pointless vanity. The idea of growing young, starting old and becoming a baby, is totally fascinating. However, it is totally wasted in this empty film which decides to be instead about a mythical love story from childhood between Brad Pitt, not acting enough, and Cate Blanchett, acting way too much.
Somebody like Charlie Kaufman could have done marvels playing mind games with this concept. Unfortunately, David Fincher just goes through the motions. All the energy of the movie seems to have been channeled into digital effects and the result is utterly lifeless.
I am not a huge fan of Fincher's movies, not of Seven, or of Fight Club or of Zodiac. His penchant for yellow exhausts me, but I would have welcomed some of the nasty edge of his other movies.
This is just pointless, empty fakeness.
If you must sit through it, the one kick you will get is watching Tilda Swinton breathe life and intelligence into the film. She rules.

Dec 25, 2008

On DVD: Bob & Carol & Ted & Alice


I wanted to see for myself what this notorious 70's movie was about.
It's fantastic. It is a biting satire, a little clunky, very brutal, slyly funny and also charming and endearing and incredible. How did films like this get made? Now everything feels like product.
1.
I am utterly, desperately, tragically in love with Elliott Gould as he appears in this movie. The hottest, smartest, cutest Jew ever. And what an actor. There is an amazing, brutal scene between him and the fantastic Dian Cannon, who plays Alice, his wife, in which he wants to have sex and she doesn't. It is probably the truest scene of perverse marriage dynamics in the history of film and it is flawlessly executed. So after a give and take of almost Ionesquian proportions, she finally relents and tells him to give her the contraceptive pills. The look of boyish triumph in Elliot Gould's face encapsulates what volumes could be written about male sexuality in a single smile. I think it should be sent to outer space in one of those capsules they send trying to explain the human race to aliens.
This is a guy who never ever looked like he was acting. The most charming, effortless being in front of a camera. Ever. How cute was he. I can't bear it.
2.
Natalie Wood was not only extraordinarily beautiful, she was charming and lovely and fantastic and she carries the movie with poise and grace and intelligence.
3.
It's funny that in those days people were already into the new agey mumbo jumbo that has become a multimillion dollar industry these days but in those days you had to go to Esalen to practice tai chi and get into horrifying group hugs with total fucked up strangers .
The human body in the seventies was in great shape, but men did not look ripped and women did not look muscular and emaciated at the same time. They had lovely violin curves and great, toned legs that didn't look like they belong to the Terminator.
One misses the seventies, where people were far more passionate about everything. They demonstrated against Nixon, they did a lot of drugs, they wore ridiculous clothes with great panache, they were out there. Now it's like we're living in Stepford. We have been lobotomized.

Dec 21, 2008

Best and Worst Films of 2008: The Return

It's that time of year again when we remember the countless hours we spent rapturously at the movies. I may add to this list as the Holiday break affords me more time to go to the movies.

Best of the Best


The Class by Laurent Cantet
Hunger by Steve McQueen
Happy Go Lucky by Mike Leigh
The Headless Woman by Lucrecia Martel
Let The Right One In
Waltz with Bashir by Ari Folman
Encounters at the End of the World by Werner Herzog
Rififi! by Jules Dassin
Man on Wire

Good Films

Gomorrah
The Wrestler
Milk
A Christmas Tale

Decent Films

W.
I've Loved You so Long
Let It Rain by Agnes Jaoui
Stepbrothers
Jellyfish

Better than Expected

The Duchess
Vicky Christina Barcelona
(no great shakes, though)
Doubt
La Zona

Films I wish I liked more


Revolutionary Road
Religulous
Appaloosa
24 City
Tony Manero
Wendy and Lucy

Way Overhyped

Rachel Getting Married
Tell No One
Nick and ... Excellent Playlist (a total waste of time)

Meh

Burn After Reading

Pretentious Bores


Che
Synecdoche NY
Bullet in the Head

Dreck mit Kabebe

Slumdog Millionaire
I'm Going to Explode
Righteous Kill (De Niro and Pacino in a dud)
Un Mundo Maravilloso
Bullet in the Head

Didn't Bother

The Dark Knight
Anything with or by Clint Eastwood
Zack and Miri Make a Porno