Love & Mercy

Movies to See Right Now

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Olivia Cooke and Thomas Mann in ME AND EARL AND THE DYING GIRL
Olivia Cooke and Thomas Mann in ME AND EARL AND THE DYING GIRL

Right now, you can see four of my Best Movies of 2015 – So Far:

The Melissa McCarthy spy spoof Spy is a very funny diversion. Far from the Madding Crowd, is a satisfying choice for those looking for a costume bodice ripper.  I also liked the two-in-one Swedish comedy The 100-Year-Old Man Who Climbed Out the Window and Disappeared, a rich mixture of absurdity and broad physical humor.

My DVD/Stream of the Week is one of my Overlooked Noir, My Kind of Woman, where down-on-his-luck Robert Mitchum grabs a deal that he knows is just too good. His Kind of Woman is available on DVD from Netflix and streaming from Amazon Instant Video, iTunes, YouTube, Google Play and Flixster.

Don’t forget that Turner Classic Movies is filling each June and July Friday with film noir in its Summer of Darkness series, hosted by Film Noir Foundation president Eddie Muller – the Czar of Noir. The series schedule includes several favorites of my Overlooked Noir.

Last week, I told you that TONIGHT Turner Classic Movies brings us an unusually rich menu of classic film noir: Cornered, Crack-up, Gilda, The Big Sleep, The Killers, Nocturne and Crossfire.

Later this week on June 25, TCM brings us the 1973 cult sci-fi classic Soylent Green, which was utterly under appreciated until the past decade or so. Set in a dystopian future (like those so popular in today’s sci-fi), humans have pretty much destroyed the environment and most are impoverished, even homeless. The dietary staple is a green pellet provided by a mega-corporation. Charlton Heston is surprisingly effective as a jaded and solitary cop, whose investigation leads him to a horrifying discovery. The cast is very good, including Edward G. Robinson in his final performance. Soylent Green was directed by the versatile Richard Fleischer, 21 years after his noir masterpiece The Narrow Margin.

Charlton Heston in SOYLENT GREEN
Charlton Heston in SOYLENT GREEN

Movies to See Right Now

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John Cusack and Elizabeth Banks in LOVE & MERCY
John Cusack and Elizabeth Banks in LOVE & MERCY

Right now, you can see three of my Best Movies of 2015 – So Far:

The Melissa McCarthy spy spoof Spy is a very funny diversion.  Far from the Madding Crowd, is a satisfying choice for those looking for a costume bodice ripper.

My DVD of the Week is Frederick Wiseman’s 2010 brilliant and mesmerizing 2010 documentary Boxing Gym.   One of the few boxing movies that will appeal to most women, Boxing Gym is available on DVD from Netflix.

Don’t forget that Turner Classic Movies is filling each June and July Friday with film noir in its Summer of Darkness series, hosted by Film Noir Foundation president Eddie Muller – the Czar of Noir. The series schedule includes several favorites of my Overlooked Noir.

Speaking of which, I’m telling you NOW so you can set your DVRs. On June 19, TCM brings us an unusually rich menu of classic film noir: Cornered, Crack-up, Gilda, The Big Sleep, The Killers, Nocturne and Crossfire. The most famous – and my favorite – of these is The Big Sleep, with its iconic performance by Humphrey Bogart as the hard-boiled detective Philip Marlow and its impenetrably tangled plot. It’s also one of the most overtly sexual noirs, and Lauren Bacall at her sultriest is only the beginning. The achingly beautiful Martha Vickers plays a druggie who throws herself at anything in pants. And Dorothy Malone invites Bogie to share a back-of-the-bookstore quickie.

For something different, try out the early psychological thriller Crack-up, with Pat O-Brien as an art expert who is framed for a crime. As he tries to prove his own innocence, O’Brien is handicapped by a gap in his memory and repeated hallucinations of being in a head-on train collision.

Pat O'Brien in CRACK-UP
Pat O’Brien in CRACK-UP

LOVE & MERCY: a tale of three monsters and salvation

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Paul Dano as Brian Wilson in LOVE & MERCY
Paul Dano as Brian Wilson in LOVE & MERCY

Love & Mercy, the emotionally powerful biopic of the Beach Boys’ Brian Wilson, is the true life story of an extraordinarily gifted person facing three monsters.  Wilson is a musical genius, one of the great songwriting, arranging and producing talents of his century.  But his art and his very survival were tested by his tormentors until unselfish love found him an escape to treatment, and, ultimately, his salvation.

In his first feature as a director, veteran producer Bill Pohlad chose to depict two phases of Wilson’s life, with Wilson played by Paul Dano and John Cusack.

The first monster is Wilson’s father Murry (Bill Camp), an abusive father whose adult sons still fear after they have fired him as their manager.  What kind of father needs to belittle and sabotage his sons so he doesn’t have to acknowledge that their success surpasses his own?  Brian Wilson is deaf  in one ear from his father’s punches, but the psychological scars are even more deeply felt.

The second monster is Brian’s own schizoid affective disorder, a condition causing auditory hallucinations.  Brilliantly, Pohlad has chosen to let the audience hear what Brian hears. This can be thrilling in moments of musical inspiration.  And, of course, it is terrifying most of the time.

The third monster is charlatan psychologist Dr. Eugene Landy (Paul Giamatti), a Svengali-like manipulator, who over-medicates Brian, then confines him, while controlling and watching his every move.  Landy leeches off Brian’s fortune and is ruthlessly protective of his racket.

Murry and Landy are so scary that Beach Boy Mike Love, known to be (and portrayed here as) a colossal jerk, almost seems sympathetic by comparison.

In the younger Dano segments, we see Brian at his creative peak, emotionally tortured by Murry and about to be driven into a breakdown by his condition.   In the middle-aged Cusack parts, we see Brian, broken down by his illness, utterly helpless against and captive to Landy’s web of control.

Dano shows us Brian’s vulnerable genius. Cusack shows us Brian as gentle and genuine. The story of Love & Mercy is about how he escapes being under the thumb of his monsters, chiefly from the perspective of Melinda Ledbetter (Elizabeth Banks), the woman who would become his second wife. As good as are Dano and Cusack, Banks is absolutely stellar; her character must continually react to the unpredictability of Brian’s illness and the increasing horror of Landy’s tyranny.

From the beginning, Love & Mercy sweeps us up into the highs and lows of Brian Wilson’s life – and it’s a helluva life. Love & Mercy is one of the Best Movies of 2015 – So Far.  Watch the end credits all the way to the end.