Who better to play the explosively wacked-out music genius in Phil Spector than Al Pacino? Here, Spector is living in self-delusional isolation and still taking way too many drugs, and he’s on trial for his life. His defense lawyer (Helen Mirren) faces a dilemma – the only way the court will hear her best evidence is if she first calls her very unsympathetic client to the stand.
Phil Spector is written and directed by David Mamet (Glengarry Glen Ross, House of Games), but it’s very minor Mamet. The only reason to watch Phil Spector is for the inevitable Pacino meltdown. That meltdown is a doozy, but it exposes Phil Spector as more of a freak show than a complete film.
I really enjoyed Celeste and Jesse Forever, starring Rashida Jones and Andy Samberg as best friends who have been married, are now working on an amiable divorce and are still best friends. The screenplay is co-written by Rashida Jones (Paul Rudd’s fiance in I Love You, Man) and, once you accept the comic premise that this couple is made for each other but not as a married couple, everyone’s behavior is authentic. Sure, he wants to get back with her when she isn’t in a place to do that – and, then, vice versa – but the characters resolve the conflict as they would in real life. Here’s a mini-spoiler – this movie is just too smart to end in rushing to the airport or disrupting the wedding or any of the other typical rom com contrivances.
The supporting characters are funny without being absurdly zany (except for one pot dealer). Chris Messina pops up in Celeste, as he did in the other smart actress-written comedy Ruby Sparks, and does a good job here, too. I’m certainly looking forward to Rashida Jones’ next screenplay.
On the Road is the faithful but ultimately unsuccessful movie adaptation of the seminal Jack Kerouac novel. The novel is itself primarily remembered as memoir of the Beat Generation’s defining literary voices, for its stream of consciousness narrative and for the unforgettable portrait of Keroauc’s muse Neal Cassady as the character Dean Moriarity. Director Walter Salles succeeds in creating a wonderful time capsule of the Beats – but that’s not enough.
The story is centered on the famous series of road trips where Keroauc latches on to the the charismatic and erratic Cassady, hoping that their adventures will unclog Kerouac’s writer’s block. Although he has some independent escapades, Kerouac is essentially the observer, unleashing Cassady on North America. Cassady had insatiable appetites for sex, Benzedrine, marijuana, nonstop talking and driving long distances at high rates of speed, and he was a pillar of unreliability. If Cassady is known for anything, it’s for his twitchy freneticism and speedy monologues. If you’ve read On the Road and especially if you’ve seen film footage of the real Neal Cassady, you’ll find the actor Garret Hedlund’s portrayal too measured. Except for one jazz party scene, it seems as if Hedlund has never witnessed the effects of amphetamines. Unfortunately, the Cassady character – the throttle for the novel – is the brakes to the movie.
The narrative is pretty linear. We are SHOWN stream of consciousness at the end of the movie when Kerouac bangs out On the Road on his single 120-foot roll of typewriter paper. But the movie has none of the novel’s helter-skelter flavor.
But if anyone knows how to direct a road movie, it’s Walter Salles (The Motorcycle Diaries). Salles captures the long hauls across the vast continent and vividly depicts settings from gritty NYC to the never ending Nebraska plains. In one particularly nice touch, the characters enter San Francisco on a completely fog-shrouded Golden Gate Bridge, which Bay Area residents know to be a more typical experience than postcard weather on the Bridge.
The Keroauc character is ably played by Sam Riley, who has the less showy role of Kerouac’s cultural sponge.
Kristen Stewart plays Cassady’s 16-year-old bride; since she’s a big movie star, she gets more screen time than she gets pages in the book. That’s a good thing, because, despite all the grief she gets for the Twilight movies, Stewart can really act.
The surrounding cast is excellent. Tom Sturridge stands out as the young Allen Ginsburg. Alice Braga sparkles as the Mexican-American single mom that Keroauc picks cotton with. We glimpse Viggo Mortensen and Amy Adams as Beat figures William S. Burroughs and June Vollmer. Steve Buscemi is always welcome in a movie, and here he gets a creepy pencil-thin mustache. Kirsten Dunst and Elisabeth Moss do what they can with the roles of women scolding their unreliable men.
On the Road, with its fine secondary cast, is a leisurely tour through the Beat period, but without the energy of its pioneers.
This week’s best movie in theaters is the suspenseful German historical drama Barbara. In No, Gael Garcia Bernal stars as the regular guy who brainstormed the guerrilla advertising campaign that dethroned Chilean dictator Pinochet. The Incredible Burt Wonderstone is a pleasant comedy and a showcase for Jim Carrey. I admire Steven Soderbergh’s psychological thriller Side Effects, starring Rooney Mara, Jude Law and Catherine Zeta-Jones. Emperor, with Tommy Lee Jones as Gen. Douglas MacArthur leading the American occupation of Japan, is historical but plodding.
I haven’t yet seen Walter Salles’ Jack Kerouac movie On the Road, which opens today, or Sunday’s HBO movie Phil Spector. You can read descriptions and view trailers of upcoming films at Movies I’m Looking Forward To.
My DVD/Stream of the week is the most under-appreciated Big Movie of 2012, Zero Dark Thirty, director Kathryn Bigelow’s inspired telling of the hunt for Bin Laden.
Turner Classic Movies is showing a couple of my guilty pleasures this week. The 1958 Terror in a Texas Town is a lousy movie with an wonderfully implausible climax where the good guy (Sterling Hayden with a Swedish accent) take on a gunfighter with a harpoon. An even worse movie, 1964’s The Outrage tried to remake Rashomon with a Mexican bandit – and landed Paul Newman the #8 spot on my list of Least Convincing Mexicans.
The documentaryBeware of Mr. Baker traces the life of the extremely volatile legendary rock drummer Ginger Baker (Cream, Blind Faith). Baker is undeniably a musical genius, and the film highlights the stature of his work in both rock and jazz. Unfortunately, the nasty combination of his aggressively anti-social personality and his heroin addiction precluded successful professional and familial relationships. We hear about Baker’s good and bad sides from his former Cream band mates Jack Bruce and Eric Clapton, several of his ex-wives and his son, drummer Kofi Baker. And we meet Ginger Baker himself, for better and for worse. At one point, the septuagenarian Baker employs his cane to break the nose of the film’s director, Jay Bulger.
Bulger gets credit for comprehensive research into Baker’s life and times, for his inventive use of animation in depicting stages of Baker’s life and for getting the combustible Baker himself on camera. Beware of Mr. Baker is the skillfully told story of a fascinating life. Beware of Mr. Baker is now available on VOD through Amazon and other outlets.
My DVD pick is the most under-appreciated Big Movie of 2012, Zero Dark Thirty, director Kathryn Bigelow’s inspired telling of the hunt for Bin Laden. Zero Dark Thirty got smeared with some unfair punditry and didn’t get either the box office or the Oscar recognition that it deserved. Zero Dark Thirty is on my list of Best Films of 2012.
Bigelow, who won the directorial Oscar for The Hurt Locker, once again demonstrates an uncommon ability to enthrall. She chose to tell the story of the frustrating, wearying and dangerous ten-year man hunt, not just the exciting raid in Abbottabad.
We should all be grateful that this movie was made with Bigelow’s directorial choices. She is content to invest half of her screen time on false leads and wasted efforts – and makes them utterly gripping. She neither lingers on the violence nor shies away from it. In a scene where a CIA operative is looking for a man talking on a cell phone, the camera pulls back to reveal that he is on a chaotic Pakistani street with hundreds of men on cell phones – perfectly conveying the needle-in-a-haystack aspect of the search. As the Navy Seal team returns from the successful raid, the music is deeply thoughtful and reflective, not the triumphalist anthem that many directors would have used.
Zero Dark Thirty contains realistic and non-gratuitous depictions of war, terrorism and torture. The movie is, to my sensibilities, not too uncomfortable for most viewers. (You can also read my rant on Zero Dark Thirty and torture – I conclude that the filmmakers did not seek to promote, justify or apologize for torture used by US forces).
Jessica Chastain brilliantly plays the CIA analyst who doggedly and passionately pursues an unlikely lead that finally pays off after a ten-year grind. I’ve already rhapsodized several times about Chastain’s sudden emergence as perhaps our best current screen actress. She is profoundly gifted and can do anything. Let’s just say that, as good as Zero Dark Thirty is, she carries it.
The rest of the fine cast includes Jason Clarke (Lawless), Joel Edgerton (Animal Kingdom), Jennifer Ehle (The Ides of March, The King’s Speech), Kyle Chandler (Friday Night Lights), Fares Fares (Safe House), Jeremy Strong (The Guard), Mark Duplass and James Gandolfini.
In The Incredible Burt Wonderstone, Steve Carrell plays the title character, a schlub who has lucked into Vegas headliner success as a magician and has developed narcissistic entitlement, along with some destructive spending habits. Steve Buscemi plays his long suffering partner. Their prop-driven act, with its Siegfried and Roy schtick, is challenged by an emerging street magician a la David Blaine (Jim Carrey). Laughs result when the clueless Burt Wonderstone sabotages his own successful act and must come to terms with his own limitations; this being show biz, there’s a lot of unabashed backstabbing. There’s also a brief but very funny poke at celebrity charity in the Third World.
As we remember from his breakthrough performance in 1994’s The Mask, there are things that Jim Carrey can do that no other performer can. His movie vehicles since The Mask, however, have tempted him to preen and wink at the audience. Here, he has a well-written role that is perfect for his rubber face, physicality and sheer force of character, and he takes it to the max. It turns out that, while he can make us wince in a Jim Carrey movie, Carrey can make us belly laugh in a Steve Carrell movie.
The Incredible Burt Wonderstone benefits from a deep cast. The very game and able Olivia Wilde plays the exploited intern. James Gandolfini plays a deliciously ruthless and self-interested casino tycoon. The great Alan Arkin just gets funnier as he ages. And Jay Mohr is delightful in one his best recent roles, a hopelessly unsuited comedian named Rick the Implausible.
The Incredible Burt Wonderstone is fluff, but it’s fun fluff. And a showcase for Jim Carrey.
This week, the theaters feature three historical dramas, the best being the suspenseful German Barbara. In No, Gael Garcia Bernal stars as the regular guy who brainstormed the guerrilla advertising campaign that dethroned Chilean dictator Pinochet. Emperor, with Tommy Lee Jones as Gen. Douglas MacArthur leading the American occupation of Japan, is historical but plodding.
The documentary The Gatekeepers is centered around interviews with all six surviving former chiefs of Shin Bet, Israel’s super-secret internal security force; these are hard ass guys who share a surprising perspective on the efficacy of Israel’s war on terror. The documentary Mea Maxima Culpa: Silence in the House of God is now playing on HBO; it explores the Catholic Church’s decades-long cover-up of priest abuse from a Wisconsin parish to the top of the Vatican (and I mean the top). I admire Steven Soderbergh’s psychological thriller Side Effects, starring Rooney Mara, Jude Law and Catherine Zeta-Jones.
San Jose’s Cinequest Film Festival is over, and for a wrap-up, see my CINEQUEST 2013 page.
My DVD/Stream of the week is, fittingly, the Italian comedy We Have a Pope, especially in a double feature with Mea Maxima Culpa.
I usually don’t think of Dustin Hoffman as a comic actor, but some of his performances have been brilliantly funny, including Tootsie, Little Big Man and the essential The Graduate. Turner Classic Movies will be broadcasting those three films tomorrow night, March 16.
As Joseph Heller wrote in Catch-22, “Just because you’re paranoid doesn’t mean they aren’t after you”. Barbara’s suspenseful story is set in Cold War East Germany, so everyone is indeed being watched by the Stasi and informed on by their closest associates. Barbara is a doctor who has applied for an exit visa and has therefore been exiled to the hinterlands from a top Berlin hospital. Harassed by the Stasi, she is ever aware of everyone’s motives. She is played by Nina Hoss in a performance that is extraordinarily controlled, alert and suspicious.
Barbara herself is driven by two imperatives – to escape from East Germany and to provide expert and compassionate medical care. The story is a series of moments, some seemingly random, which tie together as the story builds to the climax, when the doctor must bet her life on a decision.
Barbara was co-written and directed by Christian Petzold (he won the Berlin Film Festival’s Silver Bear for his work). Given that’s it difficult to imagine how anyone else could have improved Barbara, I’ll be looking for Petzold’s next movie.
InNo, Gael Garcia Bernal stars as an ad man brainstorming the guerrilla advertising campaign that dethroned Chilean dictator Pinochet in a 1988 plebiscite. It turns out that the key was not to rehash the atrocities of the repressive Pinochet dictatorship, but to get his audience to picture the alternative democratic future. The ad man’s biggest challenge is to pitch his soft sell campaign to Pinochet’s ideologically driven opponents.
No has a grainy look and was shot in the same aspect as is television (i.e., not widescreen). This allows the transition between the filmed scenes and the inserted historical footage (including the original Yes and No campaign commercials) to be seamless.
I visited Chile in the last days of the Pinochet dictatorship, after the October 1988 plebiscite but before the new democratic government took office fifteen months later. No ably captures both the scariness of the authoritarian regime and the culture of the period. As always, Garcia Bernal is excellent. No was nominated for the 2013 Foreign Language Oscar.
