Entertainment – Page 17 – Ripple Effects

August: Osage County (2013), Ad-Lib in the Literal Sense

Tolstoy writes at the beginning of Anna Karenina this famous line: “All happy families are alike; each unhappy family is unhappy in its own way.”

That explains why we see more movies about dysfunctional families than happy ones, because there are just too many more unhappy stories to tell and countless ways to tell them.

Tracy Letts’s play August: Osage County was the 2008 Pulitzer Prize winner for drama. The stage production was well received as a hilarious satire and biting commentary of the contemporary, declining family. Surely, it’s ironic that we find humour in something that we ought to lament. However, it’s also true that the most accessible way for a writer to communicate is probably by means of drama, satire, humour, and entertainment.

The movie version evokes very different reactions. Reviews are mixed, and there are some harsh criticisms. One thing I find though, many of the critics admit to not having seen the stage performance. Well, I haven’t either, but I’ve at least done my due diligence, also to guard myself from A-list stars influencing my interpretation, I read the play before I went to see the movie.

First the reading experience. I’d thoroughly enjoyed it. The long quote like an epigraph at the beginning of the play prepares me for the content following. It describes parent/child relationships, from All The King’s Men by Robert Penn Warren. Let me just quote the last lines:

And the good old family reunion, with picnic dinner under the maples, is very much like diving into the octopus tank at the aquarium.

Three Weston daughters, Barbara, Ivy and Karen reunite in their childhood house outside Pawhuska, Oklahoma, in a family crisis. Their father Beverly had been missing, later found drowned, an apparent suicide. Beverly was a one-time award winning poet who in later life drenched his misery in alcohol. The matriarch is the foul-mouthed Violet Weston, a destructive roadside bomb that explodes upon the slightest human contact. What makes her even more bitter is what could well be her nemesis, mouth cancer. She is often high on prescription drugs, while she prides herself that nothing slips by her without her noticing. She’s not demeaning, just ‘truth-telling’.

There are dark secrets in that old house unknown to the daughters, exposed during this present crisis. The twists and turns in the plot only accentuate the decayed skeleton of a family. But Letts’s lines are thought-provoking, albeit well mashed-up with curses and abrasive language. But there are LOL dialogues and humorous moments, and overall, an entertaining, well crafted play. It starts off with this line: “Life is very long… T. S. Eliot”, and before the final Blackout it finishes with: “This is the way the world ends, this is the way the world ends, this is the way the world ends…” Hollow men in their precarious condition.

Intelligent lines, a far-fetched character, but not impossible situations, and yes, some nasty verbal and literal combats. I must say, having read the play helps me appreciate the movie more despite its faults.

So, here we go round the prickly pear…

THE MOVIE

If you haven’t read the play or seen the stage production, you just might be in for some rude awakening. Director John Wells is known more for his TV series than his one full length feature The Company Men (2010). I’m glad though that Tracy Letts writes the screenplay himself. He keeps many of the lines intact, and adds some scenes for dramatic and cinematic effects.

While exuding fearful authority to everyone who crosses her path, Meryle Streep is fearless in adopting a vocabulary of expletives and curses playing Violet Weston. Her daughter Barabara (Julia Roberts) is more restrained and obviously exasperated to find herself slipping into similar form in relating to her recently divorced husband Bill (Ewan McGregor) and teenaged daughter Jean (Abigail Breslin).

Ivy lives close to Violet but no more as she has her exit plan. However, we know what best-laid plans often do. Youngest sister Karen changes men like wardrobes; oblivious (or maybe not) to her, her present fiancé Steve (Dermot Mulroney) looks like another disappointment. Mattie Fae (Margo Martindale) is a supportive sister to Violet, but she too has to nurse her own unspeakable past. Her husband Charlie (Chris Cooper) is probably of the soundest mind in this family. He has spoken a few admirable lines as he confronts his wife’s maltreatment of her own son, Little Charles (Benedict Cumberbatch). But of course, Mattie fae has her own Gordian knot to deal with.

The person that silently offers practical help whenever there are crashes and especially so in the last scene is the aboriginal maid hired by Beverly a few days before he disappears. Johnna (Misty Upham) cooks, serves, observes, and raises moral protest with a shovel. She is the one at the end of Letts’s play softly reciting T. S. Eliot’s lines, “This is the way the world ends…” while Violet utters: “and then you’re gone, and then you’re gone, and then you’re gone…” In the movie we hear Clapton’s ‘Lay Down Sally’: “But won’t you make yourself at home and stay with me? Don’t you ever leave…” Less literary and more obvious.

The key to enjoying the movie is to find entertainment in its dark comedy, taking misbehaviour and maltreatments as satire, overly dramatic scenes as farce, exaggerated gestures and facial expressions as comedic spasms. But of course, there are scenes that are serious, thus sending the mixed messages of an incongruent genre. For entertainment purposes here, I think it is fine to feel poignancy through the chaos.

Yet the movie has its faults, and it’s not hard to pick out. Inconsistency in blocking of characters is an example. One obvious scene is when Bill is driving Barbara to identify her father’s body. We see Barbara sit in the back seat with daughter Jean, delivering her ‘die after me ” plea. As the car stops, the camera points to the front of the car and we see Barbara (or her stand-in) steps out from the front passenger seat.

But overall, as a play turned movie, it is less claustrophobic than the one-room setting of Carnage (2011). And the entertainment value can be found in the acting of most of the characters, in particular, Streep and Roberts. If there are faults, they are not in over-acting. Roberts’s restrained performance is a good counter-balance to Streep’s overbearing character. Watching the movie, I have the feeling that Wells is following Letts’s written description in the literal sense. Why, in the play, the floor wrestling between Violet and Barbara is written with these words: “ad-lib“.

~ ~ ~ Ripples

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2014 Book to Movie Adaptations

I’m sure without any more suggestions, you have plenty to read already. But just in case you’re one of those who likes to read the book before watching its movie adaptation, here’s a list to add to your 2014 reading:

A Most Wanted Man by John Le Carré

The most recent John Le Carré novel to be adapted into a movie. He has eight so far. Philip Seymour Hoffman, Rachel McAdam, Robin Wright, Daniel Brühl star. Directed by Anton Corbijn whose last film was the thoughtful The American (2010), a film adaptation I found to be much better than the book. A Most Wanted Man is to be premiered at Sundance Film Festival, Jan. 16-26, 2014, in Park City, Utah.

The Double by Fyodor Dostoyevsky

A government clerk after seeing his own double–but a completely opposite personality from his introverted and unsure self–ultimately goes down a path of madness. Should be one captivating psychological thriller, but interestingly according to IMDb, it’s a comedy. Jesse Eisenberg stars (I can see the casting is spot on). At TIFF last year. To be screened at Sundance this January.

Every Secret Thing by Laura Lippman

Acclaimed psychological thriller about missing children and their abductors now turned into suspense drama by director Amy Berg, known for her riveting documentary West of Memphis (2012) about the ‘West Memphis Three’. Adapted screenplay by Nicole Holofcener, who wrote and directed the recent, award winning indie film Enough Said (2013). Dakota Fanning, Diane Lane.

Far From the Madding Crowd by Thomas Hardy

Carey Mulligan stars as Bathsheba Everdene, screenplay adaptation by David Nicholls, who has written other classics adaptations such as Great Expectations (2012), Tess of the D’Urberville (2008). But my personal favourite of his works is the gem When Did You Last See Your Father? (2007) And if you’ve seen the intense Danish film The Hunt (just nom for an Oscar), you’d be curious to see its director Thomas Vinterberg at the helm of this latest Hardy adaptation.

Gone Girl by Gillian Flynn

A woman mysteriously disappears on the day of her wedding anniversary. A NYT bestseller, the thriller will be directed by David Fincher, two-time Oscar nominee for The Social Network (2010) and The Curious Case of Benjamin Button (2008). Ben Affleck, Roasmund Pike, and Neil Patrick Harris star.

Hector and the Search For Happiness by François Lelord

Psychiatrist turned writer Lelord’s internationally popular book about a psychiatrist’s globe-trotting search for happiness. Sounds like a delightful read and an original movie idea. Intriguing cast includes Rosamund Pike, Toni Collette, Christopher Plummer, Simon Pegg, Stellan Skarsgård. If I’m attracted by the cover to read the book, it will be this one.

Labour Day by Joyce Maynard

From the POV of a 13 year-old boy, how his labour day weekend changes his life as an escaped convict (Josh Brolin) asks him and his mother (Kate Winslet) for a temporarily shelter. Mother and son soon find that he could well be the husband and father they respectively need. But of course, there are twists and turns. Jason Reitman (Up In The Air, 2009) writes the screenplay and directs. Winslet got a Golden Globe nom for Best Actress for her role.

Life Itself by Roger Ebert

Ebert’s memoir is adapted into a documentary by Steve James, whose film ‘Hoop Dreams’ was greatly supported by Ebert twenty years ago. Life Itself the book is an eyewitness history of film criticism in America, on top of a moving personal memoir. The doc will premiere in Sundance beginning today Jan. 16 – 26. Click here to read my personal encounter with the legend.

Madame Bovary by Gustave Flaubert

A quick jump for Mia Wasikowska from Jane Eyre to Emma Bovary. Of course, she’s also Alice in Wonderland, and a sequel of that will be coming out in 2016. Paul Giamatti co-stars. I’m delighted to see all these classics being adapted into modern movies, raising awareness for a new generation of readers. Let’s just hope the film does justice to the literary source.

The Monuments Men by Robert Edsel

I’ve mentioned this before. The true but untold story of how a group of rescuers called ‘The Monuments Men’ in war-torn Europe saved art and artifacts from the Nazi’s. In the introduction of the book, the author writes: “Hitler and the Nazis pulled off the ‘greatest theft in history’, seizing and transporting more than five million cultural objects to the Third Reich.” Star George Clooney, Matt Damon, Cate Blanchett, Jean Dujardin (The Artist), Hugh Bonneville (so Lord Grantham finally gets the chance to go into the battlefield).

Noah

Read the Bible. This epic adaptation is based on the Biblical account of Noah and the Great Flood. Helmed by Darren Aronofsky, Oscar nominee for Best Director for Black Swan (2010). Russell Crowe is Noah, and Anthony Hopkins is … uh… Methuselah. Others include Emma Watson, Logan Lerman (as Ham), Douglas Booth (Shem), Nick Nolte (?) Interesting postmodern interpretation I suspect.

Winter’s Tale by Mark Helprin

All ye Downton Abbey and Lady Sybil fans, this is the first movie Jessica Brown Findlay made after Downton, with co-stars Colin Farrell, Jennifer Connelly, Will Smth. Directed by Akiva Goldsman, Oscar winner of Best Adapted Screenplay for A Beautiful Mind (2001). The setting is interesting as it depicts the story from both the beginning and the end of the 20th C. Another time warp fantasy. Click here to the book’s webpage.

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More titles mentioned by commenters (A sequel list will come at a later date):

Serena by Ron Rash (Jennifer Lawrence, Bradley Cooper)

Suite Français by Irène Némirovsky (Michelle Williams, Kristin Scott Thomas)

Son of God based on The Bible

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Downton Abbey Season 4 Episode 2 (PBS)

CLICK HERE to Season 4 Episode 3 (Jan. 19, PBS)

After an uneventful two-hour opener last week, Downton has gone Gosford Park on us here in Episode 2 (E2 on PBS. In UK aired Sept, 2013 this is E3). Don’t forget, Julian Fellowes wrote the Oscar winning screenplay of that Altman directed movie Gosford Park. And so we’re warned from the start. ‘Viewers Discretion Advised’, as scenes may not be bearable for everyone.

Before we move on to discuss that tragic scene, I think there are several good things in this episode. First is, good for plot development, Mary finally has stepped out of mourning. She reconnects with her childhood acquaintance Anthony Gillingham at a weekend house party in Downton. That’s seven months after Mathew’s death, too early? Isobel Crawley may think so. While this is the first time Tom hears Mary laugh, Isobel sadly replies, ‘I find it hard to join in the merry-making.’ Lord Gillingham seems like a decent prospect, but here’s the rub: he’s engaged. Of course, under the pen of Julian Fellowes, that isn’t too big an obstacle.

During that party, Tom feels absolutely out of place. Edna is quick to console. Troubles brewing.

A moving scene is Dame Kiri Te Kanawa, the real-life diva herself, appearing as a guest star in this Episode as the real-life Australian opera singer Dame Nellie Melba upon the invitation from Cora. She sings several arias to entertain the guests. One of them is her favourite, O mio babbino caro, which she dedicates to love and lovers. Kiri Te Kanawa’s mesmerizing voice singing this Puccini aria has made an indelible mark in my movie memory from the Merchant Ivory adaptation of E. M. Forster’s A Room With A View (1985). Maggie Smith (Violet Crawley) must have felt an affiliation with this piece since she herself had starred in that legendary film. (Click here to listen and view a short clip.)

Edith has brought Gregson to the party but Robert avoids talking to him, until money is involved. Gregson has done some heroic poker playing to gain back lost ground for Robert who thanks him for ‘saving his bacon.’ Gregson winning back ‘fair and square’ from the dubious poker player Terence Sampson just might have revealed a bit of his past, schemes he learned in his ‘misspent youth’. This person remains a mystery still. Should Edith be more cautious?

As Dame Nellie Melba sings the love aria upstairs, good-natured Anna encounters evil embodied in Gillingham’s butler Green downstairs. I’m afraid from this point on, she will be a changed person. Green strikes Anna hard on the face and drags her into a room. The subsequent rape is hidden from our sight, thankfully, but we can see the aftermath. The charming voice of a diva singing a love aria upstairs is juxtaposed with the unheeded screams from Anna downstairs makes a powerful and ironic dramatic device. Anna has been the bulwark, a pillar of quiet strength and principle in the Series up to now, I can understand the outcries from fans.

Is this too harsh a dealing from Julian Fellowes? I don’t feel this scene is gratuitous or sensationalized. Why, Mr. Bates has been imprisoned for a crime he did not commit, William dies from a war wound, Lavinia a casualty of scarlet fever, Ethel has to resort to prostitution and give up her son, Sybil meets her end after childbirth, Matthew crashes out, it’s not the first time tragedy happens to Downton characters. No, I wouldn’t want to see Anna suffer either. But if that is the twist in the plot, I’m eager to see what will happen next. This drastic turn will bring some tension between Anna and Bates as she tries to hide the fact of her wounds, worrying that if Bates knows about it, he will likely do something to Green that will send him back to prison or even hanged. Further, the social stigma of being a rape victim would lead to even more detrimental consequences.

Julian Fellowes has just reminded us that Downton Abbey is more than fashion and parties, etiquettes and zeitgeist of the roaring twenties. It is foremost a world inhabited by humans, with all their tragedies and ugliness.

I’m adding this note in. Some of you have provided stats on sexual assaults and a link to an interview with Joanne Froggatt, all point to the unfortunate social reality that crimes against women are still happening today, and, tragically, the stigma of being a rape victim is just as acute as in the past, while reporting only threatens them even more. Like Anna, they are twice victimized; first being raped, and after, silenced.

Yes, Mr. Carson, this is a topsy turvy world you’ve come to.

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Fresh off the press: Season 4 Episode 3 (Jan. 19 PBS)

Downton Abbey Season 4 Opening 2 hour Special

Inside Llewyn Davis: A Serious Man in Greenwich Village

As preparation for the movie, I bought the CD soundtrack a few weeks before. This has proven to be a mistake, for I’d been listening to it so much that when I watched the film, I wasn’t surprised by the music at all. I consider that a loss. It would have been much better that I were mesmerized by that haunting voice of Llewyn Davis (Oscar Isaac) for the first time as I watched the movie.

Music is a major player in many Coen brothers movies, often used to comedic and acerbic effects. The whole odyssey in O Brothers Where Art Thou (2000) comes to mind readily, or Jefferson Airplane in A Serious Man (2009) where ‘Somebody to Love’ reinvents itself, or even in True Grit‘s (2010) ‘Leaning on the Everlasting Arms’ as we see the one-arm Mattie Ross riding into the sunset.

But in Inside Llewyn Davis, music is no laughing matter. Llewyn is the serious man here, a folksinger down on his luck. T. Bone Burnett has crafted an impressive music production. It should be noted too that Marcus Mumford, lead singer of Mumford and Sons and husband of Carey Mulligan, is also involved in the song arrangement and singing, in particular, the part of Llewyn’s duo partner Mike in ‘Fare Thee Well’.

The setting is New York City’s Greenwich Village, 1961. Llewyn is a folk music purist, an idealist. All he wants is a gig to kick off as a solo performer. The backstory is that his singing duo partner had committed suicide by jumping off the George Washington Bridge. The record he has produced as a soloist isn’t selling. It’s cold in NYC, Llewyn is homeless and coatless. Maybe it’s arrogance coming from being a music purist that makes him callous and abrasive, even to fellow folk singers, or maybe he needs to have that aloof hardness as an armour to sustain the slings and arrows life hurls his way.

O, if only Llewyn’s personality were as charismatic as his voice, he probably would have done better in life. Despite his musical talents, our protagonist, like a Shakespearean tragic hero, is trapped by his own character flaws and tripped by no small amount of fate, he slips slides into the wayside. Sadly, that’s exactly where he lands at the end of the movie.

He has friends and acquaintances, but there’s not much that they can do to help. He has already made the best use of their couches, and some of their wives. The latest to get pregnant is Jean, played against type by the sweet Carey Mulligan, all wrapped up in anger, understandably so, for her friend Llewyn is more concerned about a lost cat than her upcoming abortion. Jean has a very limited vocabulary to express herself except the overused expletive. Not a pleasant role to play I’m sure. Her character could have been written with a bit more depth.

Jean and her husband Jim (Justin Timberlake) are also folk singers but ‘careerists’ according to Llewyn. They would one day concede to life in the suburb, settle down and have kids. ‘Is that so bad?’ Jean asks Llewyn. The answer is obvious. Llewyn is definitely not going down that path.

Talented folk singers converge at the Gaslight Café in Greenwich Village during the 1960’s. Why some succeed and others don’t, the Coen brothers seem not so much to offer rational explanations than to depict the misfortunes of one. In that dim, brick-walled and smoke-filled Café, we hear some fantastic singing. We hear Jim, Jean and their friend Troy (Stark Sands) perform ‘Five Hundred Miles’, evoking Peter, Paul and Mary. At one point, to an oblivious Llewyn, we see the silhouette of what looks like Bob Dylan and hear his voice singing ‘Farewell’.

Cinematography (Bruno Delbonnel) sets the mood from the opening scene. In that basement Café, we see the place dimly lit with spotlight on Llewyn’s face, as his ‘Hang Me, O Hang Me’ captivates us right away. We follow him later as he steps outside to a pitch-dark alley where he meets his nemesis. Even during the day, we see him walk on wind-swept streets under dull, grey sky. The overall bleakness can be soothed only when Llewyn picks up his guitar and sing. His voice seems to be able to neutralize any outrageous fortune.

Llewyn takes a surreal road trip to Chicago to try his luck with a club owner Bud Grossman (F. Murray Abraham, a double for Bob Dylan’s manager Albert Grossman?) He is stuck in the car with the old and sardonic Roland Turner (John Goodman) who wraps up his opinion in one short line: “Folk singer? I thought you said you were a musician.” If the trip seems absurd, it could well be the exact impression the directors intend. We follow one week in the life of Llewyn Davis, a week of failed attempts, gloomy encounters, and bleak prospects. The only light is the voice.

~ ~ ~ 1/2 Ripples

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Related Reviews on Ripple Effects:

A Serious Man (2009)

True Grit (2010)

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Top Ripples of 2013

It’s not easy to rate a whole year’s experience by Ripples, unlike a two-hour movie. However, here are some stats I’ve compiled for my own records.

Ripple Effects is all about books and movies. For me, watching a movie definitely is a much easier activity than finishing a book. So far this year, my movie number is around 100, almost three times as many as books I’ve read. They include movies I’ve watched on the big screen in theatres, at TIFF, and on DVD and Blu-ray formats at home. But I’m sure there are still a few I’d forgotten to jot down.

I’ve written 16 movie reviews on Ripple Effects this year, and they are not all 2013 releases. This number represents only a dearth of my film experience. From this small collection, there are two that I’ve given 4/4 Ripples (I’m sure I’ll add some more in this Award Season):

Nebraska
12 Years A Slave

These two came close, with 3½ Ripples:

Before Midnight
The Disappearance of Eleanor Rigby: Her (TIFF 13)

And several more with 3 Ripples. Click here to my review list.

For my trip to Toronto to attend TIFF in September, definitely a 4-Ripple experience.

Many of the movies I watched this year are “catch-up’s”. They are cinema classics I’d missed over the past decades. These are films that I’d long wanted to see but had not the time or the chance to. Yes, this ‘catching-up’ activity is a most enjoyable time for me. They don’t make movies like these anymore. No CGI, no colours even, yet we can see a kaleidoscope of characters, fantastic scenes and poignant human conditions. So, Top Ripples go to:

Federico Fellini’s I Vitelloni (1953), La Dolce Vita (1960), 8½ (1963)
Victorio De Sica’s Bicycle Thieves (1948)
Robert Bresson’s Au Hasard Balthazar (1966)
Akira Kurosawa’s Ikiru (1952), Rashomon (1950)
Sidney Lumet’s 12 Angry Men (1957)

Some others are book-related. Before the newest remakes come into being, I’d like to experience the original version, like:

Hitchcock’s Rebecca (1940)
Elia Kazan’s East of Eden (1955)
John Ford’s The Grapes of Wrath (1940)

Still other films I watched and/or rewatched to prepare for or just to go together with what looks like is their latest version, or homage, if you will, like the following to coincide with Before Midnight (2013):

Ingmar Bergman’s Scenes from a Marriage (1973)
Woody Allen’s Husbands and Wives (1992)

Or Elia Kazan’s A Streetcar Named Desire (1951) to go with Woody Allen’s Blue Jasmine (2013)

Along the way during this rewarding movie-watching year, I’ve discovered some foreign language films, two in particular stand out: Korean director Chang-dong Lee’s Poetry (2010) and Secret Sunshine (2007)

As a freelance reviewer, I continue to be a contributor to Asian American Press as their film and arts guest columnist. Further, and this I’m really excited about, my feature article on the Canadian-Korean playwright/actor Ins Choi was published on the December 4th issue of Curator Magazine.

Even though I’ve only read a small number of books compared to movies watched, I’m glad I’d completed a major challenge, and that’s reading Proust. It’s definitely a 4-Ripple experience for me, despite having had to slash my way through thickets and at times, find my way out of a literary labyrinth. My post on this first taste of Proust was featured on WordPress’s ‘Freshly Pressed’. Now that’s the bonus madeleines on top of an already savory meal.

Another book I hold high esteem is Eric Metaxas’s Bonhoeffer, a Read-Along I hosted earlier in 2013. I’d enjoyed the camaraderie of reading the same book with others, and the discussion of ideas. Finishing a book or not is not as important as taking part in the journey, even for a little while, as we share our thoughts. 4 Ripples.

For old acquaintances and new friends I’ve made in the blogging world this year, I must give another 4 Ripples. This is the major reward of blogging. To all the new blogs and sites I’ve discovered, I’ve thoroughly enjoyed our mutual visits.

As for posts, looks like my “Quotable Quotes from Downton Abbey” has taken over “Memorable Movie Love Quotes” as the most popular these days. And I can understand why. Let’s get ready for Downton Season 4, coming up in just a few days.

And for my adventures as a nature paparazzo and bird-stalker, I give them nothing less than Top Ripples.

To 2014, I have a few ideas. This may involve a bit more individual studies, and researching into topics that have interested me for some time. Yes, films and their influence in our postmodern culture, into that topic I will continue to delve. So there you have it, more books and movies to share with you all. As always, I invite you to come by the pond and throw in your two pebbles. I cling on to my motto: “Serenity is golden, but sometimes a few ripples are needed as proof of life.”

To All, a Four-Ripple 2014!

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Nebraska (2013): Color is Superfluous

When a director decides to shoot his film in black-and-white, he must have certain confidence in the story, characters and aesthetics that he feels color may just be a distraction or even superfluous. Alexander Payne’s Nebraska is exactly that.

I have thoroughly enjoyed this slow-paced, thoughtful, aesthetically gratifying, and deadpan funny movie. To take a break from the cacophony of festivities, the hustle and bustle of Christmas shopping, dinner planning and party hopping, Nebraska is a surprisingly fitting film to watch.

By no means is this a ‘holiday movie’, but if the season is about family, giving, and love, this is an apt offering on the big screen. There are strong thematic undercurrents that carry the quiet story from beginning to end. And I was gratified to see, once again, that visuals speak louder than words when it comes to the cinematic medium.

Woody Grant (Bruce Dern) is an old man of few words. Maybe the onset of dementia has driven him even more delusional and isolated, and alcohol doesn’t help either. Dern’s performance is spot on and totally engaging. From a marketing promo in the mail, Woody is convinced that he has won a magazine sweepstakes of one million dollars. He needs to get to Lincoln, Nebraska, to claim his prize. We see him at the beginning of the movie heading to Nebraska from Billings, Montana, on foot. He is too old to drive but not to walk.

Woody’s brash and critical wife Kate (June Squibb) calls their estranged sons David (Will Forte) and Ross (Bob Odenkirk) for help but all fail to dissuade him. Soften by the old man’s total absorption, and too kind to douse his dream, David takes a few days off work to drive his father to Nebraska. Thus begins an unlikely bonding road trip for father and son.

To quench his delusion, Kate and Ross will converge in Hawthorn, Nebraska, a town where Woody was born and spent most of his energetic years. There in Hawthorn, a fictitious town for the movie, they will meet up with Woody’s older brother Ray’s family for an impromptu reunion, hopefully to get Woody’s mind off Lincoln and the prize, and then they will return home to Montana after.

Hawthorn is the home of a younger Woody, a past that he rarely mentions, a place where his son David will come to discover a father he had never known. At Ray’s home, David meets his not-so-friendly cousins Randy (Kevin Kunkel) and Cole (Devin Ratray, remember the bad burglar from the first two Home Alone movies?) While the town folks are all congratulatory on his million-dollar win, Woody’s old auto business partner Ed Pegram (Stacy Keach) suddenly reminds him of outstanding debts.

A character whom I find the most endearing is Woody’s girl friend of his youthful past, the long time editor of the town’s newspaper Peg Nagy (Angela McEwan). She wants to run an interview with Woody about his alleged win. David meets up with her at the newspaper to clear up the misunderstanding. There we see a gentle and kind old lady who seems to have much admiration for his father, knowing him in the past as a sturdy, young man. Though now a widow, Peg is a happy and fulfilled grandmother. This is probably the most poignant scene of the movie. Through David’s learning of his Dad as a promising young man and this quiet, pleasant lady Peg, the haunting thought seeps into our mind: ‘What if things turned out differently?’ The black-and-white medium could well be the message itself. We are reminded of a past which we cannot relive. At the same time, we are provoked to think of the alternative scenarios of what could have been.

Director Payne had won two Oscars both for Best Adapted Screenplay for his previous acclaimed movies Sideways (2004) and The Descendants (2011). Nebraska is a totally different work, and one which I like the most among the three. A common thread that runs through all of them is the prominence of specific locales, the California wine country in Sideways, Hawaiian islands in The Descendants, and here the scenery flanking the long stretch of highways from Montana to Nebraska. In stirring and soulful black-and-white, the passing wide landscape of rolling hills and boundless prairies convey the existential passage of time, lost youth, and whatever memories that one accumulates or tries to forget, all immaterial as old age takes over, a soulful touch from the director of the new retiree played by Jack Nicholson in About Schmidt (2002).

But this is a comedy, and there are lots that I have responded with spontaneous chuckles and laughs. The humor is totally enjoyable, and so is the overall atmosphere. We see a change in the mood as the son begins to appreciate more about his father. The ending is affective and gratifying. A check on IMDb leads me to the tidbit that director Payne was born in Omaha, Nebraska. Ah… the river runs deep.

If I have a say, Nebraska would appear in the upcoming Oscar nominations for Best Picture, Best Director, Best Actor (Bruce Dern), Best Cinematography (Phedon Papamichael), and Best Screenplay (Bob Nelson). However, considering the black and white styling, and the quiet, low-tech and slow-paced storytelling, it just may not attract those who are spectacle-driven. But that would be their loss.

~ ~ ~ ~ Ripples

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Other Awards Season Reviews on Ripple Effects:

12 Years A Slave: Beauty and Sadness

All Is Lost

Lee Daniel’s The Butler: The Trouble with Famous Faces

The Book Thief: From Book To Film

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The Book Thief (2013): From Book to Film

It’s been a week since I watched The Book Thief, but the face of Geoffrey Rush still creeps into my mind every now and then. We were talking about famous faces on a previous post. A good actor draws you right into his character without distractions from his previous roles, and here’s a good example. Regardless of Rush’s successful roles in the past, here in The Book Thief, I only see Hans, the nondescript yet loving step-father to Liesel.

The movie is an adaptation of the popular 2005 YA novel of the same name by Markus Zusak. The book had appeared on the New York Times Bestseller list for 375 weeks. It had since been translated into more than forty languages. Congruent with the age target of the book, this is an appropriate adaptation. It is a PG movie, so we won’t see the violence and horror as intense and explicit as in Schindler’s List.

Before anyone jumps to shoot it down as a ‘sanitized’ version of the Holocaust, let me just say it pertains to the spirit of the novel in quietly depicting life in a small German town under the pressure of Nazi warmongering. It shows a side of the usual WWII movies we seldom see, the ordinary German folks. Zooming in on a street in a small town, it shows the effects of a fierce political regime have on its grass-root citizens: husbands and wives, children, friends, neighbors and acquaintances like the neighborhood tailor or accountant, some of whom suddenly taken away and labelled as the Enemy: Jews.

The focus of the story is on the humanity. No doubt, the majority of the town folks are swayed by and immersed in Nazi ideology, yet there are still a few who stand silently against the ferocious regime, but can do nothing. Even a feeble voice of dissent will send them to conscription regardless of age. That’s what happens to Hans.

As in the book, we have Death as the voice-over narrator, quietly looming over the fictional town Molching, busy at work. Liesel (Sophie Nélisse) arriving at her new home to her adopted parents on Heaven Street. Yes, ironic, since her little brother has died during the trip. The girl soon finds her new home a comfort, and makes a new friend with Rudy (Nico Liersch) next door. Her step-mother is Rosa, played by Emily Watson who reprises her role as in The War Horse as the seemingly tough and bossy wife and overseer of the home. Her husband is Hans, played by Geoffrey Rush with affective charisma, who shows himself from the beginning that he is the emotion powerhouse, the engine that runs the movie.

Directed by Brian Percival (who helms episodes of Downton Abbey), the movie is unabashedly explicit in its emotional channeling. By that, I don’t mean it’s overtly sentimental and melodramatic. The fine line that separates the two may be the word ‘restraint’. Rush and Watson have depicted this quality memorably. He may look oblivious in appearance, but is ever wise and compassionate in spirit; she conversely holds a feisty facade only to hide a tender and caring heart. It is a delight watching them relate to each other.

For a YA novel turned into film, the spotlight has to be on the young protagonist Liesel. Sophie Nélisse is a precocious rising star who has won a Genie in the acclaimed French Canadian film Monsieur Lazhar (2011). She has already won a Spotlight Award at the Hollywood Film Festival for The Book Thief. Nico Liersch playing Rudy looks to be a few years too young, but being a good actor, the two loyal friends ultimately shine through as the movie picks up its momentum.

The plot line of hiding the Jewish young man Max, son of Han’s wartime comrade to whom he owes his life, adds texture to the story. Max inspires Liesel to love words even more, igniting that spark in her later to write down her story. To Max, the hiding place is more than a shelter from the storm. It is his connection to the decency and dignity of being human. The snowball fight in his hideout in the basement is one of my favorite scenes.

As for books, reading, and words, looks like they just work as a cover, in both the book and the movie. That Liesel comes as an illiterate ten year-old in Germany may not be quite plausible. The few episodes where she steals a book are incidental, lacking potent effects. The movie nevertheless is persuasive in its subtle way by turning mere book characters into flesh and blood human beings. The Book Thief is about humans. It shows their ugly face that haunts even Death, and their triumphant side that makes Death envious, the power to love, to hope, and to live despite tragedy and loss.

This is not a great film, but one that quietly touches, and subversively moves one to tears. It will not make any major award list, and would likely be dismissed by some critics. But this is the kind of films that, years later, one would discover serendipitously and exclaim, “Why have I missed this little gem?”

~ ~ ~ Ripples

12 Years A Slave (2013): Beauty and Sadness

UPDATE Feb. 16: 12 Years A Slave just won BAFTA 2014 Best Film and Chiwetel Ejiofor, Best Actor.

UPDATE: 12 Years A Slave is nominated for 9 Academy Awards including Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay, Best Costume Design, Best Production Design, Best Film Editing.

Movies this season seem to come in pairs in terms of subject matter, which makes interesting viewing. Gravity and All Is Lost is a pair. Lee Daniel’s The Butler and 12 Years A Slave another. I watched them purposely back to back.

12 Years A Slave is powerful in many ways, most readily is the aesthetics and styling, both visual and audio. Before he turned to directing, Steve McQueen was a visual artist trained in fine art in London and New York, and it shows. His cinematic work is a testament to the fact that film is a mixed-media art form. More importantly, it shows that film art does not have to be esoteric, or be appreciated only by an ‘artsy’ few. 12 Years A Slave is an exemplar. It carries no elitism but speaks to all. What more, the subject matter may be ugly, but the medium depicting it can be artistically gratifying, thus, conveying the message with even greater potency and inspiration.

The film is an adaptation of the 1855 memoir written by Solomon Northup, a free black man, known for his skills in playing the violin. He was living happily with his wife and two children in Saratoga, New York. One day, two men came to offer him a gig to play the fiddle at a circus. Solomon was deceived, drugged, and later smuggled to Louisiana to be sold as a slave. There for twelve years, he endured insufferable hardships until he miraculously met a Canadian carpenter named Bass who stood against slavery. With his help Solomon found freedom and rejoined his family.

I disagree with some critics who assert that the film is too artfully directed, pristine and sanitized to convey the ugliness of the subject matter. One of the qualms they have is with a scene at the beginning of the movie wherein a beating is being shot with artful camera work and lighting. After he is drugged and chained in a dark holding cell, Solomon is fiercely beaten until the torturing paddle breaks in two. Amidst the total darkness in that filthy cell, we see him cower in pain, yet his white shirt literally shines. I noticed that scene too and appreciated how well it was shot. For me, I saw the glowing white garment as a powerful symbol of purity and innocence amidst utter depravity. I’m glad there’s an artist/director to helm this film. We are seeing how the cinematic medium can be sculpted to its full potential. I don’t see anything ‘art’-ificial about it or sense any contrivance.

The issue here is the paradox of conveying ugliness in a well-crafted and artful frame. I have no qualms with that. Should art capture beauty only? Or, should ugliness be depicted by casual and shoddy work in order to be ‘realistic’? The answer is elementary. A quality medium can only enhance the poignancy of the message.

On another level, the film shows us that amidst evil, beauty can still be found. It exists in the persevering spirit of Solomon Northup. Herein lies the inspiration of the story. I found this quote from an excellent interview article with director Steve McQueen. It speaks to the fact that, in the midst of utter sadness, the human spirit can still glean what’s positive and beautiful. From the memoir of Solomon Northup we read these words:

There are few sights more pleasant to the eye, than a wide cotton field when it is in the bloom. It presents an appearance of purity, like an immaculate expanse of light, new-fallen snow.

Acclaimed British actor Chiwetel Ejiofor’s performance as Solomon Northup is inspiration itself. His nuanced expressions portray clearly some very mixed and intense emotions under the most desperate of circumstances, like consoling a female slave lying next to him at night and yet keeping his integrity, or being forced by the sadistic Epps to whip another slave. Even at the point of despair, Solomon maintains his self-respect, remains upright and kind, and upholds a human spirit that no whips can break. The actor is also heading straight to the Oscars according to consensual predictions.

The excellent supporting cast also renders beauty to the overall production, some of whom might garner recognition of their own come Awards time. Newcomer Lupita Nyong’o is impressive as fellow slave Patsey, a desperate soul dangled on the edge of survival and despair. Paul Giamatti (who won a Golden Globe as John Adams in 2009) plays a mercenary slave trader. The excellent character actor Michael Fassbender (in both of McQueen’s previous films Hunger, 2008 and Shame, 2011) as slave breaker Epps embodies the wickedness of the system and a soul derailed. Paul Dano (There Will Be Blood, 2007; Prisoners, 2013) is within type as the murderous slave driver Tibeats. Again the paradox appears. We’re glad to see actors giving superb performance playing villainous roles.

Then there’s the versatile Benedict Cumberbatch, picking up a Southern drawl to portray the kind slave owner Ford. His scenes with Solomon offer some needed relief. Unfortunately, those better days are short-lived. The man who helps Solomon to freedom is Canadian Samuel Bass, very short screen appearance by Brad Pitt. He is an itinerant carpenter working on Epps’ land. This chance encounter makes Solomon aware of Bass’s anti-slavery stance. For the first time in all those years of captivity, he confides his true identity in someone trustworthy and pleads for Bass to contact help in his home state up north.

The music and sound, or the lack of it, are equally effective. Composer Hans Zimmer’s soundtrack ‘Solomon’ is epic and heroic. The spirituals sung by the slaves on the plantation express their deep yearnings for release and freedom. In one scene towards the end, we see other slaves singing their heart out the spiritual ‘Roll Jordan Roll’. At first Solomon listens as a bystander. After a while he can’t help but pour his soul out and join in. That’s the point he totally identifies with the others in their hopeless condition, calling out to God for deliverance.

What follows is memorable. Sometimes silence speaks louder than sound. That moment of silence marks the change of fate for Solomon. I was captivated by the lack of sound, and the camera static, closing up on Solomon’s face of apprehension and despair for a long minute. Often it is the slow, silent space a director allows us to absorb and wait that I appreciate most.

As I stepped out of the theatre, I breathed out a sigh of satisfaction. True there was much sadness in Solomon’s story, but I was relieved to see ultimately his perseverance pay off. I was gratified too that this story of the human spirit triumphant is well told in a meditative pace, sculpted artfully, and delivered by poignant performance. This is the beauty of film art.

~ ~ ~ ~ Ripples

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Download 12 Years A Slave the book

Solomon Northup from Wikipedia

The Underground Railroad

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Lee Daniel’s The Butler (2013): The Trouble with Famous Faces

The Butler is none other than Cecil Gaines, an African American who has worked in the White House serving eight presidents from the late 50’s to the 80’s. Never heard of him? Good, because, as screenwriter Danny Strong (who wrote the Sarah Palin satire Game Change) has emphasized, Cecil Gaines is a fictional character, albeit there was a real life person who had done similar things for thirty-four years through eight Administrations in the White House. He was Eugene Allen. The movie is fiction inspired by that true story. But here, it’s all about Cecil Gaines, a character that Forest Whitaker portrays convincingly.

That leads to this Disclaimer: This is not an Accuracy Police report. But, uh… just a memo from the Facial ID department.

After watching The Butler, I’d like to recommend that movie stars go on sabbatical leaves. After a certain number of years of high-profile, on-screen appearances, famous actors or talk show hosts should pursue other interests, anything that’s behind the camera… write, direct, produce, compose, climb K2… before coming back out for another movie role. For here, I can see the distractions that can come from too famous a face.

Why? It takes me a long while to adjust to Oprah being the alcohol-dependent Mrs. Gaines, despite her strong performance, or, tell myself that’s Dwight D. Eisenhower I’m looking at, not Robin Williams. With every Administration that flashes by, my focus as a viewer is more on figuring out which famous star is playing which famous politician. That’s James Marsden as JFK, and Liev Schreiber as uh… comical LBJ… sitting on a toilet while barking instructions to his staff?

By the time John Cusack comes on screen, I’m asking myself, now, who is he supposed to be? I can only see John Cusack, and it looks like he’s trying to convince me that, “No! I’m Richard Nixon!” He too, looks like a caricature. Later when Ronald Reagan appears, I can only see the make-up. Sorry Alan Rickman, didn’t recognize you. Looks like you’re wearing a Halloween mask. I must say though, hats off to Jane Fonda, she’s one good Nancy look-alike, although I know she has her share of protests. Now, that’s another issue… the incompatibility of ‘Hanoi Jane’ taking up the role of Nancy Reagan. I can understand why some Vietnam War vets are up in arms.

The trouble with famous faces… they have a hard time convincing viewers that they are not who they appear but the character they are playing. In The Butler, that just might not be a problem because it seems the filmmakers are confident that star power can get us through. Further, the sequences of Administrations go by so quickly, they are more like passing spectacles than memorable episodes.

Other than star powers that function only on appearance, there are some riveting scenes from the main storyline, that of a father-son relationship against the backdrop of racial turmoils in America. While Cecil Gaines works as a butler in the White House all those years, his son Louis (David Oyelowo) has been deeply involved in the Civil Rights Movement, arrested and jailed several times, often putting his life at risk. Major differences in political viewpoints generate sparks and tensions to eventual deep gulf between father and son.

A memorable scene is when father and son argue at the dinner table over Sidney Poitier winning the Academy Award. Cecil thinks that is a sign showing white people are accepting and honoring blacks. But son Louis points out Poitier is appeasing white viewers in presenting himself as a white, black man. Interesting thought, not unheard of. The subsequent result of the argument makes a memorable scene.

Juxtaposing actors’ performance with visceral archival footage of racial violence like the lunch counter sit-ins, the Freedom Bus burning by the Ku Klux Klan, the assassination of Martin Luther King… makes some informative and engaging storytelling. That may be the reason why, after the pivotal historical accounts of the Civil Rights Movement, the movie begins to lose my attention. What looks to be significant begins to appear parochial towards the end, where I even feel some partisan undercurrents.

Overall, the movie may have been too ambitious in covering everything, a father-son relationship, the black family, the country’s racial conflicts, the Vietnam War, to South Africa’s Apartheid. Its Forest Gump-esque storytelling lacks a unified and consistent styling. The incompatibility applies to the choice of music too. I’m fine with the period music of the eras, but using the Schumann Piano Concerto in A Minor at the opening scene feels like a mismatch. Other familiar classical pieces like Mozart’s piano sonatas for White House scenes sound like casual and superficial picks.

A movie riding on its star-studded cast… a mixed bag of famous faces. If you like a parade, this is fun to look at.

~ ~ 1/2 Ripples

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Screenwriters Talk and Bloggers Blog

Thanks to blogger Sim at Chapter 1-Take 1 for the heads-up, I watched the whole 54 mins. of The Writers Roundtable via Hollywood Reporter. Gearing up for the upcoming Awards Season, these Roundtable talks give us a chance to hear some possible award contenders talk about their craft. I’m particularly drawn to the writers.

“No great film would have been possible without a great screenplay.” That’s how the clip begins. Sitting around a table to discuss their experience are some of this year’s acclaimed screenwriters.

The panel includes (In alphabetical order of the movie title):

John Ridley: 12 Years a Slave
Julie Delpy: Before Midnight
Nicole Holofcener: Enough Said
Jonas Cuaron: Gravity
Danny Strong: Lee Daniel’s The Butler
George Clooney and Grant Heslov: The Monuments Men (release date has since been delayed till next Feb.)

There are lots of interesting exchanges, and it’s refreshing to hear them talk uncensored and unscripted. Take for example the following dialogue relating to independent writing vs. writing for studio:

HR (Hollywood Reporter): Have you written any studio films?
Holofcener: Only for money (chuckle from somewhere). I mean like, not for myself.

HR (to all): Do you like writing?
Strong: I do. I really enjoy it. I spent years as an actor. You just can’t go do it. You get hired to do it, so I started writing, to get my mind off the auditions…
Holofcenter: What if you can’t act, and you can’t write?
Clooney: You direct.

There are lengthy discussions on the issue of historical accuracy, the truths vs. dramatization. I feel this is the hot topic lately, with The King’s Speech a couple years ago, to last year’s torture scenes in Zero Dark Thirty, the accuracy of Argo, and this year’s Captain Philips, and Lee Daniel’s The Butler.

Here’s The Butler‘s screenwriter Danny Strong’s defence:

Strong: Well, in the case of The Butler, I made very clear that this was a fictionalization. So much so that I changed the character’s name to Cecil Gaines in the hope of saying: “This isn’t Eugene Allen. This is something else.” But the history in the film is all true…”

And then comes Clooney’s allegation unplugged.

Clooney: This is a new thing, by the way. This is all, like, bloggers — if that existed when Lawrence of Arabia came out, believe me, Lawrence’s own autobiography would not hold water. Patton wouldn’t. You can go down the list of movies — Gandhi — these movies are entertainment… These are not documentaries. You’re responsible for basic facts. But who the hell knows what Patton said to his guys in the tent?

Whoa… bloggers? Thank goodness, bloggers get a chance to prod screenwriters to dig deeper into their facts, even if fiction is to be made from them. Because of bloggers, viewers can sharpen their senses to not just accept the dramatization as facts. Because of bloggers posting about movies, people are made more aware of historical events and background info. I see not all sites do, but the ones I frequent can have the effect of honing one’s judgement and critical thinking, even (maybe more so) when opinions differ. How we need these skills as we watch movies nowadays instead of just being passively entertained (or not).

Thanks George, for spelling out the importance of the work bloggers do.

You’re right too, George, because of the blogosphere, filmmakers now have to deal more rigorously (or, don’t they?) with the dichotomy between truth and fiction, historical accuracy and dramatization. Yes, the butler Cecil Gaines is a fictional character, but there are many real historical figures in that story context… like, say… Ronald Reagan, whose son Michael Reagan had protested against the film for painting his father with a racist brush.

As someone with a half-baked screenplay in the closet, I know how hard it is to even get to finish the first draft, and after that, hopefully, find someone qualified and experienced enough to read it and advise on rewrite. Then you go and rewrite, and rewrite some more. So I’m all respectful for all who can not only sell their spec script but actually see it produced, and not only produced, but distributed and shown on our theater screens. That’s why I attempt at every review with appreciation and humility.

At the same time, I’m also glad to see that the blogosphere has leveled the playing field for opinions and critiques, for accountability, and for creative expressions with checks and balances. I don’t see an end to the dichotomy between fact and dramatization, accuracy and entertainment, but at least we are free to challenge and critique. Don’t forget, George, bloggers are also the ones ready to defend and promote worthy productions. All for the better.

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Related Posts on Ripple Effects:

Before Midnight: Reality Check

The King’s Speech: Fact and Fiction

Zero Dark Thirty and Argo

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About Time (2013): The Use and Abuse of Superpower

Time travel can be tricky. The idea has been used so many times that it has almost turned into a cliché. While it can bring about interesting cinematic moments, offering some creative, postmodern juxtapositions, it is hard to navigate that overused capsule of storytelling to new height.

This is a movie I’d anticipated. Not that I’m a fan of Richard Curtis, but I do find a couple of his works delightful. He is the prolific writer/director/producer of many popular romantic comedies. His works in any of the above-mentioned capacities include Four Weddings and a Funeral (1994), Notting Hill (1999), Bridget Jones’s Diary and its sequel (2001, 2004), Love Actually (2003), The Girl in the Café (2005), and the not so romantic comedies of Mr. Bean (1992-2007), among many other titles. About Time is his third movie as director.

While I’m indifferent to the travel back in time story idea, I do have fond memories of a few movies which now have found a place in my mental playlist, tagged time travel. They include Somewhere In Time (1980), Kate and Leopold (2001), and the more recent, Midnight In Paris (2011). As for About Time, despite my high anticipation, I’m afraid it will slip away in no time.

The year Tim (Domhnall Gleeson) turns 21, his Dad (Bill Nighy) tells him a secret: all the men in his family have the power to travel back in time. Fine. What you will use this extraordinary power for is totally up to you. Dandy. Tim knows exactly what to do with it: find a girl to love. Not a hard decision, for Tim tends to be a novice in relationships and unsure of himself. He soon sets his eyes on Mary (Rachel McAdams).

Tim has the time of his life trying out his new-found power. He uses it to redo the mistakes he has made, erase the speech bubbles he has messed up, reappear as more savvy than he really is. To his advantage, he hits on Mary and repeats his romancing act with her multiple times, she oblivious of being played. This being the brunt of a joke is highly problematic. That it is a comical episode does not mask the fact that this is an obvious abuse of superpower.

But of course, the film is made up of many more episodes. We see Tim and Mary get married and have children of their own. There are accidents and mishaps, and Tim soon finds out that even though he can go back in time, he cannot avoid consequences of actions, his and others. The last part of the movie seems a shift from earlier segments in delivering lines that get a bit too sentimental and preachy, utterances of platitudes.

Director Curtis has a fine cast in his hands. However, maybe because of the romcom genre, they give the impression of an overacting bunch. If Domhnall Gleeson does not ring a bell you might want to travel back to Harry Potter movies, True Grit, and last year’s Anna Karenina where he played Levin in the adaptation of Tolstoy’s classic. I definitely enjoyed his Levin role more. Rachel McAdams, interestingly, has been in several time travel movies, including Midnight in Paris. Again, her act there is more convincing. Well, to quote Mr. Darcy, the epitome of aloof coolness, they ‘smile too much.’

So that’s when I doubly appreciate Bill Nighy. You don’t have to smile in order to be funny. Actually, you should refrain from doing just that. He is the veteran here and I feel he saves the show. Nighy’s performance turns sentimental episodes into moving moments, especially with the father-son relationship.

A lightweight, sugar-coated romcom, definitely an item on the dessert menu, that is, if you don’t much care for the main dish.

~ ~ 1/2 Ripples

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Other related reviews on Ripple Effects:

Midnight In Paris (2011)

The Girl In The Café (2005): The Hunger for Connection

Anna Karenina (2012)

True Grit: A Cool Summer Read and Movie

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All Is Lost (2013)

If Life of Pi (2012) is magical realism, then All Is Lost is absolute realism. Some say it’s a modern version of Hemingway’s The Old Man and the Sea. I tend to see it as the flip side of Life of Pi. It is the magical, the supernatural that we pant for while watching the man in the film silently struggle to stay alive in the middle of the Indian Ocean. Without a miracle, this is what it is.

At the back of my mind was this query… In our age driven by visual spectacles and mega sights and sounds, why would someone take up a project of this nature, a 106 minute feature film with just one character and no dialogue, except for a few words from voice over in the opening when the man utters what seems to be his last words to his loved ones.

I admire the courage and talent of writer/director J. C. Chandor, who writes a 32 page script (according to IMDb) and directs it as a minimalist production in a time when the movie industry has gone ultra mega and high tech. All Is Lost is only Chandor’s second feature film. His directorial debut which he also wrote? Margin Call (2011), about the tempest in the tumultuous ocean of investment banking. Versatility is the mark of talent indeed.

But the film belongs to Robert Redford. No longer The Sundance Kid (1969) here but a 77 year-old actor playing a man dangling over the edge of survival. Redford just might have put forth the definitive performance in his long career. He has taken on the role with grace and gentleness, a paradox to his predicament in such a physical drama. He carries the whole film by engaging our empathy. His screen presence is the replacement of fancy plot lines, setting and dialogues. He plays a character with no name. Only when the end credits roll do we find out that he is called ‘Our Man’.

Unlike Tom Hanks in Cast Away (2000), who speaks and yells his mind, and socializes with a volley ball, Our Man is the epitome of restraint. He is the strong and silent type of veteran sailors on a solo voyage, who encounters the misfortune of being stranded in the vast ocean. At the beginning of the film we see Our Man wake up to find his sailboat has been hit by a loose cargo container floating by. The sailboat is taking on water through a hole in the hull. The radio and equipments are damaged. Our Man deals with the situation resourcefully. He uses a repair kit to mend the damage, pump water out, dry out his boat. We see him eat and shave.

Just as he has made some headway to restore safety, an impending storm blows his way. Our Man is no match for nature’s callous ferocity. He ends up having to escape a sinking boat and jump into a life raft, bringing with him a meager supply of food and water. He learns to use a sextant, and carefully charts his drift. His only hope is to be seen if his raft drifts into the course of cargo ships. He utters no words except for a futile S.O.S. call while in his sinking boat, and one expletive out of total frustration in the raft after a few days of bare survival.

One man, one raft, one sea. The wide-screen cinema is probably the best medium to depict such an existential predicament. We don’t need special effects, for this is all that we have. And the nameless ‘Our Man’ shows how universal he is. And what of him? A patient and courageous man trying with all that he has and all that he is to stay alive, waiting to be found, hoping to be saved.

Do we need to know the name on that cargo container that hit his boat? It really is immaterial considering all that Our Man has gone through and all the efforts he has put forth to be saved. But just for information, we see the name in English, ‘Ho Won’, an obvious translation from the two Chinese words below: “Good Luck”. A jest too harsh.

Spoiler Alert. If you have not seen the film, you might want to skip the next paragraph, just that one. If you have seen the film, you’re most welcome to share your thoughts on the ending.

Like Life of Pi, the ending is open to your own interpretation. Two lines of thoughts conjured up as I watched the open-ended final scene: Only when one has lost all would one be saved. Or, go into that good night with gentleness, for brightness awaits. I can see both these scenarios to be applicable here. Again, this is one of those films that leaves the viewer to draw the conclusion, a type of ending which may not be very popular but one that conveys the multiplicity of reality.

As the credits roll, we hear the song for the film. I first thought singer songwriter Alex Ebert was calling ‘Our Man’ throughout his song. As I later found in the credits, it was ‘Amen’ (with the ‘Ah’ sound). Yes, ‘Amen’ is the title of the song.

A fine movie to watch with a quiet mind and patient disposition. A necessary offering in our present day of excess among some numbing and mindless entertainment. It’s like holding your breath in your hectic course of life for 106 minutes, and survive.

~ ~ ~ Ripples

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Click here to listen to Alex Ebert’s song ‘Amen’ and watch the trailer of the movie All Is Lost.

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