3/13/14: Ain’t No Love in the City (Oscar Bait, Part 15)

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2013 Academy Awards, 86th Annual Academy Awards, auteur theory, Barton Fink, Best Cinematography nominee, Best Sound Mixing nominee, Carey Mulligan, cats, cinema, Coen Brothers, couch-surfing, Ethan Coen, Film auteurs, film reviews, films, folk music, Garrett Hedlund, Greenwich Village, indie dramas, Inside Llewyn Davis, Joel Coen, John Goodman, Justin Timberlake, Llewyn Davis, Movies, musical numbers, New York City, Oscar Isaac, Roland Turner, set in the 1960's, snubbed at the Oscars, the Coen Brothers, unlikable protagonist, winter

There’s a very fine line between being a gruff, disagreeable, yet essentially human being and being a complete horse’s ass. On the one hand, you have a set of individuals who just don’t feel like towing the party line, the kind of folks who follow their own rules and don’t always have to have a plastic smile glued to their faces. These folks may be curt, short-fused, unapologetically honest and kind of a drag but, for the most part, they’re good people: someone else’s “theme song” isn’t necessarily noise, just different from our own. The world is full of unpleasant people who do lots of good deeds and are responsible for some very essential/beautiful/hilarious/moving things. On the other hand, however, some people really are just horses’ asses and there isn’t much more that can be said about them.

The question at the center of Inside Llewyn Davis, the Coen Brothers’ latest film, is just what kind of an individual Llewyn Davis (Oscar Isaac) really is: is he a gruff, unlikable, immensely talented artiste or is he just a spoiled-rotten horse’s ass? As with pretty much every Coen film since their debut, nothing here is ever as clear-cut as that, although Inside Llewyn Davis tends to be almost as obtuse as Barton Fink, which is no mean feat.

We’re first introduced to Llewyn, a New York folk singer, as he’s doing one of the two things he’s best at: singing his heart out at a small club. In short order, however, we’re introduced to Llewyn’s other talent, as a mysterious man kicks his ass in the parking lot for heckling during another performance. Even as he’s getting stomped, Llewyn is completely unrepentant: if he regrets anything, it’s probably that he didn’t get away quick enough. We then follow Llewyn on an epic journey of minimalism and aimless drifting as he couch surfs across Greenwich village, letting loose a beloved family pet here, bringing discord to a relationship there and never once wavering from his steadfast devotion to say it like he means it. Jean (Carey Mulligan), one half of a local folk “power” couple with Jim (Justin Timberlake) may be pregnant with Llewyn’s kid but she’d rather abort it than take the chance: “You’re a shit person and everything you touch turns to shit.” Jim gets Llewyn a gig with him in the studio, only for Llewyn to spend the whole time ridiculing the song and being a jerk: “I’m happy for the gig but who wrote this song?” Jim’s unhappy reply? “I did.”

Time and time again, Llewyn acts in the most selfish, self-serving ways possible, navigating through life as if it were a highway and his was the only car in sight. He talks shit about Al Cody (Adam Driver) during the studio session but still manages to ask him to crash on his couch. Not only does Llewyn let out the Gorfeins’ (Ethan Phillips, Robin Bartlett) cat, he also explodes during a dinner, causing Mrs. Gorfein to burst out crying. Nonetheless, Llewyn still shows up on their doorstep later, looking for a place to stay. In any given situation, Llewyn does just what he wants to but then seems surprised when everybody reacts negatively.

As previously mentioned, however, there seems to be a lot more going on here than a simple look into the life of a jerk. For one thing, Inside Llewyn Davis is structured very much like a quest/road-movie, although the ultimate goal never seems quite clear. In some ways, the film reminded me of Oh Brother, Where Art Thou, although the underlying connection of the latter to the Odyssey is much clearer than any classical allusions I can draw from the former. This is not to say that the Coens’ intention is muddy, necessarily, just that I wasn’t able to get it the first time around. There’s definitely something going on internally, especially once we learn that the Gorfein’s cat is named Ulysses, but my initial viewing wasn’t quite sufficient: as with all things Coen, I expect multiple viewings to help clear this up.

We also get the odd introduction of Johnny Five (Garrett Hedlund) and Roland Turner (John Goodman), a beat poet and jazz musician, respectively, who embark on a short, ill-fated car trip with Llewyn. Goodman is absolutely amazing as the crass, boorish, Santeria-practicing, smack-shootin’ jazz musician but it’s a curious role and seems to serve a rather undefined purpose in the film. At first, I was inclined to think that this was a commentary on the inherent differences between jazz and folk during the early ’60s but that felt to reductive. I’m more inclined to think that Roland factors more prominently into the “real,” underlying story beneath Inside Llewyn Davis (I automatically think of Childe Roland to the Dark Tower Came but that could just be me).

There’s also the curious business of the beginning and end of the film, sections which seem to hint at some sort of deeper, almost symbolic meaning. By the end of the film, I was left wondering if, perhaps, this were some form of a purgatory, with Llewyn Davis doing eternal laps around the track as some sort of punishment for past deeds. Did the mysterious, ass-whuppin’ man in black represent some sort of cosmic retribution, the universe’s way of making sure that Llewyn earned some measure of comeuppance for his blatant disregard towards everyone else? Was this some way of saying that omnipresent negativity can only breed more negativity, leading Llewyn to wander in a maze of his own unpleasant creation? It honestly stumped me but I won’t admit defeat until I’ve had a little more time with it.

My confusion notwithstanding, Inside Llewyn Davis marks something of a return to form for the Coens (at least as far as I’m concerned) after the disappointment of Burn After Reading, A Serious Man and True Grit. This is a much simpler, quieter film than productions like Oh Brother and True Grit but it doesn’t have the restrained sense of tension inherent to early films like Blood Simple or Fargo, either. For me, this “slow-burn” zone is my favorite mode for the Coens, so watching this felt like the cinematic equivalent of comfort food, in a way. As usual, the ensemble cast is fantastic: like Woody Allen, the Coens have a natural gift with bringing out the best in actors and they have quite the group to work with here. As the titular “hero,” Oscar Issac is simply marvelous and was egregiously snubbed of a Best Actor nomination at this year’s Oscars. Mulligan and Timberlake, as Jean and Jim, are great, with Timberlake continuing to impress me with another simple but spot-on characterization. As previously mentioned, Goodman is a whirlwind of chaos and easily steals every inch of celluloid that he appears on.

Ironically, despite being denied several obvious Oscar nominations (Best Actor, Best Picture, Best Director, for three), Inside Llewyn Davis was nominated for a pair that I just couldn’t agree with: Best Sound Mixing and Best Cinematography. While the cinematography was good but nothing special, I actually found the sound mixing to be rather awful, with the kind of vast gulf between dialogue and music that mars many films/TV shows these days: I found myself riding my remote’s volume more than I liked and certainly more than should have been necessary in a film with “supposedly” exemplary sound mixing.

At the end of the day, due to my lifelong love of their films, it’s always a bit difficult for me to be truly subjective regarding any new Coen Brothers productions. Unlike certain filmmakers like Nicholas Winding Refn or Ben Wheatley, I don’t love every Coen film in their canon: in fact, there are a few that I actively dislike. Very few filmmakers besides the Coens, however, would make me repeatedly watch a film that I don’t care for in an attempt to get me to understand and appreciate it better. While Inside Llewyn Davis is nowhere near my least favorite Coen film (hands down, that would be True Grit), it’s also nowhere near my favorite Coen film (Blood Simple/The Big Lebowski would be the conjoined twin/winner here). I’m willing to wager that, given some time, I’ll understand and appreciate this a lot more. At the very least, I’ll never get tired of watching Roland bluster or Llewyn chase that darn cat all over town.

 

2/28/14: This Pain Will Help You (Oscar Bait, Part 11)

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2013 Academy Awards, 86th, 8MM, Alex Jones, Best Cinematography nominee, cinema, dark films, Denis Villeneuve, Detective Loki, drama, film reviews, films, Hugh Jackman, Jake Gyllenhaal, kidnapped, Maria Bello, Melissa Leo, missing child, Movies, Nicholas Cage, Oscar nominee, Oscars, Paul Dano, Prisoners, race against time, rainy films, Roger Deakins, Seven, snubbed at the Oscars, Taxi Driver, Terrence Howard, The Hunt, torture, Viola Davis

Movies have a marvelous way of presenting the most wretched, bleak situations possible in a truly hopeful light. Through the power of film, no obstacle is too great to overcome, no adversity too dire to best. Genocide, slavery, Holocaust, world hunger, extinction, climate change, death: all it takes is the right person (or group of persons) to change even the most stubborn of societal ill. On the flip side, however, films also have a particular way of sucking all of the air from a room and showing us how terrible insignificant we really are. The right film, at the right angle, for the right person, can be the most bleak situation imaginable.  Think back to the rain-drenched, under-lit atrocities of Seven and 8MM…the relentless march to oblivion that is Taxi Driver or Old Boy…the parental anguish of Hardcore…some films exist not so much to make us feel better about the world but to remind us of how terrible it really is. Some films, like Martyrs, are not so much entertainment as painful open wounds, viscera thrown straight into our brains. And some films, like Denis Villeneuve’s Prisoners, exist to remind us that the first place we should always look for evil is in ourselves.

Keller Dover (Hugh Jackman)’s young daughter and her friend have gone missing and the police have a suspect in custody: Alex Jones (Paul Dano). Alex seems to be a truly weird, creepy guy and the beat-up RV he tools around in does seem fairly suspicious, but suspicions aren’t quite good enough for the legal system. Detective Loki (Jake Gyllenhaal, chewing up scenery and spitting out shrapnel) is forced to cut Alex loose, which just doesn’t sit well with survivalist papa Keller. With the unsteady assistance of Franklin (Terrence Howard), the father of the other missing girl, Keller kidnaps and tortures Alex, trying desperately to find the missing girls. As the case becomes more complicated and Loki continues to dig up new leads, such as Alex’s strange aunt Holly (Melissa Leo), a mysterious body in a cellar and a homicidal priest, it becomes less and less certain that Alex is actually guilty. As the clock ticks down, Keller is faced with the agonizing possibility that the bloody, terrified man before him might actually be innocent…and that the real villain might still be out there.

On its face, Prisoners has quite a bit going for it and seems to compare well to similar fare such as Seven. The film is beautifully shot, featuring some truly gorgeous camera-work by legendary DP Roger Deakins, which also earned the film its sole Oscar nomination (Best Cinematography). The score is moody and oppressive, which aids ably in smothering the film in the same sort of atmosphere that cloaked films like Seven and 8MM and the script, while not completely original, nonetheless provides enough twists and turns to keep things interesting. Towards the end, the twists begin to spring up so fast that the film threatens to spring a leak, however, and there’s at least one moment that still has me profoundly confused. Nonetheless, the film looks and sounds great.

Unfortunately, there are two critical issues that threaten to pitch the whole affair upside-down: the over-the-top acting and the film’s general bloat. Although there are some nicely understated roles in the film (Dano is excellent as Alex and Viola Davis is very good as Franklin’s wife, Nancy) and one particularly juicy broader one (Melissa Leo is simply marvelous as Alex’s aunt and was criminally overlooked in the Best Supporting Actress category), the majority of the actors are almost ridiculously over-the-top, playing so broad as if to be shouting to the rafters. Gyllenhaal, in particular, is mercilessly teeth-gnashing, playing Loki (so named because Max Powers was too silly?) as the kind of sneering, desk-pounding, perp-bashing super-cop that was a cliché by the ’70s. He’s a good actor attempting to mimic Nicholas Cage at his most out-of-control and the effect is head-scratching: what was the point? Rather than coming off as a badass, Detective Loki is sort of like a whiny, highly ineffectual but endlessly bragging Harry Callahan. He receives perfect support from Jackman, however, who seems to greet any trial or adversity by howling in pain and punching it. Between the two of them and Howard’s skittish, constantly shouting Franklin, the film often feels like we’ve walked into the middle of a particularly nasty argument between complete strangers. Maria Bello is criminally wasted as Grace, Keller’s wife, suffering from the lethal combo of being as broad as the other actors but with less screen-time to smooth it out.

The fact that any character receives too little screen time is a bit of a minor miracle, however, since Prisoners worst flaw, by far, is its rather unbelievable 2.5 hour run-time. Since the film tells such a simple, contained story and never expands much past the immediate surroundings, it seems rather criminal for things to stretch past the 90 minutes mark, much less the two-hour mark. The film ends up being relentless but not in a good way: we end up getting bludgeoned into submission by one extended torture scene after another followed by one Loki tsunami after another followed by one Keller freak-out and so on and on. The Hunt managed to explore the horror and pain of small-town suspicion gone amok in a much more succinct fashion, while Saw and Wolf Creek managed to do likewise with the torture genre. Prisoners manages to mash both together yet, rather than co-mix them, seems content to merely stitch them side by side. The investigation portion of the film, alone, would make a full film, as would the largely gratuitous torture scenes. Together, it’s all too much. I found myself fatigued and wanting to tap out way before the extended 40-minute or so finale introduced another handful of twists.

It’s a shame that Prisoners hobbles itself in some pretty fundamental ways because it has so much going for it. Deakins, the master behind the lens of films like Fargo and The Big Lebowski, does some fantastic work here, presenting certain shots that are pretty enough to frame. There’s an easy fluidity to everything that makes the film effortlessly watchable, even during the torture sequences, which is a necessary counterpoint to the film’s bloat. You can see the hint of something truly exceptional and powerful gleaming deep in the clogged excesses of Prisoners: if the film were only an hour shorter, maybe that light would be a little easier to see.

2/26/14: When You’re Here, You’re Home (Oscar Bait, Part 10)

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2013 Academy Awards, 86th Annual Academy Awards, alcoholism, Alexander Payne, auteur theory, Best Actor nominee, Best Cinematography nominee, Best Director nominee, Best of 2013, Best Original Screenplay nominee, Best Picture nominee, Best Supporting Actress nominee, Bob Odenkirk, Boogie Nights, Bruce Dern, cinema, Citizen Ruth, dementia, Election, estranged family, Film, Film auteurs, film reviews, growing old, grown children, Heartland, indie comedies, indie dramas, June Squibb, Midwestern, Movies, Nebraska, old age, road movie, road trips, small town life, snubbed at the Oscars, Stacy Keach, sweepstakes, The Descendants, Will Forte, Woody Grant

Realistically, there’s no such thing as a “perfect” anything, much less a perfect film. After all: one person’s concept of “amazing” is always someone else’s notion of “played-out.” That perfect hamburger? How do you know? If it were truly perfect, would it ever actually end? Wouldn’t that perfect sunset just continue on into infinity? Can humans, inherently faulty as we are, ever actually make something perfect? Could robots? What does “perfect” even mean? Is it as meaningless as “awesome” and “epic” in the Aught Tens? I bring up these points for one simple reason: I consider Alexander Payne’s Nebraska to be, essentially, a perfect film. I believe this through and through, even though all of the evidence points to how impossible it is. There is nothing perfect, although Nebraska is as perfect as it comes. This makes absolutely no sense…and I’m totally okay with that.

Some films hit me on a more pure, elemental level then other films. One of the best examples of this I can think of is PT Anderson’s Boogie Nights. I’ll never forget seeing that for the first time, in the theater, and just sitting there in stunned silence. I felt like I couldn’t even process the film on the first viewing: I could only sit back and absorb it. Immediately afterward, I bought another ticket and stayed for the next showing. To this day, I’ve lost track of the number of times I’ve seen Boogie Nights but it never fails to impress me and lift my spirits: the film is a complete masterpiece and was from opening night. My first experience with seeing Nebraska was nearly identical to my experience seeing Boogie Nights. I was immediately, completely and totally in love with the film from the jump and this impression gradually broadened and deepened into something approaching blind faith: I not only loved what I was currently seeing but I was positive I would love everything still to come. And I did.

Payne, one of modern filmmaking’s brightest talents, is no stranger to the prickly ways in which humans, particularly relatives, interact. His filmography may not be huge but it is ridiculously deep: Citizen Ruth, Election (another of my favorite films), About Schmidt, Sideways, the Descendants (another Oscar favorite) and Nebraska. Any of these would be a bright star in most writer/director careers but Payne’s CV is quite the embarrassment of riches. With Nebraska, however, he’s managed to hone the “Heartland shiv” of Election and Citizen Ruth into a merciless edge while adding in the richly textured familial issues of The Descendants. In the process, he’s crafted his best, most enduring film (thus far).

In a cinematic universe of “difficult” people, Woody Grant (Bruce Dern) might be their supreme leader. Hard-drinking, stubborn, suffering from the first pangs of dementia and brutally honest, Woody is the kind of person who seems to exist solely to vex his loved ones. And vex them, he does. His long-suffering wife, Kate (June Squibb), and grown sons David (Will Forte) and Ross (Bob Odenkirk) have had just about as much of them as they can take: Kate, in particular, has taken to treating Woody like a flop-eared hound that won’t quit piddling on the rug. The thing is: Woody is one genuinely difficult dude. Not just prickly, mind you: genuinely difficult. When he receives one of those ubiquitous “You may already be a winner!” sweepstakes notices, he decides to walk from his home in Montana all the way to Lincoln, Nebraska, to claim his “winnings.” Rather than have his father drop dead on the side of the road (and unable to convince him of the truth behind the sweepstakes), David decides to go with his dad and make it a father-son bonding trip. The stage is set for a sweet, nostalgic, heart-warming tale of reconciliation and family…except Woody couldn’t give two shits about his family and certainly doesn’t look forward to being stuck with his square son David. Tempers flare, hard truths are learned and David learns the most important lesson of all: You can’t always pick your fights and you can never pick your family. But, sometimes, that’s okay.

Picking out one individual aspect of Nebraska to laud is not only nearly impossible but unnecessarily reductive. The individual aspects of the film truly shine but it’s the sum of these parts that makes Nebraska an unmitigated classic. Right from the get-go, with the gorgeous black-and-white cinematography and the hauntingly simple but beautiful bluegrassy theme, the film felt timeless. Indeed, the film was so stunningly filmed that I was certain it would be a lock for cinematography, Gravity be damned. The camera-work in Gravity was flawless and head-scratching (how the hell DID they do that?) but the cinematography in Nebraska is beautifully evocative and so cinematic that it hurts. This was a film that looked as good as it “felt,” a perfect synthesis of form and function.

As is standard in Payne’s films, the acting is absolutely superb. In fact…here comes that word again…it’s pretty much perfect. Will Forte, so good as a comic, is a complete revelation as David. At once sympathetic, sweet and slightly pathetic, David is a fully realized, complex character, someone who all of us know (if we aren’t actually him, that is). Bob Odenkirk is marvelous as brother Ross, likewise reigning in his comedic tendencies to portray a character who’s equal parts fatigued snark and genuine compassion. It’s as far from Saul Goodman as possible and never less than 100% authentic. Stacy Keach has a terrific part as Woody’s former friend, Ed, a loutish civic leader who browbeats Woody mercilessly yet manages one of the most heartbreaking displays of emotion I’ve ever seen in a film: the part where he mockingly reads Woody’s letter to the bar is powerful stuff but the changing expression in his eyes as he realizes what he’s done to Woody is the stuff of legend. Keach has been far too scarce in films these days (I actually thought he was dead!) and it’s a tremendous shame: someone get this guy some more roles STAT!

In a cast this excellent, this perfect, however, there are still two standouts, two performers that brought completely indelible characters to life. June Squibb, as Kate, is a complete revelation, an actress so watchable, so absolutely compelling, that I find myself wondering why I never noticed her before. Kate is a real person: an honest-to-God flesh and blood creation. I know several people like Kate: many of them are also my family members. You know many people like Kate: some of them are likely your family, as well. As a character, she’s flawed, sometimes reveling in a level of nasty “honesty” that’s breathtaking in its cruelty. The scene where she visits the family cemetery with Woody and David is amazing, one of those scenes that film fans should remember in the same way that they do the “Hold it between your knees” scene from 5  Easy Pieces. As she walks about the graveyard, Kate keeps a constant running commentary about their interred relatives: this one was a slut, that one was an idiot, this other one always wanted to “get in her pants.” In the piece de resistance, however, Kate stops before the grave of a former beau, hikes up her skirt and stands before the tombstone: “See what you could have had if you didn’t talk about weed all the time?!” It’s a vulgar, hilarious, awesome moment, one of those bits that deserves to go down in cinematic history. While I was happy to see Nyong’o win Best Supporting Actress at the Oscars, Squibb was, hands-down, the best of the four performances I saw (sorry Julia: Osage was a bit hard to get ahold of).

And then, of course, there’s Bruce Dern. To be honest, I’m not sure how much acting Dern did for the film: perhaps that’s why he ended up losing to McConaughey (who also completely deserved the award, ironically). Perhaps this is how Dern really is. Perhaps he’s nothing like this. At the end of the day, there’s only one thing I knew: this was the single most perfect acting performance of the entire year. The whole thing. Better than McConaughey (who was astounding), better than Ejiofor. Better than anyone, actually. At no point in the film did it ever feel like Dern was acting. Nothing felt inauthentic, every beat and facial expression was well-earned and it was that rarest of modern acting performances: a stellar turn that did not revolve around flawless mimicry (sorry, Meryl). Perhaps it’s because of my own experiences with an elderly father but I completely identified with everything about both Woody and David: I experienced the same measure of heartwarming/breaking that I did in real life. If you have no experience with elderly parents, perhaps you won’t be affected as deeply. With acting this masterful, however, I’m betting you will.

So we have a great looking/sounding film and amazing performances. What else is there? Well, how about the funniest, freshest, funkiest script in ages? While Nebraska is anything but a joke-a-minute laughathon, it is shockingly funny, more so than any indie “dramedy” I’ve yet seen. Much of the humor definitely comes from the verisimilitude of the absurd situations (I laughed like an idiot during the scene where David’s yokel cousins mock him for taking so long to drive there, since I’ve had that exact same conversation with similar idiots in the past) but there’s just as many great one-liners and exchanges flying around. One of my favorite scenes has to be the one where Woody, Kate and David eat lunch in a small diner. Woody spends an inordinate amount of time studying the menu. When Kate asks him, “What are you having, old man?” he resolutely replies “Meatloaf.” Her exasperated comeback could have come straight from my childhood: “You’ve been staring at that menu for ten minutes…where does it say meatloaf?”At another point, David tells Woody that “All of your brothers are coming over.” “Some of them are dead.” David looks at Woody, for a beat, before replying: “The dead ones won’t be coming over.” Classic.

All of these various elements would be impressive enough but the one thing uniting them all is the most important: heart. Nebraska has a big heart, much bigger than the gently mean sarcasm would have you believe. You can see the genuine emotion creeping at the edge of every frame, sneaking into each scene like an insistent boom mic. The emotion isn’t always on the forefront but, when it is, the film burns with an almost palpable sense of pain. If you don’t feel something when Kate sits as Woody’s bedside, you probably don’t have much to feel. If you don’t tear up at the end, as David lets him father drive triumphantly through town, you’re probably already dead.

In the end, Nebraska is that most impossible of films: a scruffy, mean, hilarious, heartfelt celebration of the Heartland and all of the people who inhabit it. There are no characters here, only real people reacting with the same pain, humor, bias, hatred and love that we all do. Whereas every other film that I saw for Oscar season (including the otherwise incredible Dallas Buyers Club) struggled with notions of authenticity, Nebraska was the only one that I bought part and parcel. Like I said before: I know these people. I grew up with them. I probably love and hate them with equal fervor. If there were major flaws with the film, I couldn’t find them. If you can, I’m guessing we’ll probably never see completely eye to eye. That’s okay, though: there are no perfect films, so you, but Nebraska is just perfect enough for me.