11/7/15: Doc Sportello and the Manic Mutton Chops

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auteur theory, based on a book, Benicio del Toro, caper films, Chinatown, Christopher Allen Nelson, cinema, crime film, dark comedies, Eric Roberts, Film auteurs, film reviews, films, Hong Chau, Jena Malone, Joanna Newsom, Joaquin Phoenix, Jonny Greenwood, Josh Brolin, Katherine Waterston, Keith Jardine, Leslie Jones, literary adaptation, Los Angeles, Martin Donovan, Martin Short, Maya Rudolph, Michael Kenneth Williams, Movies, Owen Wilson, P.T. Anderson, Paul Thomas Anderson, private detective, Reese Witherspoon, Robert Elswit, Serena Scott Thomas, set in Los Angeles, set in the 1970s, Southern California, The Long Goodbye, Thomas Pynchon, voice-over narration, writer-director

Say what you will about writer-director Paul Thomas Anderson, love him or hate him, it’s impossible to deny his status as one of the pivotal filmmakers of the past two decades. Ever since exploding into the public conscience with surprise hit Boogie Nights (1997), Anderson hasn’t crafted “films” so much as he’s created “events”: his fussy, overly-complex character studies have marked him as the modern-day Robert Altman and his relatively small output (seven full-lengths in 19 years) insures that a hungry public is always ready for the next course.

When Anderson’s films click with the zeitgeist, they go over like gangbusters: Boogie Nights, Punch-Drunk Love (2002) and There Will Be Blood (2007) all made their fair share of coin at the box office, without bending one inch towards anything approaching easy conformity. They also managed to enter into the pop culture vernacular, which may just be the greatest measure of a film’s indelible mark (for better or worse). When Anderson’s films don’t click with the general public, such as Magnolia (1999) or The Master (2012), they’re still afforded the respect due previous generations of auteurs like Coppola, Scorsese or Altman. Again, love him or hate him, any new Paul Thomas Anderson film is a big deal, precisely because he’s yet to turn in anything compromised, easily digested or disposable.

This, of course, brings us to Anderson’s newest film, a cinematic adaptation of Thomas Pynchon’s acid-etched love letter to ’70s-era Los Angeles, Inherent Vice (2015). On the outside, Pynchon and Anderson seem to be as natural fits as a hand in a glove: after all, who better to bring Pynchon’s notoriously thorny prose, subtle satirical edge and often outrageous characters to the big screen than the filmmaker who made Dirk Diggler and Daniel Plainview household names? With his ability to expertly balance the dark and light sides of characters, to find the comedy in the tragedy and vice versa, who better to bring the misadventures of Doc Sportello to the eager masses?

Our erstwhile protagonist and guide through the neon-lit proceedings is Doc Sportello (Joaquin Phoenix, re-teaming with Anderson after The Master), the perpetually confused, constantly pot-befogged private detective who seems to float, unscathed, through one potentially lethal situation after another, a literal babe in the woods whose inherent naivety just may be his greatest weapon. After old flame, Shasta Fay Hepworth (Katherine Waterston), pops back up in his life with a plea for help, Doc is thrust into the shadowy underworld of ultra-hip 1970s L.A., rubbing shoulders with shady dentists, dangerous foreign drug traffickers, corrupt cops, sinister New Age healing centers and white supremacists.

As Doc tries to figure out just what the hell is really going on, he runs afoul of his former partner from his days on the police force, Lt. Det. Christian “Bigfoot” Bjornsen (Josh Brolin), a genuinely strange individual who believes Doc to be part of some sort of Manson-esque cult, even as he seems to know more about Doc’s situation than he lets on. With new factions and players being revealed at seemingly every turn, it’s up to Doc to (somehow) blunder into the truth, unraveling the overly complex machinations to reveal the surprisingly simple core.

From the jump, one thing is plain and clear about Inherent Vice: it’s easily Anderson’s lightest, funnest and funniest film since Boogie Nights. Brisk, colorful, full of quirky, memorable dialogue and equally memorable characters, Inherent Vice is the epitome of a cinematic “good time,” a film that’s as eager to please as a friendly puppy. In many ways, Inherent Vice is more The Long Goodbye (1973) than Chinatown (1974), a cheerful, slighty hazy, shaggy-dog story that never feels oppressive, despite its film noir trappings.

Like most of Anderson’s films, Inherent Vice features a cast that’s almost an embarrassment of riches. There’s Phoenix, of course, doing his dependable best (more on that later) but he wouldn’t have nearly the impact without the rest of the exceedingly game cast. First and foremost, Brolin is an absolute blast as Bigfoot, providing the film with many of its most explicitly funny scenes/moments (the scene in the sushi restaurant is a comic masterpiece, with Brolin’s shouted “Molto panacayku!” being the brilliant cherry on top). The interaction between Brolin and Phoenix is endlessly fascinating, a giddy mixture of absurd violence, mopey nostalgia and genuine insanity that powers the film like a generator, along with providing just the right amount of emotional gravitas (when needed). Always a dependable actor, Brolin has rarely been more fun than this.

Waterston is great as Doc’s one-true-love, bringing just the right amount of angelic etheriality and earthy sexuality to the role: it’s easy to see why Doc is so obsessed with her (always a key element to this kind of thing) and their scenes together perfectly play up their largely unspoken past. As somehow who usually finds cinematic sex scenes to be largely unnecessary and…well…largely unsexy…I also must admit that the scene where Waterston graphically describes her sexual adventures before Phoenix spanks her (among other things) absolutely smolders. I’ll stand corrected: sex scenes can be sexy, after all.

Really, though, the role call of great performances could continue for some time: Owen Wilson is perfect as poor Coy Harlingen; Benecio del Toro pretty much reprises his role from Fear and Loathing in Las Vegas (1998) and the second time is just as much a charm; Martin Short is ruthlessly smarmy as the Golden Fang’s “legitimate” business front; Reese Witherspoon gets to play against type as Doc’s growly D.A. girlfriend; singer Joanna Newsom has fun as the film’s narrator/Doc’s imaginary muse; and Hong Chau is pure nitro as diminutive masseuse/Golden Fang employee, Jade.

Above and beyond it all, however, slouches the inimitable shadow of Phoenix’s Doc Sportello. For all intents and purposes, Phoenix doesn’t play Sportello: he BECOMES Doc, slipping into his amiable, doped-out shoes with such ease that it’s less acting than channeling a past life. Similar to Elliot Gould’s unflappable, off-the-cuff take on Philip Marlowe, Phoenix’s Doc is the living embodiment of “the reed bends so that it doesn’t break.” Regardless of the situation, whether faced with a loaded firearm, a skinhead with a lethal dose of heroin or the sudden reappearance of his dream girl, Doc (and Phoenix) approach it all with the same sense of wide-eyed, innocent befuddlement. It’s an approach that could have come across as needlessly comedic, in the wrong hands (I shudder to imagine what Johnny Depp might have done here, for example), but works like a charm here. Phoenix is one of the era’s most esteemed actors for precisely this reason: his ability to imbue the material with the proper amount of weight, regardless of how lightweight it might (or might not) be is virtually unparalleled.

From a filmcraft perspective, Inherent Vice is undeniably lovely, featuring a burnished, warm tone that befits the era (cinematographer Robert Elswit has shot all of Anderson’s films, with the exception of The Master) and another one of those chock-a-block musical scores that are so emblematic of Anderson’s films (Radiohead’s Jonny Greenwood does the honors here, just like he did for There Will Be Blood and The Master). The film’s neon-and-pastel aesthetic perfectly fits the slightly goofy material, culminating in a neon-bedecked credit sequence that just might be my favorite way to end a film in years.

After all of that’s said and done, however, one question still remains: how does Inherent Vice stack up against the rest of Anderson’s formidable filmography? Despite how much I, personally, enjoyed the film (it’s easily my second favorite Anderson movie, after Boogie Nights), I won’t deny that it’s also a surprisingly slight offering. Despite the overly complex nature of the plot and the endless ways in which the large cast maneuver in and around each other, the resolution is surprisingly, almost smugly simple: it’s the machinations of Chinatown minus any of the actual import.

Not to say that this doesn’t dovetail neatly with Pynchon’s source material (the “so convoluted it’s simple” structure is one of the novel’s best jokes, along with the patently ridiculous character names like Doc Sportello, Bigfoot Bjornsen, Michael Wolfmann, Sauncho Smilax and Rudy Blatnoyd) but it also makes for a film that’s the equivalent of a heaping helping of cotton candy: colorful, fun and capable of giving a mighty sugar rush but patently devoid of any nutritional value. Unlike the angle Anderson took with Boogie Nights, there’s precious little in the way of genuine emotional weight here and the whole thing feels relatively low stakes. We never really fear for Doc since he’s such a charmed idiot, similar to how no one ever really worried that Buster Keaton was going to blunder into actual physical danger.

Ultimately, however, these are probably more the quibbles of an ultra-fan than any damning criticism: regardless of how lightweight or disposable the film often feels, it’s still a Paul Thomas Anderson flick through and through and there’s absolutely nothing wrong with that. Sort of a spiritual little brother to the Coens’ immortal The Big Lebowski (1998) (if you cross your eyes just right, you can see a lot of The Dude in Phoenix’s bewildered performance), Inherent Vice is an utterly alive, cheeky and cheerful good time. Smart, groovy and as breezy as a warm, tropical day, Inherent Vice may be one of Anderson’s least thorny creations but I doubt you’ll be thinking about that much once you get caught up in the insanity.

As Doc’s muse notes, at one point: “Doc may not be a ‘do-gooder’ but he’s done good.” To piggyback on that sentiment: Inherent Vice may not be perfect but it’s pretty damn good, nonetheless.

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5/6/14: It’s His World…We Just Live Here

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absentee father, American Beauty, Ann Magnuson, Arizona, Catcher in the Rye, Chris Klein, cinema, coming of age, depression, developmentally disabled, divorced parents, Don Cheadle, drama, drug abuse, drug dealer, dysfunctional family, fate, films, flashbacks, Holden Caulfield, independent films, indie dramas, infidelity, James Glennon, Jena Malone, Jeremy Enigk, juvenile detention facility, Kerry Washington, Kevin Spacey, Leland Fitzgerald, Lena Olin, Martin Donovan, Matthew Ryan Hoge, mentally challenged, Michael Pena, Michael Welch, Michelle Williams, Movies, murder, Nick Kokich, prison films, revenge, romance, Ryan Gosling, shattered families, Sherilyn Fenn, Sunny Day Real Estate, The Notebook, The United States of Leland, troubled teens, vengeance, voice-over narration, Wesley Jonathan, writer-director, youth in trouble

Grainy, home movie footage of a yard gives ways to a slow pan across the bright, vibrant green grass, as Ryan Gosling’s familiar, rather bored voice talks about “not being able to remember that day.” The pan continues, as deliberate as a lazy summer day, before finally ending on the obviously dead body of a young man. Gosling stands there, looking pensive for a moment, before jogging off as the Pixies’ iconic “Gigantic” bursts from the soundtrack. It’s a dynamic, effective opening and as a good a way as any to pull us into The United States of Leland (2003), a coming-of-age downer that often plays like a lesser American Beauty, despite having a few extra tricks up its sleeve.

After the opening, we get the meat of the situation: Leland Fitzgerald (Gosling) has just admitted to his mother, Marybeth (Lena Olin) that he killed Ryan Pollard (Michael Welch), the developmentally disabled brother of his girlfriend, Becky (Jena Malone). The whole thing comes as even more of a shock since Leland is so easy-going and seemed to genuinely care about Ryan. His admission is emotionless, distant and he’s locked up post-haste. While inside the juvenile detention facility, Leland meets the usual, stock “guy in prison” characters: a kindly Hispanic inmate (Michael Pena) who tries to strike up a friendship with Leland and a young, black inmate (Wesley Johnathan) who is initially hesitant of the “devil worshiper who killed the retard,” but gradually warms to him. More importantly, however, Leland meets Pearl Madison (Don Cheadle), an aspiring author who teaches classes at the facility.

Pearl sees something in Leland and convinces him to keep a journal, which the boy dubs “The United States of Leland.” Seeing the perfect subject for his long-gestating novel, Pearl tries to get to the essence of Leland, hoping to figure out what drove such a seemingly nice guy to do such a terrible thing. Meanwhile, on the outside, the dead boy’s family is falling apart: father Harry (Martin Donovan) is obsessed with the idea of killing Leland, mother Karen (Bongwater-member Ann Magnuson) has completely shut down, sisters Becky and Julie (Michelle Williams) are a wreck and Julie’s boyfriend, Allen (Chris Klein) is doing his best to hold everything together. He can’t, of course, because the situation continues to spin out of control, even as Leland seems to get some semblance of peace behind bars. As the reasons for Leland’s actions become more clear, including life-long issues with his absentee, famous writer father, Albert (Kevin Spacey), and Becky’s backsliding into heroin addiction, via her slimy ex-boyfriend, Kevin (Nick Kokich), everything seems to move along the most fatalistic path possible. When Allen decides to make the ultimate sacrifice in order to heal the wounded family, his actions bring everything to a boil, changing all of their lives, forever, in the process.

Released the year before Gosling would find super-stardom with the romantic hit The Notebook (2004), The United States of Leland is an odd role for the burgeoning superstar. While an argument can be made that many of Gosling’s performances hinge on his handsome, slightly bemused face taking stock of the situation (any situation…every situation…), it seems a rather unfair criticism to say that he spends the entire film staring off into the distance. Yet, essentially, this is what he does for the better part of the film’s almost two-hour-run-time. There’s not a whole lot of acting going on here, to be honest, more like a studied attempt to under-act whenever possible. While this affectation may have worked wonders in films like Drive (2011) and Only God Forgives (2013), where Gosling served more as an enigmatic symbol than an actual person, it only serves to strip any chance of relating to his character: in most cases, Leland seems about as alive and “with-it” as someone in a semi-catatonic state.

With Gosling effectively out of the picture, then, the “heavy emotional lifting,” as it were, needs to come from American Pie’s Klein as Allen, one of the most obvious “white knight” characters in recent memory. Allen is such a ridiculously nice guy that he never seems to do anything for self-serving reasons: coupled with his kindly demeanor, soft-spoken strength and determination, Allen is just about the nicest nice guy you’d ever meet. Yet, time after time, the movie takes care to shit on Allen from a great height, beginning with the rather callous way that his girlfriend, Julie, kicks him to the curb when things get bad and culminating with his spectacularly terrible plan to “make everything better.” The film never makes any attempt to explain away Julie’s change of heart, which is actually pretty par for the course in a film where characters seem to make arbitrary decisions that are designed to propel the narrative forward.

Pearl cheats on his girlfriend with a co-worker, seemingly for the sole reason of giving Leland some moral high-ground on him. Leland’s father, Albert, is nothing but contradictions: the character seems so mercurial that it almost feels as if Spacey is playing two separate people, super-glued together. Becky, despite being a junkie (those folks aren’t normally known for being reliable), is a complete mess: none of her actions seem to go together and her motivations range from unknown to insane. While Malone is a more than capable actress, I felt a massive disconnect with her character: she seemed so arbitrary and calculatedly cruel that she was completely unrealistic: uber-nice guy or not, I find it hard to believe that Leland would put up with too much of her shit.

The film makes a few rather sharp points about the human tendency to mess up, something which Pearl repeatedly blames on human nature. In one of the most thought-provoking lines in the film, Leland smiles and tells Pearl that he thinks it’s amusing that people always blame bad stuff on human nature but not good stuff: that’s all us. It’s a smart observation and one of the few times in the film were we seem to get a (mostly) conscious Gosling. By contrast, the film’s coda, which purports to explain Leland’s mindset, is a complete muddle. There’s an allusion made to a family that he met years before, the Calderons, and we’re made to believe that sleeping with the mother opened Leland’s eyes to the sadness of the world. While it’s an intriguing thought, it’s also an underdeveloped one, coming as it does in the final few moments of the film. It’s not a revelation, per se (hence I don’t feel the need to warn about potential spoilers), mostly because it’s difficult to see how it actually influences the course of the narrative: it’s equivalent to finding out that someone wore a blue shirt on the day they killed someone. Since the color of the shirt, specifically, doesn’t have anything to with the killing, knowing this bit of information doesn’t provide us any further insight. It’s a sort of MacGuffin, if you will, but for character development.

One of my biggest issues with the film has to do with its structure. For most of the movie, The United States of Leland utilizes almost continual flashbacks: often, it’s difficult to figure out exactly what time-frame we’re currently in, especially with some of Becky’s drug activity. This seems particularly unnecessary since the actual plot of the movie is pretty straight-forward: the flashback structure just seemed like a way to “gussy up” the proceedings, some way to make the film stand out a little more. Ultimately, the flashbacks feel as unnecessary as Gosling’s constant voice-over, which does little to add to either his own motivations or the actual story at hand. Whenever I complain about voice-overs (which I constantly do) I’m complaining about superfluous ones like this. For the most part.

Most of the cast does just fine with their roles, although Spacey’s screen-time really amounts to more of a glorified cameo than anything else, which is kind of disappointing. During those few scenes, however, Spacey is a nearly perfectly pitched alpha-male asshole, a pretentious word-cruncher who can’t stop his compulsion to correct someone’s grammar even as they’re offering him help. Cheadle is reliably solid as Pearl but I can’t help feeling that much of his actions and characterizations were just as arbitrary as those of Becky and Julie. At least Albert’s actions all fit with his obnoxious personality but Pearl was always something of an enigma.

One notable aspect of The United States of Leland would definitely be the soundtrack and score. Beginning with the Pixies song in the opening, music plays a pretty big part in the overall design of the film. This isn’t surprising when you consider that Jeremy Enigk, the frontman for ’90s-era emo-band Sunny Day Real Estate, handles the score duties here. Considering that veteran cinematographer James Glennon – whose resume includes Flight of the Navigator (1986), Citizen Ruth (1996), Election (1999) and About Schmidt (2002) – was behind the camera, The United States of Leland has a consistently good look, especially with some nicely saturated colors. While the film isn’t particularly original, it’s never a chore to watch.

Ultimately, The United States of Leland is a decent effort but one that breaks no new ground whatsoever. Despite a decent ensemble cast, there just isn’t much here to write home about. If you’ve always wondered what a less-focused, more vague take on American Beauty would feel like, The United States of Leland might just fit the bill. Otherwise, it’s a pretty basic drama about dysfunctional families, our dysfunctional society and the million little ways we find to make ourselves truly miserable.