Read + Write + Report
Home | Start a blog | About Orble | FAQ | Blogs | Writers | Paid | My Orble | Login

Old Movies - January 2010

(500) Days of Summer

January 31st 2010 22:15


There's a great moment in (500) Days of Summer when the all-knowing voice-of-God narrator butts in to tell us "There are only two kinds of people in this world: men, and women". It's a hilariously matter-of-fact observation that resonates because it also happens to be true, and it pretty much sums up this movie. From the outset we're told that this isn't a love story, but even with this preparation it's hard not to take some damage away from the sobering reality the filmmakers put onto this disarmingly glossy canvas. There's a certain degree of distance that the film's narration puts between the viewer and the doomed protagonist, Tom Hansen (Joseph Gordon-Levitt, who emerges as an utterly charming leading man), that allows for both amusement and sadness in his predicament. I guess you could call this film a comedy but it also puts you through the same blender that Tom goes through.

Tom is a greetings card writer who yearns to be an architect. In his workplace he meets Summer (the adoreable Zooey Deschanel), and he falls head over heels in love with her. The rest of the film jumps back and forth through the 500 days that he and Summer spend together. The obstacle that appears and disappears throughout their relationship is the subject of love itself... Tom loves Summer, without question, whereas Summer doesn't believe in love at all and won't even acknowledge Tom as her 'boyfriend'. It sounds a bit melodrammatic, but it's not. The film doesn't treat it in an overly serious, ponderous manner... it's very much a snapshot of life; equal parts laughter, anger, crying and all the other emotions we experience in the real world. The film wisely rejects a more linnear form of storytelling in order to prepare the viewer for the non-Hollywood treatment of it's subject matter. So yes, it's depressing, but it's also a story that doesn't normally get told to us in such a life-affirming, entertaining fashion, so there's value in it.

We're given more than a few clues as to where the relationship is heading (and why) when Tom and Summer first get together. She says that she isn't looking for a relationship because she doesn't believe in them, and he replies to the effect that they'll "take it slow". We know that it's not what she means. We also know that Tom probably knows this too, but because he's so hopelessly smitten with her he's also fundementally unable to accept it, so he'll say whatever she needs to hear at this point just to continue being with her. And he still can't disconnect from her as the story moves on, no matter how miserable he gets.

Director Marc Webb and the writer(s) employ more than a few inventive quirks to help counterbalance these downer aspects of the story... for one scene we're given a split screen that shows Tom's expectations vs. reality, and for another scene he walks down the street in misery while his flair for architecture erupts onto the screen and renders the New York landscape as a fantastic black and white sketch. There's also a wonderful sequence featuring my favourite Hall & Oates song, You Make My Dreams Come True, that completely won me over... it's one of those soaring moments where the power of cinema makes it possible to project an emotion (in this case, sheer joy) directly off the screen. I won't tell you how as I wouldn't want to spoil it, but it's a bravura moment that elevates the movie above it's cut-and-paste contemporaries.

I'm the biggest crybaby when it comes to movies. Sometimes I feel so manipulated by a film's efforts to make me cry but still can't help it at all. I was about 24 minutes into (5oo) Days of Summer and I just knew that this movie was going to destroy me. It was clear from the beginning that this film was about the immutability of two people in a relationship whose worldviews are resolutely incompatible, but I didn't want to believe it. If you're a romantic like Tom you'll want to hang on through this movie even though you think you can guess how it ends. All I will say is that it's worth hanging in there, the movie is an entire experience and is so much more than just the sum of it's parts.
62
Vote
   


An Education

January 28th 2010 20:39


At a brisk self-contained 90 minutes, An Education is about one young lady's early introduction to the adult world and her subsequent navigation of the morally-grey minefield that come with the territory. As the double-meaning of the title bluntly suggests, it's a cautionary tale about learning the realities of life. In this case it pertains to the nouveau-sophisticate class that was beginning to emerge in early 60s Britain. These were upwardly mobile and educated young folk unburdened by the crushing drudgery of the class system or life during wartime, a new open-minded class fostered by the influence of European culture and opportunities suggested through the increasingly widespread advent of television. An Education is based on an autobiographical essay by Lynn Barber (who later turned it into a fully fledged memoir after novelist Nick Hornby adapted her story into the screenplay for this film) and is currently generating Oscar buzz for it's lead actress, Carey Mulligan.

Jenny (Mulligan) is an intelligent and cultured 16 year old of strikingly good taste and humour. Her father (Alfred Molina) is a strict taskmaster who aims to put her through university at Oxford. Within the first five minutes of An Education we're shown the typical path her life might take - the awkward teenage love interest, the ambitions tied in to a higher education, etc, etc. And then David (Peter Sarsgaard) appears, a smooth-talking Jewish man twice her age who connects with her through her love of music and art. Through David she finds herself fasttracked into the real world, experiencing jazz clubs and art auctions and visiting Oxford and Paris - it's a dazzling new world that would be hard for a brilliant young lady of her tastes to resist. It's quite clear when we first meet Jenny that she's already a bit beyond teenage boys and adolescence in general, but the title of the film looms prophetically over the narrative and we just know that wherever this story is heading it isn't all going to be beer and skittles.

The bulk of this film's success hinges on Carey Mulligan's performance as Jenny. She's positively radiant and has a star quality, like Audrey Hepburn reborn, only much more charming. She's been a pinup girl for Doctor Who fans for a good two or three years now from just a single appearance in one episode, and we'll find out in the space of a week if all her award ceremony nominations and wins were a good indication of notice from the Academy Awards this year. The character of Jenny could've come across as smarmy or precocious if put in the hands of a less charismatic actress, but Mulligan makes her impossibly likeable despite the character's faults and mistakes. You can't bottle that kind of talent or quality.

The underrated Peter Sarsgaard is perfectly cast as David too. He combines the character's gentlemanly qualities with a slight sense of creepiness that ensures we never quite forget the age difference between the two lead characters. Jenny might be a 16 year old played by a 24 year-old actress, but whenever the topic of sex comes up Sarsgaard makes it unsettling enough to ensure we never quite trust him in the way Jenny does. There's also some great supporting work from Alfred Molina, Emma Thompson and Olivia Williams as the wisened and not-so wisened adults trying to look out for Jenny despite her headstrong ideas.

An Education has more than a few interesting things to say about Jenny's coming of age and the mistakes she makes. Most of these kinds of movies feature the central character's childish worldview giving way to the inevitable realities that await them, but An Education bucks the trend by taking Jenny away from her lifeplan right from the start, and chucks her in the deep end. She might be prepared for all the finer things in life but it's her emotional immaturity that will trip her up. She comes to learn that her incredibly refined taste is also expensive to fulfil, with her thirst for knowledge a kind of addiction that needs financing. This dovetails in with her discoveries regarding how David is able to provide for her whims and desires... at first she's upset by his means of income, but she's also victim to the irresistable pull of all the culture she'd be denied if she stayed at home, and so - lacking independence - she finds it quite easy to compromise her values. Her resulting confrontations with her teacher and headmistress are two acidly sharp scenes that deconstruct the point of education itself and it's changing relevance in the early 60s, it's these scenes that really demonstrate Mulligan's quality as a performer and give us some of the film's most memorable and cutting dialogue ("This whole stupid country is bored" and "It's not enough to educate us any more... you've got to tell us why you're doing it").

I don't really have much more to say about this film other than that it's as fine a piece of art as the paintings and music Jenny adores so much. I'd also just like to mention how great Alfred Molina is in this too... he's quite the blustering, foot-down father type in the earlier scenes but it eventually transpires that he's not the typically cliched domineering dad you tend to get in this genre of film, he provides some much needed laughs throughout and his last few scenes brought a surprised tear to my eye.
68
Vote
   


JCVD

January 27th 2010 06:22


Everyone loves a comeback. Whether it's Marlon Brando in The Godfather, Mickey Rourke in The Wrestler or AC/DC's single Rock N Roll Train, there's something special about seeing someone recpature the glory that made them famous so very long ago. The last person anyone ever expected a comeback from was probably Jean-Claude Van Damme, alongside Steven Seagal he's become something of a straight-to-DVD joke in recent years. No one could ever imagine either of these two guys ever making a triumphant comeback because their screen personas seem so entwined with career-damaging egos. Their inability to laugh at themselves to any degree means that the common, non-action film fan can't identify with them in any capacity. JCVD is a comeback film of epic proportions because it combines a surprisingly post-modern concept with an unprecedented depth of humility on Van Damme's part. The film itself isn't as big in scope as we might hope it to be, but it does things with an 80s action star (the genuine article!) that we never dreamed could be done. If someone travelled back in time to ten years ago and described this film to me I wouldn't have believed them. In fact, prior to seeing this film for myself, I didn't really believe it anyway.

Jean-Claude Van Damme plays himself. We open with a fabulous tracking shot of Van Damme singlehandedly ripping apart an army to the soulful strains of Baby Huey, at the end of the opening credits it's revealed that this is Van Damme the actor, on a movie set. He lets fly at the director in frustration at having to do all this in one long tracking shot as he's getting too old for it. From here we follow Van Damme through his ongoing custody battles for his daughter, a disappointing meeting with his agent, his mounting financial troubles, etc, etc. All these things echo Van Damme's real life - his own personal frustration at only being given the opportunity to be in crap European movies, his real life custody battle for his son... it's a brave case of art imitating life that allows Van Damme to bring more depth to his acting then anyone ever thought possible.

The bulk of the film is given over to a hostage/heist plot that Van Damme inadvertantly gets embroiled in. The film takes a non-linnear look at the events, examining the heist from an outside perspective at first, then showing us what is concurrently going on inside, and then opening the story out further to show the events leading up to it. Part of it feels like hipness for the sake of being hip, but it also allows for a couple of very funny side-scenes where people interact with Belgian superstar Jean-Claude Van Damme. As this is the real life Van Damme and not his toughened screen persona, JCVD pits him against a rather inept but dangerous trio of robbers as opposed to his usual movie-sized oppponents. Van Damme is forced to used his wits rather than his fists, which is as good a start at any if an action hero wants to break free from his typecasting.

This movie is really about the scenes where we get to see Van Damme do things that he normally doesn't do in movies - whether it's his upsetness at disappointing his mum, his apparent willingness to work for nothing in order to be in a good movie, or his amusing interactions with fans and non-fans (some of which were apparently adlibbed). But the one amazing scene that everyone talks about when they see this movie is the sequence where he breaks the fourth wall and talks directly to the audience... where he directly apologises to his fans, talks frankly about his drug addiction and marital problems, and becomes quite emotional. You can't help but be moved by what is very obviously the real Van Damme letting the audience know his deepest regrets and insecurities, it's astounding and captivatingly heartfelt. I've never really been much of a Van Damme fan, but I now have a lot of respect and admiration for him. Hardcore Van Damme fans should love this movie too, there are several references to his career that would probably mean a lot more to them then they did to me. It's a shame that he'll probably continue doing the same sorts of films he usually does, but at least he got to make this movie... it's the kind of truthful film that superstars never make. I can't really think of anyone else as famous who has ever put themselves out there like this. This is the sort of film that almost never gets made.
49
Vote
   


A Serious Man

January 25th 2010 01:10


After the fanfare of No Country for Old Men and the star-studded spy mis-caper Burn After Reading, the Coen brothers have popped out something a bit more off the radar in the form of A Serious Man. People who exclusively enjoyed either or both of their last two films might find themselves a bit befuddled by this deceptively smaller work, but it is unmistakably a Coen brothers story through and through, and one that perhaps raises more questions than answers. This is also a seriously subtle comedy that sheds some overdue light on the Coen brothers' own bizarre sense of humour


[ Click here to read more ]
42
Vote
   


Invictus

January 22nd 2010 12:21


In the the later years of his life Clint Eastwood has achieved something rather special, not only has he managed to preserve his status as an acting legend without tarnishing it (I love the fact that he has resisted trading off his reputation for an easy comedy ala De Niro or Bruce Willis) but he has also nurtured a long-standing career as a director to the point where his name has become associated with filmmaking just as much as it was with acting roles. Invictus is a bit of a curveball for Eastwood-the-director, most of his previous directing efforts have been firmly about Americana, war, crime or a combination of all three. This film breaks him out of his comfort zone by tackling both post-Apartheid South Africa and a decidedly non-American sport, rugby union


[ Click here to read more ]
28
Vote
   



Here is the first part of the most complete possible guide I could write of Brando's filmed output. I think the only acting credits I've missed are Brando's 1949 debut in a half hour episode of the now-lost TV series Actor's Studio (footage from this show has been missing for decades so it's unlikely I'll ever see it) and an appearance in a 1950 TV show called Come Out Fighting (which isn't even listed on IMDB.com in any way, shape or form, so it's unlikely I'll ever get to see that either). I've been working towards writing this guide for a while and now that I've seen all 43 of his existing screen credits I can share my thoughts on his career.

[ Click here to read more ]
54
Vote
   


Up in the Air

January 17th 2010 21:30


Jason Reitman's followup to Juno is a more mature work comparable in some ways to the Paul Weitz film In Good Company, though thanks to the presence of George Clooney and Reitman's own growing stature as an indie-comedy auteur, Up in the Air has attracted a more sizeable critical buzz. The trailer sells this movie firmly as artsty Oscar-bait, but it's actually a bit more of a comedy, and a supreme work of irony that plays on the gap between our current iGeneration and the go-business-go generation of the 80s that came before us


[ Click here to read more ]
68
Vote
   


The Lovely Bones

January 14th 2010 07:51
Lovely Bones


Peter Jackson was pelted into the director's A-list thanks to his colossal success in bringing the Lord of the Rings movies to the screen. He followed this with a remake of King Kong, a spectacle-based adventure that suffered from serious length and pacing issues. I wouldn't exactly call King Kong a flop, but I think it's safe to say that it more than whetted the public's curiosity when it came to what Jackson was capable of as a director. And so, some four years later, Jackson makes a rather quiet reappearance with a flashy adaptation of the much-loved novel The Lovely Bones, just in time for the 2009/2010 Academy Awards, and no one really seems to care. It will be interesting to see if The Lovely Bones even gets nominated for anything come Oscar-time as the film seems like a rather tasteless non-event


[ Click here to read more ]
61
Vote
   


The Damned United

January 11th 2010 04:30


I won't pretend I know anything about soccer/football... I barely care about sport of any kind (unless the sport in question is the sport of knocking down beers, nyuk nyuk), but that doesn't mean I don't enjoy a good sport movie. I like what sport can sometimes represent (one of my all-time favourite movies is Rudy) and I can recognise why some people invest so much of their lives into it. Anyway, the story of The Damned United concerns a rather tumultuous and short period in the history of the Leeds football club in mid-70s Britain, a 44-day stretch that saw them get a new manager and subsequently drop from the top of the league to second last on the ladder. It's not a tale of Leeds though as it is so much the story of football manager Brian Clough, the man who quashed their status as champions in his misguided efforts to eclipse the reputation of their previous manager


[ Click here to read more ]
36
Vote
   


Avatar

January 8th 2010 11:26


For a film that James Cameron has been working on for pretty much over a decade, Avatar kind of snuck on the world before exploding like a bomb full of hype. In the wake of Lord of the Rings and other CGI-heavy films it's easy to stop feeling excited about special effects, it's like I got to a saturation point where I just didn't care about how realistic computer generated effects could look... it felt like there was nowhere else to go in science fiction and fantasy movies. As you might expect, I was wrong. Avatar exceeded the bounds of my imagination. The computer generated wizardry is more realistic than anything else we have ever seen, and you'll forget that it's not real. Anyway, here are some further thoughts on the movie


[ Click here to read more ]
44
Vote
   


Top 101 Movies of the Decade Part 2

January 5th 2010 06:44
55
Vote
   


Top 101 Movies of the Decade Part 1

January 5th 2010 06:43
I initially resisted the idea of doing one of these 'Best of' lists, simply because it felt too hard to settle on an arbitary number and nominate the best films from the last ten years, let alone rank them. I worry that I've forgotten some that should've made the list, and I also worry about the films I haven't seen yet and whether they might be more deserving of a place. I also worry about the predominance of American and other English-speaking films... I do try to watch as many 'foreign' language films as possible, but they don't always find their way to me as quickly and often as American films. So with all this in mind (and mentioned as fast as possible so I can start with a clean slate and just get on with it) here are my Top 101 films from the last decade (2000-2009). And no, they aren't really in any order other than alphabetical.


[ Click here to read more ]
57
Vote
   


Under the Volcano

January 1st 2010 04:42


This is a fairly forgotten gem from the mid-80s, based on the classic and tragic novel of the same name. The film is also the legendary John Huston's third last movie as a director. Taking place in Mexico during the festival known as the Day of the Dead, the film also works against a backdrop of the early days of WWII, and explores the fragmented love triangle between a former British diplomat (Albert Finney), his estranged wife (Jacqueline Bisset), and his adventurous journalist brother (Anthony Andrews


[ Click here to read more ]
50
Vote
   


More Posts
1 Posts
1 Posts
1 Posts
315 Posts dating from May 2006
Email Subscription
Receive e-mail notifications of new posts on this blog:
Moderated by Luke
Copyright © 2012 On Topic Media PTY LTD. All Rights Reserved. Design by Vimu.com.
On Topic Media ZPages: Sydney |  Melbourne |  Brisbane |  London |  Birmingham |  Leeds     [ Advertise ] [ Contact Us ] [ Privacy Policy ]