Starring Gael Garcia Bernal, Fele Martinez, Daniel Gimenez Cacho
Directed by Pedro Almodóvar
Reviewed by Nathan Williams
Originally reviewed by Nathan Williams in Being There's February 2005 issue. Now available on DVD.
Pedro Almodóvar's Bad Education opens as promisingly as any film in recent memory. An intriguing and dynamic billboard-title sequence set to stabbing, Bernard Hermann strings (Mr. Hermann being deceased, the score was composed by Alberto Iglesias). Hitchcock is strongly suggested and the opening scenes of intrigue and ambiguous identity lead one's hopes even higher. Yet, ultimately, while Almodóvar is clearly a major talent, the film is a minor work and lacks both Almodóvar's personal warmth and full commitment to the thriller/melodrama heavy-handedness that the material seems to require.
It is with great delicacy that I approach describing this material, since the film is little without the impact of its revelations, several of which are quite effective. At least initially, the film concerns a surrogate Almodóvar character (gay film director with fondness for tabloids, played by Fele Martinez) and an ex-lover (Gael Garcia Bernal) who comes hawking a script, his acting talent, and his body. The lover's script involves a shared boyhood trauma and predicates a chain of revelations, personal examination, film-within-a-film cleverness, and uncannily effective cross-dressing. Almodóvar provides the twists, but it is with little audience involvement in the physical or psychological fate of his characters. Hard to believe, but the most sympathetic character is a pedophilic priest. The director seems reluctant to manipulate in a manner as heavy-handed as Hitch, which flatters the audience but leaves for an oddly cold, flat film, given the material.
Fassbinder often used this approach, but his films tend towards socio-political allegory, something it is hard to see Almodóvar striving for here. Certainly there is some significant Franco/post-Franco divide between the early flashbacks and the rest of the film, but the American viewer would be hard pressed to find any coherent social commentary.
It ought to be noted, however, that a great deal of the film's cultural context is lost on this reviewer (not being Spanish, gay, or born in the late 1960s). The film is apparently extremely personal to Almodóvar, much of it resembling his own life. And there is, of course, much to be praised about the film. Almodóvar is now one of cinema's master craftsmen, and he shoots his scenes in a stately but stylish manner. His unique sense of humor, though significantly tamed since his campier days, does not fail when he treats us to it; a wonderful example is his perverse use of the song, "Moon River." The performances, particularly Bernal's, are excellent; one very much wishes there was more to like (or loathe) about these characters. The cinematography and score set a consistent, often powerful mood. All in all, a great deal of talent is involved, including the director, but the result is a film that tantalizes more than it satisfies.
The DVD edition of Bad Education includes a featurette and audio commentary by director Pedro Almodovar. It is available in either NC-17 or R rated editions.
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Starring Jude Law, Natalie Portman, Clive Owen, and Julia Roberts
Directed by Mike Nichols
Reviewed by Aaron Licht
Originally reviewed by Aaron Licht in Being There's October 2004 issue. Now available on DVD.
Closer is an insightful relationship sex drama, like Sex, Lies & Videotape (1989, Soderbergh), Pinter's Betrayal (1983, Jones), and Your Friends & Neighbours (1998, LaBute). Some of these romances are idealistic, like Before Sunset (2004, Linklater), while others are cruel and hate-filled like Closer. Whether I swoon or wince, this genre always promises an engaging experience.
Playwright Patrick Marber adapted Closer from his award-winning play. His drama, like many successful plays adapted for the screen, incorporates intelligent dialogue and realistic deeply-felt romance. Lovers' quarrels are charged with such dramatic potential that many scenes are longer than in typical relationship dramas. Expect dialogue that will make one pause and think, while their exact meaning may remain more elusive. Consider the following line, screamed while charging towards its victim, "Know what a heart looks like? A fist covered with blood!"
Director Mike Nichols is a veteran of spicy sex dramas, The Graduate (1967), Carnal Knowledge (1972) and The Birdcage (1996). At 74, he is still exploring philosophical relationship issues.
Apparently Nichols took the material very seriously, as he made the four leads immerse themselves in their characters with rehearsals for over a month. And it shows. Jude Law, Natalie Portman, Clive Owen and yes, even Julia Roberts are all at their best. Portman's performance is easily her best yet, and as it comes as no surprise, she's astonishingly beautiful. After almost a decade, Portman is shedding her role as Queen Amidala from the recent Star Wars films. Despite playing a stripper in Closer, her subtle looks of confusion are what moves you. Honest.
The story revolves around a typical situation, characters swinging from one relationship to the next; loving, dumping and obsessing with painful knife-in-the-back slow twisting revenge. The plot makes subtle jumps around in time, usually skipping by the happy moments and focusing on the painful. It's about a complex four-way relationship and not to disappoint, but don't expect any Roberts/Portman or Owen/Law hook-ups. Although one such coupling does enjoy a nasty session of cybersex together. Indeed, it makes perfect sense once you see it in context.
Another of my favorite scenes transpires at a strip club. What if a stripper is visited by someone from their past and toys between the rules of the club and a true intimate moment? The situation is rife with drama and again, it makes perfect sense in context.
No character gets away guilt-free. At the end of the second act, I had little sympathy for any character. When the credits rolled, all I wanted was a cold shower (although I still had a strong desire to give Portman a small kiss and hold her close). Do these cruel lovers make the film less enjoyable? Perhaps, but it's a simple truth that everyone can get ugly when caught up with sex, love and betrayal.
The film is successful, and is enjoyable for those looking for a serious relationship drama. At the screening, I sat next to a drunk, loaded on cheap brandy from his brown paper bag (apparently an 'actor' once he found out I worked in film, but that's beside the point). He left after ten minutes, claiming that "there aren't enough guns for me man." Closer may not have any gunplay, but its intimate, sensual and confused characters will inspire you to evaluate the trying relationships in your life.
The film's DVD release is Superbit, so bonus features are lacking. The disc does, however, include a music video for Damien Rice's "The Blower's Daughter," and is presented in superior sound and picture.
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Starring Don Cheadle, Sophie Okonedo, Nick Nolte, Joaquin Pheonix
Directed by Terry George
Reviewed by Aaron Licht
Originally reviewed by Aaron Licht in Being There's February 2005 issue. Now available on DVD.
In Collateral, hitman Tom Cruise forces Jamie Foxx to hide a corpse in the trunk of his taxi, then tries to rationalize his murderous occupation.
Vincent: Max, six billion people on the planet, you're getting bent out of shape cause of one fat guy?
Max: Well, who was he?
Vincent: What do you care? Have you ever heard of Rwanda?
Max: Yes, I know Rwanda.
Vincent: Well, tens of thousands killed before sundown. Nobody's killed people that fast since Nagasaki and Hiroshima. Did you bat an eye, Max?
Max: What?
Vincent: Did you join Amnesty International, Oxfam, Save the Whales, Greenpeace, or something? No. I off one fat Angelino and you throw a hissy fit.
Max: Man, I don't know any Rwandans.
Vincent: You don't know the guy in the trunk, either.
Before seeing Hotel Rwanda, I knew very little of the horrendous Rwandan genocide. All I knew is that a mere decade ago close to a million people were slaughtered and the Western world did nothing to help. Now this important and sensitive event has been given a first class movie treatment. Based on a true story, Hotel Rwanda is a deeply affecting drama of resistance during the senseless massacre.
Don Cheadle plays Paul Rusesabagina, a resourceful manager of a luxurious hotel in Rwanda's capital. He can't bring himself to believe the Hutu majority's hatred of the Tutsi minority will erupt in violence. Paul himself is Hutu but married to a Tutsi (Sophie Okonedo), together raising their young children. When the Rwandan president is murdered, the Hutu suspect Tutsi rebels and within hours, the streets are full of blood.
Ignorant Westerners may think the Rwandan civil war was all tribal fighting in small villages. But Rwanda is no backwards third world country. Paul and his neighbours live in the suburbs; when the genocide hits hard, Paul's girl playing in their yard is suddenly in danger of swinging machetes.
With very little means (only his intelligence, connections and Hutu status), Paul struggles to shelter Tutsi refugees and Hutu sympathizers from the hell just outside the grounds of the hotel he manages. The easy comparison here is Schindler's List. During times of epidemic madness, decent, brave and selfless men are forced to act to save the innocent. It's appropriate that the filmmakers would choose to tell an uplifting true story within such a bleak and unthinkable conflict.
The UN colonel (Nick Nolte, inspired by Canadian UN commander Romeo Dallaire) explains that the Rwandan UN presence is only of peacekeepers, not peacemakers. There is only so much a handful of peacekeepers can do against a legion of machete wielding 'morally right' militia. When all military and western power suddenly withdraws from Rwanda, the innocent civilians in Paul's hotel are horrified Now abandoned, it's up to the Tutsis to save themselves from slaughter.
During a genocide, what is a human life worth? 10,000 francs, a bottle of scotch? We yearn for Paul to deceive Hutu militants and military thugs, by any means necessary. Don Cheadle's performance is simply amazing. He's always stood out in his many supporting roles (Boogie Nights, Traffic and the upcoming Crash), and now he assumes a leading role well worth Oscar attention. Both courageous and human, he doesn't play Rusesabagina as a super hero. He's simply sane and knows what he has to do, and the audience is always right there with him.
Joaquin Phoenix plays a small but significant role as Jack, a western television reporter. It is through his impartial eyes that we touch on the cultural lineage of the Hutu & Tutsi peoples. At the hotel bar, he asks two women about their background, one is Hutu the other Tutsi. His friend explains the alleged differences but Jack can only see two gorgeous women. Historical strains have created acute class divides, breeding the worst of human suspicion and hatred.
Despite the heavy socially conscious subject, (and the film's attempt to shame westerners for their apathy) the overall tone isn't as depressing as one might think. The music is quite uplifting and the African locations are dominated by stunning colours.
As with any historical drama, it can be easy to forget these events actually happened only ten and a half years ago. With conflict still threatening to break out all over the world (including Rwanda), the film teaches us of the insanity of 'ethnic superiority' and the need to live and work together. Hotel Rwanda makes these common themes feel sharply real.
The DVD release of the film contains a slew of bonus features, including audio commentary by director Terry George and real-life subject of the film, Paul Rusesabagina, two documentaries ("Return to Rwanda" and "A Message for Peace: Making Hotel Rwanda"), and selected scene commentaries by Don Cheadle and Wyclef Jean.
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Laura 20th Century Fox Home Entertainment
Starring Gene Tierney, Clifton Webb, and Vincent Price
Directed by Otto Preminger
Reviewed by Nathan Williams
The film
Otto Preminger is a generally disappointing director. He has big league (if not quite hall of fame) talent and acts as if he's comfortable in AAA. Unwilling to artistically commit himself, he comes across principally as a producer who directs as if to save hassle and extra room in the budget. Laura is generally, and rightfully, considered to be his best film and was the source of much of the momentum for his career. But compared to other early films noir like The Maltese Falcon, The Big Sleep, and Double Indemnity, Laura plays like a dress rehearsal of a great film. The elements are all there: a great premise (a detective falling in love with a dead woman's portrait), brilliant but bizarre casting (the gorgeous Gene Tierney as Laura, the "sophisticated" Clifton Webb as her fussy benefactor, Vincent Price as a bumbling Kentucky gigolo), and subtle noir lighting by Joseph LaShelle. But, despite moving the camera like a demon-marvelous fluidity, thoughtful reframing mid-shot, effective use of quick pans-Preminger's direction seems to lack something. Always the consummate professional, Preminger declines to infuse his camera work with the kind of individual personality that Huston, Wilder, or Hawks couldn't help but bring. One gets the sense that Preminger has no personal take on the material, he's merely covering it in as effective and appropriately stylish a manner possible.
This means that Laura is a very good film, but it is tantalizingly close to a great film, which makes Preminger's detachment all the more disappointing. Still, it is a great studio product that makes one long for the days of vertical integration. The score by David Raskin is the jewel of the whole endeavor, and the haunting "Laura's Theme" lends emotional weight to scenes that don't quite deserve it.
The disc
Fox gives the disc a handsome treatment. The transfer is a few notches below the Warner standard but is certainly within the acceptable realm. The extra chunk of montage added to the "extended version" looks like a straight laser-disc rip, however, and is distracting enough to merit avoiding, even if it does allegedly represent Preminger's preferred cut. Also included are two A&E Biography episodes, for Gene Tierney and Vincent Price. Pretty mundane stuff, but you know what to expect under the Biography banner.
The first-vastly preferable-commentary by film historian Rudy Behlmer is informative and entertaining. Behlmer comes prepared (calling Bogdanovich!) and gives an exhaustive but never tiresome history of the production. The highlight is his reading of Daryl Zanuck's notes on an early draft of the script. Zanuck, while clearly the kind of bastard who would destroy careers without thinking twice, brings tears to the eyes with his knowledge and passion for cinema. He understands how movies work, why certain factors appeal to audiences, and that a film must be more than the sum of its parts. Though known as anti-artistic tyrants, the studio giants of the golden period shame the glorified bankers of our own test-audience era.
The second commentary features Wesleyan film studies professor, Jeanine Basinger, and-from an entirely separate recording date-composer David Raskin. Raskin speaks infrequently but is usually amusing, relating both anecdotes from his own experience as well as the perspective of a viewer of the '40s. Basinger gives possibly the most useless commentary of all time, doing little more than redundantly describing screen action and lauding a particular scene or line as "famous."
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Starring Imelda Staunton, Richard Graham, Eddie Marsan, Anna Keaveney, etc.
Directed by Mike Leigh
Reviewed by Adam D. Miller
Vera Drake is a subtle drama that is beautifully written and executed. Writer/director Mike Leigh is a well-respected filmmaker in England, and has made many successful films including Topsy-Turvy.
The film tells the story of a working-class woman in 1950s Britain, with a loving family and cheerful demeanor. Her family, then, is shocked when police come to the door looking for her during a family dinner. But Drake knows exactly why the police have come for her.
Drake has kept a secret from even the family whom she loves. When women would accidentally become pregnant, Vera Drake used her own methods to help these young women. She never used the word abortion in the entire film. When asked by the police if she committed abortions, she replies "that's your word." From there it's a downward spiral, with her family not knowing how to react, particularly her loving son, who feels betrayed.
Perhaps the best thing about Vera Drake is its realism. It is in no way a Hollywood film, and all of the actors seem very much like real people. No major political statements are made in the film, despite the fact that abortion is just as controversial today. There is one thinly veiled political statement, however, showing us why abortions can't always be viewed as a horrible option. In one scene, a young woman who Drake later helps is sobbing, having been the victim of rape by a male friend. She has become pregnant and wants to be rid of the baby. Sounds familiar, doesn't it?
Of course it is Imelda Staunton that is by far the film's greatest performance. As Vera Drake, Staunton is completely believable as the old-fashioned British housewife with a 'dark' secret. Her tears throughout the film are heartbreaking, and long before we know what she's up to (regardless of what side of the political fence we might sit on), we fall in love with her devotion to her family, her care for others, and her gentle ways.
Vera Drake was nominated for three Academy Awards; Best Director (Mike Leigh), Best Original Screenplay (Mike Leigh), and Best Actress (Imelda Staunton). That it failed to win any of the three may be a testament to just how great a year 2004 was for film, but it could also be proof that the Oscars are always more likely to recognize homegrown, Hollywood talent than more independent, international fare. Over in England, Staunton and Leigh were both recognized for their efforts with BAFTA awards.
The only downside to this DVD is that it lacks any bonus features. Still, in some ways that could be a testament to the quiet and subtle film that Vera Drake is. Perhaps its questions are best left unanswered by audio commentaries or featurettes.
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