Promised Land

Promised_Land_(2012)

While certainly agitpop, I enjoyed Promised Land starring Matt Damon, John Krasinski, Frances McDormand, and Hal Halbrooke. It’s the story of a newly promoted natural gas employee whose job is to get family farmers to sign over their land rights. Then Global Oil will begin fracking, which can go terribly wrong, contaminating the land and water for generations. Of course, Damon’s character leaves that bit out of his sales pitch. He and McDormand visit a small town in Pennsylvania promising these good folks that they can make loads of cash and threatening them that this is their last and only chance at a good life for their kids.

Damon’s character, Steve Butler, comes from a small town in Iowa that’s hit economic hard times since a Catapillar plant left town, probably for China or some place with cheap, cheap labor. Steve keeps assuring himself that he’s a good guy and his conscience starts to flare when Krasinski’s environmental advocate comes to town. The two compete and time and again Steve’s luck and charm run out.

The story has some twists at the end and reminded me of a modern version of Upton Sinclair’s Oil! – which we all should read. It’s a palatable way to learn about fracking and corporate practice. There’s a B story with a love triangle, but that subplot isn’t as strong as it could be.

All in all, I’d give this a thumbs up.

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Silver Lining Playbook

JENNIFER LAWRENCE and BRADLEY COOPER star in SILVER LININGS PLAYBOOK

While I enjoyed Silver Lining Playbook, the story of Pat, a bipolar man released from a mental institution, who’s intensely committed to getting his wife back. I wouldn’t watch it twice. It’s good, but not that good.

Robert De Niro, Bradley Cooper, Jennifer Lawrence and the rest of the cast all turn in fine performances and the story pulls one along. I was just too aware of the plot points and screenwriting conventions to be blown away. I found the energy between characters,  particularly Pat’s father (De Niro), Pat (Cooper) and Tiffany (Lawrence), entertaining, though I was aware that I was suspending disbelief while I watched.  I guess I just don’t spend much time with people who’re so compulsive.

Midway through the story Pat Sr., who’s very superstitious, bets a fortune on a big game. Throughout the film the characters’ reverence for football is played out and I suppose some people’s lives do revolve around these hobbies in this fashion. I didn’t mind watching their rituals, but sometimes I felt manipulated. For example, Pat goes to a football game and sees his Indian shrink alight from a stereotypical bus that you’d see in New Delhi with Hindu gods painted on it. Never in a million years would this professional take that bus with all his Indian friends to a game. They might drive in sedans, but that wouldn’t serve the plot. Of course, some red necks bully the minorities and Pat gets into the fray after trying really hard not to. Will he be sent back to the mental hospital? That worry is worked throughout the film.

I think and hope we’re in the midst of a change in story paradigms so the conventions are more noticeable, and for me, disappointing.  Adding a bet to a plot is so simplistic, such a cop out, as is abnormal psychology in characterization. I know bipolar people and they aren’t like Pat or Tiffany. Now those folks mainly take their meds, but not always. Also, there seems to be a disproportionate number of mentally ill characters on screens, big and small, in the U.S. now. Writers seem fascinated with them and I think they’re easier to write than other characters. I admit Tiffany’s personality, while abrasive to the nth degree was compelling, but the idea that a relationship with her as she is is a good idea for anyone was hard to buy. Lawrence got the Oscar for her performance, but the Academy falls for these sorts of characters a lot. While a crazy chick is a compelling character, I don’t think the performance ranks as best of the year, unless 2012 was a slow year for female roles.

I also didn’t buy that Pat Sr. made a ton of money bookmaking without facing troubles from the mob. They’d want their cut. That’s were they make a lot of money, hundreds of thousands of dollars a year.

I saw Silver Lining Playbook because my friend Michele recommended it strongly. It was a fine movie, but not a must see. I’m glad I didn’t spend $10 on a ticket.

Monsieur Lazhar

Quiet, thoughtful, and touching, Monsieur Lazhar tells the story of a substitute teacher from Algeria who takes over a grade school class whose teacher committed suicide. The title character came to Montreal as a refugee and his immigration status is precarious.

I soon got pulled into this film in a way that’s rare when I watch a Hollywood film. It’s less predictable or high octane. The characters seemed very real, especially the children whose dialog was authentic. Too often child actors are given absurd lines only someone over 30 would come up with.

Monsieur Lazhar reminded me of The Class, a.k.a.Entre les Murs, another film set in a school, which was well worth watching.

Remembering Roger Ebert

RogerEbert-thumb-550xauto-34161I really was stunned and saddened to hear that Roger Ebert died. He was such a constant in my media life. I loved his writing and his lively discussions on At the Movies with Gene Siskel and later with Richard Roeper.

For a few years I took Roger’s film class through the University of Chicago’s adult ed program. It was tough to get a seat in the class. The first time I took it we watched Paul Schrader‘s films and Schrader even came to our class to screen Light of Day.

The following semester to cut down on students who would have to be turned away when the class moved from Spertus College to a screening room on Michigan Avenue, Ebert chose to focus on films by French director Robert Bresson. Bresson’s films are tough as he rejects everything Hollywood loves: surprise endings, professional actors, music, you name if it’s in a blockbuster, it’s not an element of a Bresson film. I love a good challenge I signed up again. Even in the smaller new space, the class was full and some were turned away. A lot of the people had been taking the class for 18 years by then and many were knowledgeable film viewers. Ebert never put anyone down or carried himself as if he was smarter or better than us. In fact, several times he’d point out that the only reason he was teaching the course was the roll of a die. Hardly, since he was an expert, but he conducted the class with such respect for all.

roger geneUsually the class followed the films of one director and we were able to see his evolution or what made him tick. I recall taking the Schrader, Bresson, Billie Wilder classes, but I think there were others. I do remember winning the Beat Roger Oscar contest in the class one year. Talk about a fluke. I got 8 or 10 books, one autographed, which I’ll have to dig out.

Beyond the class, Roger’s website and reviews continued me to seek out challenging films, to expand what I watched. Thus I discovered great films, old and new.

I admire how Roger wrote, how he curated outstanding web content on his blog, how he taught me to view films and how he exhibited joy in film. He wasn’t just a public intellect, he was a happy one. How often do we see that? He cared passionately about film, didn’t take himself to seriously, was honest about his likes and dislikes – even his early feelings for Siskel. He lived well. I was always awed by how bravely and openingly he continued to live and work while battling cancer.

It’s sad that he lost that battle, but we were lucky to have him all these years. For a reminder of Ebert’s passion and insight, take a look at the Chicago Tonight video, which you can watch online here.

Related stories

Anna Karenina

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The 2012 Anna Karenina is visually masterful and dramatically potent. Director Joe Wright‘s film adheres to Tolstoy‘s novel, but moves at a clip. Viewers get all the essential with out all many of the details of the masterpiece. It’s a good introduction to a must-read book. If you only watch the film, you won’t get all the details of life in the country-side and the social issues of the late 19th century. You will get the passion and momentum of a woman caught up in a scandalous affair, though the film moves so fast that you don’t get the full sense of the isolation she feels when she moves with Vronsky to the country.

The film’s strength for me was it the gorgeous visuals. Wright presents a different world, a story set on a stage much of the time, a stage that transports us and contains Anna’s world. I kept thinking of Shakespeare’s “All the world’s a stage . . . ” line. I’m sure I was meant to.

I read the book years ago and loved it. Anna Karenina is the story of a young, passionate woman married to a stern, coldly traditional man, who isn’t bad, but just has no idea how to love.  Anna meets a dashing officer, Vronsky. Their paths cross in Moscow and though part of her wants to avoid an affair that will not only destroy her marriage, but will break the heart of Kitty, a young relative of hers by marriage, she can’t help it. (From Anna’s point of view she can’t. That’s debatable, of course.)

Vronsky and Anna aren’t good at hiding their love and in this society that will cost a woman everything. Bravo to Jude Law who plays Anna’s husband in a way that makes him complex. He’s technically in the right, but he does so in such a wrong way, he just does not understand his wife and probably never did. Karenina can’t help himself and  while you sympathize, you know he’s making the problem worse. Keira Knightly stars as Anna and does the role justice, but I would have liked to have seen a Russian actress in the role.

Matthew MacFayden plays Anna’s philandering brother Oblonsky with much gusto and comedy, which was a bit over the top for me.  Just a little. Oblonsky is a brash character, but I was always aware that it was MacFayden playing a Russian, whereas Law dissolved into his character.

Downton Abbey fans will spy two cast members Michelle Dockery (Mary) and Thomas Howes (William, who died in WWI) appear.

When I read the novel years ago, I saw the 1967 Russian film. It’s very good and highly recommend it.

St. Patrick’s Day in China

Forest Secret of Kells secret-of-kells

I’ve no green beer or Shamrock shakes, though there is a parade in Shanghai. I am celebrating though by watching the marvelous Secret of Kells available on hulu.com. Check it out.

English Vinglish

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En route to China, I saw several films including English Vinglish, an Indian film about Shashi, a woman whose husband and children often tease her about her bad English. To make matters worse, they don’t appreciate her talents like her gift for making amazing Indian sweets called ladoos. When Manu, Shashi’s sister in America, needs her to visit to help plan her daughter’s wedding, Shashi’s nervous. How will she survive in New York with such bad English?

In the beginning it looks like Sashi won’t. She’s nervous and overwhelmed by the rude and fast paced society. Yet she takes action and secretly takes English lessons while her sister’s at work. Her classmates and goofy teacher provide a support system and her language improves. What’s more she’s caught the attention of Laurent, a French chef who’s smitten by her beauty and charm.

The film has a sweet and sentimental tone, that wouldn’t succeed in Hollywood. Shashi is innocent as are the other characters. Yet I got pulled in despite the treacle. I was intrigued that the film didn’t follow the typical path that a Hollywood film would. Instead we’re led to a final scene where Shashi gives a persuasive, touching speech in English on the virtue of remaining true to a spouse when a marriage is hit by inertia and overfamiliarity. I was surprised by how fresh that speech was. I think the innocent tone of the film, the color and the spontaneous dancing and singing worked for me.

Valentine’s Day Special: Favorite Romantic Comedies


For me Nora Ephron leads the pack for modern films and Audrey Hepburn stars in some of the best “oldies.”

  1. You’ve Got Mail with Tom Hanks and Meg Ryan. As a book lover the loss of the book store adds poignancy.
  2. Sabrina with Audrey Hepburn, William Holden and Humphrey Bogart. A perfect Cinderella story.
  3. When Harry Met Sally with Meg Ryan and Billy Crystal. Just perfect. I loved the scenes with the older couples.
  4. Notting Hill, with Julia Roberts and Hugh Grant.
  5. My Fair Lady, a musical based on Shaw’s Pigmailion, starring Audrey Hepburn and Harrison
  6. Roman Holiday, Audrey’s break out film with Gregory Peck.
  7. French Kiss, with Meg Ryan and Kevin Kline, you get to see France and Ryan. The film’s not terrific but the setting and Ryan make it worthwhile.
  8. Annie Hall, a Woody Allen classic, starring Diane Keaton. Sometimes moving on is the happy ending.
  9. Something’s Gotta Give, Diane Keaton and Jack Nicholson show that even those over 35 can find new love.
  10. Philadelphia Story with Katharine Hepburn, Jimmy Stewart and Cary Grant.

I’m sure next week, I’d change up this list. What would you recommend.

I admit I like any romantic comedy with a smart heroine.

Life of Pi

Life-of-Pi2

Based on Yann Martel’s imaginative novel, Life of Pi chronicles the amazing life of Pi Patel a boy whose family owns a zoo in India. When the zoo goes under, Pi’s father uproots his family and takes some of the animals to sell in Canada.

On the voyage to Canada, a terrible storm kicks up and only Pi and three wild animals, a zebra, a hyena, an orangutan and a tiger named Richard Parker survive on the lifeboat. Soon only the tiger and Pi remain on the vast sea under the intense sun. It’s riveting to see Pi figure out how to evade sharks, keep out of the sun, eat and share space with a tiger – and not some docile, domesticated feline, but a tiger who’ll eat a hyena or most likely a teenage boy if nothing else is around.

Since I’d read the book, I didn’t think this book was filmable. It’s just too unique. I’m happy to say this version worked. How amazing! The film is beautiful with incredible CGI for the bulk of the film and lovely local color shots of India and the zoo at the start.

There were some parts I didn’t think worked. The story if framed with a contrivance that a drifting writer met an acquaintance of Pi’s who told the writer he must hear Pi’s story. I just didn’t buy that this guy would actually bother to track down Pi. I wouldn’t – unless it turned out Pi was a neighbor, I’d never met back home. That character was just bland and a device to get Pi to tell his story.

At the end two Japanese employees of the shipping company meet with Pi to find out what happened. That scene seemed flat as the two actors just didn’t have Japanese body language and the way they behaved was just not believable. No Japanese person I’ve met would express skepticism so directly and they wouldn’t challenge someone in the hospital that way. It just came off as flat. Also, the adult Pi promises that the story will persuade the listening writer of God’s existence. I don’t think that’s needed. I wasn’t convinced of God’s existence from the film and think it can be viewed as an exciting story about resourcefulness. Mind you, I do believe in God.

On the whole the film amazed me and the actor who played Pi was outstanding.

Related articles

Life Of Pi – 3d (myfilmsandbooks.wordpress.com)
Life of Pi (Roger Ebert’s review)
The Lady or The Tiger: Ambiguity and Life of Pi (thefilmexperience.net)
“Life of Pi”, does God exists? Book Vs. Movie! (justcassie.wordpress.com)
Life of Pi by Yann Martel – review (guardian.co.uk)
Life of Pi (ariisblog.wordpress.com)
Decoding Life of Pi: The Movie (distractedstudents.com)

“The Way” Starring Martin Sheen

 

The_Way_Quad_3_LR1

Emilio Estevez directs his father Martin Sheen in The Way, a touching movie about a father whose son dies suddenly as he just began a pilgrimage along El Camino a.k.a. the Way of St James (a UNESCO World Heritage Site) in Spain. Sheen plays Tom, a grieving suburban father, who is called to Spain to pick up his son’s remains.

Rather than return immediately to the US, Tom feels called to complete his son’s trek and sets out along El Camino planning to distribute his son’s ashes along the way. As the story unfolds, grouchy, taciturn Tom ponders his relationship with is son and meets three other hikers who join him, much to his own displeasure.

The photography is breathtaking and made me want to head out on this 500 mile journey. It seems like a rather jolly endeavor for most. According to the film, you walk along gentle slopes with beautiful vistas; you sleep in hostels, some of which were rather stark and grimy, but you feast on terrific food and wine. Not a bad life, huh?

The central story involved Tom reconciling with his dead son and therein lies the weakness of the film. By the end of the film, I had no better understanding of Daniel, the son, than I did at the start. Tom’s no chatterbox and deflects most questions about his son. When he speaks of his son, it’s in generalities. Daniel becomes a kind of Every Son, because all we know was he rebelled by ending his doctorate studies and taking to the road against his father’s will. Since Daniel was nearly 40 and wasn’t asking his father for anything, this isn’t so bad. Had Tom opened up more with his companions, perhaps the story would have been stronger.

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Still El Camino seems to be the star of the film and The Way is a pleasant enough way to experience it.

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