|
|
|---|
Showing posts with label Brothers. Show all posts
Showing posts with label Brothers. Show all posts
Thursday, 23 December 2010
“Lying’s the most fun a girl can have without taking her clothes off...”
0 comments Posted by 2011 at 18:01“...but it’s usually better if you do.”
From Closer to Cold Mountain to Brothers to The Other Boleyn Girl: Natalie Portman
Natalie Portman puzzles me. Not in the way that the cinematic appeal of, for example, Megan Fox, might confound; but in the sense that I’m never sure where I stand on her scope as an actress. It just so happened that the year I began taking a serious interest in cinema was the same year that Ms. Portman was making strides to be a “serious” actress in Mike Nichols’ Closer (or what I like to call, Who’s Afraid of Virginia Woolf 2). When I say that find Portman’s performance in that much underrated film as the film’s least impressive, it’s not a slight at her because I think the entire quartet in the film is pretty brilliant. If I consider her Alice, though, it’s essentially encapsulates my issues with her. At her best she’s brilliant, it’s odd her strongest moments in the film are arguably the strongest of any actors, but her lowest points are also the worst – what she lacks is consistency.
Her general presence, off screen, seems so innocent it’s weird that it’s those moments of lightness in Alice that Portman doesn’t thrive in. My single favourite scene in the film is one where the quarter is on screen – in spurts, in their correct duos (Law/Roberts and Portman/Owen). They’re at Anna’s latest art showing and Larry and Alice stand at a photo of Alice. I’m always impressed at how tautly Portman manages to infuse Alice – who’s still a veritable mystery – with a striking sense of bravado while still managing to remain subtly pathetic. What’s weird is that that scene comes just before what’s probably her weakest scene, where she leaves Dan. It’s difficult to say that she’s performing poorly because Natalie, like Alice, is an enigma. I’m not sure if she’s deliberately playing the character inconsistently, or if it comes off as a possibility because Marber frames the play that way. In a way it doesn’t make sense that that’s the same girl who we met at the beginning that doesn’t eat fish because they piss where they live. (And, then again, maybe it does – sort of like a teenager trapped in a young adult’s body, but still with the emotional complexity of both.)
But still, Jude is the actor in the film she seems most comfortable with. I can’t help but think that that’s because of their history in Cold Mountain – I’ve waxed on about how impressive she is there – and that’s one of the reasons I think that she has the potential to be the consummate supporting actress*. She’s effective in small bits, but loses a bit of her intensity over time – although sometimes that works for her. I’m thinking of her work in Brothers last year which over time has turned into a performance I remember rather fondly from the year. I’m still partial to Alice, so I can’t call it her best performance – but it is the one that shows the most potential. It’s a sort of parallel with her Sara from Cold Mountain but expanded – but Sheridan is so intent on approaching Brothers with such a quiet tone that Natalie’s reticence ends up working brilliantly. Sort of like that final dinner-scene where her daughter is so vociferous about what Uncle Tommy and mommy have been doing, her reaction is almost a non-reaction in its quietness; and yet when you think back to her quiet nod of acceptance when she thought her husband had died it makes sense.
It’s the sort of serenity she thrives on which is why I’m not fond of her work in The Other Boleyn Girl. I find it difficult to compare her to her contemporary Scarlett Johansson just because they’re such polar opposites, and yet Scarlett is completely unlike her prototypical role as Mary Boleyn. Visually, Natalie is perfect for the role but I get that same feeling of doubt because she’s so very earnest in her linereadings I’m still wondering if she’s overselling it (or the character is), and I still have a palpably bitter taste in my mouth about that whole experience. (But neither she nor ScarJo is to blame, it’s a horrible film based on an even more horrible novel.) So, where I’m left at is essentially a place of uncertainty. I like Portman fine, and considering how she so often seems to slip through the cracks when people consider younger actresses I’m kind of glad to see her getting recognition for Black Swan*. I’d like to have more faith in her talent, even if the performance is as stupefying as the creditors infer I don’t think that’ll be enough. But, that’s not a slight at her. Portman’s sort of incomparable in how much of a slow burn she is – there’s loads of potential there...even if she’s still a mystery to me (just like Alice).
*This was written a few days ago, before I saw Black Swan, not that I’m revealing my thoughts on that one – yet.
(This is part of CS' feature from LAMB's Acting School focusing on Ms. Portman this month)
Wednesday, 4 August 2010
I previously gave a list of memorable sister / sister pairings. That list was much more fun because cinematic sisters are plentiful. It’s tougher with the men; too many cinematic brothers are not too fond of each other. I don’t have a brother, so I can’t confess to the bond being that deep either. Still, I’d say that the five examples of brotherly love I did come up with were good enough.
Heath Ledger and Matt Damon in The Brothers' Grimm
Omar Sharif and Alec Guinness in Doctor Zhivago
This is an interesting example of brotherly love, since the two actors have few moments together. Yet, the very film we see is propelled by Yevgrav’s quest to find his brother’s child. A brother he spent few moments, if that doesn’t signify a strong bond of filial love, I don’t know what does.
Freddie Highmore, Joe Prospero, Nick Roud and Luke Spill in Finding Neverland
They’re probably too young to give any significant evidence of brotherly love. In a way, they’re like the Bennett sisters – no obvious hints of love, save for their general camaraderie. The casting director should be lauded for finding a group of young boys to work together who were actually believable as a band of brothers.
Marlon Brando and Rod Steiger in On the Waterfront
Yes, yes – I know Terry “coulda been a contender” and it’s all because Charlie sold him out, but what’s better than a distempered relationship between siblings is seeing that argument resolved. Charlie realises his mistakes and sacrifices himself for the good of his brother. Yes, he was guilty – but that doesn’t make his decision any less noble, or his love for his brother any less admirable.
Brad Renfro and David Speck in The Client
Confession: I love this film. Susan Sarandon is all sorts of awesome in it, but I digress. Two brothers see a man get killed, the younger one goes into a catatonic state and the older gets into a bucket load of trouble when the wrong people realise he may know too much. Perhaps it’s because this was one of the earlier novels I read, or because I generally like John Grisham but this pairing always strikes me as the ultimate brotherhood connection (even though they're children).
That was ridiculously tough. I'm probably blanking on an obvious choice...what positive brotherly incarnations have we had on screen?
Saturday, 20 February 2010
I like to rethink my favourite parts of films as the year ends. Of course it’s a work in progress. Quite often a favourite does not mean that said film is my favourite and sometimes it does. It’s the moment of the film you remember most, the scene that makes you shed a tear or makes you laugh…the scene that brings my nostalgic memories or worry for the future. It’s the power of films as such. So I’m unveiling my 25 scenes of 2009. I did not include openings or endings because they often serve a completely different purpose, maybe I’ll recap my favourite of each later, perhaps. I can’t say. I tried as much to prevent repeats, but I couldn’t. The fifteen runners up will be listed in alphabetical order and then the top ten by favouritism. It’s purely subjective though, so bear with me.
[Click on the links for my reviews]
500 Days of Summer: “Just Friends”
I know quite a few were bowled over by this, and I suppose there were many more obviously funny or romantic scenes that I could have chosen – the greeting card moments come to mind, but this is the single moment of 500 Days of Summer that I carried in my memory after seeing it. The preamble of it begins at a club as a persistent patron asks to buy Summer a drink. Tom gallantly gets into a fist fight and he is nonplussed when Summer is miffed on their return home. She grimly responds that they’re just friends when Levitt gives his best scene. His response is so real and so emotional as he leaves – it’s the most poignant part of the film.
Brothers: “The Second Dinner”
MaGuire’s breakdown as the end was a contender but the film finest scene occurs with the ensemble present as they all gather for Maggie’s birthday. Sam is already on edge and the tension is palpable.Isabelle opens the door to see her Uncle there with his new date, and she’s already upset. Grace can feel something is amiss and Izzie just keeps pushing it further and further. Sam keeps telling her to stop playing with the balloon with leads to her (fraudulent) claim – you’re just mad because Mom would rather sleep with Uncle Tommy than you. It’s piercing, it’s surprising and it’s incredibly memorable. I love Jake’s reaction as he looks down, as if disappointed and Natalie’s Grace is not so much aghast as saddened and of course Tobey and his perpetual look of bewilderment. A wonderfully directed scene.
Duplicity: “Getting A Copy of the Plan”
Duplicity thrives on the mystery, and that ridiculous hair growth scheme. My favourite part occurs when Julia’s Claire must find the blueprints and fax it to her allies in the dead of night. The fine editing is in place and Julia, Clive and the rest of the ensemble do fine work – considering that many of them are already lying to begin. Gilroy
An Education: “An Important Loss”
This scene is just a tidbit, but it stands out. The tale of “Mr. Rochester” has travelled to The Head Mistress, whose office Jenny is called to. It’s a monologue really, and Emma sells it completely – “There may well have been the odd sixth form girl who has lost an important part of herself – perhaps the best part – while under our supervision. These things happen, regrettably. If however we are made aware of this loss, then of course the young lady in question would have to continue her studies elsewhere, if she still has any use for A-Levels. Is that clear?” It is perfection.
It’s one of the most chilling parts of the novel and it translates well to screen. Gambon and even Radcliffe sell the emotional weight of the scene and it is sooooo beautiful to look at. The mosaic image is palpable; the cinemotgraphy is enchanting the visual effects are always subtle but never underwhelming. The finest part of an already good film.
The Hurt Locker: “A Suicide Bomber”
The scenes don’t seem to have a specific beginning or end, though I did appreciate the cameo of the always wonderful Ralph Fiennes, but the film makes it point in when a suicide bomber enters the picture. Jeremy Renner’s guilt as he’s unable to defuse the bomb is potent and the tension is built up so heavily. It’s a powerful scene.
In the Loop: “First Press Conference”
This another film with continuous pieces of brilliance, the one that stands out is the first press conference as a self conscious Tom Hollander all but sinks his career. It’s the first time we see the wonderful Mimi Kennedy (who I cannot stop singing praises to) and the diffidence of Hollander and the obvious humour of the situation cannot be ignored. Such an uncomfortable moment for the characters, such a lovely moment for the audiene.
I didn’t expect this to be my favourite of the film, but weeks after it’s the one that I remember vividly. Susie’s sister enters Harvey Jackson
Nine: “Be Italian”
Need I go on? It's more than the hook being catch, because it's not my favourite song. But the choreography is sensational, the imagery is lovely, the sand in the tambourines, the dancing whores. It's a number that completely satisfies.
Precious: “The First Class”
Precious soars highest when it comes down to the simple things, like Each One, Teach One. The chemistry of the girls is lovely to watch and Paula Patton oversees it all with such candour. I love Jo Ann’s colour choice – fluorescent beige and I love Gabourey’s delivery here – so blunt, and yet a little shy – I can cook. If only the entire film could have felt so sure of itself.
The Princess & the Frog: “Almost There”
It’s the token “I want” solo number [Part of this World, Belle, Reflections] and Anika owns it with those vocals, and of course the design is beautiful too.
The Road: “Goodbye, Wife”
I really wish Charlize had more to work with in The Road, she’s phenomenal with her slight role. Her departure from the film is heart-rending and I love Viggo’s reaction. It’s the saddest moment of the film, which is strange considering it’s all rather depressing.
I didn’t like this much, but it has one of the best scenes this year, when Judith asks for a divorce I thought the Coens’ were on to something. The dialogue here is brilliant.
Judith: Sy and I have become very close…. In short: I think it’s time we start talking about a divorce.Larry: Sy Ableman.Judith: This is not about Sy.Larry: You mentioned Sy.
It all leads to one of my favourite lines this year “I haven’t done anything. This is not some flashy thing. This is not about woopsy-doopsy." I am so going to use that in a conversation some time.
I’ve told you before I was very impressed with Ms. Moore’s bit role in A Single Man, and of course she’s in a favourite scene of mine. As she and Colin dance it’s a really lovely moment in the film (though I suppose it’s not as important as some of the more obvious ones) still, the scene and the subsequent confessions is just sublime in my eyes. Perfection.
Where the Wild Things Are: “Meeting the Wild Things”
Whatever it’s errors Jonze captures the wonder of this other world brilliantly. Max's meeting with the wild things is funny, and sweet and magical all at once. It's also a surprisingly strong acting moment for Records who meanders through brilliance and mediocrity for me. Of course Catherine O’Hara’s Judith is a good source of laughter here already setting the pace for her excellent voice work to come.
So these are the fifteen runners up, tomorrow I’ll be back with my ten favourite scenes of the year from 9 good films. Interestingly enough one of the films listed there isn’t even in my top twenty, but you’ll see tomorrow.
Saturday, 13 February 2010
Films on war have been a norm every year – from historical All Quiet on the Western Front, to The Deer Hunter to Saving Private Ryan. This year was a bit of different spin, we had films on war but instead of the highlights being the Vietnam War or World War II we had contemporary war films on America’s plight in the Middle East. The Hurt Locker was an early gem that impressed me. It was a riveting piece cast excellently from Renner’s leading man to Ralph Fiennes’ cameo. Fellow summer film Inglourious Basterds was more in line with the traditional war epic, kind of. We’ve been to World War II before, but never like this. I was reticent about appreciation of the film as you know, as I’ve said before the target audience would eat this up – and they did. I just was not part of the audience. Still even I could not ignore the scintillating performances of Christoph Waltz and especially Diane Kruger – certainly, neither would be my pick for a multitude of laurels but they’re performances were the highlight of the film for me with that intelligent Chapter Four standing out as the best of the lot – strangely, the one that was Christoph Waltz free. Still, Diane Kruger’s uninhibited turn as Helen Von Bismarck was the most significant part (acting wise) in Tarantino’s Basterds.
The Messenger came out of nowhere turning into one of the more significant examinations of war. It was actually free of any scenes in or around combat, but the tale of a soldier recently come home whose job is to now inform the families of victims of soldiers’ death was one of the more harrowing pieces of the last few years. It’s obvious to see what the film’s selling point is though. It doesn’t show us so much the horrors of the war as it shows the trauma of war for the families of soldiers. Woody Harrelson’s Tony makes an astute point to the hypocrisy of it all. Families all wave and host parties to celebrate deployments and then are shocked when soldiers turn up dead. Of course, not all families are turning a blind eye to the potential misfortune ahead. Samantha Morton’s widow doesn’t, and neither does the entire cast of Brothers, I film I enjoyed much. The first half of Brothers, in fact, rests on this. One of my favourite scenes occurs as the soldiers turn up to tell Portman’s Grace of her husband’s (nonexistent) death. I wonder if Ben Foster’s Will would have taken to her too… There is not overt sadness here, Grace knew this moment was a possibility and she simply covers her mouth and the tears well in her eyes.
Next to these portrayals, I suppose In the Loop does look a bit irreverent, and it is – in some ways. Still, the entire point of this intelligent comedy is that the divide between actual combat and the promulgating politics is so different. The very document bemoaning the realities of war is after all amended simply to carry out a political agenda, it’s a bit frightening if we think too hard – but we’re too busy laughing to notice. Even those against war are not cuddly, teddy bear types. There’s nothing cuddly about Mimi Kennedy’s dirty mouthed (literal and figurative) Assistant Secretary of State. Three Blind Mice exists on the same level as In the Loop seeming to gloss over the traumatic incidents with humour, but it goes deeper. Of course, this deals with the Navy which is not the army – but it’s not far off. When Toby Schmitz makes his confession at the dinner table it definitively changes the tone of the film. His mother-in-law gasps, “That’s torture.” – I can’t help thinking in response, that’s the army. It’s not that the film isn’t funny after that; in fact the subsequent drunk scene is the funniest in the film. But the laughter has become less pure, more nervous.
Two films I’m anticipating this year (The Way Back, The King’s Speech) both have war as secondary factors in it. King George struggles to be a better king in the latter and a group of convicts escape imprisonment during apparent guerrilla warfare in the former. If it’s good for nothing else, war is always a good starting point for film. Which was your favourite this year?
Friday, 5 February 2010
Some films always end up becoming forgotten when we look back on the year and having a small role in a forgotten film is a thankless job. Yet, some are able to make it work: not quite to their advantage, but they do their task nobly like:
Mare Winningham in Brothers
As Elsie Cahill
The scene I remember Mare in most is when Tommy finds out about Sam’s death and he goes over to his parents house. One can only imagine how Mare is grieving but yet she’s there for her son to comfort him. It’s an important moment to help us realise the type of woman she is – selfless. She remains on the sidelines for much of the film. She watches and tries to help Grace persevere; she tries to temper her husband’s resentment of Tommy all the while ignoring her own pain. It’s like the first dinner scene when Sam Shepherd pushes Tommy’s button – she’s obviously a woman turn and I love how she gives her character little tics like that wry look as she gets up to go after him. Then, the second dinner scene – she seems to know before anyone else that trouble is imminent. She plays the mother role well and it is a bit nondescript, she doesn’t exactly stretch her legs – but I like Mare’s performance here. It’s subtle but never bland, and it’s a testimony to her talent that she makes this character real. It probably will be forgotten soon, but not my by me.
Did you venture to see Brothers? Can you remember Mare?
Previously: Matthew Beard in An Education
Subscribe to:
Posts (Atom)
