Johnny Simmons

Good God, this is late...even for me. In March, while recapping 2009 I listed my favourite beginnings, my favourite scenes and was supposed to list my favourite endings...well never too late - here they are.
                    
The last few minutes of a film can completely change our feelings of it. A fair film can be changed by a surprise ending and a good film can be destroyed by a poor one. Surprise endings have a better chance to be remembered, but sometimes an ending can be equally satisfying without being a shock. In 2008 there was an embarrassment of richest when it came to endings. There were the subtly surprising like Revolutionary Road and Burn After Reading. Both took secondary characters and made them the focal point for arresting and startling conclusions. There were the tense like Doubt and even In Bruges to an extent. As much as I am reiticent about Streep’s work in the former, she excels in the end. And In Bruges endings is not the copout many claim it to be. There were important closing shots of our protagonists like in The Wrestler and Changeling but my favourite was the sweetness that was The Curious Case of Benjamin Button – episodic, I know, but a lovely ending.

              

Now, on to 2009…Here are the ten closings that were memorable, the top 5 in particular made their films all the better for it. Ummm, spoilers ahead. Obviously. (Couldn't find pictures for the exact scenes in all, apologies), click on the links for my reviews.

Runners Up: A Single Man, Three Blind Mice, Bright Star, Avatar, The Road

I liked 500 Days of Summer, even if I was a bit disappointed. Nevertheless, the ending with all the pithiness that I love was just the right amount of tongue-in-cheek. After Tom finally reaches the 500th day of Summer he meets a girl at a job interview. She doesn’t seem interested, but eventually she acquiesces. Her name? Autumn.You have to love that sort of self awareness in comedies...

       

I know some weren’t too fond of Brothers, but I was. Tobey MaGuire did make my list of favourite actors and though his breakdown scenes are what many remember it is this confession to Portman that sticks with me (not pictured above). Sheridan knows when to tone it down, and it’s the moment we’ve been waiting for. As Sam tells Grace about his role in the death of his friends and as the tears roll down his eyes while U2’s 'Winter' plays in the background, I couldn’t help but be impressed.

      

As Rockwell launches himself to earth amidst the voices of news reporters speaking of his appearance on earth I realised that Duncan Jones had done something brilliant with Moon. It wasn’t my favourite film of the year or anything but it sure was a formidable debut and the way that a clichéd theme like cloning could seem so original impressed me.

          

I’m mixed about the ending of Inglourious Basterds. On one hand it lends an irreverence to the piece that’s notably good, but for some reason it doesn’t make my praise turn into anything particularly voluble – it’s probably the school boyish insolence of that final line. Still, as Landa is outmanoeuvred by the unassuming (or at least boorish) Basterds a sense of significance is felt. I won’t say it’s iconic, but it sure is memorable.

           

Drag Me To Hell is one of the better films of its genre and that depends – to a large extent – on the brilliance of Alison Lohman. As Justin Long takes out that envelope I already get that foreboding sense – though I know I can’t stop what’s coming. It’s a brilliant script decision and it’s so perfectly executed. What came before was good, but it’s the ending of this film that makes it worth it.

                     

The Fantastic Mr. Fox is so much fun, it should be illegal. When Fox carries his family, and best friend, up to the supermarket he’s found there’s a sense of ease that I love. Sure, George Clooney is voicing him, but on rare occasion he doesn’t annoy me – and this is one of them. With the imminent baby and the ensuing speech it only gets better, but what really cinches the brilliance is when the camera pans out and we see the owner of the supermarket that will soon be raided -  Pure brilliance.

               

In some ways Duplicity depended on having this twisty ending. Gilroy's script (though excellent) sometimes tried to do too much, so the audience expected something ludicrous to be the end-all – and it was. The solution for the mystery was satisfying and irreverent all at once. And our protagonists do end up together, although Julia’s Claire isn’t too thrilled at the prospect.

             

Unlike the others the genius in In The Loop’s ending comes form the incongruity of it all, as the credits roll  (not pictured above) and we see the fate of some of our characters. We see Toby leaving the office, Simon after being demoted; and I love Kennedy’s lines to the young (and voracious) up and coming politician as they sit and play Facebook chess.

            

When people say that Rob Marshall’s unoriginality in Nine was obvious I often wonder if they saw the ending. Sure, he wasn’t as inventive as he was in Chicago but as the melody from "Be Italian" and "Folies Bergeres" play and as I watch Guido’s imaginary world merge with his reality it’s easy to see where Marshall was heading, and I can’t help but respect the guy. Seeing Saraghina putting on her makeup next to a priest and watching Claudia and Stephanie having a conversation all combine and we watch him he actually sit down to make the movie we’ve just seen. It’s an ingenious idea and Marshall doesn’t always succeed, but it works here and concocts a truly memorable ending.

             

Bright Star wasn’t the only period piece unfairly ignored last season; at least it got an Oscar nomination. Pfeiffer’s face in the mirror has become an important shot but what makes Chéri work so brilliantly is the cold narration of Stephen Frears as he tells us of the suicide of the eponymous Chéri It throws the audience, but it’s not just for show. It’s an excellent bit of filmmaking and my favourite ending of the year.

                    

If 2009 has offered nothing, it has given us a wide array of good, great and some excellent supporting performances. I’m not sure how I’d rank last year against the others of the decade, but it certainly wasn’t the horrid year it was made out to be by some – especially for the supporting women. I ended up singling out eleven excellent performances but there were so many more on the sidelines I wish I could have mentioned. So I’ll give them their moment. In another year any of these could have made my top 10. Here are 25 good supporting performances of 2009…in ascending order beginning with....

TIER FOUR

 TIER ONE: My Nominees & Runners Up 

                 

It’s not regarded as a specific genre in and of itself, but it’s always interesting to note how many films tackle that “taboo” subject of growing old. Not coming age as from childhood to maturity, but the (sometimes sudden) realisation that death is imminent, dreams will not be attained and life is not what you wished it would be. It often becomes a question of our mortality. Stephen Frears Chéri is the ultimate example of being disillusioned about growing older, since the subject is that of the aging courtesan Lea de Lonval (played by a magnificent Michelle Pfeiffer). It’s a film that deserved more than it got, I for one was a fan – my review. Lea is growing older and realises that her treasures may not be as…valuable as they once were. The romance she thrusts herself into with the eponymous Chéri is pathetic, funny and poignant all at once and of course that (now notorious) final look in the camera tells more about the old enemy time than quite a few have tried in their entire duration.

The concept of age was a major theme in 17 Again, a surprisingly enjoyable comedy starring (who’d have imagined) Zac Efron. Matthew Perry’s Mike after realising the lack of mobility in his job that his golden years are long gone, and as we all do when the time comes, he yearns for the (assumed) simplicity of his youth. Of course the wrap-up is just a bit too tidy, but he learns in the process that we can never really outrun our problems, no matter how we try. It’s something I wonder if Clooney’s Ryan Bingham was considering. I really couldn’t buy into Up in the Air, the all too pithy scenarios felt much too clinical for me to believe. It’s not to say that Ryan’s epiphany is impossible, so many have probably gone through such a midlife crises but despite it’s numerous faults 17 Again spends its entirety trying to make us buy a change in Mike's temperament, so that when it comes – as tidy as it is – we are inclined to believe. On the other hand with Up in the Air, though I believe it could have happened I was not given any incentive  to believe it did. A wedding does not a marriage make and as epiphanies come they are sudden but there’s always an underlying rationale or raison d’être which continues to elude me when it comes to Clonney's Ryan.

I wonder where Larry David’s Boris from Whatever Works would fit into this equation. I suppose Whatever Works is Woody slumming it, but Woody slumming is better than many “excelling”. Still, Whatever Works – as I’ve noted – is not perfect. For the most part, the troubles begin (and end) with David. He’s not the lovable old geezer that we’ve come to expect and require in Woodyland. He’s all too abrasive. But Whatever Works manages to work where Up in the Air doesn’t because Whatever Works has the sense to realise that Boris is not the beginning and end of the narrative. The supporting characters essentially hijack the third act (for the better).

        

The only thing our other two women Robin Wright Penn’s Pippa Lee and Meryl Streep’s Jane have in common is a daughter played to perfect irritation by the exasperating Zoe Kazan. But then, I’m being too stingy. They both are juggling two men, even if they don’t realise. I wonder what Pippa would say to Jane. Pippa’s husband like Meryl’s ex has an indiscretion with a younger woman. But Winona Ryder is nowhere as savvy (or cutthroat) like Meryl’s foil the lovely Agnes. The Private Lives of Pippa Lee did impress me more, even if it is more of a guilty pleasure type. However despite the review, the first two thirds are quite good. I realise too, that both films depend completely on their leading ladies. Both come to grips with their age, although it is harsher for Pippa considering that she’s no where as exciting as she was in her youths. They both may be juggling two men, but she’s not a bit of slut, but then neither is Jane for that matter. The real slut would have to be Lea, and that’s purely for professional reasons.

   

The two films which were so easily confused last year A Serious Man and A Single Man. The latter obviously trumps the former for me. Although I’m not acutely certain that either man is really dealing with midlife crises. Both men are teachers; that’s about as far as their similarities go. Larry is the epitomical good guy who bad things happen to, but so is George. Larry looks to religion and George looks to death. I’m not sure either of them finds complete fulfilment. But then again, who does?

       

I hate addressing the reviews of others when I write my own, especially when they are of recent films. Generally I ignore reviews for films I haven’t seen unless their really old. Not only for the potential spoiler factor, but because I really don’t care to have anybody influence how I feel about a film initially. Alas, it could not be so with Chéri. Of course the reviews for this were not as ubiquitous as others, but they were plentiful. And in a way I suppose the reviews influenced me. Just not in the way you’d expect.

                  

Perhaps, because so many had referred to it as vacuous bauble despite initial high expectations I was somewhat sobered when I saw this. And it was a good experience. Chéri tells the story of Lea de Lonval, a courtesan who is nearing that certain age. Her former rival Madame Peloux has a roguish son, Chéri, who she wants put in hand. Madame Peloux does not exactly say to Lea, fix him, but it’s understood. Lea will train Chéri and keep him out of trouble, while footing the bill. Six years pass in a flash and the two are still comfortable with the arrangement. There isn’t quite any emotional investment – particularly on the part of Chéri. But they're happy as they are. "I can’t fault his personality, because there doesn’t seem to be one." Lea tells her masseuse. It plays like a throwaway line – we’re not even thirty minutes into the film – but it’s important. And that's part of Frear's intelligence. It's shot as trivial. But it's really much more. Of course, Lea has fallen in love with the young man. We can’t be sure what prompts her. Perhaps, it is the eternal seducer of youth; it could be his fawning over her like only a lad can. But most likely it’s the freedom she has with him. Chéri seems fine with the arrangement, although not particularly passionate. It turns out that Chéri is to be married soon. A marriage that for some reason he never told Lea of. Realising her attachment to Chéri takes a trip to a secluded hotel and with that she and Chéri’s lives spiral out of control.

You’ll notice that I refer to Chéri in the title as a comedy. And that is what it is – a farce almost. The somewhat mixed reception of the film has occurred because of bad advertising. This is not Dangerous Liaisons. This is Mrs. Henderson mixed with a little of The Grifters…and what’s so bad about that? Both were charming, small films anchored in the performances. And the performances in Chéri are good. Michelle Pfeiffer is wonderful as Lea. With 18 films of this year under my belt I say that Michele has given my favourite female performance. There are scenes where she could have gone for what is jarringly dramatic and done much more acting. But she goes for smooth and subtle and that’s what makes her performance so good. Those big eyes staring at you, you wonder why they talk of the beauty of Chéri’s eyes, and not the eeriness of Lea’s. Rupert Friend is quite good as Chéri. In the first half he is a bit too reticent, easily mistaken for poor performance. But with Lea’s departure and the petulance that is unearthed. It’s good stuff…if it does make you cringe. He dares to play Chéri as the emotionally stunted child he is. Kathy Bates gives another pleasant supporting turn as Madame Peloux. It is in her final scene with Pfeiffer that she really sells me. It is really Michelle’s scene, but the reaction on Bates face is what elevate the performance. When the words stop the characters must begin to speak, and so it is in Chéri.

                    

This would be where I tell you to go see this…but I’m not sure. I realise that what has turned people away from Chéri is the period setting. Despite them not realising. If Chéri had been set present day France, or even Post World War II it would have been more well received I believe. But as it is, most people see the contemporary behaviour of the leads as anachronisms. See it if you like The Grifters. The ending will be a jolt and make you rethink the entire film. And that’s as it should be.

                

B+