Johnny Simmons

So, 2011 is here and I still have outstanding posts from 2010. So just because I just have to complete the list I’ll give it now, even though it’s dreadfully overdue. I gave you fifteen runners up a couple of months ago – tear jerking moments of the aughts. Here are the final ten. Sometimes it’s difficult to pinpoint the actual cause of tears shed vicariously for cinematic creations, but these ten are most salient.

Potentially Heavy Spoilers ahead: Be Warned

The more I see Brokeback Mountain the less I like it, Michelle Williams is still the only thing I find egregiously poor about it – and it’s still a fine film, just not one I’d go crazy over. I’m never even that convinced of the brilliance that is Heath Ledger’s performance in it (I’d probably pick Jake for best in show); well until the last few moments, that is. The older his character grows the better grip Ledger seems to have on himand that line at the end of the film is just a brilliant line reading. It’s sort of an encapsulation of all the things about the film and Heath makes it work brilliantly. Depressingly.

The entire closing monologue of The Curious Case of Benjamin Button is a well handled tearjerker. I’d say it’s prosaic, and I wouldn’t mean it as insult. It’s a bit like a role-call of sorts and seeing all the persons who’ve played a role in Benjamin’s life makes me teary eyed for some reason. And, of course, it’s that final line for Daisy that’s the cinch. Fincher’s epic, of sorts, will continue to be polarising but I’ll continue to be a big fan of it.

I’ll be honest, sometimes Bright Star is just a lesson in poetic sadness. It’s that much more brilliant because it’s moving even when it’s just being glib about it. The final scene that Ben and Abbie share together comes to mind immediately. The two have had a fairytale romance of sorts (unconsummated) and both know that he’s going to die in Italy. They lie on the bed, their bodies making a heart, and talk about the future that will never happen. I deliberately avoid romances like these, but I don’t what it is that makes Jane Campion’s tale so brilliant – it’s a “you had to be there” experience”. It’s easily the saddest part of the film for me…a relationship heading nowhere, and fast.

Is there anything more of a killer in 19th century literature than consumption? It’s weird – we already know Satine is dying but Baz distracts us with the elephant medley so that Satine’s death manages to still be surprising and even more ridiculously depressing

I singled out Clarissa Vaughn as my favourite Streep performance of the past decade. She has many moments of brilliance – a number of them opposite Ed Harris; but it’s a solitary scene opposite Jeff Daniels that fits the bill here. The two are reminiscing about their mutual friend and Clarissa gets too caught up in the pass, it’s an odd moment – and probably difficult to pull off. She moves from lucid to snivelling in almost a split second. Her line reading of “Don’t come any closer” is a favourite of mine. I’ve said it before, I don’t always love Streep but when she impresses me it’s brilliant.

I don’t know if it’s just me, but for some reason Fernando Mereilles’ 2005 tour de force (says me) The Constant Gardener doesn’t seem to get the appreciation it deserves. It’s impeccably helmed by Mereilles and despite occasional snatches of incongruity the brilliant performances of Ralph Fiennes and Rachel Weisz make up for it. The Constant Gardener is many things in one – a love story, a thriller, an espionage tale...on and on. In the final moments of the film we may have realised the “whodunit” of the entire thing but there’s no closure until the ghost of Tessa shows up to lead Justin away. It sounds so very schmaltzy but there’s some honest and wonderful about it. Weisz and Fiennes really work excellently together and that (imagined) reunion is just a fine bit of emotion, well played.

Why is the end of Atonement so sad? I can’t say; it just is. Unfulfilled dreams are always depressing, and Vanessa Redgrave is all kinds of brilliant (but that’s a given). She only needs a few moments to make me gloomy, and with the camera on her alone for so much of that monologue she delivers completely. Bring on the waterworks.

We see a number of deaths in The Lord of the Rings series, but it’s the first (main) one that I find the most striking. Sean Bean’s Boromir is unfortunately forgotten, but he’s excellent. He has the tough task of playing the anti-Aragorn character and his final moments are probably the most moving part of the first film. It’s when he tells Aragorn, “I would have followed you, my captain” that’s the cinch though. Mortensen’s facial response is golden.

Revolutionary Road would definitely easily make it on any list of most depressing films of the aughts, well ever to be honest. Depressing, though it is (really, this was one of the most emotionally draining films of the aughts for me), I still can’t help admiring it. It’s a tug-of-war as to who comes out on top – Kate or Leo. They both do excellent work and Kate’s final scenes already make you a little tearful, but as far as tear jerking goes it’s all Leo. When he finds out about April death’s it’s the film’s most harrowing moment (and that’s saying a lot). It all culminates in him running (and crying), from the hospital, from April from the mistakes. It’s a nice bit of direction from Mendes and it’s a brilliant moment for Leo.

The biggest tearjerker of the decade for me wasn’t even any singular moment of sadness – it was just the culmination of hours upon hours of epic fantasy. I was never a big fan of Frodo (Tolkien’s Frodo or Jackson’s) but the final moments of the film as he makes his way away from the Shire as Sam makes his way back works well in its simplicity. But it’s when Annie Lennox’s “Into the West” comes on that the sadness really sinks in. I’m not sure if it’s sadness per se but it’s something akin – okay, maybe it was exhaustion. Still, it’s definitely the biggest reason for waterworks this past decade, for me.

                 

As long as I live I’ll always think of Colin Firth as the polar opposite of Ralph Fiennes. I’m perfectly aware that it dates back to me putting way too much credence in the duo they played over a decade ago in The English Patient– but when I weigh Fiennes’ austere cinematic countenance as against Firth’s easy joviality I can’t help it, which makes me just a little bit annoyed that Firth seems headed to that Oscar podium when such a future seems dubious for Fiennes. For, if there’s any British actor under 50 who should have been laurelled by now it’s Fiennes. Today’s his birthday, and watching over his credits I realise that he’s not done that many films – it just feels as if he has, but there’s ubiquity for you – and here are my top 5 performances of his.

“ I hate you, God. I hate you as though you existed”

                              

“I can't go home. Tessa was my home.”

                         

“The truth, Helen, is always the right answer.”

                      

                      

I’d have give him an Oscar for the top two, easily and at least nominated him for the others – but you know when I’m nepotistic towards someone how it gets. I’m still waiting for his adaptation of Shakespeare’s Coriolanus to be – the fact that he’s in a leading role and helming a film that just happens to star the absolutely luminous Vanessa Redgrave just makes me thrilled.

         

(I haven’t seen his acclaimed performances in either Spider or Land of the Blind, unfortunately.)

I recently started counting down my favourite (male) performances of the last decade, so on to the females. 2005 was my least favourite year cinematically speaking of the decade, though there were a couple of performances that shone a ray of light on the darkness. Don’t forget spoilers are ahead.

         

The Constant Gardener was a film that I (unlike most) was very fond of. The gardener of the title was Ralph Fiennes playing a character he knows all to well – the introverted English man. Justin Quayle. Tessa begins a tempestuous romance with Justin and travels with him to Africa. Before their journey, though Rachel already establishes Tessa as a formidable woman and as a strong character.

                  

Her first meeting with Fiennes’ Justin is brilliant. Justin, a diplomat, is holding a meeting. He is as a calm as the clichéd Englishman and he is surprised and attracted by Tessa’s inhibition. 

Sir, I've just got one question. I just wondered whose map, um, is Britain using...when it completely ignores the United Nations and decides to invade Iraq? Or do you- do you think...it's more diplomatic to bend to the will of a superpower...and-and politely take part in Vietnam, the sequel?

It’s important that this is how Mereilles let us meet her since it’s a major part of her character. Tessa is one of those women we imagine only exists in the imagined world – she completely believe in the greater good and as she debates with Justin about the demerits of diplomacy it’s fascinating to see Weisz’s eyes sparkle. Moreover, it’s also interesting to note how she is so much softer during the quiet moment in between.  There romance is unorthdox, but not unbelievable. Tessa’s journey grows when the two meet Africa. Tessa is a completely free spirit and even though we know that, it always surprises when Weisz burst forth with some discourteous comment on the social affairs in the country. Not even Justin is completely used to her, even though he is the perfect gentleman, throughout.

The scope of the African nation shown is formidable and Mereilles’ use of camera is important here. Moreover Weisz’s sincere chemistry with the African children is beautiful to watch. In fact a favourite moment of mine regards the relationship between them. After losing her child we see Tessa at her lowest. This is not the vigilant woman we’ve come to know and love, but a broken woman. When Justin comes to see her, she’s holding an African new born in her arms. I love her line readings – This one was born healthy, though. Weren't you, my beautiful, beautiful darling? His name is Baraka. It means blessing.

Still, below all its politics The Constant Gardener is a love story, albeit an atypical one. That’s one of the reason the film never fails to impress me. Justin and Tessa’s relationship is not the classic one of romance. He is unable to emote and she is too caught up in her work, and yet the two share true feelings for each other. The quiet moments when Fiennes and Weisz share the screen are beautiful to watch. I always note that Fiennes is never unwilling to give the floor to his female co-stars and Weisz does excellently opposite him.

Rachel Weisz’s task in The Constant Gardener was not simple. She had to create a woman so lovable, yet so infuriating and the candid script didn’t sugar-coat it. It’s so easy to see Tessa as selfish, as annoying but Rachel manages to create a nuanced and brilliant character. Fiennes grounds the latter half of the film, but we really do miss Tessa when she leaves, and that is all because of the excellent work done by Rachel Weisz. It’s a performance worthy of remembrance.

           
So, were you a fan of Rachel? Or did her Oscar win make you angry?