OK film fans, I'm feeling pretty tired and kind of low after another day on the front lines of commerce. I was trying to think of what to write about, near comatose on my couch, and in my groggy state I began to run through some of my favorite films about people on the edge, people marginalized and forgotten but unwilling to give in or give up. And tonight I have one of my favorites although, as my sage would say, "Like all good films, it is not for everybody (only bad films are for everybody)."
Jesus' Son is not a perfect film but at the same time a shining example of the value of independent filmmaking. With its thorny subject matter, shifting narrative devices and ambiguous characters it simply would never be produced in Hollywood. The film, with a title that's not literal but a line from the Lou Reed song "Heroin", is a nonlinear and disjointed batch of recollections from a clueless, good-hearted man referred to as FH (Billy Crudup a year before Almost Famous threatened to make his a "star"). FH is a moniker for something less than polite, but befitting his mind altered existence.
It begins with a voice over and promptly acknowledges having jumped the gun and needing to start over. As we get rolling the film follows FH as he floats through his existence, going where circumstance takes him. He seems to live outside of his world, rather than in it; observing, but not always participating. As such, the film has the feel of random pages read out of someone's diary. A glimpse at a stranger's most intimate feelings without truly understanding who they are or why they do the things they do. Along the way we meet an eclectic group of fellow sufferers on life's journey, most leaving FH with something of themselves, a few others take something from him.
The story begins in Iowa City during the fall of 1971. FH is a college town cast off, not part of the school but part of the scene around it. Despite the main character's involvement with drugs, this is not a drug film like you normally see in Hollywood. It does not glorify or damn drug use and the users; it simply is part of the recollections of a survivor. Near the beginning of the film FH meets Michelle (Samantha Morton in top form), they talk a little and later become inseparable. This is partly because she has introduced him to heroin and it begins to control both of their lives. The sad part here is we can tell how much they love each other, but with drugs it's an either/or life and you don't get both. The intimate scenes between them do not feel like what you see in typical Hollywood films, it is not forced or erotic. It is direct, needy and urgent. They feed off of each other as if they know there may not be anything else.
As we follow FH through his episodic memories of life we meet other longing and lost characters, each in search of some meaning in a single day or an event in their life. One memory finds FH with a barroom buddy named Wayne (Dennis Leary), who takes him to a job stripping copper from a house (which turns out to have been his when he was married) so they can get enough cash to go to bed drunk. For men without jobs and direction, it's as close as they come to feeling dignity at the end of a day. Later while working as an orderly in a hospital he meets Georgie (Jack Black), a pill popper who is a man of action.
FH seems a variant of the "wise fool" character, bringing about change in the lives of those he meets, yet seemingly unable to evaluate any of the events or relationships in his own life. In essence the film is of a man, not a hero or anti-hero, who is guided by a higher power, of which he himself is unaware. I think that could be said of any of us at any given time and it only serves to beatify our lives when we are in our darkest moments.
Showing posts with label Almost Famous. Show all posts
Showing posts with label Almost Famous. Show all posts
Tuesday, February 23, 2010
Friday, February 12, 2010
day 42 - All the Real Girls
OK film fans, another Friday night is upon us and I'm not sure what to write about tonight. The Oscars are looming and there are many new films to see and explore. And as usual when Oscar time approaches, TCM runs a month long viewing of past winners. This list always reminds me of the greats I still need to see and those I need to revisit. To be honest I'm not feeling particularly filled with wisdom or deep analytical insight so tonight we'll hold off on tackling Mt. Everest and just settle for a stroll around the block.
Just a few night ago I confessed to a Hollywood crush (one of a few) on actress Zooey Deschanel, and I'm surprised to discover that this seemed odd to more than a few of you. But as they say, the devil is in the details. Her combination of quirky nonconformist style and sensibilities joined with accessible girl next door looks puts her squarely in the category of "girls I chased in High School with limited success." Of course I blame most of that on being a jock/brain/token hybrid that even the "New Wave" kids didn't know what to make of. Throw in spending the 70s in Ames, IA and it explains my appreciation for her 60s clothing and musical influences. While I had already seen Zooey in the instant classics Almost Famous and Elf (not to mention a few other less stellar films like Mumford and The Good Girl), it wasn't until I saw her true acting chops that the crush began.
All the Real Girls, the first big budget film of rising director David Gordon Green, is a small quiet film about love in a small quiet town. Paul (Paul Schneider) is a young man in his physical prime who has been sharing himself with just about every willing young girl in her physical prime. Until his best friends' sister (not cool dude) Noel (Deschanel) comes back to their rural North Carolina town after spending six years at an all girl's boarding school. While he can't deny their mutual attraction, he wants to wait because he senses it's different, that this time it might be special. It's difficult to be on the same wavelength in a relationship, let alone when you're both young. Add in a gap in the ages and experience between the two partners and problems await. In youth emotions can change in instant and there's no experience to rely on to keep you from going astray.
Most films would have the plot revolving around the couple and their sexual syncopation, ignoring or trivializing young love and the overwhelming emotions that are created during those first new experiences. Greens skill here is not only in his loving portrayal of the supporting characters, their friends, family and the town itself, but to realize that sometimes young love is as much about confusion as it is passion. This film has a similar tone as Lost in Translation, it's fleshed out with emotional undertones that provide not only a structure for the story, but its subtext as well.
All the Real Girls is more interested in exploring the occasionally misplaced idealism of youth and the consequences that follow than creating a typical Hollywood romance. The characters are the plot and as such rely on the actors to fill in the intentions of the script. Many in the cast fill their roles so well, so acutely in tune with the repetitiveness and stillness of small town life, that they almost don't seem like actors but rather local stand-ins. Zooey brings an unexpected grace and charm to the character that now seems well within her capabilities but at the time seemed like fascinating transformation. She is natural, endearing and cruel all at once. Ever since this film I have looked forward to her performances and more often than not find the experience uniquely rewarding. The stillness I spoke of, evident in the cinematography, Zooey's performance and the editing of the film, remind us that in the quiet perhaps you are capable of seeing more beauty than you would in fast paced places or people.
I won't give away the emotional plot point that spins the film into its final act, even though I've alluded to it here, but I will end on words from the Master. "The thing about love is, if you lose it, you can also lose your ability to believe in it, and that hurts even more. Especially in a town where real love may be the only world-class thing that ever happens."
Just a few night ago I confessed to a Hollywood crush (one of a few) on actress Zooey Deschanel, and I'm surprised to discover that this seemed odd to more than a few of you. But as they say, the devil is in the details. Her combination of quirky nonconformist style and sensibilities joined with accessible girl next door looks puts her squarely in the category of "girls I chased in High School with limited success." Of course I blame most of that on being a jock/brain/token hybrid that even the "New Wave" kids didn't know what to make of. Throw in spending the 70s in Ames, IA and it explains my appreciation for her 60s clothing and musical influences. While I had already seen Zooey in the instant classics Almost Famous and Elf (not to mention a few other less stellar films like Mumford and The Good Girl), it wasn't until I saw her true acting chops that the crush began.
All the Real Girls, the first big budget film of rising director David Gordon Green, is a small quiet film about love in a small quiet town. Paul (Paul Schneider) is a young man in his physical prime who has been sharing himself with just about every willing young girl in her physical prime. Until his best friends' sister (not cool dude) Noel (Deschanel) comes back to their rural North Carolina town after spending six years at an all girl's boarding school. While he can't deny their mutual attraction, he wants to wait because he senses it's different, that this time it might be special. It's difficult to be on the same wavelength in a relationship, let alone when you're both young. Add in a gap in the ages and experience between the two partners and problems await. In youth emotions can change in instant and there's no experience to rely on to keep you from going astray.
Most films would have the plot revolving around the couple and their sexual syncopation, ignoring or trivializing young love and the overwhelming emotions that are created during those first new experiences. Greens skill here is not only in his loving portrayal of the supporting characters, their friends, family and the town itself, but to realize that sometimes young love is as much about confusion as it is passion. This film has a similar tone as Lost in Translation, it's fleshed out with emotional undertones that provide not only a structure for the story, but its subtext as well.
All the Real Girls is more interested in exploring the occasionally misplaced idealism of youth and the consequences that follow than creating a typical Hollywood romance. The characters are the plot and as such rely on the actors to fill in the intentions of the script. Many in the cast fill their roles so well, so acutely in tune with the repetitiveness and stillness of small town life, that they almost don't seem like actors but rather local stand-ins. Zooey brings an unexpected grace and charm to the character that now seems well within her capabilities but at the time seemed like fascinating transformation. She is natural, endearing and cruel all at once. Ever since this film I have looked forward to her performances and more often than not find the experience uniquely rewarding. The stillness I spoke of, evident in the cinematography, Zooey's performance and the editing of the film, remind us that in the quiet perhaps you are capable of seeing more beauty than you would in fast paced places or people.
I won't give away the emotional plot point that spins the film into its final act, even though I've alluded to it here, but I will end on words from the Master. "The thing about love is, if you lose it, you can also lose your ability to believe in it, and that hurts even more. Especially in a town where real love may be the only world-class thing that ever happens."
Tuesday, January 19, 2010
day 19 - Top 5 Bittersweet Scenes
OK film fans, before we get into it tonight I have a request. I know there are a couple of you out there, you've been kind enough to let me know in person and by e-mail. But this is going to be a lot more fun if you join (it's free you cheap bastards!) and make your opinions known. I need some replies out there to make this a conversation. Plus, if you get in now on the ground floor you can make crazy Bernie Madoff style cash. I'm not quite sure how, but the underpants gnomes have it figured out. And if you act right now I'll throw in a slap chop.
Wellll, this was a long holiday weekend and I am not feeling all that chipper. Not every day can be a Sonic Death Monkey day. And as you may have noticed in the short amount of time we've spent together, when I get punchy, I like to spout off a list. But when you're not feeling chipper, what should you make a list of? Tonight, here's my Top 5 Bittersweet Scenes. Well, at least they always get to me you heartless bastards.
5. Almost Famous Starting with a slow, underhand softball pitch right down the middle. Cameron Crowe's beautifully lit scene (symbolism alert, notice all the earth tones - yellows, browns and reds) captures the spirit of a girl who is in love with everything rock and roll has to offer. Kate Hudson twirls and glides on streamers strewn across an empty hall. It was one of many scenes that lead her to became the "It" girl of the moment. Even without the lilting Cat Stevens' "The Wind" floating over the scene we understand who exactly Penny Lane is through this moment, and it makes the scenes that come after it all the more heartbreaking.
4. A River Runs Through It Alright manly men, get out your hankies. There are few things in life that can impart as much wisdom in a single setting, without seeming preachy, as this film. If you don't like fishing don't worry, fishing is just the film characters common link and you can apply its lessons to your own passions. That's the beauty of the meaning in the title, the river is your life, and what "it" runs through is up to you. But you have to be willing to take a leap of faith and try the unknown to get the most out of it. A touching book turned into a beautiful, moving Ansel Adams photo by Robert Redford, this film is one of the few to use voice over work not as a crutch, but as another color from a palette that enriches the story. The ending (to avoid any spoilers, jump to the 1:35 mark) is still one of my favorites of all time. It's made bittersweet by the realization that, despite all the wisdom you have, sometimes it still doesn't help you save the ones you love.
3. Lost in Translation This is easily one of the most divisive films in the past decade. I think either you identify with the situation or you don't. And if you don't, there isn't a lot of story for you to get into. I love this film. While I can't say I've been in the same situations depicted in the May/September (or whatever) romance, there are moments it captures on film that just feel perfect. My favorite (part of which is the first 1:10 seen here) is just after the karaoke party on a cab ride home. There's something dreamlike about a cab ride back to a hotel, deep in the night of a strange city. Your windows partially down with foreign tasting air on your tongue, the glowing lights and unknown vistas disorienting your sense of direction. Add in the rhythmic whir of the tires crossing a long bridge, the kinds you don't really see in Colorado, and you have this ephemeral, hazy sensation on top of a night that was filled with promise coming to an end. Lasting just a little over a minute and shot primarily with a hand held camera, Sofia Coppola captures the feeling effortlessly. The music hits just the right note as well. It always takes me back.
2. Eternal Sunshine of the Spotless Mind Well, I told you this would come up again. I'm thinking we'll take a look at this film and its companion piece, The Science of Sleep, as a separate post. But for tonight, there is a scene that perfectly explores the regret of a moment passed and the damage it can impose on the future. Joel (Jim Carrey) is reliving a painful moment with his ex-girlfriend Clementine (Kate Winslet) before he loses the moment forever. As the memories fade and crumble around them he explains himself to her, even if it is in his own mind. Jump to the 4:25 mark to get to the meat of the scene.
1. Heaven Help Us The Venn diagrams intersect here with a teensploitation from the 80's that fall's into my love of nostalgia films. An odd hybrid, it tackles comedy and drama in dealing with teenage life at Catholic High School circa 1965. New kid Michael Dunn (weepy Andrew McCarthy) tries to fit in but becomes entangled with troubled girl Danni (Mary Stuart Masterson), a dropout who runs the local dinner/teen hangout while her father deals with his demons. While the film itself is drastically uneven (the director actually was responsible for the Bobcat Goldthwait fiasco Hot to Trot), there is a scene that transcends the rest of the film. The two spend an afternoon together on the boardwalk. With ominous dark skies overhead and icy waters at their feet, they walk the beach alone, uninterrupted in their courtship. When it starts to rain they retreat under the boardwalk and fall into each others arms. The young couple is unaware of the heartbreak awaiting them and it makes the scene all the more bittersweet. While I couldn't find a clip online, the song played over the scene, which reaches its crescendo just as the young couple does, might help you visualize the moment.
Wellll, this was a long holiday weekend and I am not feeling all that chipper. Not every day can be a Sonic Death Monkey day. And as you may have noticed in the short amount of time we've spent together, when I get punchy, I like to spout off a list. But when you're not feeling chipper, what should you make a list of? Tonight, here's my Top 5 Bittersweet Scenes. Well, at least they always get to me you heartless bastards.
5. Almost Famous Starting with a slow, underhand softball pitch right down the middle. Cameron Crowe's beautifully lit scene (symbolism alert, notice all the earth tones - yellows, browns and reds) captures the spirit of a girl who is in love with everything rock and roll has to offer. Kate Hudson twirls and glides on streamers strewn across an empty hall. It was one of many scenes that lead her to became the "It" girl of the moment. Even without the lilting Cat Stevens' "The Wind" floating over the scene we understand who exactly Penny Lane is through this moment, and it makes the scenes that come after it all the more heartbreaking.
4. A River Runs Through It Alright manly men, get out your hankies. There are few things in life that can impart as much wisdom in a single setting, without seeming preachy, as this film. If you don't like fishing don't worry, fishing is just the film characters common link and you can apply its lessons to your own passions. That's the beauty of the meaning in the title, the river is your life, and what "it" runs through is up to you. But you have to be willing to take a leap of faith and try the unknown to get the most out of it. A touching book turned into a beautiful, moving Ansel Adams photo by Robert Redford, this film is one of the few to use voice over work not as a crutch, but as another color from a palette that enriches the story. The ending (to avoid any spoilers, jump to the 1:35 mark) is still one of my favorites of all time. It's made bittersweet by the realization that, despite all the wisdom you have, sometimes it still doesn't help you save the ones you love.
3. Lost in Translation This is easily one of the most divisive films in the past decade. I think either you identify with the situation or you don't. And if you don't, there isn't a lot of story for you to get into. I love this film. While I can't say I've been in the same situations depicted in the May/September (or whatever) romance, there are moments it captures on film that just feel perfect. My favorite (part of which is the first 1:10 seen here) is just after the karaoke party on a cab ride home. There's something dreamlike about a cab ride back to a hotel, deep in the night of a strange city. Your windows partially down with foreign tasting air on your tongue, the glowing lights and unknown vistas disorienting your sense of direction. Add in the rhythmic whir of the tires crossing a long bridge, the kinds you don't really see in Colorado, and you have this ephemeral, hazy sensation on top of a night that was filled with promise coming to an end. Lasting just a little over a minute and shot primarily with a hand held camera, Sofia Coppola captures the feeling effortlessly. The music hits just the right note as well. It always takes me back.
2. Eternal Sunshine of the Spotless Mind Well, I told you this would come up again. I'm thinking we'll take a look at this film and its companion piece, The Science of Sleep, as a separate post. But for tonight, there is a scene that perfectly explores the regret of a moment passed and the damage it can impose on the future. Joel (Jim Carrey) is reliving a painful moment with his ex-girlfriend Clementine (Kate Winslet) before he loses the moment forever. As the memories fade and crumble around them he explains himself to her, even if it is in his own mind. Jump to the 4:25 mark to get to the meat of the scene.
1. Heaven Help Us The Venn diagrams intersect here with a teensploitation from the 80's that fall's into my love of nostalgia films. An odd hybrid, it tackles comedy and drama in dealing with teenage life at Catholic High School circa 1965. New kid Michael Dunn (weepy Andrew McCarthy) tries to fit in but becomes entangled with troubled girl Danni (Mary Stuart Masterson), a dropout who runs the local dinner/teen hangout while her father deals with his demons. While the film itself is drastically uneven (the director actually was responsible for the Bobcat Goldthwait fiasco Hot to Trot), there is a scene that transcends the rest of the film. The two spend an afternoon together on the boardwalk. With ominous dark skies overhead and icy waters at their feet, they walk the beach alone, uninterrupted in their courtship. When it starts to rain they retreat under the boardwalk and fall into each others arms. The young couple is unaware of the heartbreak awaiting them and it makes the scene all the more bittersweet. While I couldn't find a clip online, the song played over the scene, which reaches its crescendo just as the young couple does, might help you visualize the moment.
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