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Elephant (2003)
An intense and powerful film that is devastatingly effective in its approach. Poses some tough questions in exploring the subject at hand.
In the wake of the Columbine school shootings, there was much discussion and sensationalism around what could have motivated the two killers to commit such horrific acts before taking their own lives. Elephant explores this question by giving us a window into the harrowing final moments of a pair of fictional high school murderers, as well as their victims.
The film follows several different students in the hour that leads up to the beginning of the violence, showing us the normality of their day to day lives. These segments are surprisingly engrossing, considering it's just people going about their business and interacting with the world that they inhabit. The perpetrators are included in this and are revealed to be pretty average teenagers. The lack of hyperbole in the portrayal is chilling and it's a quality that typifies the tone of the picture as a whole. The documentary feel of the style feeds into this and further accentuates the unspectacular nature of the day, though it's not just the pragmatic approach to filming that is important in this regard.
The cast are made up of untrained high school students, most of whom carry their real names on-screen as well as off. Personally, I found this a little eerie, but that may perhaps have been the point. There were apparently no prepared lines to speak of, Van Sant preferring to allow the amateurs to improvise. This not only helps give the dialogue a genuine flavour, but also avoids any complications that could have arisen through unskilled acting combined with trying to remember what to say. Ultimately, the freedom that is given makes for performances that feel remarkably natural, providing an atmosphere of unsettling realism.
There's also much to appreciate as far as the cinematography is concerned. The incredibly long takes that follow the students as they go through the day are impressive, taking in the bustling environment of the school and its inhabitants. Considering the leisurely pace of the editing, it's perhaps somewhat surprising that the film is almost unbearably tense at times. The knowledge of what is to come coupled with the blissful unawareness of the characters is largely responsible for this. It's an aspect that becomes even more effective once panic begins to spread, confusion, chaos and disbelief replacing the mundane.
As an experience, it can be hard to watch, though in the best possible way. The lack of movie conventions, particularly in terms of gunplay, makes the action that much more moving. There's nothing in the way of stylistic affectation applied and the detached coldness that this provides mirrors the attitude of the killers, bringing the events home with a shockingly powerful impact.
The Giant Mechanical Man (2012)
An unconventional love story in some ways, but quite ordinary in others are offset by some contrived plot devices.
The indie approach to love stories differs quite markedly from that of mainstream Hollywood. The Giant Mechanical Man fits comfortably into this tradition, its lack of grandeur adding to its charm, but at times it's a flick that feels a little too contrived to become something you'll want to revisit.
The plot centres on a street performer (Chris Messina's Tim) and his struggles to fit in with the expectations of society at large, as well as to make ends meet. His lack of desire to take part in conventional culture defines the character and leads to a variety of problems in his relationships, largely due to drastically differing views on the world from those around him. His approach to life is fairly philosophical, believing that if he can brighten even one person's day on their way to work, it will make everything worthwhile. The character works well for the most part, but can come off as a stereotypical arty type in some of his rhetoric, which some may find a little grating.
The other side of the narrative takes Jenna Fischer's Janice as its focus. She has little idea what she wants from life and has difficulty holding down the succession of menial jobs that she takes on to pay the rent. She is the archetypal daydreamer, her head in the clouds more frequently than on solid ground. Her awkwardness in social situations does a lot to make the character likable, the urge to will her to speak up for herself overwhelming.
The balance between comedy and drama in the film is judged well. There's adequate humour to raise a smile on more than one occasion and the drama plays very successfully for the most part. However, the scenes intended to be the most intense sometimes don't work quite as well as they should, leaving some of the more pivotal moments feeling a little flat. The movie's charm does a lot to make up for this, but there are points at which it is slightly overcooked and what atmosphere there was is crushed under the weight of borderline sickly sweetness.
The biggest problem here lies in the slightly ridiculous coincidences that lead to the two protagonists getting to know each other. The aim may perhaps have been to demonstrate how predestined to be together they really are, but there's an uncomfortably artificial feel that comes along with this and it detracts more than a little from the picture as a whole.
The Man Who Knew Too Much (1956)
Yet another Hitchcock picture that is high on suspense and intrigue. Doris Day impresses in one of her few dramatic roles and is matched by Jimmy Stewart's usual finesse.
Hitchcock's mastery of suspense is widely appreciated and his genius often referenced by countless film-makers, both past and present. For me, The Man Who Knew Too Much doesn't quite match his best work, but still showcases all the trademarks that make him such a revered figure in cinema to this day.
This was the second time that the acclaimed director had brought this story to the screen, the first being in 1934. It was by no means a straight remake of his first interpretation and the differences are many, with some aspects updated, others changed completely. Even the narrative itself is markedly altered, though the broad strokes of the plot remain intact.
As is the case here, the collaborations between Hitchcock and Jimmy Stewart are numerous and generally very successful. The director liked to use him so much due to Stewart's demeanour, embodying the average Joe and enabling audiences to put themselves in his characters' shoes much more easily. It's a feature that works especially well in this particular picture, though the archetype has evolved somewhat over the years since its production and he can sometimes come off a little gruff.
The choice of Doris Day for the female lead caused some concern at the time, as she was never a name that was associated with dramatic roles. It's a shame in some ways that she was so closely aligned with musicals due to her vocal talents, as her work in the film is excellent, particularly in the more emotional scenes, which showed her to be a quite capable actress when the situation called for it. There are also one or two scenes with songs shoehorned in, but they are done tastefully and fit with her role as a retired star of the stage.
The famous Royal Albert Hall scene is where the film reaches its peak and it has stood the test of time well. The tension remains intact and the desperation of Stewart's Dr. McKenna is palpable. The combination of the score (which Bernard Herrmann opted not to change from the first iteration, though he was given the choice) and precise, effective editing make it easy to see why it is considered such a classic.
Sightseers (2012)
A darkly comic film that is both inventive and irresistibly different. A weird and wonderful experience that takes some getting used to, but really delivers where it counts.
There's something very British about a caravan holiday, though it's not quite as ubiquitous a pastime as it may once have been. Sightseers takes the mundane as a starting point and turns it on its head resulting in a darkly comic road movie that has a style all its own.
There's a very peculiar wavelength to this flick and it took a while to adjust to it. It's difficult to know what to make of it all in the first ten minutes or so as we are introduced to the characters. Alice Lowe's Tina and her domineering mother both archetypes that may ring true for some, but left me at a bit of a loss as to what the intention was. Once Chris, Tina's new boyfriend, arrives to whisk her away on a sightseeing tour of Britain, things start to slot into place and the tone of the film begins to establish itself, raising a few smiles of recognition and provoking the odd awkward squirm.
Broadly speaking, the comedy of the film is very subtle, but there are several moments that had me laughing out loud. It was only once the plot had really begun to take shape that I could fully appreciate these subtleties and stop trying to figure out what on earth it was that the movie was going for. The juxtaposition of the utter dullness of attractions such as the pencil museum and the bloodthirsty urges that simmer below the surface of the couple's average exterior are in equal parts bizarre and comical. Their conversations about the crimes committed are hilariously banal, discussing murder as though they were picking out tiles for the bathroom. It's this lack of excitement over anything that gives the flick a uniquely eccentric quality that's irresistible.
For any of this to be successful, it's essential that the performances be fitting and they most certainly are. Alice Lowe plays the sheltered little girl that never grew up with beautifully understated restraint, confusion and amazement etched on her face at the most ordinary of occurrences. At thirty-four she still lives at home, her childhood bedroom appearing to be much the same as it was the day she started school. Steve Oram's Chris is far more worldly, though just as dreary, all anoraks and sensible outdoor attire.
I can honestly say that I've never seen anything quite like this before and it left me wanting more. This kind of comedy is very dark around the edges and to some degree very specific, but the sharpness of vision is clear to see, leaving its mark on British cinema and standing out from the crowd effortlessly.
Barton Fink (1991)
A surprisingly eerie picture that is defined by its excellent cast and imposing characters.
The Coen brothers are some of the best around at delivering character driven movies. They seem to be equally adept at both comedy and drama, often throwing in more than the odd tip of the hat to classic Hollywood cinema. Barton Fink is no exception to this, but it also betrays something of a distaste for the Hollywood machine, despite an affection for some of its products.
Like many of the Coens' regular stable of actors, John Turturro is an underrated performer, capable of much more than he has been given to work with in his more high profile roles of late (i.e. the Transformers films, which also featured another Coen favourite, Frances McDormand). He carries the film well in this instance, the passionate, yet naive writer he portrays leaving plenty of room for everything from clumsy awkwardness to the depths of despair. He's not the only one to shine.
The supporting cast of John Goodman, Steve Buscemi, Tony Shalhoub, John Mahoney, the list goes on, are superb. Each bringing their own unique flavour to proceedings, as well as their characters providing plenty in the way of larger than life bluster. The majority serve as the antithesis to Turturro's Barton, his slightly withdrawn, almost shy disposition battered senseless by the onslaught of greedy industry types. A weak man he is not, but most certainly not accustomed to the brash insensitivity that he is subjected to. Dialogue is integral to this kind of material and, as usual with these film-makers, disappointment is not a factor that comes into play.
Considering the fact that the majority of the film takes place in the halls and rooms of a low rent hotel, there is much to appreciate visually. Framing and composition are one of the movie's strong points and there's a Shining-esque dread that hangs over many of the eerier scenes. What the sets deliberately lack in vibrancy, they more than make up for in the subtle subtexts that really set the tone of the flick. This also facilitates some nice contrasts, particularly in colour, between the hotel and the more richly lit offices of the studio moguls, all blinding lights and polished glass.
The plot takes some surprising turns, considering the confines in which it takes place, weaving enough intrigue into the writer's predicament to keep us from joining him in his panicked and disillusioned state. The scenes between Turturro and Goodman are particularly worthy of note in this respect and the relationship between their respective roles is pivotal to the success of the film. These moments are also where the bulk of the humour lies, though this is definitely a picture that showcases the darker side of the Coens' catalogue. These factors combined result in a flick in which fans of their work will find much to appreciate.
Drive (2011)
An incredibly stylish flick that is very successful in its use of pacing. Gosling is superb, showing his darkest side yet and further proving his already considerable worth.
Nicolas Winding Refn is fast building a proved track record in working with the best young(ish) actors in cinema. Having previously brought a snarling, bestial Charles Bronson to the screen by way of Tom Hardy, Drive now sees Ryan Gosling's moody, enigmatic cool used to full effect.
There are a number of factors that make the film stand out from the crowd, though that's not to say that it feels completely original in all respects. The 80s flavour that infused Refn's earlier film, Bronson, is very much present and accounted for. As with that picture, the soundtrack is used to augment the atmosphere, but also to surreptitiously signal changes in mood and action in the plot. This is not in the sense that it's an indication of what the reaction should be, more that it sometimes complements, but at others provides a severe contrast with, the more affectionate moments that take place. Stylistically, too, the production harks back a few decades, title fonts presented in hot pink and the anti-hero's costume just as much of an anachronism as the mobsters that he finds himself entangled with.
The movie also has a definite rhythm to it. The first half is packed full with a seemingly ordinary love story, though the mood soon darkens, revealing a much shadier side to both the nameless driver and the film itself. It's this transformation that is the most striking quality of the plot. Gosling morphs from shy young lover to vengeful and ultra- violent in a heartbeat. It's a testament to his skill as a performer that this never feels unnatural, his screen presence providing the impression that he is capable of this kind of brutality, even when sharing tender exchanges with a prospective lover.
The pace is fairly sluggish as flicks that find this kind of popularity go, particularly between the opening sequence and the point at which the atmosphere changes. Prolonged shots and lingering focus on some events of the story are conspicuous in the emphasis placed on them. This not only rounds out the character of the driver, but also sharpens the contradiction between the two distinct halves of the film.
The latter half pulls no punches in the depiction of ferocious and often sadistic bloodshed that ensues. It's a constant battle for the driver to keep his emotions and boundless fury in check. Once again, Gosling comes into his own here, and it's a joy to watch as he uncontrollably trembles with rage confronting each of his antagonists. These instances punctuate the more deliberately paced scenes perfectly and this amplifies the slightly guilty, heart pounding thrill as revenge is exacted.
It's easy to see why this became the sleeper hit it turned out to be and I look forward to the upcoming second collaboration between Refn and Gosling, Only God Forgives, with great anticipation.
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