Reel Rewind: “Rabbit Hole”

From whole to hole to (w)hole, family life for Becca and Howie devolves and evolves following the accidental death of their four year old son, Danny. The whole (which we see in video flashbacks), shows a happy and loving three-person family with lots of laughter. It is eight months after their child’s death and the hole is the disconnection between the now two-person family that seems to be increasing in distance each passing month – even group therapy does not help; at least not for both of them. Slowly Becca and Howie become (w)hole enough in a way that allows them to tentatively face the future. When Becca asks “So what are we gonna do?”. . . and Howie eventually answers “We’ll figure it out.”, you believe that they will.

Focus of “Rabbit Hole” is on how Becca deals with her grief in contrast to Howie’s approach. After eight months Becca takes down Danny’s artwork from the refrigerator and ends up donating his clothes to Goodwill. Becca makes an unsuccessful attempt to return to work at Sotheby’s, but unexpectedly finds comfort in conversations with Jason, the teen-age driver who accidently hit Danny when he darted into the street. Even talks with her mother (who went through a similar experience with her adult son – Arthur, a thirty-something year old drug addict), gives Becca insight to coping with her grief. Howie plays over and plays over and plays over a video of him and Danny at play. The images of his son brings smiles to Howie’s being and is his comfort in coping with the tragedy. Howie also finds connection with a kindred spirit from group therapy, Gaby, who has been going to group for years and can’t move forward.

Gradually, Becca and Howie work through their disconnection and come to a realization (occurring at the same time for both) that they can continue their life together and it will be all right. And perhaps it will be all right. For in their grief, they each blame themselves and not the other for what happened to Danny (though they do fear the other blames them). As hard as it is to forgive yourself for what you perceive as your fault, it is even harder to forgive someone on whom you’ve placed total blame for a tragedy. To me, the ending rings true as Becca and Howie commit to becoming (w)hole in hopes of someday returning to whole.


Film Facts: Director: John Cameron Mitchell, Writer: David Lindsay-Abaire, Cinematographer: Frank G. DeMarco, Editor: Joe Klotz, Musician: Anton Sanko, Producers: Caroline Jaczko, Nicole Kidman, Geoff Linville, Bill Lischak, Linda McDonough, Brian O’Shea, Gigi Pritzker, Daniel Revers, Per Saan, Leslie Urdang, Dean Vanech, Production Companies: Olympus Pictures, Blossom Films, Odd Lot Entertainment

Film Type: Drama, Cast: Nicole Kidman (Becca), Aaron Eckhart (Howie), Dianne Wiest (Nat), Miles Teller (Jason), Tammy Blanchard (Izzy), Sandra Oh (Gaby), Giancarlo Esposito (Auggie), Jon Tenney (Rick), Stephen Mailer (Kevin), Mike Doyle (Craig), Roberta Wallach (Rhonda), Patricia Kalember (Peg), Ali Marsh (Donna), Yetta Gottesman (Ana), Colin Mitchell (Sam), Length: 91’, Language: English, Country: United States, Year: 2010
Official Site
United States release date Friday 17 December 2010
Film Trailer



Images:
Left: Nicole Kidman as Becca from the website moviepicturedb.com
Center: Graphic interpretation of “Rabbit Hole” created by Adrean Darce Brent
Right: “Rabbit Hole” poster from the website movieposterdb.com
Below: “Reel Rewind” logo created by Adrean Darce Brent

Reel Rewind: “Blue Valentine”

It’s another FIND Film Series screening and another trip to the Landmark Theatres. This time I arrive early enough that the distribution of the wait passes had not yet begun. So line waiting is the start of the evening for me. When I finally receive my pass, it is Clint Eastwood who is the director of my wait and the last movie of his I saw was “Million Dollar Baby”. Of course being early meant I had time to browse Barnes & Noble. After checking for the December issue of Black + White Photography (not yet arrived), I wander around on the street level floor of the bookstore and eventually purchase The Girl With The Dragon Tattoo by Stieg Larsson. I have seen the movie, but want to read all three novels before seeing the second and third ones. My 2011 book project.

The screening for “Blue Valentine” is in theatre twelve and I am easily able to sit in my favorite area. The theatre is full and after the usual preliminary reminders, upcoming events, and thank-yous are given, the films begins ten minutes after the scheduled start time. There has been a ratings “controversy” surrounding “Blue Valentine”. The MPAA (Motion Picture Association of America) originally rated the film NC-17 and it was changed on appeal to R. Let me say at the beginning that although the sexual content may be somewhat rough and graphic, the encounters are consensual – there is no rape. Perhaps it is my years of filmic experience, but I was not disturbed by the sex in “Blue Valentine”. It is depictions of violence and rape that I’ve seen in other R-rated films that have greatly bothered me. Where was the MPAA for those films? Onto other content.

During one weekend “Blue Valentine” explores the life of a young Pennsylvanian couple, Dean and Cindy – how they met, their courtship, state of their marriage – by flashbacks and flashnows throughout the film. There is a home movie feel to the film during the flashbacks with its, at times, less than sharp imagery and less than well-lighted scenes. A fitting approach to examining a less than perfect marriage from its past. Dean is a high-school dropout who, when he meets Cindy, works for a moving company. On the other hand, Cindy is in school studying medicine and has a boyfriend. A combination of differences that make for a relationship disaster. The beginning though, is full of laughter and music – in fact Dean and Cindy have a variation on the usual PDA (public displays of affection) and for them it is – public dancing anytime. However, on this weekend they have been married for about six years and Dean is now a house painter and Cindy is a nurse. And rounding out their family is their daughter Frankie, whose conception was the impetus for the marriage. The flashbacks and flashnows work well – always knew if I was watching the past or the present. There are obvious problems as seen in the breakfast bickering. Dean wants to save the marriage and his suggestion of a night in a fantasy motel room is met with resistance from Cindy, who is on call, but they do. end up in the outer space room. From there the disintegration proceeds. Not much fun anymore. However, the one funny moment toward the end of the film is when a colleague of Cindy’s says “Oh, you must be Dean.” Her delivery of the phrase seems to sum up everything about the marriage – his lack of ambition and childish ways and her lack of interest in keeping the marriage intact - and evokes laughter of comprehension on part of the audience.

I haven’t seen much of Ryan Gosling’s work - the previous movie I saw was 2004’s “The Notebook” - and for Michelle Williams it was 2005’s “Brokeback Mountain”. Though I don’t have a true basis on which to judge, I think they both do a credible job in “Blue Valentine” and have some acting nominations for the roles of Dean and Cindy to back it up. It’s a film that should be seen and please don’t be afraid of the flashbacks and flashnows – you won’t be lost within the film. The take away from the film, other than the usual “don’t get married just because of an unexpected pregnancy”, is “don’t become romantically involved with someone who has significantly less education than you do”.

I leave the screening while the credits are still rolling because, of the late start, I’m afraid I might miss my bus home and therefore I miss the Q&A session with producers Lynette Howell and Jamie Patricof. Unfortunately, I see a bus at the bus stop as I exit the building and of course, I’m unable to cross the street in time to catch it. Waiting once again this evening, but this time with home as the goal.


Film Facts: Director/Writer: Derek Cianfrance, Writers: Joey Curtis, Cami Delavigne, Cinematographer: Andrij Parekh, Editors: Jim Helton, Ron Patane, Musician: Joe Rudge, Producers: Doug Dey, Carrie Fix, Lynette Howell, Jack Lechner, Alex Orlovsky, Jamie Patricof, Rena Ronson, Production Companies: Hunting Lane Films, Silverwood Films

Film Type: Drama, Romance, Cast: Ryan Gosling (Dean), Michelle Williams (Cindy), Mike Vogel (Bobby), John Doman (Jerry Heller), Ben Shenkman (Sam Feinberg), Reila Aphrodite (Mary), Faith Wladyka (Frankie Periera), Samii Ryan (Amanda), Robert Eckard (Father), Michelle Nagy (Music Teacher), Dan Van Wert (Bus Passenger), Eileen Rosen (Mimi), Tamara Torres (Maria Guevara), Maryann Plunkett (Glenda), Carey Westbrook (Charlie), Length: 120’, Language: English, Country: United States, Year: 2010
Film Trailer
United States release date Friday 31 December 2010


Images:
Left: Ryan Gosling as Dean and Michelle Williams as Cindy from the website cinemablend.com
Center: Graphic interpretation of “Blue Valentine” created by Adrean Darce Brent
Right: “Blue Valentine” poster from the website filmtotaal.nl

Reel Rewind: “The Tourist”

Seeing the “The Tourist” was an unexpected surprise. I had been playing games all day and since I travel by bus, Robert kindly offered to drive me home as he was hosting “The Tourist” as an event in my part of the world. However, we left the game playing too late for Robert to drop me off and then head to the movie, so he suggested that I come to the film event, he’d pay for my ticket, if I’d pay for parking. Well with the cost of parking being five dollars and the movie ticket costing $11.50, that was a definite yes on my part. Thank you Robert!

“The Tourist” fits well into my day’s theme of travel and game-playing – journeying from Paris to Venice and with a cast of players searching for an elusive thief and recovering a large amount of money as the ultimate objective. The players: Alex – robber of millions from a mobster, in hiding for two years, and Elise’s lover; Elise – two-year long surveillance subject of Scotland Yard’s Inspector John Acheson; John Acheson – frustrated policeman in search of Alex; Frank – unwitting American tourist being used in Alex’s misdirection plan; and Reginald Shaw – mobster in search of Alex and his stolen money.

The starting point of this international game is a café (where I had my first Salade Niçoise) near the Palais-Royal in Paris where Elise, along with her usual breakfast fare, unexpectedly receives a note from the elusive and plastic surgery altered Alex. Now it’s time for action and Elise takes a train for Venice from the Gare de Lyon and begins the implementation of Alex’s plan when she picks out Frank to be the decoy. British surveillance follows Elise on the train and in the meantime Reginald learns that Alex will be in Venice and makes his way there. Now in Venice all the players converge and games of running across Venetian rooftops, exchanging Frank for cash, night shooting in the canals, boat towing and bullet ducking rescue, departing player and returning player, and twisting revelations play out over several days.

I anticipated that “The Tourist” would be the typical action film with plenty of drama, but surprisingly there’s a comedic element to the film - from Elise looking directly at her not-so-subtle-surveillance and her subsequent maneuvering in the Palais-Royal/Musée du Louvre Métro station, to Frank constantly speaking Spanish to the Italians (Spanish..Italian..it’s all Romance right?) and the film ending exchange between Elise and Alex. With comedy being so obvious, especially with Frank, there can be confusion as to what the film wants to be - one of suspense and intrigue or a spoof/parody of the genre or of the source material (2005 French film “Anthony Zimmer”). It is not completely one or the other. Though I tend to view the film as more dramatic than comedic, the Hollywood Foreign Press sees it differently (it has received a Golden Globes nomination in the category of Best Motion Picture – Comedy or Musical). If you need the films you see to be easily categorized, then “The Tourist” is not for you. However, if you can accept the interplay of genres or if you are a fan of Johnny Depp (I am) or Angelina Jolie, you should see “The Tourist”. The film may not be either actor’s best work (Angelina’s main function appears just to be beautiful and wear wonderful clothes), it is not horrible by any means.

There may not be obvious clues to help the viewer figure out the twists before they are revealed, but there are some observations one can ponder as “The Tourist” progresses, such as the quality of the note burning. I could state others, but it would give too much away. If nothing else, “The Tourist” is a diversion from all the end of year craziness and has the beauty of Venice to please the eyes (as well as Johnny and Angelina). Game over.


Film Facts: Director/Writer: Florian Henckel von Donnersmarck, Writers: Christopher McQuarrie, Julian Fellowes, Jérôme Salle, Cinematographer: John Seale, Editors: Joe Hutshing, Patricia Rommel, Musician: James Newton Howard, Producers: Gary Barber, Roger Birnbaum, Jonathan Glickman, Ron Halpern, Tim Headington, Graham King, David Nichols, Denis O’Sullivan, Lloyd Phillips, Production Companies: GK Films, Spyglass Entertainment, Studio Canal

Film Type: Action, Drama, Thriller, Cast: Johnny Depp (Frank Tupelo), Angelina Jolie (Elise Clifton-Ward), Paul Bettany (Inspector John Acheson), Timothy Dalton (Chief Inspector Jones), Steven Berkoff (Reginald Shaw), Rufus Sewell (The Englishman), Christian De Sica (Colonello Lombardi), Alessio Boni (Sergente Cerato), Daniele Pecci (Tenente Narduzzi), Giovanni Guidelli (Tenente Tommassini), Raoul Bova (Conte Filippo Gaggia), Bruno Wolkowitch (Capitaine Courson), Marc Ruchmann (Brigadier Kaiser), Julien Baumgartner (Brigadier Ricuort), François Vincentelli (Brigadier Marion), Length: 103’, Language: English, Countries: United States, France, Year: 2010
Film Trailer
United States release date Friday 10 December 2010


Images:
Left: Johnny Depp as Frank Tupelo and Angelina Jolie as Elise Clifton-Ward from the website cinemablend.com
Center: Graphic interpretation of “The Tourist” created by Adrean Darce Brent
Right: “The Tourist” poster from the website filmposter-archiv.de

Reel Rewind: “Fair Game”

Tonight I’m at the Directors Guild of America in Hollywood to watch a free preview screening of “Fair Game” thanks to Film Independent and their Filmmaker Forum. Usually I only see screenings at the DGA in April (ColCoa), but it was no problem coming here this October night (except for the door on the bus that refused to close for at least ten minutes – a source of amusement and annoyance). Although I arrived later than I planned, people were still in line to enter theatre one and I ended up in the general area that I like to sit.

The film, “Fair Game”, is based on events in which lying to deceive was the modus operandi and the truth was repelled and ignored. CIA agent Valerie Plame (Naomi Watts) is a NOC (No Official Cover) covert leader with operations in Kuala Lumpur, Cairo, Amman et. al. who becomes responsible for finding the intelligence on Iraq’s Weapons of Mass Destruction (WMD) program. As part of this investigation, the CIA sent her husband, former diplomat Joseph Wilson (Sean Penn), to Niger to check on reports that Iraq had bought a large quantity of yellowcake (a powder formed from the processing of uranium ore) from Niger for use in its nuclear weapons. Wilson’s trip determined that no such sale had taken place, yet this truth was eventually sidestepped by the White House.

A portion of George Bush’s Tuesday 28 January 2003 State of the Union address is shown in which the “sixteen words” are stated – “The British government had learned that Saddam Hussein recently sought significant quantities of uranium from Africa.” This false statement was the basis for sending Americans into a needless war in Iraq (and perhaps the start of Tony Blair’s fall from grace). Unforgivable. Wilson’s refutation of that statement resulted in a backlash from the US government against him and the outing of his wife as a CIA agent. The consequences of the revelation compromised not only Valerie Plame and her operations, but other agents with the same work cover and their operations. All of this because a decision was made to cover up the truth.

The tragedy of the situation was that the Iraqi scientists who could confirm that Iraq did not have a WMD program were not able to be retrieved from Iraq because Valerie’s departure operation for them was stopped. And besides would the United States actually find it in their interest to rescue people who could have debunked the country’s position regarding the reason for entering the war. I think not. What happened to the scientists in Iraq can only be imagined and despaired. Under this type of reality, Valerie and Joseph fight for the truth, while also fighting with each other. Despite White House efforts, the truth does come out. Unfortunately, Valerie’s (and other CIA agents) career is over and the unnecessary Iraq War continues, with causalities of all kinds. Joseph has vindication and the marriage with Valerie does remain intact.

Naomi Watts portrays Valerie Plame as a woman who is good at lying and deceiving in the name of her job, but who just might have a conscious on the cost those qualities have to others. I am not a Sean Penn fan, however he disappears within Joseph Wilson and displays a man determined to have the truth prevail. A treat to see Sam Shepard for a few minutes. Although the truth about the Iraq War has been known for some time now, it is enlightening to see the effects of deceit on an individual level as opposed to a national scale. Which makes everything that much more tragic.

The Q&A session with director Doug Liman was moderated by John August. During the discussion, Liman revealed that he had talked with some former colleagues of Valerie Plame for a more in depth understanding of the whole debacle. “Fair Game” was shot in forty-five days on a budget of twenty-two million dollars. And most of the film was actually shot on location. Liman also said that the Egyptian government hadn’t wanted the Egyptian actor who played the primary Iraqi scientist to act with the Israeli woman who played his sister. You’d think they were still at war. Where is hope?

Film Facts: Director/Cinematographer/Producer: Doug Liman, Writer/Producer: Jez Butterworth, Writers: John-Henry Butterworth, Joseph Wilson, Valerie Plame, Editor: Christopher Tellefsen, Musician: John Powell, Producers: Mohamed Khalaf Al-Mazrouei, Dave Bartis, Gerry Robert Byrne, Kerry Foster, Sean Gesell, Akiva Goldsman, Anadil Hossain, Bill Pohlad, David Sigal, Mari-Jo Winkler, Kim H. Winther, Janet Zucker, Jerry Zucker, Production Companies: River Road Entertainment, Participant Media, Imagenation Abu Dhabi FZ, Zucker Productions, Weed Road Pictures, Hypnotic, Fair Game Productions

Film Type: Action, Biography, Drama, Thriller, Cast: Naomi Watts (Valerie Plame), Sean Penn (Joseph Wilson), Ty Burrell (Fred), Sam Shepard (Sam Plame), Louis Ozawa Changchien (Nervous Analyst #1), Bruce McGill (Jim Pavitt), Brooke Smith (Diana), Noah Emmerich (Bill), Michael Kelly (Jack), David Denman (Dave), David Andrews (Scooter Libby), Iris Bahr (CPD Agent), David Warshofsky (Peter), Satya Bhabha (Jason Neal), Sunil Malhotra (Ali), Length: 104’, Languages: English, Arabic, French, Countries: United States, United Arab Emirates, Year: 2010
Film Trailer
United State release date Friday 5 November 2010


Images:
Left: Naomi Watts as Valerie Plame from the website movieplayer.it
Center: Graphic interpretation of “Fair Game” created by Adrean Darce Brent
Right: “Fair Game” poster from the website cinemablend.com

Reel Rewind: “Avatar: Special Edition 3D”

Somehow I never got around to seeing “Avatar” during its original run after it was released in the United States on Friday 18 December 2009. It was a combination of timing – show times and my time – as well as my ambiguity in seeing a film in which an indigenous people are once again trampled upon by soldiers in the name of money. I suppose it is fitting that I’m seeing this movie on the day the United States has “officially” ended its combat mission in Iraq. Expounding on the ill-conceived entry into that country is a topic for another post One thing is for sure, the real final ending of the War In Iraq will not be as tidy and triumphant as I suspect “Avatar’s" ending to be. Actually it is the new 3D technology that has intrigue my curiosity and is my prime motivation for finally seeing this film and hey, I get to see an additional eight minutes (though I don’t know which minutes those are) that weren’t in the original release and for the same price. What a deal!

“Avatar” is the end chapter of Earth’s intrusion on Pandora and its indigenous people, the Na’vi, and tells the story of the final three plus months through the eyes of paraplegic former Marine corporal Jake Sully and his human/Na’vi hybrid avatar. My one complaint about “Avatar” is that it is the end of the Pandora story, not the beginning. When was Pandora discovered? Who made First Contact? How long has there been a human presence on the planet? I suppose the answers to these questions will have to wait for the prequels – if that is the plan.

The three components of humanity represented on Pandora are Business (Parker Selfridge), Military (Colonel Miles Quaritch), Scientific (Dr. Grace Augustine) with protagonist Jake Sully straddling the military and the scientific. Business is the prime mover for Earth’s interest in Pandora – the mineral unobtanium is worth millions and Parker Selfridge (perhaps named for the company that owns Monopoly and for the UK department store, though in the singular form?) focuses only on that. Parker cares nothing for the Na’vi or Pandora and has avoided learning anything except as it relates to getting the mineral. He does not see.

In charge of protecting the business interest, Quaritch’s only assessment of the Na’vi is how hard they are to kill and their weaponry. As is usual in military situations, the Colonel degrades the opposition and needs for them to be lesser than the humans. After all, if there is respect or admiration for the enemy perhaps there would be second thoughts about annihilating the Na’vi which others came to have. However, Quaritch never sees.

As the lead scientist, Grace Augustine is in charge of the Avatar program which links the mind of a human with its human/Na’vi hybrid body (did the Na’vi give informed consent for use of their genetic material?), allowing direct interaction with Pandora and the Na’vi. Between her study of the native fauna and flora, along with teaching the Na’vi English and learning the Na’vi language, Grace has come to understand that the real value of Pandora is the neural network linking all the living entities. Grace sees.

Former Marine Jake Sully becomes part of the Scientific component when he replaces his dead twin in the Avatar program. However, he is still loyal to the Military side of his life and agrees to tell Quaritch anything he learns that could help in an attack on the Na’vi. In exchange for his information, Quaritch promises the paraplegic Jake that he will arrange for Jake to have the spinal surgery which will allow him to walk again. But in his avatar, Jake has complete mobility and when he is taught the ways of the Na’vi by Neytin, Jake eventually changes his view of Pandora and becomes one of the Na’vi. Jake completely sees.

Of course, in the end the humans are defeated because some of the humans side with the Na’vi, who surely would have lost without their human allies. Humans as destroyers of indigenous people, humans as saviors of indigenous people. Same story, different planet, expected outcome. The film does not make clear, besides the rifles, if any other technology was left behind, e.g. the base and/or shuttlecrafts. Could be an important element for any sequels – humanity still a part of Pandora in addition to the humans who opted to stay there.

As stated above, I was primarily curious about experiencing “Avatar’s” 3D technology. Well, the 3D wasn’t always consistent – I don’t know if it was the movie theatre (it wasn’t an IMAX one), my position in the theatre (perhaps being further back would have helped), or the 3D glasses (they weren’t wrap arounds). It was good when I actually perceived the 3D, but I don’t think it added much to the viewing of the film. A side effect of watching the 3D film was the distortion in my vision afterwards. I think this may have to do with the fact I wear contacts and the combination of the 3D glasses changed the focus of my eyes temporarily. Walking around immediately after seeing the film was unsettling. Though I like the idea of 3D, it may not be the best viewing option for me. Will have to try the IMAX version of a 3D film next time to see if the same side effect occurs.

Film Facts: Director/Writer/Editor/Producer: James Cameron, Cinematographer: Mauro Fiore, Editors: John Refoua, Stephen E. Rivkin, Musician: James Horner, Producers: Brooke Breton, Laeta Kalogridis, Jon Landau, Josh McLaglen, Janace Tashjian, Peter M. Tobyansen, Colin Wilson, Production Companies: Twentieth Century Fox Film Corporation, Dune Entertainment, Giant Studios, Ingenious Film Partners, Lightstorm Entertainment

Film Type: Action, Adventure, Fantasy, Science Fiction, Cast: Sam Worthington (Jake Sully), Zoe Saldana (Neytin), Sigourney Weaver (Dr. Grace Augustine), Stephen Lang (Colonel Miles Quaritch), Joel Moore (Norm Spellman), Giovanni Ribisi (Parker Selfridge), Michelle Rodriguez (Trudy Chacon), Laz Alonso (Tsu’tey), Wes Studi (Eytukan) CCH Pounder (Moat), Dileep Rao (Dr. Max Patel), Matt Gerald (Corporal Lyle Wainfleet), Sean Anthony Moran (Private Fike), Jason Whyte (Cryo Vault Med Tech), Scott Lawrence (Venture Star Crew Chief), Length: 171’, Language: English, Countries: United States, United Kingdom, Year: 2009 (Special Edition 2010)
Film Trailer
United States release date Friday 27 August 2010 (Special Edition)


Images:
Left: Zoe Saldana as Neytin and Sam Worthington as Jake Sully from the website scifimoviepage.com
Center: Graphic interpretation of “Avatar: Special Edition 3D” created by Adrean Darce Brent

Right: “Avatar: Special Edition 3D” poster from the website filmtotaal.nl

Reel Rewind: “Going The Distance”

A number of elements came together during the day that allowed me to see this preview of “Going The Distance” – I did my necessary errands in the morning instead of the afternoon; the Red Sox game was postponed due to rain; and despite being out of shape, I managed to run and catch the bus that brought me to the screening venue. My seeing this romantic comedy was just meant to be.

The free screening was part of Film Independent’s weekly Film Series, a benefit of membership in the organization of which I rarely take advantage. Arriving an hour before the 7:30 p.m. scheduled start time at the Landmark Theatre in the Westside Pavilion, I went to the Film Independent table, showed my membership card, and was given a Wait Pass with director Federico Fellini’s name on it. They would begin calling directors names at 7:00 p.m. and the people holding a Wait Pass with the name called could proceed to the theatre. In the meantime I hung out at the Wine Bar and read until Fellini’s name was called - about a dozen director names into the process.

Amazingly I was able to sit in my usual movie theatre area – it’s great having an unpopular seating preference! A representative from FIND introduced the film and said that there would be a Q & A with the director of “Going The Distance”, Nanette Burstein, after the screening. Let’s get this out of the way up front – I like this movie – I don’t love it, but it is an improvement over other recent romantic comedies, e.g. “27 Dresses”. Real-life couple (as of this film), Drew Barrymore and Justin Long play young adults who, in one night, meet over Centipede, connect with a trivia game and movies, make out to “Take My Breath Away" (courtesy of the in-apartment DJ) and during the subsequent six weeks of summer in New York City (obligatory montage of togetherness activities) fall in love. The established saying is that “the course of true love does not run smooth”, but in their case the course of true love does not fly smooth – between New York and San Francisco. While she finishes up graduate study in journalism at Stanford, he tries to make the best of his music career of band promotion in New York. And using all the technology available in the early Twenty-first century, they maintain the relationship over thousands of miles and several time zones interspersed with actual visits to one another during seven months, though not always happily.

Charlie Day and Jason Sudeikis play Justin’s best friends and they provide the primary comedy relief in the film. Though they are amusing at times, it unclear to me why or how these two guys are friends with Justin’s character – the air of “loser” surrounds them and fortunately doesn’t permeate Justin. Having one of them be his roommate does provide a situational comedy element. On Drew’s side are Christina Applegate and Jim Gaffigan who play her sister and brother-in-law with whom she lives. Christina provides the tough, uptight, practical side to the couple’s long distance relationship. Ah yes, the support of one’s family can be tenuous. So, will their love be able to thrive three thousand miles apart? They do want to be together and I like that the characters Drew and Justin play are adults who know what they want to do in life, but are struggling to find the right fit. The tagline for this film is “The comedy about meeting each other halfway” which I don’t think is accurate for the story. My tagline would be “Far away or nearby, love is the place”.

In the Q & A with Nanette Burstein, she reveals that earlier script versions had a younger couple, one of them cheats, and they split. Guess the tagline for that film would be “The comedy about meeting each other and turning away”. Nanette’s film area is documentaries (“On The Ropes", "American Teen") and this is her first foray into fiction. The films she used as inspiration for her approach to the task were “Annie Hall” (one of my favorite Woody Allen films – we may still need the eggs, but in August 2010 they could make you sick – choose carefully), “Knocked Up” (haven’t seen it), and “There’s Something About Mary” (somewhat silly). It was a forty-five day shoot and, given Nanette’s documentary background, done mainly on location. I did learn something about directing – according to the rules, it is the AD who directly tells the extras what to do in the scenes, not the Director. Everyone has a role to play.

On a personal note, I’ve never done a long distance relationship – having one in the same city is trying enough. Recently two friends of a friend became an intercontinental couple – he in San Francisco and she in Rome – I wish them lots of luck and many bon voyages!



Film Facts: Director: Nanette Burstein, Writer: Geoff LaTulippe, Cinematographer: Eric Steelberg, Editor: Peter Teschner, Musician: Mychael Danna, Producers: Jennifer Gibgot, Garrett Grant, Adam Shankman, Production Companies: New Line Cinema, Offspring Entertainment

Film Type: Comedy, Romance, Cast: Drew Barrymore (Erin), Justin Long (Garrett), Charlie Day (Dan), Jason Sudeikis (Box), Christina Applegate (Corinne), Ron Livingston (Will), Oliver-Jackson Cohen (Damon), Jim Gaffigan (Phil), Natalie Morales (Brandy), Kelli Garner (Brianna), June Diane Raphael (Karen), Rob Riggle (Ron), Sarah Burns (Harper), Terry Beaver (Professor), Matt Servitto (Hugh), Length: 95’, Language: English, Country: United States, Year: 2010
Film Trailer
United States release date Friday 3 September 2010

Images:
Left: Drew Barrymore as Erin and Justin Long as Garrett from the website filmindependent.org
Center: Graphic interpretation of “Going The Distance” created by Adrean Darce Brent

Right: Poster of “Going The Distance” from the website cinemablend.com

Reel Rewind: "Freakonomics"

English title - "Freakonomics"

Title is taken from the book Freakonomics: A Rogue Economist Explores The Hidden Side of Everything by Steven D. Levitt and Stephen J. Dubner

From the book of the same title, “Freakonomics” presents a number of the ideas and findings from the book in four major segments and in several, short, segment transitional conversations with Steven Levitt and Stephen Dubner. Having read the book a couple of years ago, I was looking forward to the film. The four film segments are: “A Roshanda By Any Other Name”, “Pure Corruption”, “It’s Not Always A Wonderful Life”, and “Can A Ninth Grader Be Bribed To Succeed?”

In “A Roshanda By Any Other Name” the discussion centers around the baby naming patterns of American parents. The specific focus is on black parents and white parents. Up until the 1960s, the naming of children by black parents and white parents was similar. At the time of the Civil Rights movement the naming pattern began to diverge. Black parents sought to differentiate themselves from white parents and began giving their children names that reflected a cultural connection to Africa, the Muslim religion, or a desire for uniqueness (watch for the “Unique” spelling bit – amusing!). Also bound up in this naming discussion is giving a child a name that would help in making him/her a success in life and not one that would contribute to a lackluster life. Unfortunately there is no “magic” name. For further investigation of this naming topic, I would suggest looking at the child names of couples in which one parent is black and the other is white, as well as other heteroracial couples and single racial couples; and studying the naming patterns in other countries.

The next segment in “Freakonomics” is “Pure Corruption”. Mix one part Shinto, one part Sumo, one part Stable, add a little Hierarchy and you have the makings of sport fixing Japanese style. As in all sports, competition is the name of the game and moving up in the rankings is always desired. But because Sumo wrestlers in Japan, from a very early age, live and train together in stables, there is a cooperative incentive to fix matches late in a tournament. Sumo wrestlers move up in rank by winning at least eight matches in a fifteen match tournament; so if in a fifteenth match of a tournament, Opponent A has eight wins and six losses and Opponent B has seven wins and seven losses, Opponent A can afford to let Opponent B win, who then also gains in ranking. Of course Opponent A would expect the same treatment, if necessary, from Opponent B in a future tournament. Perhaps I’m jaded by the workings of professional wrestling in the US, but I guess the findings don’t surprise me. Even a sport tied up with the Shinto religion is subject to secular sins.

“It’s Not Always A Wonderful Life” examines the connection between the legalization of abortion in the United States and the drop in crime rate. Though people may wonder what the world would be like if they were never born, this segment of “Freakonomics” postulates that the non-existence of children from lower socioeconomic women decreased the crime rate by not having potential criminals born. I have mixed feelings about this segment. I can understand that the reduction of some population groups can have an impact on criminal activity, but I think there have to be other contributing factors, not just one – state of the economy, level of education, increase in technology. In any case, if the crime rate has gone down, then that improves life for everyone and perhaps some version of “It’s A Wonderful Life” is possible for most.

The final segment in “Freakonomics” is “Can A Ninth Grader Be Bribed To Succeed?”. Focusing on two underachieving ninth grade boys, the experiment takes place in a Chicago-area school over one semester. Students who achieve Cs or above in their classes receive fifty dollars and are eligible for a drawing for five hundred dollars and a limousine ride. The payouts and drawings happen three times over the course of the semester. The two boys are followed during the experiment to see if they can bring up their grades to meet the fifty dollars criteria. One of the boys is a D/E student and the other one is a C/D one. There are ups and downs in the grades for both boys, but in the third and last time of checking grades, one of the boys (C/D) finally meets the criteria and gets fifty dollars. The fifty dollars (along with his mother’s offer to match it) was not enough of a motivation for the D/E student to meet the criteria; in fact he didn’t even improve to be a C/D student. On the other hand, the boy who eventually got the fifty dollars had shown a lot of self-motivation during the semester, in addition to his wanting to win the fifty dollars. If this experiment is done again, perhaps monetary tiers could be used – fifty for Cs, one hundred for Bs, one hundred fifty for As, and something for students below the criteria who show and sustain improvement over the time frame.

“Freakonomics” is a quick-paced documentary with lots of information and graphics thrown at the viewer throughout the film. Because of this, more than one viewing might be necessary to take in all the ideas and visuals presented. I know that there are things that, upon reflection, I don’t quite remember. For example, the transitional segment to “It’s Not Always A Wonderful Life” concerned Romania, but I’ve forgotten the point that was being made. Reading the book, whether before or after seeing the film can only help. The transitional segments are good and usually relate to the upcoming major segment. So if you like coming at things from a different perspective, then see “Freakononomics”; it will engage your mind.


Film Facts: Directors/Writers/Producers: Alex Gibney, Seth Gordon, Directors/Writers: Heidi Ewing, Rachel Grady, Eugene Jarecki, Morgan Spurlock, Writers/Producers: Peter Bull, Jeremy Chilnick, Writers: Steven Levitt, Stephen Dubner, Cinematographers: Junji Aoki, Tony Hardmon, Darren Lew, Daniel Marracino, Rob VanAlkemade, Editor/Producer: Sloane Klevin, Editors: Douglas Blush, Tova Goodman, Nelson Ryland, Michael Taylor, Musicians: Paul Brill, Michael Furjanic, Human, Peter Nashel, Michael Wandmacher, Producers: Peter Cerbin, Rafi Chaudry, Joanna Chejade-Bloom, Christina Gonzalez, Alexander Johnes, Damon Martin, Dan O’Meara, Michael Rohan, Mary Rolich, Chris Romano, Michiko Toyoma, Chad Troutwine Production Company: Chad Troutwine Films

Film Type: Documentary, Cast: Zoe Sloane (Blake), Jade Viggiano (High School Girl), Adesuwa Addy Iyare (Temptress Mother), Greg Crowe (Jonny the Mechanic), Jalani McNair (Loser), Carl Alleyne (Boyfriend), Samuel Soifer (Jake), Andrew Greiche (Jake), Amancaya Aguilar (Mercedes), Hassan Brown (Father), Kelli Chaves (High School Girl), Alyssa Wheeldon (High School Girl), Kellli Gerardi (Lexus), James Leibow (Himself), Michael MacAllister (Himself), Length: 86’, Language: English, Country: United States of America, Year: 2010
Film trailer
United States release date November 2010


Images:
Left: Front side of ticket for “Freakonomics”
Center: Graphic interpretation of the “Freakonomics” segment “Pure Corruption” created by Adrean Darce Brent

Right: Poster of “Freakonomics” from the website imdb.com

Reel Rewind: “Anton Chekhov’s The Duel”

English title – “Anton Chekhov’s The Duel” / Russian language title – “А. П. Чехова "Дуэль"
As I do not speak, read, or write Russian, and since, as of this post, there is no actual Russian version of this film, the Russian language title was obtained through an online translation site. Thought it would be interesting to see the film title in the language of the source material’s author.

The setting in which I saw “Anton Chekhov’s The Duel” was a preview screening presented by the Laemmle Sneak Preview Club, an activity of the Laemmle theatre chain. Since seeing the film was free, the small theatre was full, but I managed to sit in the general area that I like despite the fact I arrived a few minutes before the scheduled start time (a sporting event delayed me). A young man introduced the film and said that people should “stay put” after the screening for the Q & A with one of the film’s producers – Donald Rosenfeld. Gee, usually one invites people to stay for the Q & A or to join the after film discussion, or even a “please remain seated”, but the phrase “stay put” was a bad choice of words or perhaps he was channeling the character of Von Koren and his Germanic tendencies.

Von Koren is one element of the duality brought forth in “Anton Chekhov’s The Duel”, representing rationality and the other element is the main character, Laevsky, representing irrationality. Filming a work of literature is always problematic – how true to the story does one stay, which aspects can be eliminated, what can be added (or should anything be added). I am in the midst of reading Chekhov’s novella and the on screen depiction of scenes I’ve already read are very good and the film seems to have captured the pacing of the piece and the summertime life in the Caucasus. The conflict in the small Caucasian town is between Laevsky and von Koren, young men with different philosophies in the approach to living. Laevsky, a government official who is living with a married woman, spends his time sleeping, drinking, playing cards and working as little as possible. Von Koren, a zoologist who has ambitions to undertake a mapping expedition in the northeastern part of Russia, disapproves of the life Laevsky lives and its influence on the people of the town. Von Koren very much wants to eliminate Laevsky and prevent him from propagating and spreading his less-than-ideal way of life. Darwinism in practice.

Perhaps filming in the Caucasus would have been ideal, but the stand-in Croatia provides wonderful scenery for the pivotal picnic and duel scenes. Nadia, the married woman living with Laevsky, reveals aspects of her character (inebriation and flirtation) at the picnic that are not at all flattering, but certainly compliment Laevsky. A match in immorality? I like the location of the duel between one-time friends Laevsky and von Koren in the cave – the closeness and compactness adds to the tension of the event and affords limited physical and emotional escape. And yet escape is still possible for both – will they take it? Usually I am impervious to the music of a film, but the score of “Anton Chekhov’s The Duel” is lovely and contributes to the atmosphere of the slow, easygoing life in the Caucasus town. Secondary characters – Marya, Samoylenko, Sheshlovsky – add simpler perspectives to the intellectual discussions initiated by Laevsky and von Koren. I am looking forward to finishing the novella and the film has only increased my desire to do so.

I did “stay put” for the Q & A with Donald Rosenfeld, but only because the sporting event that delayed my arrival had ended and not in victory for the team I supported. No celebration for me. The interviewer was a film critic from the “LA Weekly” and Donald talked about wanting to go with unknowns for the film, but who did have acting experience. Financing the project and all the surrounding activities took four years for the film to be completed. Donald told the usual movie stories of substitutions, changes, and improvisations during the production. My departure from the theatre was less hectic than my arrival, but I went as quickly as I could home to minimize hearing the sounds of celebration for a victory that was not mine. At least the evening had provided enjoyment of another kind. The sporting event duel may have been a dud for me, but “Anton Chekhov’s The Duel” was a winner.


Film Facts: Director: Dover Koshashvili, Writer/Producer: Mary Bing, Novelist: Anton Chekhov, Cinematographer: Paul Sarossy, Editor: Kate Williams, Musician: Angelo Milli, Producers: Suza Horvat, Per Melita, Igor Nola, Frank Pavich, Donald Rosenfeld, Production Company: Duel Productions

Film Type: Drama, Cast: Andrew Scott (Laevsky), Fiona Glascott (Nadia), Tobias Menzies (Von Koren), Niall Buggy (Samoylenko), Nicholas Rowe (Sheshkovsky), Michelle Fairley (Marya), Simon Trinder (Postal Superintendent), Debbie Chazen (Olga), Graham Turner (Atchmianov Senior), Jeremy Swift (Deacon), Length: 95’, Language: English, Country: United States, Year: 2009
United States release date Friday 18 June 2010


Images:
Left: Front side of the ticket for “Anton Chekhov’s The Duel”
Center: Graphic interpretation of “Anton Chekhov’s The Duel” created by Adrean Darce Brent

Right: Front side of the “Anton Chekhov’s The Duel” postcard