The idea of revisiting Cameron Crowe‘s Almost Famous, like revisiting films I’ve seen in my childhood and adolescence, seems like an anxious and difficult one. My taste in movies have changed. Besides, this movie spends its reputation being the two words before a punchline about Kate Hudson‘s wasted career. It also seems like the movie’s opening song is cruel foresight to Jason Lee in the Alvin and the Chipmunks movies. Where is Fairuza Balk and her mixture of sharp and round features and her dated Got spunk, the comic relief, one of the four band-aids or anti-muses distracting 15-year-old William Miller (Patrick Fugit) from writing his Rolling Stones cover about the fictional band Stillwater, one of the misfits reassuring William’s mother Elanie (Frances McDormand) that she properly raised her son? I want to live in a world where Fairuza Balk is more famous than Zooey Deschanel. And where is Fugit?
The film features people I recognize when I first saw this in 2001-ish, actors who didn’t make a great impression then but do now or other actors who made an impression but whose names I didn’t know. But I’m naturally fascinated by those I couldn’t have known then. The outwardly anxious band manager is Noah Taylor, who also plays the inwardly anxious father in Submarine. Ben Fong-Torres’ (Terry Chen) right hand man is Rainn Wilson. One of the characters I don’t vividly remember Lester Bangs is, the actor who played him (Philip Seymour Hoffman), nor the way he mourns after post-Altamira rock music where everyone just wants to be cool. The 1973 I knew is the year after “American Pie” and the year before punk. Led Zeppelin and Pink Floyd were the bands everyone listened to and still do today. This movie and Dazed and Confused might make a decent double bill, tackling and deconstructing the cynicism prevalent in the 1970’s. I also remember watching this when I was thirteen or fourteen, when William goes to his first Black Sabbath concert, watching the crowd of cool kids, and I was thinking that that was the last time that kids of all races listened to the same music. I obviously know that I’m wrong about that now.
But while races are united under the music, the film also shows how rock relegates unfair gender roles. How does William fit into all of this? Does that he has a male with a tape recorder mean that he’s above these ‘groupies? He equally idolizes Russell Hammond (Billy Crudup) like they do. But Russell isn’t just a figure for William’s idolatry, as the film makes room for him to doubt William’s innocence – which the band only does – as well as confide in him, telling him to just make the band look cool. He in a way embodies a human who’s ambivalent about rock’s inherent contradictions without confusing the audience or breaking William’s soul. Meanwhile, some regard Hudson’s Penny Lane as a Manic Pixie Dream Girl avant la lettre but the airplane scene shows how the men neglected what she wanted from them. Yes, she does help men fences between William and Russell, but the last thing she does is treat herself.
Elaine is obviously the exact opposite of these ‘band-aids,’ being a stricter character, the natural yin to rock ‘n’ roll’s yang. I didn’t remember hearing what her possibly logical arguments have been about rock except that she objected to it. That makes her the film’s frumpy-faced villain, whose phone conversations with her son reinforce her conservative anxieties, the one referred to as a ‘handful’ by a desk clerk (Modern Family’s Eric Stonestreet). Rewatching made me see her as someone knowledgeable and therefore forging a new and flawed path in new parenting. But in her methods, such as partly homeschooling William, she won’t be right all the time. When she corrects a man for painting the word Xmas – X is Greek so be quiet! Despite her strong reservations about the new music, she’s more liberal than I remember, letting her daughter Anita (Zooey Deschanel) be an independent 18-year-old woman and allowing William to tour with the band instead of the latter two run away. These prodigal children’s eventual return and her understanding of them – as well as Russell Hammond (Billy Crudup) – seem more organic instead of looking like a hurried third act finish.
The film is definitely not fast paced, letting its magical moments grow without meditating about them. The film is like walking down a dirty, seedy, big city main street and understandably calling it vibrant. Despite the subject, it’s innocent without being insipid. The film ends with Doris, Stillwater’s tour bus, riding out into the sepia tone sunlight, reminding us that we’re watching a happy nostalgia.
- Daily Dialogue — May 12, 2011 (gointothestory.com)
Not a Transformers 3 Review
Michael Bay‘s Transformers: Dark of the Moon or Transformers 3, starring Carey Mulligan’s shit cheater boyfriend, several Coen’s alumni including someone halfway through an EGOT and the aristocratic Rosie Huntington Whiteley, opened the prestigious Moscow International Film Festival and is out today. I present a conversation between me and a critic friend who, as his job requires, saw it before all of us little people!
– I’ve actually heard of Rosie Huntington Whiteley.
– And hopefully after this, Paolo, no one will ever hear of her again.
– The reason I like hearing of her is at least she’s not ‘model-actress’ Brooklyn fucking Decker, like model-actress is some tramp stamp you apply to the movie’s token hot girl I’ve never seen walk a runway, even if it is a Victoria’s Secret one.
– It doesn’t change the fact that she is one of the worst actresses of any type in the history of forever. See it and see what I mean. Or better yet, don’t see it. That would be even better.
– Worse than Andie McDowell or Kelly Preston? Also, I like rooting for model-actresses. Jane Fonda won two Oscars, for the lulz.
– Worst than the fucking worst worst you can imagine. Incomparably worst.
– Like Ryan Gosling’s blow up doll would have seemed like Liv Ullmann compared to her worst?
– As I said before, incomparable.
Context: 1. My life long dream right now is to be a film critic, and I hope that my future employers don’t see my procrastination, cowardice and lack of professionalism as a hindrance. Seriously, I should be working on a 1600-er on another McDormand film, Almost Famous, instead of this shit. 2. I was into fashion once. 3. The original version of this post contained a Steven Spielberg erection joke but alas, I’m too classy for that. 4. I’ve had lots of unprotected gay sex, I haven’t been tested for HIV since college, and I don’t want to. Being HIV-positive is obviously bad, but if I learn that I’m negative, I might consider this knowledge of relatively perfect health as a reason to consider watching Transformers 3.
Criticize This’ Andrew Parker’s reviews Transformers 3 in his personal blog.
- ‘Transformers: Dark of the Moon’ Might Not Be Terrible (manolith.com)
Laurel Canyon, the perfect boring couple, Sam (Christian Bale) and Alex (Kate Beckinsale) talk at each other and sometimes lie to each other. Sam has to move back to the titular Laurel Canyon to practice psychiatry in a great hospital there, and Alex comes with to finish her dissertation. temporary bunking with Sam’s mother Jane (Frances McDormand) and her lover Ian (Alessandro Nivola), the environment proves to hinder work and shake up relationships.
Hey! Catherine Hardwicke and Wally Pfister helped make this movie.
It’s funny that 60% of the major players in this film are British but make for more convincing Californians than Julianne Moore and Mia Wasikowska. And that bale and Nivola could have changed roles but the American Nivola does fit the hairy-chested, childlike Chris Martin-eqsue role better.
Alex is such a complex character that Cholodenko has to justify the script’s choices within and around her. When she gets invited to join Jane’s group, Jane explains that she can judge Jane’s work because common sense drives popular music, thus anyone can judge it. When Sam pours his heart out to Sara, it follows with a scene when Alex misunderstands everything he’s been saying to her. A question is often followed by an answer, thankfully those answers aren’t too expository.
And oh Lord, Kate Beckinsale. I’ll always love her for her deadpan fierceness, if that exists, in The Last Days of Disco. Her MUBI profile doesn’t show how derided she is after The Aviator. As the soft-spoken Alex, her retreat with Sam lets her go through a sexual awakening at the same time as Sam, but hers is more intense, later on explaining that she’s never experienced fucking up. Within the film, she goes from routine lovemaking to romantic desire. It’s sad that they didn’t go through the full experience together. And she smokes a joint like a true beginner. I miss this girl.
Would it be fair to say that Cholodenko almost perfectly encapsulates the white experience? She doesn’t have the Holofcener/Fey guilt thing, but Cholodenko puts the straight-laced and the wild ones within the same square inch, or in this case, the same family. Most of the movie shows Sam and Jane treat each other passive aggressively until the big explosive scene in the denouement, which air some raw emotions out.
And again, time to download me some Mercury Rev.