It’s super boring to talk about Christopher Nolan‘s Inception, the favourite movie of people born yesterday, but despite of the flaws we know about it’s a movie we like revisiting. Or it likes revisiting us. Like every (lax) fan boy I was obsessed with Hans Zimmer‘s bombastic soundtrack, half of the songs deserving to be a ballet that needs to happen, especially the track “The Dream is Collapsing,” it’s suggestions of violent and volatile movement. I then had to look up and remember which scene it corresponds and it couldn’t have been a better one, starting with the appropriately named Mal (Marion Cotillard) ruining her living husband Dom Cobb’s (Leonardo DiCaprio) extraction. Being in a dream within a dream Dom’s collaborators try to wake up him up to salvage the mission. On the first dream level it just looks like the old architect (Lukas Haas) pushing his boss down a tub and ruining the latter’s not so young face and white suit which, in hindsight looks ridiculously over-played. But we see that the first level infiltrates the second. This isn’t necessarily rain as the blogathon requires but it, like an act of God, comes out of the sky and into the palace’s rooftops. Dom eventually watches this artificial world’s destruction, being brought back to the fiery troubles of the first level and the real world itself. It’s a beautiful event in itself.
This is part of The All Wet Blog-A-Thon via Andrew Kendall.
I would like to begin this post by saying that today is my birthday! And thanks to Dan Stephens, not only do I get one wish but ten, being a part of this blogathon that asks its…members?… about the fictional movie worlds I would like to enter for specific reasons. This blogathon is inspired by his post on The Last Action Hero. I’ve only seen the trailer for this movie, even if there’s a local cinema that plays this move once in a while. Anyway, let’s begin!
What character would you most like to be sat next to on a plane?
That woman who is one of James Cole’s (Bruce Willis) boss from Twelve Monkeys. Or better yet, any character from Twelve Monkeys.
What character would you most want to enjoy a passionate romance with?
Dotorre Clerici (Jean-Louis Trintingnant) from The Conformist, although it wouldn’t end well.
If you were a cop who would you want as your partner?
In who could also be my answer for the passionate romance question, Billy Costigan (Leonardo di Caprio) from The Departed. Digression, but Leo should have been nominated for here Oscar here instead of Blood Diamond.
What animated feature would you love to walk around in?
Fantasia, like are you kidding me? The first sequence is Abstract Expressionism avant la lettre! I’ve also drunkenly danced to the ballet dancing hippos, so I guess I have used my ticket for this already.
What adventure based on earth would you most like to go on / OR / What adventure based in an otherworldly, fantasy-based location would you most like to go on? I.e. Would you like to join the Goonies on their treasure-finding mission, or Luke Skywalker in his search for his family’s murderer?
For the earthly one, I’d choose whatever happens in Ang Lee’s Crouching Tiger, Hidden Dragon. I know that I probably won’t survive but swordplay is an adventure.
When it comes to the fantasy-based place, I’d pick Joel Barrish (Jim Carrey) trying not to erase Clementine Kruczynski (Kate Winslet) froom his memory in Michel Gondry’s Eternal Sunshine of the Spotless Mind. Because what could be more otherworldly than someone else’s changing brain?
What movie gadget would you love to try out (or steal)?
The Delorean in the Back to the Future films. Are we even allowed to talk about this magic transportation movie in a post about another magical way of transportation? Or can we talk about the art house version of those gadgets, specifically the movie screen in The Purple Rose of Cairo?
What film’s plot would you alter and how would you do it?
Atom Egoyan’s Chloë. I don’t know how and I don’t know if my presence and power would cure the plot from being ridiculous.
What one film would you most want to be transported into, simply to be a part of that world?
The 1860’s in The Leopard. I know it’s unsanitary and heteronormative and that period has religious hypocrisy, but it’s also like Gone with the Wind but in Italian. And the balls and the chance to dance with either Principe Felipe de Salina (Burt Lancaster) or his son’s fiancée (Claudia Cardinale)? Get me my Magic Houdini ticket now.
This movie to me is epic poetry in cinematic form. No, not ‘epic’ in the Lawrence of Arabia definition, nor the Scott Pilgrim definition. It’s ‘epic’ in a way that it has a heroine and that it portrays an action that changes both the heroine and the nation she belongs to. Director James Cameron’s last films, Titanic and Avatar, shows main events both real and fictional. A ship sinks. A tree is toppled. Yet Cameron chooses a daunting historical event and can extract so much human drama and detail from those deceivingly simplest of plots. It’s what Milton would have done with a camera.
Even the voices screaming out of the ocean and the icicles building in the hair of the dead floating haunts by every viewing of the film. As with the epic and the poem, Titanic captivates its viewer its images. The pre-Raphaelite references when we see both women floating inside the ship, of our heroine Rose DeWitt Bukater (Kate Winslet) waiting for rescue, of the red-headed Winslet’s casting itself, of Jack sinking down or when we see the elder Rose (Gloria Stuart) walking in the end of the film. Or images reminiscent of Hieronymus Bosch when the remaning working class passengers try to hold on to the ship as it sinks. Or Fritz Laing’s flood scenes in Metropolis. There are also images that Cameron can call his own, as the ship becomes a soulless leviathan china float on the water, luxury deemed insignificant while facing harsh nature.
I suppose arguments against Titanic‘s epic style can be derived from the romance in the main plot, shrinking the thousands of stories into one or two. That Rose and Jack Dawson (Leonardo di Caprio) are conveniently there when the iceberg strikes. Or that, on a Tolstoyan tradition, supporting characters either die or disappear in order of importance. But I watched this every three months or so for the past two years, at a time of my life when I view mortality seriously. The film’s third act is its strongest, when my attention goes to the priest saying prayers, or the people who speak different languages stuck in the third class levels who are unable to get out to safety, or anyone else falling to their deaths. Cameron dedicates a lot of time to distract us from the main romance and does his best to allow us to contemplate each person’s death without making them inhumanly excessive.
Another problem with this film belonging to the epic genre is that is doesn’t allow gray areas for the characters. Rose Dewitt-Bukater (Kate Winslet), this film’s Scarlett O’Hara, always hates her gilded cage, is always decided on who she likes and dislikes. The film then strikes a clear line, the people she likes are always good like Molly Brown (Kathy Bates) or Mr. Andrews (Victor Garber) and the ones she dislikes always treat her terribly, like her mother Ruth (Frances Fisher) and her fiancée Cal (the underrated Billy Zane). The ship’s sinking also delineates those lines, the characters acting consistently to which side they’re on and making mostly new heroes and some villains out of the bit players. With the exception of Jack, but her love-hate feelings towards him are really feelings of love repressed because of class differences.
Repeated viewings also make me honour diCaprio’s performance. When I saw it in its original theatrical release, I saw him as an annoyingly boisterous boy. But now I can see how altruistic his character is. His career is full of characters who would go places no one would dare to, often acting as our tour guide. It makes sense that the same actor who would climb a water tower in What’s Eating Gilbert Grape and the actor mentoring the audience through the dream worlds of Inception is the same actor who can make a safer thrill ride out of a sinking ship. Jack assuring Rose everything’s all right, even making jokes while he’s freezing on the ocean. The elder Rose tells a younger generation that she doesn’t even have a picture of Jack, because it was unnecessary, at the time thinking that their future was for them to live together.
What also, to my opinion, makes the film more poignant than Avatar is that this is about the small victories that characters try to claim in times of defeat, that the survivors will still dwarf compared to the mankind’s failed infrastructure. Despite the little love story, the film doesn’t try to lie to us, not trying to convince us that they’ll fully regain their romance. That in reality, a lover’s sacrifice is a bit painful for both parties.
This movie won Best Picture between 1995 and 2001, arguably the Academy’s most misguided era. Nonetheless, the horde of mostly girls and some boys who will watch this movie, can quote it, will drop whatever they’re doing to rewatch the movie, and can even remember the names of Jack’s friends. There are also other, slightly more ‘observant’ minds who see the humanity in this film will say that it still holds up.
While ruffling through old…stuff I guess, Nathaniel R found issues of his old zine. He re-listed what he thought the greatest performances of that decade are.
Best Supporting Actor
– Joe Pesci, Goodfellas, (199o)
Hey look, it’s Joe Pesci with feelings!
– Ted Levine, Silence of the the Lambs, (1991)
You know what, this performance is a little bit campy, but scary and will offend generations to come.
– Anthony Hopkins, Dracula (1992)
Scarier here than as Hannibal Lecter.
– Leonardo di Caprio, What’s Eating Gilbert Grape (1993)
He’s proven what he can do at such a young age.
– Samuel L. Jackson, Pulp Fiction (1994)
Put cool, hilarious and scary into one gunman.
– Vincent Cassel, La Haine (1995)
Great as the funny, deluded guy from the Paris ghetto.
– Steve Buscemi, Fargo (1996)
Makes the audience realize how crazy these kidnapping plans go.
– Timothy Spall, Secrets and Lies (1996)
This family man role puts him on different emotional fields.
– Robert Forster, Jackie Brown (1997)
You wouldn’t think of him as Pam Grier’s best leading man, but there he is.
– Brendan Fraser, Gods and Monsters (1998)
Remember when this guy did actual acting?
Best Supporting Actress
– ETA: Lorraine Bracco, Goodfellas (1990)
Can’t believe I forgot about this innocent turned crazy-emotional performance
– Jessica Lange, Cape Fear (1991)
Smoldering sexuality comes easy with this lady.
– Angela Bassett, Malcolm X (1992)
The only woman who could play Malcolm X’s wife and in one or two incidents, his formidable opponent.
– Winona Ryder, The Age of Innocence (1993)
As May Archer, a woman who sounds so nice saying the most manipulative things.
– Melanie Lynskey, Heavenly Creatures (1994)
Gotta give Ms. Lynskey a hand for how brave she tackled her sexually blossoming character.
– Sharon Stone, Casino (1995)
Goes all out as Ginger, the boss’ damaged wife.
– Kristin Scott Thomas, Richard III (1995)
The best in show in a film of great women, she gives her one speaking scene as Queen Anne great complexity.
– Bridget Fonda, Jackie Brown (1997)
Exudes confidence as the surfer girl, Melanie.
– Julianne Moore, Boogie Nights (1997)
That scene outside the courthouse.
– Anthony Hopkins, Silence of the Lambs (1991)
Slithers his way into Clarice Starling’s sympathies, and ours too.
– Denzel Washington, Malcolm X (1992)
Great range from anger to spiritual enlightenment.
– Colm Feore, Thirty-Three Short Films About Glenn Gould (1993)
Feore helps us learn about this fascinating man.
– Bruce Willis, Twelve Monkeys (1995)
Out of the performances in this list, his is the most visceral.
– Billy Bob Thornton, Sling Blade (1996)
He makes interesting choices in this role.
– Samuel L. Jackson, One Eight Seven (1997)
Again, scarier than Jules when he teaches us about the ‘philanges.’
– Johnny Depp, Donnie Brasco (1997)
One of the greatest performances within the performance.
– Jeff Bridges, The Big Lebowski (1998)
Boring answer, but he plays a stoner awake.
– Dylan Baker, Happiness (1998)
Such a sympathetic portrayal that you won’t even believe the truth about him.
– Matt Damon, The Talented Mr. Ripley (1999)
Great as a love-to-hate shape shifter.
ETA: Italics represent Oscar winners.
- Flashback: Best of the 90s. (Pt 1) (filmexperience.blogspot.com)
I realized how well April Wheeler (Kate Winslet) is photographed in Sam Mendes’ Revolutionary Road. She’s often wearing white or bright colours. Summer colours, like she’s on a permanent summer vacation in the Hamptons, or stuck in heaven. Or more than likely sitting or standing near a window. Frank Wheeler (Leonardo di Caprio) has a beautiful wife and so did director Sam Mendes, and the latter wanted to show that off. And it’s like there’s light within her but, as per the movie, I have the feeling that that light in her is clamped down.
Revolutionary Road is gonna be screening at the Revue Cinema at 7 tonight, with an introduction and post-screening discussion led by Toronto critic Geoff Pevere. I’m still wondering whether I’m going or not. I don’t particularly wanna slit my wrists tonight. I also don’t wanna see couples masochistically watching the movie and coming out talking about the performances, because they don’t wanna talk about Frank and April’s relationship. I also think about the numerous casting possibilities if this movie have been greenlighted earlier (Paul and Joanne, Mia and Robert, Jessica and William, Julianne and Dennis). I’ll give the movie another shot, and hopefully, so will you.