20:10: The imitators edition
I stole this idea from Nathaniel Rogers. These are screen caps of the twentieth minute and tenth second of movies, many of which I can’t really expand on as he eloquently does. But really, this is posted because My VLC shuffle played The Kids are All Right and Shutter Island, which are already taken. [ETA; Also, I have not and will not put the names of the movies where these screen capscome from, for guessing reasons]
A rival painter observes, praises master yet talking behind the protagonist’s back.
“Excusez moi, numero two!” “HEY!”
“What happened?” “Oh, you didn’t hear…”
It’s not high school anymore. Friends dirty dancing in public…
He feels the pains of ‘adult sizing’ in a self-aware amusement park.
“…children, heaven bless them, they will look up to me and mind me…”
Los Angeles, night-time. The vandals rise and fall.
Traffic. No dialogue, obviously.
“Yeah, well, where is he? How come he takes a lousy stinkin’ job?”
At 3AM, a careless nursemaid tells the truth to a budding actor.
Merry Christmas: Die Hard
Bruce Willis is just like Jennifer Aniston – both were in sitcoms but did art on the side. And yes, I just called Die Hard art. Yes, there are a few things that I appreciated from this crowd pleaser that played at the Bloor Cinema on December 15th. The print they played is obviously not a reprint, making the Los Angeles sky look reddish. And no, I’m not complaining.
Both Officer John McClane (Willis) and Hans Gruber (Alan Rickman) find themselves on opposite ends, Gruber trying to forcibly take $620 million in bonds from a Los Angeles branch of a Japanese company, John trying to stop him. They behave in this film and try to defeat each other like walking blindfolded, and this they make the best foils for each other.
Hans accuses John of the latter comparing himself to John Wayne and Rambo, but he’s performing too. This is probably just me putting 1988 in context with 2010, but is Hans loosely based on Carlos the Jackal? Kicked out from his terrorist group, has experience in Germany. Something always goes wrong with their plan, which only John’s wife Holly Gennaro McClane notices. Besides, what kind of terrorist owns a ‘John Philips’ suit? (p.s. I’ve never heard of this designer, I’m not familiar with London designers who weren’t CSM freaks. Anyway…)
He’s stealing from a corporation that’s trying to help infrastructure in the Third World. While making demands with the FBI, he tells them about random terrorist groups imprisoned around the world, including ones from Quebec, which got a rousing reaction from the Torontonian crowd. About an Asian group, Hans privately tells the right hand man that he’s heard of them on Time Magazine. When he faces John for the first time, he pretends to be an American.
Nonetheless John’s journey into this story’s more fascinating because well, it’s funnier. It’s hilarious to watch his face wince and repeat ‘Think,’ a sign of a man in panic. Besides, Bruce Willis probably knew how to say the lines better than the other actors whom the movie was offered to.
In the film’s first scenes, John tells the other characters how ‘he’s been a cop for eleven years’ or that he has a backlog of scumbags he has to put to jail. I suppose I’m being unfair, hinting that his bravado can’t possibly prepare him for what’s to come. However a) no one knows how to prepare for terrorism and b) even he knows that his victory against them would be miraculous, but that doesn’t stop him from trying. Another condition to his challenge is that he begins it by simply wearing a wife-beater and is barefoot. A constant variable in his process is various stages of undress, while a less constant variable are the weapons he gains and loses throughout his exciting mess. He’s practically a video game protagonist.
He actually does something interesting in the beginning – he escapes, retreats and tries to spy on the terrorists. He bungles up a few things while he’s away from all the action, yet despite the accusations Hans throws at him, his invisibility is the opposite of performance. He makes sure he’s away until he has to inevitably meet the villains.
The film is also well thought out in a technical sense, as Mark Hasan writes here. There are also the showcasing of heights – ‘I swear I’ll never be in a tall building again.’ – the most real explosions in film I’ve seen in recent memory, non-CGI helicopters flying around a real city which will never happen in a movie again…
Of course, John flies all the way to Los Angeles is to meet his wife and hopeful resolve issues about their marriage and her career. She’s not the only woman there, but she’s second in command. I was ready to roll my eyes in what I thought the ending was gonna be. ‘You’re so hot and shirtless John McClane. I’m going to give up my career and cook bacon and eggs in a sexy French maid outfit for you. Take me!’ Which is exactly what I would do if Bruce Willis married me, mind you. Anyway, I thought I was going to be right because eventually John, in trying to rescue the hostages that include Holly, unintentionally contributes in the destruction of her workplace. Holly has two obvious choices now, move to New York with him and finding a job will be difficult because her references are dead. Or stay in Los Angeles and ride the publicity train. The two don’t talk about it, grateful just for being alive. If it’s any consolation, she’s very assertive in trying to protect her boss and coworkers. She gets to call Hans out as a thief, and Holly’s the character who makes the film’s last act of aggression.
Kiss Kiss Bang Bang
ph. Warner Home Video
There’s little to say intellectually about Kiss Kiss Bang Bang except that it has a lot of great banter between the characters. And as much as Robert Downey Jr. is great at being twitchy here, I’d appreciate it if he didn’t do it in every film and TV guest appearance after this. I prefer Colin Farrell’s twitchiness. I’m also worried about the self-aware narration and how that would age, because that’s stating to annoy me a bit now.
I really like the shot above. Just the mix of the greens, blues and the yellows, the latter diagonally popping in the lower left hand side of the screen. Here’s the same colour scheme before that.
And way before that. Are they trying to make people think that fall exists in Los Angeles or are yellow streetlights dominant there? I don’t remember yellow street lights.
And landscapes with diagonal divisions after that. Kudos to DP Michael Barrett for adding gloss, style and colour to the film. He also worked on Takers, snob sigh.
Hey, model/actress/mom Angela Lindvall as Flicka, the first girl to reject Harry (Downey Jr.), eventually making him generalize LA girls. She’s in the same generation of models as Gisele Bunchen, and arguably Angela’s prettier.
Also, Michelle Monaghan as Harmony is a great crier, enduring a memorable walk of shame in film history. Until she finds something in her pocket, that is.
I also put this movie n the ‘Nighthawks’ club, because it’s always on after midnight at least twice a year, or more often than that. Another movie in said club is The Third Man, the latter of which I can never finish because it’s always on so late. When I click ‘Info’ on my remote, it always gives the movie two stars, showing the divisive reception of a movie that garnered applause at Cannes. This movie should be regarded as a Christmas movie like Die Hard. I also just found out that Downey Jr. and Monaghan are reuniting in Due Date. Excited!
- 5 reviews of Kiss Kiss Bang Bang (rateitall.com)
- November 5 Is Robert Downey Jr.’s Due Date (blogcritics.org)
Cher tries to set up people in couples and boxes, but Clueless subverts assigned stereotypes, the most obvious one being that ‘clueless’ newcomer Tai (Brittany Murphy) is sluttier and bitchier than she looks. There’s more.
Dionne is not Mammy. Dionne (Stacey Dash), is a true Beverly Hills girl with mood swings, which is why I love her. If writer-director Amy Heckerling was a worse writer, Dionne would only serve as life support to Cher. Dionne has juicy scenes like crying in the bathroom in a party when she finds out that Murray (Donald Faison) – who isn’t threatening because he wears braces – shaved his head, or slightly betraying Cher by huddling around Tai (Brittany Murphy), or freaking out on the freeway. I especially love how the film sets up the latter scene. Her line reading of ‘What if he was really tired?’ is both deadpan and camp, both levels played well together. Dionne and Cher talk like that throughout the film, like a Whit Stilman film where all the character wear pink. And the deadpan aspect of the line readings prepare you for the hilarity that’s gonna ensue. Also, she is older than Paul Rudd. Speaking of minorities,
I couldn’t tell if Christian was gay neither. The Jason Priestley lookalike’s pleated pants and old man abs made it more difficult, if you must know. And yes, the film deceives us when Christian acts a bit combative towards Mel (Dan Hedaya), while gay boys successfully befriend parents. Although ‘hagsville,’ Tony Curtis RIP and ‘Aww, honey, you baked’ should have rung alarm bells. Which brings me to why I didn’t wanna bury this section as a third item. I’m a Filipino gay man in my twenties who writes about film instead of a white straight male critic over 40, and for some reason, I feel more personally about characters who fall in whatever bracket I share him or her with. That’s something I don’t see too blatantly in 40-year-old straight white men, or at least their character critiques are more general. I think. In layman’s terms, I kept comparing Christian to myself, or who I was when I was the same age as he is. Can someone back me up on this? Christian dances with another guy in that party, something I would never try to do unless I was in a predominantly gay area. But then he’s a classical film lover and a bit of a ‘art fag,’ written by a woman, based on a source material from the Regency period. Christian makes me curious about what ‘gay guys’ have been like in 1995 or the early 1800’s. And how could Murray have known and not Cher nor Dionne? Don’t women have better gaydars than straight men. Or maybe Cher and Dionne just don’t.
If you pay attention to the film, you’ll know how it might end. I also really like this scene/shot/movie because of the generational divide, Josh (Paul Rudd) looking at Cher with such reverence while Mel’s being stern towards Christian. And Josh is aware of this generational divide, telling Mel not to let Cher go out looking like ‘that.’ Josh is in between, the bridge between Cher and Mel, old enough to know better, young enough to know that Cher isn’t so vacuous as others might think. Although he distractingly sounds a bit like Christopher Walken in one of the last scenes. Also, did anyone see this movie and think ‘Josh is gonna be ubiquitous,’ because I didn’t.
Cher isn’t always perky, but some of you might have known this already. Yes, her arguments about violence in the media is considerable, but her knowledge of ‘Haitians,’ jazz and art criticism needs work. If any of my professors heard ‘Monet’ defined like that, they would pop a blood vessel. She drops the Beverly Hills accent once in a while, which surprisingly makes both inflated and deflated Cher more convincing. And is that a Kollwitz sculpture behind her? I imagine her being a philanthropist, if she’s not misled.
New York Tristate in the house. Timothy Findley who first talked to me about the New York exodus to California in the early days of cinema. Apparently Tai and Mel has kept that tradition alive, their accents representing as prominently as the California accent.
Ooh, I wonder if they have that in my size. If this movie’s setting is 2010, she wouldn’t need to ask that question because she’d be a size 0. Or maybe not being size 0 makes her better than the average airhead.
Starbucks? That existed before the 1999 Seattle riots?
The world goes on despite of Cher. So this is the third movie I’ve seen this year about the Bosnian War, although I’ve seen Clueless before. The Bosnia reference also shows how 90’s it is, a great addition to other 90’s references like Ren and Stimpy, Radiohead, Alaia. Also, is that a flower-pot? How much did Mel let her decorate in the house? Cher’s very girl for a girl raised by a single parent. This movie is about Cher becoming more well-rounded. It also helps that she has people like Josh around her, correcting her without being condescending. And Christian ‘educating’ her about film and art. And Mel who’s an art collector himself. And Miss Geist (Twink Caplan).
I also watched the television series, where Caplan, Dash and Faison among others took the roles they had in the film, but you knew that already.
Also, Scott Rudin prouced this movie. Respect. Silverstone and Heckerling, also the director of Fast Times at Ridgemont High, are reuniting to make Vamps, about vampires on the prowl in the city a la “Sex and the City.” I’m worried.
- Scenes We Love: Clueless (cinematical.com)
The French: Exit Through the Gift Shop
“Exit Through the Gift Shop” has two subjects. The first one is Thierry Guetta, a Frenchman who moved to Los Angeles into his adulthood so the accent is still there. He makes a living by buying warehouses full of crap clothes and turning them into hipster vintage that sell for hundreds of dollars a piece. He also videotapes everything that’s happening in his life. This obsession on documentation roots on missing his mother’s death, presented and effectively pulling on heartstrings.
Thierry’s cousin is graffiti artist Space Invader. For some reason he videopates the latter doing his so-called work, and eventually does this to other graffiti artists like Shepard Fairey, known for the Obama Hope poster.
Then Thierry finds his way to videotaping the second subject of the documentary, Banksy. Banksy’s career turns from art terrorist to the prized artist whose work completes art collectors. I swear I’ve met girls who will turn into the woman collecting ‘the Banksy.’ He wanted to make Thierry’s footage into film because he was probably tired of the stigma of being called a mere ‘tagger,’ nor did he wanna be a pawn in the game played by Sotheby’s and the champagne class.
In a way this film elevates Banksy into a legitimate, unique artist. I mean, he deserves it. The subjects of his work are original and witty. Banksy, without knowing the consequences, advised Thierry into art, having a hand in making the latter into a commodity machine of bad art by creating pedantic work.
This movie typically makes Banksy look good by making someone else look bad in comparison but then a) Banksy doesn’t seem mean but is actually protective of his genre, b) he calls Thierry a friend and sees sympathetic sides of the latter’s one-track but devoted mind, c) his once democratic ‘you can do it’ attitude is radically changed and now he knows only to encourage emerging artists to improve their form and method instead of encouraging them to just do whatever, and d) I have never cringed at artwork the way Thierry’s work has made me.
At the same time I don’t completely buy the argument that despite his lack of method Thierry’s work is is moronic. For argument’s sake, the artwork stands as its own text and a viewer’s interpretation might be more important than the author’s intention. Another version of this argument is that rubber was made by accident, but a good accident indeed. Thierry’s specific representation and repetition of the Marilyn hair pasted on other celebrities, suggests, with or without intention, that all celebrity is repetitive and wants to emulate ‘celebrity’s’ golden age. We see the emulation of Marilyn through Madonna, Chuck Klosterman’s awful assessment of her, notorious photo shoots of both celebrities and models posing as her, biopics both past and in development, etc. He’s just commenting on that.
Most art before late Rembrandt was repetition. Before him, everyone was making copies of what the classics made or what their fathers have handed down to them. They fuck it up all the time, which makes things more interesting, but we can’t call every era as one that radically pushes the border of art since most of what happened in a century is a baby step from what happened before them.
As mentioned in the beginning of this post, Thierry made a living turning shit into gold and is doing the same thing here. The film tells us that Thierry made a million bucks through his ambitious show. As Banksy admits, that must mean Thierry’s art works.
And you can say the same thing about Banksy. He turned what is still an illegal art form into something legitimate.
And now I kinda want Banksy to do a documentary on Thomas Kinkade.