Repulsion‘s first few minutes might be mistaken for a Godard film. A young Belgian woman named Carole (Catherine Deneuve) works as a manicurist. After work, her effortlessly chic self walks the streets of London to softly energetic non-diagetic jazz music, guys both working class and skinny tie-wearers (Jon Fraser) hit on her. She often looks like she’s daydreaming, her voice evinces little excitement. Instead of Carole’s politics, director Roman Polanski‘s more interested in the psychological conflict, which, in Carole’s case, is barely seen by the other characters until it’s too late.
Polanski doesn’t explain Carole’s building insanity in ways others have – relationship complexes, haunted histories, addictions. Instead, she notices a crack on a kitchen wall. Her sister’s (Yvonne Furneax) boyfriend Michael (Ian Hendry) calling her ‘the beautiful younger sister,’ a throwaway comment that Carole interprets as a menacing sexual come-on. A night after he stays over for sex, she sees him shirtless and her sister asks her how she slept the morning after. She then takes those little things and associate them with nightmares, as I imagine most people in a state like hers do.
It’s easy to say that instead of being silent, Carole should say how she feels. However, the film’s shows how words are inadequate since the other characters are reductive towards her. A customer tells Carole she’s in love – all problems are male related. Her boyfriend’s friends call her a tease. Also, her little acts of verbal resistance against her sister aren’t heeded. Her sister’s dismissal won’t help her talk about the terrible things she dreams about. I can’t settle on her real problem – fear of men, an idle mind, wanting to be alone. In other words, the other characters often think of a quick word or solution for her, and these quick solutions don’t help her slowly progressing dementia.
At first underwhelmed by Deneuve’s deadpan line delivery, easily enough an aspect of her character. She then thrills her audience as she responds to the walls of her apartment, or attacking men as if she’s a sleepwalker, using candlesticks and books like I’ve never imagined anyone doing. It’s hard to understand her in the first scenes of the film, but she perfectly fleshes out a new breed of character in horror film. She’s a monster within the victim in a genre that mostly shows the monster as external and separate from the victim. Deneuve’s Carole is groundbreaking in this and many other aspects, an integral part of Polanski’s vision of the macabre.
- Black Swans double vision (theglobeandmail.com)
The titular Nell (Jodie Foster), gets discovered by the small town’s Dr. Jerry Lowell (Liam Neeson) after her mother’s death. The childlike feral virgin has unformed relationships with the outside world. Because the South needed another stereotype, she is awkward and has a distorted Dixie-like twin language that Jerry tries to learn and adapt as he camps outside Nell’s cabin. She can either be an institutional prisoner or an oddity splashed all over the media. She is unable to articulate her paranoia of a sexual threat, whether it be Jerry himself or the horny hicks who talk about her in a pool hall nearby.
Dynamics get more complex as Dr. Paula Olsen (Natasha Richrdson RIP) wants Nell to be locked up in a ‘caring’ institution, and she camps out near Nell’s sanctuary to prove she’s right. Again, there’s this lingering possibility that Nell can become Jerry’s lover. Paula even suggests Jerry to ‘educate’ her because, as a phobic, Nell has to ‘face her fears’ – to that we say, ‘please don’t.’ However, Paula’s presence partly directs Nell asserts herself to the role of Jerry’s surrogate child. Which, by default, Paula becomes Nell’s surrogate mother, and you know where this leads.
We fortunately don’t see the worst case scenario, and besides these lingering threats, the story’s mostly about two lonely people who try to communicate with each other. That the story leads me to these different tangents and alternate fates shows that the script isn’t insipid. Nonetheless, it was a queasy journey before the end. And here’s hoping that Trey Parker or Seth McFarlane hasn’t made fun of this movie yet.
The male characters in the Southern small-town setting of Sling Blade are different yet the same. Karl Childers (Billy Bob Thornton) is a slow-witted man who’s out from the ‘nervous hospital’ after being there for twenty-five years. His friend Frank Wheatley (Lucas Black) is just a boy – he reads books but we never see him go to school in most of the film. Their friend Vaughn is an owner of a stable dollar store, his homosexuality an open secret to the small community that is ambivalent in accepting him. Frank’s mother’s boyfriend Doyle (Dwight Yoakam) is an abusive alcoholic who has aspirations in the music business.
Frank’s mother defends Doyle by saying that ‘he’s had a hard life,’ a statement that applies to all four guys. Specifically, in the first three examples, they have shitty father figures. With the ‘same difference’ that these four guys have, the film paints a social pattern. This movie is only a public service announcement for those who will see most movies that way. What separates this fictional community from lesser movies is that it doesn’t ask for outside help and takes care of its own problems.
Or that Thornton, also the movie’s director, didn’t choose to portray the plot points by changing the tone of the movie through non-diagetic music or heavy editing. What happens in the movie gets normalized through long takes, etc. It’s strange when Karl and Frank talk about something that is bound to happen again. I’m not sure if that prepares me as an audience. What happens, nonetheless, is still shocking when I finally see it.
The performances of the two leads, Thornton and Black, are an acquired taste, arguably dated, but I got used to them eventually. For Thornton’s Karl, there’s mannerisms, check. Catch phrase, check. And we’ve had a lot of ‘special’ male characters in that decade. Forrest Gump, Leo in What’s Eating Gilbert Grape, Geoffrey Rush in Shine. With any character like Karl, it takes a lot of commitment to be entrenched in a character like that and it’s hard to judge choices like his. And Black at first seems less animated for an abused child, but the one scene in the climax proved that I spoke against him too early. He was just getting warmed up.
In one the first scenes of “Away From Her,” Fiona Anderson (Julie Christie) puts a pan on a freezer. There’s no music to put this action in context. Fiona’s obliviousness and her husband Grant’s (Gordon Pinsent, voice of God) confusion add to the mix of what I felt as an audience. Do I react in shock? Burst in inappropriate laughter?
After that scene in the kitchen and other after that she is aware of being hit by Alzheimer’s and its consequences and warns Grant about the latter. At times she walks within a room like a ghost, mourning lost memory without crying over it. There is a repeated shot of her looking lost in her vast snowy backyard. The minimal use of the film score, the lack of overwrought crying scenes. Mostly, this movie’s approach is about what’s not being given nor shown nor heard, letting the audience react in their personal way.
I’m thinking of other actresses that might be able to pull of the character, Canadian ones. Mary Walsh would rock the skiing scene. But Julie Christie is a solid statue as Fiona and doesn’t let go, as they say. No one can do elegance like the kind she puts into her character.
That sounds a little dreary to many of you, but there’s some verbally aggressive yet sometimes comic anger from the characters, especially the women. Fiona gives Grant the worst goodbye ever. Miss Montpellier (Wendy Crewson) condescends to him. Kristy gives him a torrential speech about the obliviousness of men, out of character for archetypal customer service characters. Marian’s (Olympia Dukakis) is just rough yet likable. The men get in on the action too. Grant comments on seeing his wife in the aged home, and Fiona’s new boyfriend Aubrey (Michael Murphy) can do so much with a look.
You can look at the film as Grant’s world crumbling just as much as its implied gender dynamics. He’s learning about women and female anger and unwritten institutions of womanhood that he’s been oblivious to. Through Fiona’s degenerative condition, Fiona, Grant and the supporting characters in their lives are feeling the end, and therefore things must be said and revealed.
It’s also a ‘Canadian story for Americans’ narrative, which shows especially in Marion’s words like ‘Kamloops, BC’ ‘Canadian Tire.’ The whole room knew where Kamloops is. There’s also the retired hockey commentator who gives some of the best moments of the film.
The only flaw of this movie is when Grant uses a metaphor to describe Alzheimer’s, like light switches in the house turning off one at a time. Then the film shows their house and the lights turn off the way Grant has described. I believe in showing or telling by not both. The rest of it is a story about loss with comic relief, surprising for director Sarah Polley’s reputation.
I forgot to tell you that the TIFF Cinematheque is playing a retrospective of James Mason, for some reason. They’re sexing up their program this summer, calling their Pasolini retrospective “Summer of Sex, Swords and Seduction, while calling the Mason one “the original Smooth Talker,” which he is.
Mason in his movies is either having troubled relationships with people younger than him (“Age of Consent”), enduring physical pain (“Lolita”), getting mixed up with terrorist rhetoric (“Julius Caesar.”) or having an addiction that hurts his job (“A Star is Born”). Those are the best trademarks any actor could have, better trademarks than ‘pretty and crazy’ or ‘mostly does Westerns’ like those in his generation. ANYWAY, he uses two and two halves in Nicholas Ray’s “Bigger than Life.” Ed Avery (Mason) encounters anomalous pains that will kill him in a year. He thus has to take cortisone indefinitely to stay alive. He starts to abuse the drugs and says weird things towards the people in his professional and domestic life.
It’s a melodrama with a male in the centre, and there’s the duality of him feeling emasculated yet feeling the need to take on ‘female’ roles like raising his son. His jobs, teaching and answering phone calls for taxi services, are female dominated work – he’s surrounded by them while operating the switchboards. He eventually speaks out about those jobs and the threat of the pains makes him feel emasculated, while faced with the pride that he can’t ease the burden on himself and let his wife work. He can’t handle all of this and his family is what’s affected the most. He even treats his son with psychological abuse. In essence, Ed is putting too much on his plate. Or, a really early version of “Breaking Bad.”
Someone with a sense of humour would watch this film and wouldn’t understand why he’s such an upstanding citizen and then the drugs come and that audience will say ‘There you are James Mason, we’ve been waiting for you all along.’ An interesting reaction for what is arguably Mason’s best performance.
The movie’s an acquired taste. The melodrama goes hand in hand with the extremes of his reactions to the drugs that can put audiences off, no matter how realistic they could be. And there’s the ending. But unlike the juvenile tendencies in “Rebel Without a Cause” or the noir hopelessness of “In a Lonely Place” – which I do like better by the way – “Life” is Ray’s most socially conscious film.
Inspired by Nathaniel, Nick, and Tomas. My A Star is Born posts will be out when the movie plays in my rep theatre. ETA: This post is also now a part of Nathaniel’s ‘Hit Me With Your Best Shot’ series.
I was screen capping A Streetcar Named Desire for my “Godfather” cast career post. Get some good caps of Brando, get out. Something really captivated me while skimming through this movie, because it felt like watching the frills and frenetic images of a silent movie at parts. Streetcar has that ‘silent’ German feel while the weaker On the Waterfront has Neorealist touches. East of Eden and Splendor in the Grass brings the crazy, which I like, but despite of how much I love them, I think colour drowns out the emotional punch that his black and white films had. [ETA: It’s been nine months since I wrote that sentence, I’m not sure if I agree with that now.]
The silent-era feel of the film was especially true when Vivien Leigh was on-screen. It helps since her character is a relic of the past, and the silent aesthetics compliment her. The camera captures her through overhead shots and full body long shots. It zooms and zeroes in her shamelessly as if Kazan wants us to feel her emotions by exposing her so closely on-screen. The mise-en-scene helped a lot into the mood of this film, enveloping Blanche with its draperies and decay.
I’ve been ambivalent with the movie, since it was one of the first classic-era films I’ve been introduced to. I saw this before Gone with the Wind. The film astounded me on my first viewing, watching Leigh’s vulnerability and Brando’s wavelengths. Seeing Brando in a suit seems even scarier because he’s calm at the moment and the audience knows he’s just waiting to snap.
But then it’s dialogue-heavy, like most early film adaptations of plays, and I’m more of a visual guy and I didn’t appreciate what this movie did visually back then. And since it’s one of my first outings on classical film, I ran to iMDb and most of when were cheering for the film. There’s a few who deride her performance, although it’s clearly the best of the bunch.
I got around to reading the play and I interpreted the ‘following morning’ scene – when Blanche makes it seem that she’s encountering trash for the first time, specifically the lines where Blanche tells Stella that the latter has forgotten about Belle Rive – as more sorrowfully than Leigh and Kazan did (honestly, I’m probably not gonna be the most subtle director ever, and that’s why I don’t plan to become one). So there was a brief period of slight dislike there.
But then this last time I saw Leigh playing Blanche strong to protect her sister, worn out both physically and mentally, convulsing on the floor. None of that was fake. Enjoy the screen grabs.
First of all, I just wanna say that FIRST BLOG ENTRY IN THREE DAYS!
RopeofSilicon asked its readers what their first movie going experience was. “Forrest Gump.” I was seven. I remember my paternal grandmother taking me, my sister and my two cousins to see the movie. I remember the bus stop, young Forrest’s foot getting stuck in the gutter, Forrest (Tom Hanks) in the rain, Forrest meeting Jenny (Robin Wright) and giving her some box and I remmeber the meeting being really happy and I guess it’s more bittersweet.
Everything else was a blur. For some reason, I don’t remember Jenny being a coke addicted stripper trying to jump off a building and eventually getting AIDS. Or Lt. Dan (Gary Sinise) being homeless and getting hookers for him and Forrest and eventually kicking him out because one of the hookers called Forrest a retard or something. And how it’s a one in a million chance for a special needs person to have a rockin’ body like that. And somebody investing Forrest’s money on Apple, because advertising within a film existed back then too. And that this is probably Haley Joel Osment’s first movie. Hookers and suicide and cocaine and the stock market in a family movie.
I blame my lack of memory first to the draconian censorship board in the Philippines. Maybe I slept while watching the movie, or we left the theatre when the shocking parts happened. The last scenario seems impossible since my grandma was also a cultural person who would probably have wanted us to see the terrible side of life. But then she didn’t allow me to have toy guns.
There’s also a part of me that’s a bit surprised how this movie hasn’t aged well. All we have to do is look at Jenny’s storyline which, by the way, is probably the most ridiculous sentence I’ve ever written. And I haven’t even said everything that happens to her. All those things can happen to a real person, but going through time with a timely addiction to a timely disease makes someone look more like a time capsule or a metaphor instead of a fleshed out character. Jenny, however, exists both as a foil for Forrest as a way to remind contemporary critics that this movie ain’t cookie cutter.
Tom Hanks’s performance divides critics and movie writers moreso today than when it was released. I guess if a movie fails to shock at repeat viewings, it fails. I can’t watch it in its duration when it’s being aired on TV. I like it despite its flaws, but there are too many movie I like better that came out the same year.
I also wanna say that my mom absolutely hates Tom Hanks for some reason. I don’t know when else would I have the opportunity to expand on that.