MOVIE OF THE WEEK: Adaptation

Having been disappointed with Spike Jonze's 2 other films, I was a bit wary of watching "Adaptation". To my surprise, I ended up being incredibly fascinated by this film. This semi-autobiographical film tells the story of screenwriter Charlie Kaufman (who wrote this movie) who is struggling to adapt a real-life story called The Orchid Thief into a movie. He finds difficulty in making the script interesting and eventually has to turn to his twin brother Donald for help. The Orchid Thief is a true story based on journalist Susan Orlean (played by Meryl Streep) and her investigation of a plant poacher named John Laroche (played by Chris Cooper).
In addition to keeping all these real persons and their names, the film also includes fictional elements (Donald Kaufman is completely made up) which mirrors Charlie's (the movie character played by Nicolas Cage) attempts to write an interesting script. Kaufman wants to write an unconventional story about flowers in an effort to set himself apart from the typical forced dramas, but finds his script lacking. The whole concept of Adaptation's plot seems so "navel-gazing", but somehow it manages to pull in the viewer. There wasn't a moment in this film where I wasn't intrigued by what was happening on screen. The screenplay is rich, coming across like Kaufman himself is giving us a look into his ponderous mind (much like "Being John Malkovich"). If you really probe the ideas of this film, you will get much to think about. The main thing however, is the notion of interest and fascination for something in your life. For Susan (played beautifully by Streep), she longs for the level of dedication that her writing subject Laroche has for plants. Meanwhile, Charlie is concerned about whether the eventual audience of the film will be intrigued by his work. There's an interesting scene in the film, where he reluctantly attends a screenwriting seminar as a desperate attempt for inspiration. As he explains his ideas for his rather mundane story, the lecturer vehemently rejects his notion that a film can sustain itself without conflict and passionate characters. Interestingly, this seems to be the point where the film engages in self-reflection and delves more into the wonderful characters. It's like the real-world Charlie Kaufman has come to the realization that his excellent cast should be the focal point of the film. We the audience have long understood this, but it's a fantastic "meta" scene that really propels the film further.
Without going into detail about each performance, all I will say is that all the key performers (i.e. Cage, Streep and Cooper) are truly doing some of their best work. As Cage's character learns during the seminar, it's the human drama that keeps audiences captivated. This really bears fruit as the film builds to a moving conclusion filled with genuine emotion. For me, this is Spike Jonze and Charlie Kaufman's best film to date. Even though Kaufman's script seems like it should be too personal to be engaging, somehow it works.

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A ROTTEN TOMATO: Being John Malkovich

I suspect I might be alone on this one...I didn't care much for "Being John Malkovich". This strange (emphasis on "strange") film follows the lives of a bunch of people whose lives are changed by a mysterious portal. Said portal puts people into the John Malkovich's head and leads to some bizarre situations. From the outset, I couldn't get into the story and its characters. The actors were fine in their roles, but they just felt so far removed from reality that I felt no emotional attachment to them. This did improve towards the end, as the emotional stakes were raised considerably. Unfortunately, I had already switched off (mentally) by that point and was counting down the minutes to the end.
Despite the negative tone of this review, I actually wouldn't say I "hated" this film. It just left me cold.

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#FF Great Remakes, reviews and more...

The current state of movie-watching culture unfortunately means that our theaters will be flooded with numerous remakes and sequels for years to come. It's sad to think about, but sometimes there's a silver lining. In a recent Top 10 list, Alex reminds us of some remakes that were actually better than the original films! Check out his post among other interesting reads from the past week:

For one of his recent Top 10 lists, Alex ranked the "Top 10 Remakes That Are Better Than The Original Films".

Film Forager's Alex reviewed one of my most cherished movies The Royal Tenenbaums.

Ryan brought up an interesting question in his Amour review. Can we call a film a masterpiece if we are unable to enjoy it? Go check out his thoughts on the matter.

John recently reviewed Sleepwalk With Me and like me, he was impressed with the offbeat style.

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OLDIE GOLDIES: The 39 Steps (1935)

Alfred Hitchcock made many great films in his lifetime and one of them is this week's Oldie Goldies selection - "The 39 Steps". This classic thriller features all of the trademark Hitchcockian plot elements we have come to love (scenes on a train, mistaken identities etc). It's filled with lots of twists and turns, resulting in a very entertaining film.

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MOVIE OF THE WEEK: Sleepwalk With Me

Mike Birbiglia signals a promising new talent in Hollywood with his new film "Sleepwalk With Me", which he co-wrote, co-directed and also played the leading role. This film tells the story of Matt Pandamiglio (played by Birbiglia), a struggling comedian who is also dealing with a failing relationship and a sleepwalking disorder. Although the plot touches on all these issues, it doesn't really delve too deeply into any of them, as the script wanders in all sorts of directions. The film is often presented in a unique conversational style, with Birbiglia breaking the 4th wall to explain his story. It's a method that mostly works, as the script isn't really sharp enough to pique your interest on its own. Despite being a comedian, his character isn't very charismatic and the dialogue isn't witty. However, there's some twisted amusement to be had from watching an uncharismatic comedian telling lame jokes. It's an interesting acting choice, as he gives a purposely self-deprecating performance that probably won't garner much praise. His character lacks the overt quirkiness or "joie de vivre" that is prevalent in similar indie comedies. In contrast, his supporting cast is quite engaging. Namely, Lauren Ambrose is just lovely as his girlfriend while Carol Kane and James Rebhorn are quite funny with their frank words of wisdom.

By now you're thinking this is one of those dry mumblecore movies. To me, it definitely starts out that way but eventually develops into something more meaningful. The film manages to portray a great sense of honesty and clarity about life. The main character undergoes a period of self-adjustment as he is forced to re-assess his life's ambitions when faced with the harsh reality of our world. Like many of us, he dreamed of success and happiness, but things didn't turn out exactly as he planned. His failures have turned him into somewhat of a loser, as he struggles to find his purpose. Rather than dwell on his pitiful life though, the film takes a nice turn as he takes some control of his destiny. He takes low-paying gigs, examines his relationship and attempts to fix his sleeping disorder. Consequently, he gradually improves his jokes, he sorts out his relationship and he is able to control his sleepwalking. To me, this really added some substance to the story and made him very endearing and relatable. I'm sure we can all see pieces of ourselves in this character.
It's not a perfect film by any means, but it has good intentions. Much like one of Pandamiglio's amateur comedy shows, some of it works and some it doesn't. Thankfully, the filmmakers had the good sense to keep the running time at a tight 80 minutes, so it never outstayed its welcome.

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#FF Foreign Films, Elf and more...

As many cinephiles know, many of the best films each year come from filmmakers outside of the Hollywood system. One of the best resources for foreign films is Bonjour Tristesse, a site that is dedicated to highlighting foreign, indie and cult cinema. Check out Bonjour Tristesse's list of 2012's best foreign films, among other great reads from this week:

Just in time for the Oscar Foreign Film shortlist, check out the Best Foreign Films of 2012, according to Bonjour Tristesse. If you're interested in indie, foreign and cult cinema, this is a great blog to follow.

For his "Favourite Scene Friday", Robert highlights an adorable scene from Elf.

Dan reviews Margaret and finds many things to like in this messy film.

Nikhat is celebrating the 3rd year of her blog with many cool posts. Check out her Favourite Looking Films.

Nick has announced his first annual Golden Katz Awards. Head over to his site and give him some suggestions!

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OSCAR WATCH: Amour

Is it possible to love someone too much? That seems to be the question that Michael Haneke attempts to answer in his latest film "Amour". As its title suggests, this film is an exploration of love in the purest sense of the word. However, this isn't the fiery lustful love of youth that thrives on the good times. The love that is portrayed in this film is the type that endures years after the superficial physical attraction has passed. It's the kind of love that we describe in marriage vows all the time - for better or worse, in sickness and in health, till death do us part. We usually mean it when we utter these words in the dizzy heights of a wedding, but we never really anticipate the hard times. In this film, we see a revelation of true love as a couple is tested by illness.
The plot follows Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), who are retired music teachers in their eighties. One day, Anne suffers a stroke that causes a downward spiral in her health and leads to the events of this film. If you think you may have seen this story before, think again. This isn't your usual romantic tear-jerker. Haneke provides no cinematic comforts in this one. There's no beautiful music, flashy camerawork, riveting monologues or showboating performances. Basically, he locks us in a house with an old married couple and forces us to watch the wife die. That may sound reductive, but if you know Haneke's work then you'll understand that this cold tone is his "bread and butter". There are no fanciful flashbacks here, he boldly dives headfirst into Anne's deterioration.
On the surface it sounds like a torturous experience, but thankfully there are other aspects at play here. Haneke provides brief moments of relief, through visits from family (mainly their daughter), a former student and other well-wishers. These scenes serve as an interesting way to add depth to the 2 main characters, as their conversations reveal their history and personality. They also provide evidence (considering the confined setting of the film) that the lead characters are indeed fully-functioning members of society and not anti-social grumpy old people. In particular, the visit of a successful former student brings such obvious joy to Anne that it seems to bring her some added life.
Another vital aspect to the film is the effect of Anne's pain on her husband. Thanks to the extraordinary performances of Riva and Trintignant, we get a sense of their deep connection without the need for any grand declarations of this love. They show a unique type of chemistry that comes from the selfless comfort of a lifetime of experiences together. Individually, Emmanuelle Riva stands out in her role. She runs the gamut of emotions and feelings that come with such a predicament. The screenplay gives her a lot to work with as she not only has to convey the debilitating pain of her condition, but also the humiliation of being pitied and being a burden to your loved ones.
That being said, Trintignant is equally impressive and is the main reason why this movie is so engaging. His quiet performance reveals a fascinating interpretation of passion that you don't see very often. Upon learning that his wife has fallen on bad health, his solemn but steadfast care for her is achingly real. To him, caring for her at home is a "no-brainer", it's simply his duty. Now this is where my opening question comes into play. As expected, Anne is enduring excruciating pain that leaves her in agony and feeling helpless. It's a situation that seems to require special professional care, but Georges is unable to accept this. As a result, he indirectly prolongs her suffering due to his unwavering quest to preserve her life, no matter how destitute she becomes. It almost seems cruel, but as you look into Trintignant's eyes and his delicate interactions with her, you understand where he's coming from. Theirs is a bond that is so firm that it feels unfathomable to purposefully go on living without the other. It's depressing to think about, but the film makes you realize that you would likely do the same if you were in his shoes.
Overall, this is a remarkable effort from Michael Haneke. It's not an "enjoyable" film and you can't necessarily call it "entertaining". What it is though, is a masterful example of cinematic art that imitates life. It may be too "real" for some, but that's what makes this uncompromising film so brilliant.

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OLDIE GOLDIES: The Passion of Joan of Arc (1928)

This week's Oldie Goldies choice is an iconic silent film - "The Passion of Joan of Arc". This chilling film really puts the "dark" in the Dark Ages! Mario Falconetti is devastating as the title character, giving one of the most accomplished acting performances of all time. She proves that silent acting can be equally as powerful and expressive as the modern spoken form.

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PLUG: Wallbangers

Some of you may have wondered where my blogging name (Squasher88) comes from. Well, it relates to a sport that I'm very passionate about called squash. I've been playing competitively since the age of 11 and it has been a major part of my life. It's a sport that not too many people know about and that's partly because we haven't been accepted into the Summer Olympics yet. Over the past 10 years or so, the squash fraternity has really stepped up its campaign to finally win the bid for inclusion. As an indirect part of this campaign, an Egyptian filmmaker has embarked on an documentary feature film project called "Wallbangers". The film will follow the lives of some of the top Egyptian players (that country currently dominates the sport) as they tour the world seeking success. It will be a fascinating look at their personal struggles in the sport while also relating to the contentious environment of Egypt's political upheavals. Check out some of the teasers below:

WALLBANGERS : "Now Filming" Teaser No. 1 from NileRoadFeatures on Vimeo.

WALLBANGERS : "Crowd Funding" Teaser No. 2 from NileRoadFeatures on Vimeo.

WALLBANGERS : "Crowd Funding" Teaser No. 3 from NileRoadFeatures on Vimeo.

They've already begun filming, but they still need funds to cover travel, accommodation, marketing expenses and post-production fine-tuning. Please contribute as much as you can, even if it's only $5. It will certainly help in our 2020 Olympic Bid.

For more information, click here: http://www.indiegogo.com/wallbangers

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MOVIE OF THE WEEK: Swingers

While searching through Netflix, I stumbled upon a real gem of a film - "Swingers". This film dismissed all of my expectations, telling a surprisingly charming story. The plot follows a group of struggling actors as they navigate the Los Angeles nightlife, hoping to have an epic night. When I read the plot synopsis, I fully expected a wild, raunchy comedy in the vein of films like "The Hangover". I was completely fooled though, as this is a delicate film about love and friendship. It's all about the satisfaction of going out with your bros, even if the party sucks or you don't "get lucky". This film ditches all our modern cliches about "guy movies" as it is almost feminine in its construct. The narrative focuses on Mike (played by Jon Favreau), who is dealing with a tough breakup and is unable to move on. Even though 6 months have passed, he still can't make the plunge back into the usual dating world. As he bar-hops with his friends, their attempts to hook him up end in failure as he still clings on to his lost love. This is the kind of romantic sentimentality that you only see in chick flicks, no?
The other key character is Trent (played by Vince Vaughn), who plays your typical stud whose main objective is to score. Although his attitude fits into the expected character tropes, the script doesn't exaggerate his behaviour. There are no wild threesomes or unrealistic hookups with supermodels. In fact, there isn't much sex or nudity at all. If you look at the film's MPAA rating, it only recieved the "R" rating for explicit languange. To me, it could have easily been rated PG-13 (or maybe even PG). Even without any strong sexual content or nudity though, it displays a maturity that is more than equal to what we now expect from an R-rated comedy. At the heart of it, this film is simply a celebration of what is now known as "bromance". As I watched the film I was reminded of the Greek term "Philos", which I learned in one of my college classes while reading Homer's Iliad. As opposed to the passionate erotic love "Eros", "Philos" refers to a deep brotherly bond that is equally as powerful. In "Swingers", this was beautifully explored in this great screenplay. For instance, in the midst of a random hookup in Las Vegas, Trent pauses to check up on his buddy Mike to make sure he is having a good time with his own lady friend. In another scene, 2 members of the gang are seated with a hot chick, but they mostly ignore her when they notice that Mike has met someone and may possibly find love again. It's a perfect example of that phrase "bros before hoes"! There are some other subtle things too, mostly in the way the men embrace each other and communicate out of genuine concern. As I said before, there seems to be a "feminine" touch to the film, as it portrays a form of interaction that society has told us to expect only from women and gay men. Some people may find this trivial (there are certainly many guys who are very close to their best friends), but it seems quite bold when you see it in a film. I can't imagine a buddy film being made like this in today's world. Nowadays, "bromance" is decidedly goofy in nature, rather than the supportive, loving relationships found in this film.
Now that I've made the film sound sappy and treacly, it would be remiss of me to forget that this is indeed a comedy. As I mentioned earlier though, the tone of the film is quite subtle. Therefore, the humour is less about on-the-nose hilarity and more about the unexpected amusements that arise when you go out with your friends. It fits in well with the overall tone of the film, exploring true friendship through clarity and honesty. The fact that Favreau himself wrote the screenplay and cast his real-life friends makes it all the more personal and affecting. Along with Vaughn, they give winning performances that elevate the words on the page. Their realistic interpretations of "the promiscuous stud" and "the hopeless romantic" were a welcome change from the usual stereotypes. This is a fine film that will remind you of the value of your true friends. They are supportive and accommodating when you are wallowing in self-pity, but they are also able to give you a firm reality check when needed. I assume most people have seen this film before, but if you haven't, I highly recommend it.

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