Tuesday, 14 February 2012

Seven Pounds / Rails & Ties

It's impossible to just love the films you love. You think you do, but you don't, because there are constant reinforcements and demands placed on you from outside, from society, about what makes a good film. You spend most of your time watching the same crap that everyone else watches; and the questions are constantly demanded of you --- is 'The King's Speech' as great as they said? Is 'Pulp Fiction' a masterpiece? Is 'It's A Wonderful Life' a wonderful movie? 

There are some people who rebel against this. Spend their nights purposely watching Horror B-Movies, or obscure Japanese anime. But it's rarely organic, rarely just a natural interest -- more often, it's a reaction to everyone and everything else. There is a lot of watching films out of duty--- this gets even worse when you work in the industry; you watch 'The Artist' and 'Shame' regardless of whether they interest you. 

In the last two days I've watched "Rails & Ties", a small movie from 2007 starring Kevin Bacon and directed by Alison Eastwood, and I also re-watched "Seven Pounds" starring Will Smith, directed by Gabriele Muccino. 

I love both of these movies. They capture what I love about cinema. 

"Seven Pounds" made a lot of money, but it didn't win a lot of fans. The critics hated it and the public wanted the usual Will Smith they were getting accustomed to seeing every summer. This was not it. It was a risk, that didn't pay off critically, but it did artistically (in my opinion). 

"Rails & Ties" was Alison Eastwood's directorial debut, and yes; she is Clint's daughter. The film is about a train driver whose train collides with a car on the track; killing the woman in it. It was a suicide, but the question remained, could Tom (Kevin Bacon) have slowed down the train to avoid disaster? The woman's son Davey (Miles Heizer) certainly thought so -- and the 10 year old tracked down Tom to confront him about it. Tom's wife Megan (Marcia Gay Harden) is in the final stages of terminal cancer. It's a horrible situation for all; a boy with a dead Mother, a man with a dying wife, and the wife who never had a child, whose husband is pulling away from her. All of this is remarkably poignant. It's a film about three people for whom life has lost meaning. Through the unusual and bizarre circumstances, they find that they need each other. Tom and Megan begin caring for Davey, and hiding the fact from child services (because of course it would be illegal). 



The weirdest thing is that, as a viewer, we believe in what they're doing. It feels right, even though it's hugely against societal norms, and if we heard a case like this in real life, we'd demand they go to jail. That's the one great thing that movies teach us, we never know the real story, we never know people's true intentions, we just stick to societal rules and stereotypes. 

"Seven Pounds" is a beautiful and subtle movie, and shares some similarities with "Rails & Ties". Ben (Will Smith), like Tom, is responsible for some deaths (he got into a car accident while looking at his phone). He decides to heal this wrong by committing suicide, but in a way that helps save seven other lives with his extreme selfless generosity. It seems cheesy, preposterous; and, having seen all the critics reviews, perhaps it is, but it worked for me. 



It's so easy to moan about the film industry, about how good films don't get made any more. These films are evidence that this isn't true; because they're great movies. But then again, perhaps you think they're terrible movies -- which is an even more important answer. Because how can anyone try to make a great movie, when we all interpret them so differently? We all agree on "Casablanca" and "Shawshank Redemption", aside from those, it comes down to personal preference. 

My true honest preferences seem to be for subtle human stories that have integrity, authenticity, and heart, that average around 6.7/10 on IMDB. Can they make films for me? Not intentionally. 

You should watch "Rails & Ties". Even if you don't like it as much as I did, you'll see a great performance from Kevin Bacon. He has a knack for taking unusual and risky roles. I find him so much more interesting than the bigger box office draws. The film also has a wonderful and amazingly upbeat ending -- and it's all achieved by a few looks, a piece of music, and a final shot. Truthfulness and subtlety, such a rarity, but wonderful when you find it. 

Care to share?

valentine

i have this problem
i like you
can't get it out of town
can't kick it out the way

i have this trouble
I want you
can feel it in the room
can see there's no way out
you can't really wanna know

-you could look right up at me
got nothing left to hide
just can't get it out my mouth
what you could mean to me

i have this worry
i miss you
can't give you a whole day
can't feel which way to go

i have this nightmare
i love you
can see it fall right through
can give it all away
you don't really wanna know

-you could look right up at me
got nothing left to hide
just can't get it out my mouth
what you could mean to me

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Saturday, 11 February 2012

Whitney Houston - I Will Always Love You

Strange that this was written by Dolly Parton, because it's always seemed like such a Whitney Houston song, don't you think? That happens sometimes. Neil Diamond wrote "Midnight Train To Georgia" but it's the version by Gladys Knight & The Pips that resonates.

I think Whitney Houston understood the song better than Dolly Parton did. "Bittersweet memories, that is all I'm taking with me." The whole song plays like a bittersweet memory. It feels like a love song at first until you realise how it's something far more complicated. The woman's jaded, the love is gone. All she can do is love something that isn't there anymore. She's serenading a guy who, it seems, isn't even listening.

"If I, should stay, I would only be in your way." Was there ever a sadder and more truthful opening line in the history of music? Whitney's heart seems to break on the opening word "If", and the way her voice swerves and bends on the word "way", it's as if you hear her heart faltering all inside one word.

We can write songs like this off as cheesy, but there's a reason you always hear it on the radio. Same with "Nothing compares 2 U" by Sinead O'Connor, they ring true. They capture the heart, breaking. Most artists are too scared to spill out their guts, just like people are in life.

Despite the drugs and controversy, people will mourn the loss of Whitney Houston in a big way, and it's largely down to this song. It's the one track of hers that everyone can name.

"We both know I'm not what you need, and I will always love you." Isn't it horrible!? I love you, you don't need me, goodbye. She's that loser who clings on, long after the love died. And we would ridicule her if the song didn't happen to be about every single one of us at one time or another.

RIP WHITNEY HOUSTON

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Friday, 10 February 2012

This Day In My Life Will Forever Be Recorded...

..in a CD I made.

I've done it all my life. Probably since I was about 8. Then, of course, it was tapes. When I got into my teens, I began labelling them by date. When I was 17 or so, I'd make CD's pretty much every day, because music is so powerful at that age.

Now I don't really have the time or patience to make myself a CD that often, but occasionally I do. Today, I had a weird day -- one of those days when you can't be productive and you're just annoying yourself, and every thought in your head is just stupid and annoying and going nowhere.

I didn't know what was going on, or what I was meant to do with myself -- until it hit me suddenly. I want to listen to some music.
So I did. Recorded is an 80 minute track of the songs I listened to.

A good mix tells a story; a far bigger and more personal story than is often achieved in more traditional forms. I guess it's because you get to cheat and use other people's art. Bob Dylan is always going to be a lot more profound than I am.

Not that I meant to be profound. I just listened to music.

But you soon realize, nobody just listens to music. Your tastes, your choices, your decisions; they all come in to it. Maybe not so much when you hit shuffle. But when you sit down for an hour and a half with the sole intention of indulging in music -- the personal nature of it is undeniable.

Do you want to hear it? An 80 minute mp3, which I'll upload somewhere for you to download, if you're interested. Who knows, you might find a new favourite song, or reconnect with a song that you let go of some years back. Chances are, you'll learn something about me too.

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Wednesday, 8 February 2012

THE KID Versus MARIA: Rating The Acting Performances In Roman Polanski's 'CARNAGE'

I watched "CARNAGE" at 2.30pm. Thirty minutes before that, somewhere else in the country, my friend MARIA started watching it too. We promised to chat about it afterwards -- but instead, I called her up and said "Rate the acting performances from best to worst, and write a bit about them. I'll throw it on the blog." She wrote her views and I wrote mine. Coincidentally, our rankings were the same, and our views were pretty similar too. 


1. CHRISTOPH WALTZ 


MARIA – is just cool, isn’t he? Every role he plays, he inhabits effortlessly. And in ‘Carnage’ his performance as Alan Cowan is just effortless. But perhaps this ease is simply the result of the writing, as his character is the only one who does not go on much of an emotional journey, if at all, throughout the course of the film. He is the constant. He knows who he is, and what he believes, and he’s ok with that. And for that reason, he comes across as the most believable and relatable of the four.

THE KID - Waltz was amazing in this - by far the best performance. May sound weird of me to say this -- but I even felt like he was channelling a bit of Woody Allen in his performance. It was comedic, yet subtle and nuanced -- and, yeah, he seemed like a subdued Woody Allen-esque character. Not sure anyone else will see that in the performance, but I did!

He was, for me, definitely the best actor in it -- he is definitely helped by the character that was written for him, as it's by far the most interesting.


2. JOHN C. REILLY



THE KID - I think it's fair to say the material was skewed in favour of the men -- they got the funnier lines. When the two guys started siding with each other, drinking and smoking, it was hilarious -- probably because it was so realistic.

Reilly is often much better than the material he works with. Here, it fit him just right -- he could be down to Earth and normal one minute, and hilarious the next. He manages to be funny without being funny. What do I mean by that? When you see Sandler or Carrey doing comedy, it jumps out at you. Reilly is just kind of inherently funny. He coaxes the humour off the page without having to do too much.

MARIA - Ok, I may be biased here as I adore John C. Reilly as an actor and his performance in ‘Chicago’ will forever remain in my mind. But watching him turn from this lovable, peace maker into a somewhat unlikeable character was fantastic. The switch that was called for from the script is a hard one to pull off for most actors. He played the subtext so well that he pulled off the sudden switch in the dialogue with ease. The mask was dropped and the REAL Michael Longstreet was revealed. Well done John. Well done. (slow clap).



3. KATE WINSLET



MARIA - I love watching this woman try to pull off an American accent. She does it, don’t get me wrong, but it’s always on the verge of slipping right back into RP and the anticipation keeps me on the edge of my seat. And watching her play drunk… Well, you can tell she’s a Brit. She does it so well you know she’s practised many a time. I found my focus rested mainly on her character, Nancy Cowan, because you knew eventually she was going to crack and when she did it was beautiful and believable.

THE KID - I was bored by her for many parts of the film and, in fact, there were times when I thought she wasn't very good at all -- I could see the acting. I guess she can't be incredible all the time. That being said, towards the end, when she was finally called upon to do something interesting, she excelled. Her drunken behaviour and shouting got the biggest laughs of the movie. When Winslet is great, I don't think there are many in her league. In 'Carnage', she's not great, at least not for all of it.


4. JODIE FOSTER



THE KID - This is probably the worst I've ever seen her. For one, the character was repugnant, but that wasn't even the problem. I just didn't believe what I was seeing whenever Foster did her thing. It wasn't real, I couldn't buy into it. You know who they should have cast? Helen Hunt. She'd have been PERFECT. She'd have pulled off the righteousness and the anger, while still being human. Foster was miscast, and as a result, struggled massively.


MARIA - I was not a fan. BUT…perhaps that’s because I hated her character so much I wanted to throw something at the screen at times. But all in all, I felt like she was trying WAY too hard. I couldn’t relate to or care about her character in the least. That said she did a good job of amping up the drama in a rather simple story. I’m sorry I can’t say more about her performance. Unfortunately that’s acting for you. If the audience doesn’t like your character they’re usually going to go away thinking you didn’t do a great job. But if all you try to do is play lovable characters you’re going to have a boring career and probably won’t ever become a great actor. So well done Jodie on not being afraid to be disliked.

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