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Reviews
The Object of My Affection (1998)
One of my favorite movies!
It's a "small" movie but quirky, endearing, and with a very strong moral about how things can get worked out in unconventional but satisfying ways. Jennifer Anniston was delightful and very believable as the beleaguered Nina. Paul Rudd was adorable, if a tad less convincing. And Rodney, who delivered the line that provided the film's title, was deliciously subtle and heartbreaking.
Allison Janney was a stitch as Constance and I really enjoyed the interaction between her and Alda. Most of all, I loved the expression, "head up, young person" and use it frequently. It was certainly a major part of the plot and the film's point. When life hands you lemons...
Every film has some unique little theme and this one was a delight, as was Madam's color-coordinated eye patch. This and much else in the film indicated some very subtle as well as slapstick humor and very good writing, which is absent in far too many films. If you look at this film as beyond another pleasant "chick flick" I think you'll find it.
The Brown Bunny (2003)
A potentially good film in serious need of professional editing
While I give the film kudos for a story that I didn't see coming, after the first few minutes of needless (and extremely boring) motorcycle racing, I could see that I was NOT in the hands of a professional editor. The story could have been told far more effectively in half the time--or less. Gallo definitely needed to step away and let a professional editor do his/her thing and mercilessly cut scenes that didn't move the story forward.
While I could see that the author wanted the audience to crawl inside the protagonist, Bud, during the road trip, it didn't take that darned long to do it. Plus, his point of view changed too frequently. If we are inside his skin, then why are we looking at him for minutes in an excruciatingly long and tedious long shot? We need to see what he sees--at least with more consistency. I couldn't get my bearings in terms of what I was supposed to be experiencing and from what viewpoint.
There were other technical problems such as an inconsistency in lighting and shot quality with no apparent reason. And that spotted windshield drove me nuts. If a sign of depression and the carelessness that results from it, I'd have appreciated technique that didn't interfere so much with the visuals. Speaking of visuals, extending driving sequences to cover a song also seemed visually uninspired.
Probably most important, Gallo ignored common expectations of audiences and wanted things his way. I can't believe there wasn't an acceptable compromise. I'm pretty patient when it comes to art and film as art, but don't appreciate my sensibilities and expectations to be pushed beyond the breaking point when there appears to be no artistic justification for it. Too many scenes suffered from too few cuts and ran far too long, engendering more audience frustration than heightened emotionalism. I think this may be a result of an inexperienced and slightly self-indulgent filmmaker.
These technical problems aside, I'm usually able to spot a twist a mile away--but not this time. I wondered why all the women he encountered had flower names but that was just a hint that didn't make much sense until the end. But his name? Bud, as in "flower bud" and "clay" as in a substance in which flowers grow (he couldn't have named the character "dirt" or "mulch," after all) might have been a bit over the top. Again, typical of an immature filmmaker.
Was the encountered women's immediate sexual response to a complete stranger, fantasy on the character's part or the filmmaker's? I'd like to know how many men run into so many compliant females. From what I hear, not many--even when the guy is young, good-looking, and clearly pitiable. In this day and age, we ladies are a bit more cautious than that. Sorry, Vincent. While this may have been believable for males, I don't expect it was for very many female viewers.
I watched the film largely because I wanted to see if and how graphic sex could be incorporated into a drama without lowering it to the level of "high brow pornography." I think the film did a good job on that score, although I'd have preferred the use of a realistic-looking prosthetic such as that used in Boogie Nights. Perhaps the budget didn't allow for it or...who knows? It was certainly an interesting artistic choice and one that leaves me scratching my head in terms of the motive for including it. Symbolically, I'm a bit confused about it.
As effective and surprising as the end twist was, there could have been more in terms of Bud's descent into depression. But then, I'm a psychologist so am aware that symptoms are more than seeking surrogates, crying, and looking forlorn and depressed. Gallo missed, IMO, a chance to show more about what guilt and loss look like and how they affect people. Perhaps, this again, is a result of his inexperience. Personally, I think Redford's "Ordinary People" did a better job of showing a wider breadth of feelings of grief and loss.
Bottom line, although I thought the story had merit and did an excellent job of building to a surprising twist, I think it suffered severely in the journey towards the denouement. I hope Gallo matures and grows as a storyteller and filmmaker as I think he's got something to say worth watching.
Something the Lord Made (2004)
A small movie with a large impact
While other reviews focus on the content and plot of the film, I'd like to address the film-making.
This film has taken its place on my top five list for its outstanding script with its artful use of subtext; restrained ensemble acting that makes its emotional currents all the more powerful; insightful, and sensitive direction; authentic set design; a score that enhances and complements emotional tone; and fearless editing.
Like the script for Brokeback Mountain, this one stays faithful to the story it is telling. It doesn't wander or digress but remains true to the message being conveyed. Therefore, the viewer doesn't get lost in unnecessary sub-plots. Each scene moves the story forward and reveals more about these characters--Blalock and Thomas--their relationship, and journey together. The story was told from Thomas' point of view as he wrestled with his conflicting needs for external acknowledgment and recognition vs. his internal need to follow his heart in the form of his "true" work.
While others discussed the racism conveyed by the film, I saw this as a backdrop that added complexity and obstacles to the personal journeys these men were on--much like the Holocaust provided the backdrop to Otto Schindler's evolution from a self-centered businessman to an enlightened human being. We all have obstacles to overcome--internal and external--given the genes we inherit, the families we are born into, and the time, place, and often oppressive social norms surrounding us. The ultimate question is how do we cope with the hand we are dealt? This story was first and foremost about Vivien Thomas' journey and his impact on and relationship with those around him as he fought his own internal battle to live authentically, honorably, and self-expressively.
This movie's dialog was some of the best I've ever heard. One of the most poignant moments comes when the two men are parting. Blalock stops abruptly and makes a short speech, saying that a person has never really lived unless they have regrets. He then says, "I regret.." which had he finished, would have been "on the nose" and far less evocative. Instead, he says simply, "I have regrets." In its brevity, this speech is all the more powerful for what Blalock doesn't say than what he does. We know exactly what he means and feels. And we know that Vivien does too. It is also typical of the Blalock we've come to know. This is dialog at its very best.
Not only is this dialog good but Rickman's delivery is next to perfect. We feel what Blalock feels at that moment--the intensity of his regret and his feelings for Thomas. There is no emotional wall between actor and audience. Rickman invites us in, in a personally intense moment.
Moments like this fill the film from both actors, and even the supporting cast. Dr. Taussig's (Mary Stuart Masterson's) unveiling of Vivien's "likeness" puts us in the audience, feeling her joy in being able to acknowledge her colleague. Clara's (Gabrielle Union's) glance at the copy of Life magazine speaks volumes, as does the derision of Thomas and Blalock by Thomas' predecessor following their pioneering surgery.
Mos Def's portrayal of the mild-mannered, highly-intelligent, yet driven Thomas made learning of his other talents as a rapper all the more astonishing. What a range! His performance was highly nuanced and intricately textured in contrast to Blalock's arrogant and eruptive character. The two actors blended and twisted their personalities like a windy country road that served to demonstrate how human relationships based on common values and commitments bloom into respect to the point of genuine love of cherished friends. And look what that relationship was able to achieve! Was there doubt in anyone's mind that Thomas came to love Blalock when his footing became unsure after hearing his colleague's fate or when he thanked his friends who "could not be here" when finally receiving his long overdue acknowledgment? The performance of each actor enhanced the power of the other. What an example of ensemble acting!
When acting is this uniformly good, as it was in Robert Redford's "Ordinary People," you can bet it's the result of first-rate directing. Shots are varied and supportive of the story and the director appears to genuinely care about the people whose stories he is telling and treats them with much respect. This voice of respect shone through as a narrator far away in the distance but ever-present. Perhaps that's one of the signs of good directing--truly caring about your characters and the story you're telling. Audiences sense it when it's there.
As a boomer around for much of the time during which the story took place and having been in Hopkins and grown up in the area, I found the sets and mood established for the place and times to be very authentic. Great job by the set design folks.
It is difficult to focus on the lighting because the story is so involving, but the emotional content is frequently enhanced not only by the melodious and also understated score, but by some incredible lighting. If you permit yourself the pleasure of watching this film multiple times, look for it. You'll be rewarded.
Editing was tight--almost too tight. I found myself wondering, for example, how and where Vivien got into his bellboy suit and how he could afford to throw it away. The editor discarded any footage that did not contribute directly to the story--thereby, helping to tell it, and only it.
It's astonishing that so much artistic merit could dwell in the heart of such a "small" story not well-known outside of medicine and probably outside of cardiology or Hopkins. The fact that it was produced by HBO and not a big-name studio with a big budget, makes its achievements all the more laudable.
If you're a movie buff or purist, latch onto this one. It can be enjoyed many times over!