Sometimes the amount of hype surrounding a film can work negatively for its audiences. Sometimes it is better to manage expectations, and reveal less throughout the distributor's marketing campaign. However, The Artist, whose campaign has been relentlessly pushed by the notorious Weinstein brothers, gathered the most momentum in the awards season and doesn't seem to be stopping any time soon.
The Artist follows the story of a flamboyant and glamorous actor in the silent film era, whose career and personal life comes crashing down with Hollywood's transition into the 'talkies'. George Valentin (played by Jean Dujardin) is an irresistible and charming star on the ascend. When his Weinstein equivalent, played by John Goodman, announces that the silent film is a dying art, he nonchalantly tells Valentin that his career is dying alongside it. In the meantime, Valentin's co-star Peppy Miller (played by Bérénice Bejo), whom he himself 'discovered', becomes the new shiny starlet of his now former producer. And yet the misery doesn't end there. When the chips are down, everyone around Valentin abandons him (safe for a select few, including the charmer of a canine, Uggie), and as his character faces the worst downfall, the truths about his shallow relationships and friendships shine through.
The story of The Artist is one we have seen before, but it is told and crafted in such a beautiful way. Not because of the novelty of the imagery or the fact that it is silent; I think it truly is a standalone film despite that. Although it is rooted in the Singing in the Rain's classical Hollywood era, it is made contemporary in its alternative, artsy aesthetics, as well as the storyline relating to talent and Hollywood producers, or the old saying "in with the new," which holds true to this day. Let's not forget that Hollywood talent is regurgitated, as easily as it is forgotten, all the time.
The Artist makes me want to shimmy in a 1930's flapper dress. But it doesn't just work as the ultimate vehicle of nostalgia (not just for film buffs, but anyone who loves films and isn't ignorant enough to walk out of a movie theatre because the film is silent -- yeah, I'm talking to you liverpudlians!) To say it was adorable would be undermining it's brilliance; no, it is in fact endearing, lovely, and genius. And it does this in good measure; it is not overstated, and definitely not simple.
Technically, the film's sound editing and screenplay are brilliant. The scenes in which sound is integrated into the film are extremely clever, and the score perfectly reflects the storyline. Jean Dujardin's perfomance as the film's star is a flawless interpretation of the self-indulgent and proud celebrity. Jean is charming and keeps our eyes glued to the screen, despite the fact that all our other senses are thrown off by this very different viewing experience. As his supporting actress, Bérénice Bejo brilliantly plays the cooky yet ambitious and charismatic rival and friend, but unfortunately lost out to Octavia Spencer in the race for Best Supporting Actress. It has to be said that Michel Hazanavicius had a monster of a task ahead of him, in that he had to guide an ensemble cast through a screenplay of just gestures and facial expressions; however the endless and well-deserved praise he has received has no doubt made up for this.
Whilst watching, I found myself smiling gleefully at the screen. I felt like I was in the Nickelodeon era, where films were far and few in between, and a nickel would grant people the rare chance of attending a screening and escaping everyday life. As it drew to an end, a weird sensation came through me, and I felt moved simply because of how much I enjoyed myself. I would hands-down recommend this to anyone.
(P.S.) On the issue of Best Picture, my second choice would have had to be the Tree Of Life, as both films explore the potential of stunning visual imagery in narrating a story. The latter is absolutely beautiful and reflects on philosophical meanings in life. It is, however, borderline pretentious in that it believes it has the power to open this can of worms of "what is life about?," "why do we pray to God?", and "if He exists, then why are lives taken?," but leaves all these questions looming in the air, with fascinating imagery to keep our minds preoccupied in the meantime. I can appreciate both critical points of view, and realise that there are probably as many people who loved the film, as there are people who hated it. Maybe this is part of the appeal for The Artist; it can be watched and enjoyed by anyone, regardless of age or background.
Friday, 2 March 2012
Thursday, 9 February 2012
Film Review: Shame
It probably doesn't look like it from first glance, but I struggled to find an appropriate title for this review. I wondered whether a witty wordplay would fit the bill; then, clips from the film came flooding back and I realised that this sort of film is too serious for light remarks. Although extremely heavy, 'Shame' is a remarkably executed story, delving into the darkest of places in a sex addict's day-to-day, played along to unsettling classical music and shocking imagery. This sort of shock-inspiring sensory antitheses always plays on the mind, and makes the viewer feel uncomfortable and confused. As a viewer, we intend to sympathise with a character and stick by their side; this film leaves us somewhere in no man's land, not knowing where to look or what to think, or what to make of the character's motives.
Michael Fassbender, playing Brandon, the archetypal New York nouveau riche stock brocker, seems ordinary on the outside, and fits the persona of a successful man who is single and alone by choice. His sister Sissy, played by Carey Mulligan, drops by every so often in his life, and once she does, she unintentionally (to a certain extent) causes a storm. For once there is something which clashes against Brandon's perfectly orchestrated life. As a consequence, he tosses judgement and blame on her, at the very opportune moment when she is the most vulnerable and dependent.
A lot of Shame is composed of long, dreary shots. One of the longest scenes imaginable is played out when Sissy performs her rendition of 'New York, New York.' Futher to this, when Brandon goes out for a jog, his run is documented through a long panning shot, lasting for what feels like three minutes. In contract, the rest of the film happens in brief snaps. Every sexual encounter, apart from one, is quick and meaningless. Because of it's brief nature, we start taking it for granted, as Brandon does. However, the most explicit these scenes are, the more prevalent is a weird sense of (almost) voyeurism, which certainly isn't pleasant. Neither is the very slight thread of optimism which keeps getting pulled from underneath our feet.
Steve McQueen did the story and subject matter justice by not overstating or simplifying anything, and in terms of the story (written by both Abi Morgan and Steve McQueen), he exposed us to a constant degrading and downwards escalation of the main character, with a few unexpected sharp turns which took us by surprise. Overall, the best parts of Shame are due to great performances, both by Carey Mulligan and Fassbender. If not for his acting, Michael Fassbender deserves an accolade for the extent to which he make himself a nude human puppet. The challenge of being a dramatic actor within very exploitative, pornographic scenes, must be recognised one way or another.
*SPOILER ALERT* I think what I liked best about the film is watching the story between Brandon and Marianne. Like Sissy, Marianne offers an alternative choice to the usual one-dimensional physical need that Brandon naturally manipulates people into wanting. Even when we are witnessing them perform (well, almost) the same physical act that Brandon repeats with so many others, this scene is different, and somehow feels more intimate.
Michael Fassbender, playing Brandon, the archetypal New York nouveau riche stock brocker, seems ordinary on the outside, and fits the persona of a successful man who is single and alone by choice. His sister Sissy, played by Carey Mulligan, drops by every so often in his life, and once she does, she unintentionally (to a certain extent) causes a storm. For once there is something which clashes against Brandon's perfectly orchestrated life. As a consequence, he tosses judgement and blame on her, at the very opportune moment when she is the most vulnerable and dependent.
A lot of Shame is composed of long, dreary shots. One of the longest scenes imaginable is played out when Sissy performs her rendition of 'New York, New York.' Futher to this, when Brandon goes out for a jog, his run is documented through a long panning shot, lasting for what feels like three minutes. In contract, the rest of the film happens in brief snaps. Every sexual encounter, apart from one, is quick and meaningless. Because of it's brief nature, we start taking it for granted, as Brandon does. However, the most explicit these scenes are, the more prevalent is a weird sense of (almost) voyeurism, which certainly isn't pleasant. Neither is the very slight thread of optimism which keeps getting pulled from underneath our feet.
Steve McQueen did the story and subject matter justice by not overstating or simplifying anything, and in terms of the story (written by both Abi Morgan and Steve McQueen), he exposed us to a constant degrading and downwards escalation of the main character, with a few unexpected sharp turns which took us by surprise. Overall, the best parts of Shame are due to great performances, both by Carey Mulligan and Fassbender. If not for his acting, Michael Fassbender deserves an accolade for the extent to which he make himself a nude human puppet. The challenge of being a dramatic actor within very exploitative, pornographic scenes, must be recognised one way or another.
*SPOILER ALERT* I think what I liked best about the film is watching the story between Brandon and Marianne. Like Sissy, Marianne offers an alternative choice to the usual one-dimensional physical need that Brandon naturally manipulates people into wanting. Even when we are witnessing them perform (well, almost) the same physical act that Brandon repeats with so many others, this scene is different, and somehow feels more intimate.
Thursday, 5 January 2012
My Big Fat Watchlist for 2012
I guess people will be full up to their eyeballs in Top10 lists for 2012 by now, so I decided I would add more on to the pile, and write about the films I am looking forward to the most, and why. The new year does bring a saturation in superhero blockbuster and glamorous action films, but also an array of comedies, and indie dramas...
10. Casa de mi Padre- Oh yes Will Ferrell is making a comeback in what looks to be a mix between Anchorman: The Legend of Ron Burgundy and Nacho Libre. Hopefully we will not tire of the action-comedy genre that Ferrell seems to constantly attach his name to.
9. Brave- Another Pixar feature that looks brilliant and funny. And a first for a female main character!
8. The Great Gatsby- Adapted from the renowned novel, this story promises a revamping of the classic story, as it filled with a talented cast I'd sign up to watch any day. And who doesn't love it when the apparent glamorous image of the American dream is shattered, only to reveal some grim and sad realities?
7. The Darkest Hour- Trailer for this looks so cool and the concept is even cooler.
Obviously fantastical and nonsense as a plot (that's what I like telling myself anyway, as it is pretty terrifying), it has audience-grabbing, sleeper-hit potential. Emile Hirsch is a pretty top-notch actor, too.
6. The Five-Year Engagement- Jason Segel, Emily Blunt, AND Chris Pratt?? Although sort of predictable (well, at least the title suggests there is no break-up), with a cast like this, I think the film definitely has potential to be laugh-out-loud funny and may even pack a few happy tears too!
5. Shame- With Michael Fassbender as the front man and a story about sex addiction and emotional isolation, the one aspect about this film that gets me excited are the performances and the critical acclaim surrounding them.
4. Spiderman-What else is there to say? Let's see how this installation, starting from the very beginning, fairs up to the other franchise films. With Emma Stone and Andrew Garfield as the leads and possibly two of the most likeable and current young hollywood stars, I am certainly interested to see how it pans out.
3. Avengers- Slightly mixed feelings for this one, but still a must-see. Definitely looking forward to seeing Jeremy Renner, Robert Downing Jr., and Mark Ruffalo fight it out.
2. Gangster Squad- I haven't even watched a trailer for this yet, but the buzz is enough to keep me interested.
Ryan Gosling, Emma Stone, and Sean Penn in a 1940s and 50s mafia crime story, presumably shooting Tommy guns and smoking a lot whilst doing bad things and looking awesome doing them. Sadly, UK audiences will have to wait till November of 2012!
1. And of course number UNO has to go to The Dark Knight Rises. The prologue sets the tone for what is bound to be a sight to behold, and a film which you walk out of needing a repeat. The trailer left us asking questions, the six-minute prologue even more so, and that's how Warner Brothers and the Nolan production team roll. Nevertheless we are promised some high-scale action scenes set against New York's financial district, amazing visual effects, the addition of even more great actors and characters, a dark twisted storyline, and a sweet goodbye to the franchise from Christopher Nolan.
May 2012 be a great year in film!
10. Casa de mi Padre- Oh yes Will Ferrell is making a comeback in what looks to be a mix between Anchorman: The Legend of Ron Burgundy and Nacho Libre. Hopefully we will not tire of the action-comedy genre that Ferrell seems to constantly attach his name to.
9. Brave- Another Pixar feature that looks brilliant and funny. And a first for a female main character!
8. The Great Gatsby- Adapted from the renowned novel, this story promises a revamping of the classic story, as it filled with a talented cast I'd sign up to watch any day. And who doesn't love it when the apparent glamorous image of the American dream is shattered, only to reveal some grim and sad realities?
7. The Darkest Hour- Trailer for this looks so cool and the concept is even cooler.
Obviously fantastical and nonsense as a plot (that's what I like telling myself anyway, as it is pretty terrifying), it has audience-grabbing, sleeper-hit potential. Emile Hirsch is a pretty top-notch actor, too.
6. The Five-Year Engagement- Jason Segel, Emily Blunt, AND Chris Pratt?? Although sort of predictable (well, at least the title suggests there is no break-up), with a cast like this, I think the film definitely has potential to be laugh-out-loud funny and may even pack a few happy tears too!
5. Shame- With Michael Fassbender as the front man and a story about sex addiction and emotional isolation, the one aspect about this film that gets me excited are the performances and the critical acclaim surrounding them.
4. Spiderman-What else is there to say? Let's see how this installation, starting from the very beginning, fairs up to the other franchise films. With Emma Stone and Andrew Garfield as the leads and possibly two of the most likeable and current young hollywood stars, I am certainly interested to see how it pans out.
3. Avengers- Slightly mixed feelings for this one, but still a must-see. Definitely looking forward to seeing Jeremy Renner, Robert Downing Jr., and Mark Ruffalo fight it out.
2. Gangster Squad- I haven't even watched a trailer for this yet, but the buzz is enough to keep me interested.
Ryan Gosling, Emma Stone, and Sean Penn in a 1940s and 50s mafia crime story, presumably shooting Tommy guns and smoking a lot whilst doing bad things and looking awesome doing them. Sadly, UK audiences will have to wait till November of 2012!
1. And of course number UNO has to go to The Dark Knight Rises. The prologue sets the tone for what is bound to be a sight to behold, and a film which you walk out of needing a repeat. The trailer left us asking questions, the six-minute prologue even more so, and that's how Warner Brothers and the Nolan production team roll. Nevertheless we are promised some high-scale action scenes set against New York's financial district, amazing visual effects, the addition of even more great actors and characters, a dark twisted storyline, and a sweet goodbye to the franchise from Christopher Nolan.
May 2012 be a great year in film!
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