1. Paris-Manhattan (Lellouche)
2. Dormant Beauty (Bellocchio)
3. Sinister (Derrickson)
4. Viridiana (Bunuel)
5. The Last Time I Saw Macao (Rodrigues/Guerra da Mata)
6. Man with the Movie Camera (Vertov)
7. Citizen Kane (Welles)
8. Hannah Arendt (Von Trotta)
9. L’atalante (Vigo)
10. Mauvais Sang (Carax)
Monthly Archives: February 2013
1. Paris-Manhattan (Lellouche)
dir: Quentin Tarantino (USA, 2012)
The following piece contains spoilers about the plots of Django Unchained, Skyfall and, I suppose, even Lincoln.
After seeing many Hollywood films at the end of 2012 and in early 2013 that run between two-and-a-half hours and two hours and 45 minutes in length, I’ve concluded that movies have just grown too damn long. It’s not that I think there’s anything inherently wrong with lengthy running times: after all, I’ve gladly, in the past, sat through many movies even longer (one of my all-time favorites, Bela Tarr’s Satantango, runs seven hours, and I’d gladly watch that again right now). The problem is that the new Hollywood movie does not justify its length – there are invariably too many unnecessary characters, too many unnecessary subplots, a climax that feels too protracted, and, worst of all, too many endings (a trend that I would argue began with The Lord of the Rings: The Return of the King, a movie I otherwise like). For me, the most egregious offender of this new crop of films is Quentin Tarantino’s Django Unchained, a movie I was prepared to like but ended up feeling sorely disappointed by. I have no problem with the “morality” of Django (e.g., I am not offended by Tarantino using the “n word” 100+ times or using the historical tragedy of slavery as a backdrop for a juvenile pop entertainment). These criticisms are really no different than the ones that were leveled against Inglourious Basterds, another film I quite like. Rather, the biggest problems with Django are with its pacing and structure, problems that seem unforgivable at a bladder-bursting two hours and 45 minutes:
1. Django and Broomhilda are, at best, the fourth and fifth most interesting characters in the film (following King Schultz, Calvin Candie and Stephen-the-House-Negro). Intellectually, I get the idea that Django is supposed to be a black version of the stoic/Clint Eastwood/”Man with No Name”-type but the Man with No Name himself was only ever upstaged by Eli Wallach’s Tuco (and, even then, only for brief stretches). Throughout their travels together, Schultz is both a much more interesting character and a more magnetic screen presence than Django. You can’t take your eyes off of Schultz, and this is a big problem when your movie is titled Django Unchained. It’s no wonder Christoph Waltz won the Best Supporting Actor Oscar last night. He’s the film’s true star (and his character has the good sense to die just before the movie takes a turn for the terrible).
2. The love story between Django and Broomhilda is ill-defined. We don’t know much about these characters, and we know even less about their relationship: How did they meet? How did they get married? Why are they even attracted to each other? I’ve heard some people say that it seems revolutionary for a Hollywood film to show a black man rescuing a black woman but, if their love is supposed to be the “engine” that’s driving the entire story, it’s by far the weakest aspect of the script. I think the love story is really just a flimsy excuse for Tarantino to indulge in the violent shoot-outs and all of the other things that he really wants to show us. I suspect one of the main reasons why so many people have found the last act of the film problematic, even if they haven’t articulated it this way, is because this is where the love story/rescue part really comes to the forefront.
3. In general, the pacing and structure of the film are awkward and bizarre (even though individual moments within it are obviously quite compelling). Because I think Schultz and Candie are the highlight of Django Unchained, it seems to me that the movie dies when they do – and everything afterwards is just tedious. I wonder why the big Candyland shootout, where both of those characters die, couldn’t be the actual climax of the film. Why does Django need to be captured, then granted a reprieve by Stephen, then sold to an evil mining company, then talk his way out of captivity, and then return to the plantation just to kill off the rest of the denizens of Candyland and rescue Broomhilda? Why couldn’t he have killed all those people in the earlier gunfight and rescued Broomhilda back then (which would’ve been around the two hour mark)? The last 45 minutes are pointless, they introduce new characters who are completely irrelevant, and they drag the film out unconscionably.
All of the above problems could have been considerably smoothed over in the script-writing stage. (I have some other problems with the actual editing of the film but that’s a whole other can of worms.) Tarantino, like Terrence Malick (albeit in a different way), has unfortunately reached that stage where no one is going to tell him no. Inglourious Basterds made so much money worldwide that he probably got the $100,000,000 budget for Django just based on its high concept alone (i.e., “Inglourious Basterds set in the antebellum South!”). As a piece of storytelling, Django is the sloppiest, laziest thing Tarantino has ever done. Because it has won multiple Oscars and is now poised to be his highest-grossing movie ever, this does not bode well for his future work.
As I indicated in my opening paragraph, Tarantino is hardly alone. Here is a brief rundown of other recent Hollywood movies that are too damn long:
The Dark Knight Rises (two hours and 45 minutes): This suffers from the typical action-franchise problem of trying to outdo all of the previous entries. Too many subplots, too many characters (two sidekicks, two love interests, two villains, etc.) and too many damn endings, especially a final copout ending that revises the daring ending that preceded it. Christopher Nolan might as well make another one and add Batgirl to the mix while he’s at it.
Lincoln (two hours and 30 minutes): I had a whole host of problems with this movie but, from a structural standpoint, the ending is particularly terrible: Lincoln leaves the White House to attend a play at Ford’s Theater. We see a shot of his iconic, stovepipe-hatted figure walking away in long shot. This is reminiscent of the ending of John Ford’s Young Mr. Lincoln and would’ve been a perfect place for the film to end. But no: we then have to see a scene taking place in another theater, where an announcement is made about Lincoln having been shot. Then we see a scene of Lincoln on his deathbed. Then, worst of all, we see a flashback to Lincoln, alive, giving a rousing Schindler’s List-like speech as John Williams’ treacly score swells on the soundtrack.
Skyfall (two hours and 23 minutes): I actually liked this movie on the whole but most of its best moments come in the first half. The climax is way too protracted: first, James Bond is battling the bad-guy invaders, Straw Dogs-style, from inside of a Scottish mansion, then the action moves outside where the characters continue their gunfight on a frozen lake, which, inevitably, involves them crashing through the ice, then they end up finishing the gunfight inside of a nearby church. By the time M’s big death scene finally rolls around, which has been teased since at least the courtroom-assault scene 45 minutes earlier, it’s hard to care. A perfect case of how more can be less.
The Hobbit (two hours and 49 minutes): This is arguably the most poorly structured film on the list. It has too many beginnings, including a lengthy double-prologue, before settling into a theme-park ride structure of one action set piece after another (interrupted by a bizarre and lengthy dialogue scene that feels like an excuse to shoehorn in characters from the previous franchise), and then it abruptly stops just when it starts to get interesting. I’m in full agreement with the critic who said, rather than an “extended edition,” this would benefit from a contracted version on home video.
The Hobbit Rating: 4.7
1. 17 Girls (Coulin/Coulin)
2. The Cameraman (Keaton)
3. Le Havre (Kaurismaki)
4. Slap Shot (Hill)
5. The Taste of Money (Im)
6. Seven Chances (Keaton)
7. Street Angel (Yuan)
8. Queen of Hearts (Donzelli)
9. Heartbeats (Dolan)
10. Battleship Potemkin (Eisenstein)
Late 2012 saw what looked like an unusually competitive Oscar race shaping up. At various times, The Master, Silver Linings Playbook, Argo, Les Miserables, Zero Dark Thirty and Lincoln were all being posited by somebody, somewhere, as Oscar front-runners (with Django Unchained lurking in the shadows as a tantalizing unknown). Now that the ceremony is less than a week away, the dust has settled and it is clear that we are looking at a three-way race between Lincoln, Argo and Silver Linings Playbook. Here are my thoughts on the race:
The main contender: Lincoln
Late last year, the smart money was on Lincoln to win big at the Oscars. Consider all of the superficial things it has in common with the typical Best Picture winner – it’s a period piece, it’s based on a true story, it stars British acting royalty, it features a pedigree of highly respected talent that includes many former Oscar winners, it’s aimed at adults, and it was both a critical and commercial success. More importantly, Lincoln makes Americans feel good about themselves and America. It’s typical Spielberg in the way that it offers, in the words of Chicago Reader critic Ben Sachs, “reassuring patriotic sentiment.” It’s about a U.S. President who healed a deeply divided nation, and it can appeal to virtually everyone, Democrats and Republicans alike. Lincoln himself is the closest an American President has ever or will ever come to sainthood. His efforts in ending the Civil War and passing the 13th Amendment are universally regarded as heroic. As in most of his period films, Spielberg invites us to project ourselves back in time and imagine that we would be on the “right side” of history (in this case by supporting the President) if we were in the shoes of his characters. We are invited to scoff at backwards 19th century attitudes regarding racial and gender inequality, personified by the foppish Fernando Wood, and congratulate ourselves on how far we’ve come as a nation since then. Lincoln has lost momentum in the Oscar race, however. Since Argo was a surprise winner at the Golden Globes last month, Ben Affleck’s movie has gone on to sweep the Guild awards and establish itself as a clear front-runner at the Academy Awards.
The front-runner: Argo
Argo has the true story/period piece credentials of Lincoln, as well as the reassuring patriotic sentiment. I think Argo is also the more crowd-pleasing film; Lincoln is a talky history lesson that feels like a filmed stage play whereas the more overt comedy and suspense of Argo should make it more accessible and entertaining to Oscar voters. While it has made less money than Lincoln (which some see as a strike against it), Argo‘s still a certified smash with a gross of well over $100 million dollars. But here’s Argo‘s secret weapon: it’s a film about the ingenuity of Hollywood (just like last year’s Best Picture winner, The Artist) and we all know that Hollywood loves to “vote for itself.” Plus, George Clooney produced it, and everybody loves that guy. The fact that Ben Affleck has not been nominated for Best Director is causing some to single-handedly write off Argo‘s Best Picture chances but I’m going with the conventional wisdom and saying that Argo will take home the top award. Spielberg will have to settle for Best Director (since Lincoln was a long-delayed pet project, we’ll call it his “Quiet Man prize”).
The dark horse: Silver Linings Playbook
Silver Linings Playbook isn’t entirely absent of problems for me: for one thing, it dubiously suggests, Benny and Joon-style, that the best cure for a mentally ill person is to fall in love with another mentally ill person. But, as I recently watched this formidable rom-com for adults, I felt, with each passing scene, that my usual critical reserve was gradually falling away and I was eventually won over completely. Watching the awesome dance montage set to the Bob Dylan/Johnny Cash version of “Girl of the North Country” was a magical – even soul-thrilling – moment, and by the time the film reached its inevitable-but-still-immensely-satisfying conclusion, I have to confess that I even shed a tear or two. Some pundits have this pegged as a potential Rocky-like spoiler. In its favor: David O. Russell, unlike Ben Affleck, actually has a Best Director nomination, and the movie has also been nominated in all four acting categories – a big-time rarity. But I’m thinking that, among the major categories, Silver Linings Playbook will probably only be snagging the trophies for Best Actress and, less certain, Best Supporting Actor.
The long shot: Zero Dark Thirty
In contrast to Lincoln and Argo, Zero Dark Thirty is anything but reassuring. It has drawn intense criticism from both liberals and conservatives (a sure sign that it’s doing something right). It’s a dark and disturbing film about a secretive organization, the CIA, waging an invisible war on an ill-defined adversary using a variety of technology that is mostly beyond our comprehension. It invites us to have a dialogue about the efficacy of torture and the toll of war in the 21st century, and asks Americans to question who they are and where they’re heading as a country. Its contemporary relevance has made it both a lightning rod for controversy as well as something of an important cultural event. ZDT actually won more year end critics’ awards for Best Picture than Lincoln or Argo. But remember what happened the last time a dark, critical favorite/zeitgeist movie went up against a more populist, feel-good period drama at the Oscars? That’s right – The King’s Speech TROUNCED The Social Network in all of the major categories. The only real question: is the torture-controversy backlash against ZDT so strong that Jessica Chastain will lose out on the Best Actress Oscar she deserves to either Jennifer Lawrence for Silver Linings Playbook or Emmanualle Riva for Amour?
The we-expanded-the-nominations-beyond-five-so-that-we-could-include-this-genre-film-that-has-no-chance-of-winning slot: Django Unchained
I suspect Quentin Tarantino will take home the Best Original Screenplay Oscar though. Django has simply made too much money for him not to win this.
The we-expanded-the-nominations-beyond-five-so-that-we-could-include-this-foreign-film-that-has-no-chance-of-winning slot: Amour
If there’s one thing that’s a sure thing about this year’s Oscars, it’s that Amour will win Best Foreign Film. It seems to be a new tradition that a single “foreign film” is designated as one that will sweep all of the awards (from the critics’ groups at year’s end through the Oscars in February) so that a specific filmmaker can be feted by Hollywood for a few months. Last year it was A Separation‘s Asghar Farhadi. This year it’s Haneke.
The we-expanded-the-nominations-beyond-five-so-that-we-could-include-this-indie-film-that-has-no-chance-of-winning slot: Beasts of the Southern Wild
A carpetbagger rewrites Hurricane Katrina so that FEMA are the good guys and New Orleans a racial utopia? The images and narration are a sub-Terrence Malick imitation by way of a Levi’s jeans commercial. The music’s pretty good though.
I’m indifferent to seeing The Life of Pi. I would rather put a lit cigarette out in my own eye than watch Les Miserables.
Here are my final predictions:
Director, Adapted Screenplay, Actor (Daniel Day-Lewis): Lincoln
Original Screenplay: Django Unchained
Actress and Supporting Actor: Silver Linings Playbook (Jennifer Lawrence and Robert DeNiro)
Supporting Actress: Les Miserables (Anne Hathaway)
Here are my personal numerical ratings for the Best Picture Oscar contenders:
Zero Dark Thirty: 9.8
Silver Linings Playbook: 7.6
Django Unchained: 5.9
Beasts of the Southern Wild: 5.2
1. The More the Merrier (Stevens)
2. The Rules of the Game (Renoir)
3. Brief Encounter (Lean)
4. Spaceballs (Brooks)
5. Laura (Preminger)
6. Nosferatu (Murnau)
7. Kitty Foyle (Wood)
8. Man with the Movie Camera (Vertov)
9. Bringing Up Baby (Hawks)
10. Silver Linings Playbook (Russell)
1. Casablanca (Curtiz)
2. The Apartment (Wilder)
3. Wild Boys of the Road (Wellman)
4. The Navigator (Keaton)
5. Os Canibais (de Oliveira)
6. The Cabinet of Dr. Caligari (Wiene)
7. Man with the Movie Camera (Vertov)
8. Two Stage Sisters (Xie)
9. In the Heat of the Sun (Jiang)
10. The Passion of Joan of Arc (Dreyer)