Wonka

 

To say I was dubious about the new Wonka film starring Timothée Chalamet would be an understatement. The original film with Gene Wilder is of course a favorite of my childhood, and even the Tim Burton version with Johnny Depp is well liked in this household. I've never been a huge fan of 

Chalamet he seems to be a little wan and a sort of the Hipster version of what's hot right now. This has led me to be skeptical of any of his films.

Chalamet was however, solid in the Dune film and I look forward to seeing the second part next year. So it was with uncertainty that I approached this movie. I tried to avoid reading reviews before I see a film for myself, but sometimes the general tone of a review can come across in a single sentence on a Facebook post or in an Instagram message. The ones that I did see in regard to this film we're a lot more promising. Most of the comments seem to suggest that the film was exactly what it was supposed to be a light frothy holiday entertainment. To my great pleasure that is an accurate assessment. Wonka was a complete delight and exactly the kind of film that a family can enjoy in the holiday season. It may not be serious, or a great piece of art, but it was a great entertainment.

Those of you who are not aware of it, let me point out that Wonka, is also a musical. The idea that there would be singing and dancing through the film raise some suspicion, but our lead is talented enough, and the songs for the most part are tuneful full of play and fit the story. I was especially impressed by the opening song and the choreography that went in putting together the dances that accompany it. As it is, the director of this film, Paul King, directed two of my favorite films from the past several years. He is responsible for putting "Paddington" and its sequel "Paddington 2" up on the big screen and both of them have a wondrous, friendly, attitude which made them completely delightful. Although there are hateful villains, and obstacles to be overcome, the optimism and positive attitudes of the lead characters of all three films make each of these movies so much easier to enjoy than other films in the family market.

Happily this film is not merely a repeat of the story that we have come to know. It is in fact it kind of prequel story so that we get a sense of what Willy Wonka was like as he started his chocolate factory. The idea presented here is that Wonka has always loved chocolate as a result of his mother's care and recipes. He has become a world Traveler by working on cargo ships traveling the seven seas and finding amazing ingredients to add to his chocolate concoctions. At the start of the story he is prepared to join the chocolate producing community in the heart of the big city and is trying to connect with his potential customers. This stacks him up against three rivals who have in essence, created a cartel to reduce competition. The three owners of the of the competing chocolate companies are clearly the villains of the piece, they have no connection to their customers and see them as somebody available to fleece rather than people that they want to please. This means that Wonka's approach will be completely different and a threat to their status.

One of the complications that Willy Wonka faces is that he has become indentured inadvertently to a cruel mistress and a thoughtless Brute. He has in essence been Shanghaied into working in a laundry, under slave-like conditions. So his approach to trying to begin a chocolate Empire also requires him to overcome these circumstances. The woman who has him in her thrall is played by Olivia Colman and she is impressively vile and funny. Wonka finds himself in the company of others who have become similarly trapped, and they form an alliance to both escape their circumstances and create a candy Utopia.

There are several nods to the original Willy Wonka and the Chocolate Factory, some of which are very noticeable but a few of which are very subtle. Among the most noticeable is the design of the chocolate store which strongly resembles the main room in the original film's Chocolate Factory. Also Willy is dressed in the same kind of velvet purple set of tails that adorned Gene Wilder back in 1971. Here he also walks with a cane that is in affectation rather than a necessity. Much like the magician that he is suggested to be, the cane becomes a prop that he uses to Dazzle his customers and to establish an identity. I did notice that the start of the film does have a similar kind of setting that Paddington did. Alone in a strange city our protagonist is taken in by strangers. Of course in the Paddington stories The Strangers turn out to be a benevolent family, but here in Wonka, it is a much darker turn.

Throughout the film there are many clever characters who provide humor and something for Willie to struggle against. Much like the original film Slugworth, is presented as a competitor and a threat. In this film it is much more direct in the way the character of Slugworth is presented. There is also a police official who is bribed by the cartel to run Wonka off. He is bribed by chocolate, because he has a sweet tooth that can never be satisfied. Hysterically his character gains weight throughout the film to the point where he actually has difficulty moving, standing up, or getting out of a car. It may be a little indelicate to present a character as having a weakness that makes him fat, but it does make us laugh and the actor, Keegan-Michael Key, plays it hysterically.

Production design is another big selling point of the film. Some of the candies are whimsical, the boarding house/laundry, is grim, and the Chocolate Factory at the end we'll make everybody who is a fan of the original film happy. Also the musical score borrows heavily from the original films songs and we get a reprise of Gene Wilder's showpiece song from 1971, presented with genuine affection and respect by Chalamet.  I have no hesitation and suggesting this movie to any of my readers. You will be very happy walking out to the theater with a smile on your face, even if it is just from the cantankerous Hugh Grant playing an Oompa Loompa who has attitude and his own individuality. I think a little Hugh Grant adds in measurably to the Delight that this film creates. He is not overused, but the CGI transformation of him into the character is amusing, and contrasted with his lines and behaviors should make you laugh.

I was not expecting it, but I'm happy to say that Wonka will be going on my list of favorite films from 2023. And in the long run Timothy Charlemagne Maybe making even greater inroads in my opinion toward him. However director Paul King is in my opinion a real treasure, and I hope that he and his co-screenwriters continue to come up with enjoyable fanciful ways to entertain the audience, I appreciate it.

Dune (2021)

 

Alright, I've waited a long time for this film. The expectations were high, the talent is there, the source is impeccable but the task is daunting. So the question is, did Denis Villeneuve manage to overcome the obstacles to making "Dune" into a cogent film that will be embraced by the public. The short answer is "yes, sort of". but the more accurate answer is that there continues to be a density to the story that anyone would have difficulty cutting through without having to change elements of the story in some way. All movies made from books will reflect the sensibilities of the writers, the producers and ultimately the director. That means that this can correctly be described as Villeneuve's Dune. It certainly contains enough of the Frank Herbert source material to keep fans of the landmark book and serial novels happy. 

The movie is two and a half hours long, and I have seen it twice. The podcast today spent more than an hour dissecting it. I have had multiple conversations with my daughter about the film, and I reread the novel a week ago. I also spent two and a half hours with the 1984 version form David Lynch. This commentary then comes from the perspective of someone who deeply cares about the source material and the films made from them. Denis Villeneuve has crafted a handsome, completely credible and mostly entertaining version of this story. Because the film is only the first part of the original Dune Book, I will have to withhold some judgements about the story elements that deal with the antagonists in the saga. Although the Harkonnen are represented on screen, their presence is minimal at the moment, and that is a bit of a letdown.

One advantage that the new film takes advantage of is the character development. Paul and Duke Leto are given more time to show their relationship in this film. The extra time on Caladan, the Atreides' home planet will help put in contrast the stark environment on Arrakis. Caladan is lush with forests, meadows and lakes and oceans that indicate a thriving ecosphere. The Atreides have had it easy and they will be going into an environment dramatically at odds with their previous existence. The Duke tries to explain to Paul what desert power will be, but we can't know until we are steeped in it, what all it will include. The relationship between Paul and his mother, the Lady Jessica, played by Rebecca Ferguson, is also deeper here, providing a glimpse at how she is attempting to immerse him in the Bene Gesserit traditions and skills. At times, Timothée Chalamet as Paul looks like a lost emo kid, wandering across the hillsides in his black priests jacket. The few times he comes out of the dark introspection are when he meets with his mentor/stand-in older brother figure Duncan Idaho, played by Jason Momoa. The actor has a charismatic persona that helps us shortcut our way into his relationship with Paul. There is an added sequence with Momoa and Sharon Duncan-Brewster as Dr. Keynes, that improves the story and does these two characters a bit more justice than they receive in the book or earlier film. 

One of the problems with adapting the book to film is that there are so many competing interests and political entanglements, that it would be easy to miss important components. David Lynch tried to cram this information into narration, internal thoughts and the equivalent of early Google searches. The script by Villeneuve and cowriters Jon Spaihts and Eric Roth, doesn't bother to worry about most of that. The story flows pretty smoothly as a result, but a lot of the rich detail that makes the book so intriguing is lost. There is just enough of the Bene Gesserit story to explain why Paul is unique and potentially the most significant result of their breeding program. The complex connection between the Harkonnen and Atreides clans is not detailed. Paul's visions are inserted regularly but they are inconsistent and the reasons for that inconsistency are not really explained by the film, although readers of the book will understand. Thufir Hawat is treated as a cuddly teddy bear rather than the master of assassins, Dr. Yueh's imperial conditioning is not explained, nor is the manner of that conditioning being broken. The importance of his role as the traitor is minimized as a result, making the conspiracy a lot less interesting. I did think there were some good hints at the poet in the warrior Gurney Halleck, played by Josh Brolin. Some of these characters disappear from this film, but they should be a part of the second film when it arrives. It does make it hard to evaluate this as a stand alone film because of those threads that are dangling.

The greatest improvement from the 84 film, is the use of the Fremen culure, especially in the sequence where Paul and Jessica are discovered in the deep desert after their escape from Arrakeen. This is basically the climax of the film, although we did just have a complete invasion of the planet by hostile forces. Paul's acceptance into the sietch led by Stilgar is an important step on his ascension to power. If you know the book, you know how Paul hesitates not merely because killing is new to him, but he foresees each act of violence on his part as cementing the path to a bloody jihad that he is trying to avoid. I was not sure that the film clarifies this as much as might be needed by audiences unfamiliar with the book. 

I've already made some passing comparisons to the David Lynch film, so inevitably there are more. On the favorable side of the ledger, the ornithopters in this version are more interesting and certainly more dynamic. They also more closely resemble the craft described by Herbert's prose. While CGI can often ruin our engagement with a film, when it is used correctly, it enhances the visions we see. The sandworms of Arrakis are much more believable in this new edition of the story than the mechanical miniatures used back in 84. There was only one brief image of a sandworm being ridden in the film, but it looks like this will far outpace to somewhat clunky techniques that were requires thirty-seven years ago.  Even though it looks less realistic, I still prefer the animated shield work of the 84 film to the digital distortion of the new version. It just looks more interesting, even if it seems less realistic. The costumes and production design from the older film, also seem stronger to me, maybe because the colors pop and the detail is rich. Villeneuve has created utilitarian props and sets to present the characters in, Lynch's vision is soaked in the mythology of each of the settings. Giedi Prime, the Harkonnen home planet is dark and fuzzy in Villeneuve's film, Lynch's industrial sensibility was so well matched with this location in his film that it is indelible and far superior. Little things like the box the Reverend Mother uses to test Paul, are more ornate and interesting in the 84 film.  

It is certainly a matter of style and taste so with the minimalist leanings of contemporary design, Villeneuve's choices are probably fine. I simply like a broader color palate to look at. While the design of the Bene Gesserit gowns was not stupendous in 84, the 2021 outfits look like they come from dead nurses in a hospital from 1883. 

We have lots of things to look at that are superior in the new film, but let's not dismiss the unusual and intriguing from the Lynch Film. Of course the two movies are great ways to see the difference a director can make in a film. The aesthetics in particular matter with these two directors. The action sequences in the current version of the film are more coherent and visually spectacular so that is another selling point to the new version. 

To complete the current review, I will update this post with a link to the podcast when it is completed. For now let me say I am happy with the new version of Dune. I don't think it cracks the nut entirely on the intricate internal thoughts from the book, but it does streamline the story and make it very accessible to the audience. Every time one of the IMAX shots arrived, I was reminded of the work that David Lean did in "Lawrence of Arabia". The film looks amazing in the macro sense but loses a little in the intimate scenes. We will be getting more of some of the characters in the second part so I will wait until then to expand on Stilgar and Chani. 

By all means, see this on the big screen. Save an HBO Max viewing for your fourth or fith time seeing the film. You will be glad you paid to go to a theater. 

Call Me By Your Name

This film is getting a lot of praise for the performances of the two leads, Armie Hammer and Timothée Chalamet. It is a love story between an older man and a 17 year old boy, but Kevin Spacey is nowhere to be found. The pace of this film is leisurely to say the least. The story is set in Northern Italy during the summertime so there is plenty of lovely scenery to surround the two attractive leads as they engage in a protracted dance of "love that dare not speak it's name".  The nature of the romance is about the only reason I can think that the movie is set in 1983, except for the ubiquitous presence of the Psychedelic Furs.

The story meanders through a whole lot of plot points that end up going no where. Elio, the boy, gets nosebleeds. Don't worry, there is no terminal illness coming, it is simply an incident that has no bearing on the characters and their relationships, but it does allow the movie to add two minutes to it's running time. There is also a seemingly competing romantic interest for each of the young men. One is more developed than the other, but again, neither has much to do with the central relationship.

Michael Stuhlbarg and Amira Casar are Elio's parents. They are erudite, sensitive and well educated. They are the kind of family that sits together in the afternoon, and has Mom read out loud 16th Century literature, which she is translating from German for them, and which also happens to pose the exact philosophical question facing Elio at this moment. Should the Knight reveal his affection for a forbidden love?  This screenplay is too precious for it's own good. Near the end of the film, Professor Perlman has a long talk with his son, which reflects his deep understanding of romance, human experience and poetry. The words sound like they were composed with great care but they are delivered as if they are random thoughts that a warm hearted parent can trickle off the tongue at a moments notice.

In addition to the slow pace of the movie, and the erotic theme, there are two or three other clues to show you that this is the indie darling of the moment. There are at least seven company credits at the start of the movie, which are of course referenced then in the title. Three sections have the obligatory cruise through the countryside accompanied by an indie alternative pop tune that is slow and meditative. If you thought that Rooney Mara eating pie in "A Ghost Story" was the weirdest food moment you would get in films this year, well be prepared to be surprised by Chalamet and his peach.

The actors are fine. Armie Hammer is appropriately casually arrogant in the way a young American must be. He flexes and poses in all the right ways to get the girls in the story hot, and of course it has the same effect on the lead. Elio is an artist, musician and intellectual with a brooding demeanor that suddenly warms up in a much too unclear manner. Staring out the window and  saying nothing is visual but it does not reveal the inner needs of the young man. Some of the events that take place are more useful at doing so, but they are often randomly distributed and the movie never seems to develop and dramatic urgency until the last ten minutes. It was a interesting story, that was told in a loose manner. A few good performances can't overcome the issues with the screenplay however.