Hollywood Costume Exhibit

Hollywood Costume Exhibit

 So this afternoon, I spent a delightful couple of hours down at the future home of the Academy Museum of Motion Pictures, looking at the history and mystery of costume design. There are literally hundreds of costumes from the last hundred years of motion pictures. Imagine seeing the outfit that Charlie Chaplin created for his first Hal Roach films. Hanging from the ceiling in a horizontal position is Christopher Reeves version of the Superman costume. Dorothy's gingham dress and the Ruby slippers also make an appearance.

The exhibit makes use of extensive multimedia tools and the latest forms of computer digitized images. At several stops there is a tabletop display that features designs, scenes, and backstage information about the costumes and the pictures they are featured in. Sitting on either side of the table were high backed chairs that contained video screens featuring the director and the costume designer, as if they were have a conversation across the table with each other and with us. Quentin Tarantino and Sharen Davis discuss the Django Unchained costumes, Martin Scorsese and Sandy Powell marvel at how Daniel Day Lewis makes Bill the Butcher look both stylish and deadly when he dons her designs.

Several displays featured historical progress of costuming and discussed the nature of special effects, censorship and history on the clothes that the stars wear in the movies.  There was a selection of costumes that showed how the Queen of England has been depicted in films, from Bette Davis to Helen Mirren and a dozen other Queens as well. There was a look back at Westerns, and War Pictures as well as more contemporary films like the "Oceans Eleven" film series. Errol Flynn is crossing swords with Johnny Depp and Elizabeth Taylor and Claudette Colbert are vying for most glamorous version of "Cleopatra".

The use of teleprompters and holographic style images of the stars seemed to put the actors in the designs right in front of you at times. You enter though a short passage lined with the eight Oscars that Edith Head won, dramatically lighted with some background on the most famous costumer of all time. The exhibit hall is very dark so that the light on the costumes brings out all of the details and colors dramatically. It was a little tough for my vertigo inflicted spouse but she made it through without stumbling (the same could not be said for me).

My two favorite displays were the Indiana Jones deconstruction of the classic adventurer's wardrobe, and the dozen or so costumes worn by Meryl Streep,each of which was accompanied by a video screen with the marvelous actor discussing how the images came together with the characters. Each piece of Indy's ensemble was dissected for it's use in building the character as a functioning field archeologist and devil man care swashbuckler. 

Young film goers will be thrilled to see costumes from a dozen Superhero films, including X-Men, The Dark Knight, Iron Man and Captain America. Spider man was on the wall and I almost missed him. There was also an interesting review of motion capture work and James Cameron discussed how real costumes have to be created before you can digitally animate them such as was done in Avatar. Admissions cost is twenty bucks and parking is likely to run about twelve dollars. A real movie fan will feel that it was money well spent. How often do you get to walk the red carpet with the stars of Hollywood history, and get to find out who they are wearing without having to shout at them?

Batman (1989)

AMC is once again responsible for me missing new films in the theaters to revisit an old film that I loved. This week it is the Michael Keaton, Jack Nicholson version of "Batman" directed by Tim Burton. It is twenty-five years after the movie opened, there have been three sequels to this series and a reboot version that had three films in it's history. A year and a half from now, we will be getting a Batman vs. Superman film. So it seems that Batman is all the rage. It was not always that way.

After the pop cultural phenomena of TV's Batman, the concept lay dormant for twenty plus years. The comic book world did not forget, but nearly everybody else did. When the project was announced, i read an analysis of character brands by popularity and the desire of advertisers to be affiliated with them. Batman was near the bottom of the list. When it was announced that Michael Keaton, who had just played a deranged ghost in Tim Burton's previous film, was cast as the caped crusader, the outcry was loud. And then a funny thing happened. The trailer you see above was put into theaters. It is actually kind of crude, it has no temp score, no voice of doom narration and there is not a story hook in sight. Despite all of it's failing, the trailer was a stupendous success. People were going to movies that the trailer was playing with, just to see the trailer [remember, no internet my friends]. The look of the movie, the malevolent smile of the Joker, and the much parodied but nonetheless iconic intro, "I'm Batman", lit a fuse that has not been seen much since.

As a cultural touchstone, the original Burton "Batman" was the last of a phenomena. There are certainly films, including super hero films, that have made a gazillion dollars and been exploited on tee-shirts and lunch boxes since this movie came out, but nothing reached the enthusiasm that this movie projected. The closest we've come in the years since have been the Harry Potter films, but it is not the same. The logo, the soundtrack, pictures and toys were overwhelming. On opening night, there were lines and parties. At the Orange Cinemadome that I went to for the opening night screening, there were beach balls bouncing around the geodesic shaped dome and the whole audience was doing "the wave" from front to back and then side to side. I had collected the trading cards like they were cash, and the popularity of the film lasted all summer. This was a four quadrant hit that brought in money at a rate that had never before been seen. Today, the first weekend take of fifty one million would look like a meager take, but in 1989 it was a record. The world is a different place now, multiple screens and advance shows are the norm. "Batman" created a world where that could happen. 

The film does not have the emotional heft of the "Dark Knight" movies of Christopher Nolan. Those films create a reality based vision of Gotham that is too real sometimes. Tim Burton's Gotham is all back alleys and overcrowded skyscrapers that expand as if they are pyramids turned on point. Even in the daylight the city is dark. All the gangsters and cops wear hats and the Mayor looks like Ed Koch. The batmobile from this movie is the car of every kids dreams. The tumbler from the Nolan films is practical and very cool, but it looks like a tank. This batmobile looks like a rocket with wings that might be flown by someone really scary or really cool. The color of the film pops at times in just the right ways to evoke the comics, but without becoming the neon and pastel joke that the Shumacher films became.

It will be an continuing debate as to whether Heath Ledger or Jack Nicholson did the superior job in the role of the Joker. Ledger had a better writer but Jack had the better costumer and make up artist. Both rip into their parts with gusto. I was just surprised at how much I liked Jack's take on the material in this film. They are different universes and today, Jack Nicholson filled his version of it. I think I can say that Michael Keaton is the more fun Bruce Wayne. He is not tortured like Christian Bale's Wayne is. His pain comes from a different kind of psychosis and it is more fun to watch. Nolan's Batman may be a better action figure, but Keaton is the more likable alter ego.

Comparing Apples to Oranges is possible when you reduce them to their lowest common denominator, but why would we want to do that?  A glass of orange juice is perfect at the right time, and the fact that I had O.J. for breakfast, doesn't mean I won't want apple pie for dessert. Today I got to enjoy a 25 year old movie that made me feel for a few minutes like it was 1989 again, and everyone would be talking about this at school tomorrow.

St. Vincent

Frankly, I'd be willing to give up an Academy Award nomination to Bill Murray for the performance he gives before the opening credits are even finished. He has the look of this character nailed, there is a distinct accent that he uses without any hesitation, and the dance he does with himself to the jukebox music was worth the price of admission. I was sold on this movie almost instantly based on the character and the actor. It's pretty nice that there are so many other things going for it as well.

Vincent is an apparently unpleasant man, eeking out an existence on a reverse mortgage and occasional betting on the ponies.  He is in desperate financial shape but never seems to let it bother him too much. When the new neighbor ends up needing some after school supervision for her son, Vincent falls into the job. Yes this is a buddy picture and it is about the redemption of a character that seems irredeemable, but it is not exactly that.  The character never becomes less cantankerous than he starts out as. He still has all the flaws at the end of the movie that he does at the beginning. The story is unique because instead of changing the character, we are forced to change our perspective. We learn about the character through his connection with the nine year old boy he is taking care of. It may be a highly sentimentalized view but that is ultimately what this movie is, a sentimental view of someone hard to be sentimental about.

Vincent's attitude towards the rest of the world is not hard to understand. People let him down, they don't respond to him in any way that he can fathom and since he is semi-inebriated during most of the story, he can't really help himself. Oliver, the kid in the story, sees Vincent for what he is because he has no expectations and prejudices yet. The character is a smart kid but not much like those kids you see on a sitcom. He appreciates any effort that Vincent makes to help him, because he can't really believe anyone else will. Gambling, fighting and lying are not the lessons that most of us would want our kids to learn, but politeness and attentiveness are. Oliver learns from both positive and negative experiences with Vincent.

Since her sudden rise to success just a couple of years ago, Melissa McCarthy has become a punching bag for misogynists in the comedy world. There is a lot of hate that gets written about her and some of it may stem from the fact that the characters she has played were repetitive stereotypes. She tones it down here and plays a real human being in pain who is having a difficult time adjusting to new living circumstances. She never tries to upstage Murray, instead she delivers the comic lines in a normal manner that makes the movie seem more real than it could ever be. Naomi Watts does a lived in, hard life, unsympathetic, Russian immigrant persona as if she were made for it. My guess is that the make up work here is so subtle that it will not be noticed and instead people with think she got smacked down by her career.

The climax of the movie is another one of those presentations in front of an audience that seem to be typical in underdog stories. Like "About a Boy" from more than a decade ago, a public performance rescues a nasty character from himself. Bill Murray is no Hugh Grant. He is not lovable or cute. He is however one of the funniest men on the planet and a damn good actor. St. Vincent gives him a showcase for both talents. In my mind, he has met the requirement for performing miracles that would allow him the title status of this movie.  

Saw 10th Anniversary Release

Some how I managed to go a decade without seeing this or any of the sequels (of which there are six, they came out annually for six straight years). I had no intention of seeing it today either but when we went to see John Wick yesterday, the AMC theater had mini-posters to give out and I'm afraid I'm an impulse buyer.  My kid likes horror films, there was an early show at a discount price, and I had to ask myself "why are you avoiding this?"

The answer is that I am not interested in the "torture porn" version of horror that this movie seems to have launched. I have no desire to watch human suffering for pleasure. When gore or dismemberment are done in pursuit of a story, then I can get behind it, but a slow scene with detailed moments of painful suffering brought to us by the SFX wizards of movies does not attract me. Imagine my surprise when I discovered that at least as far as the first movie is concerned, this is not horror based but rather a thriller with horror elements. It turns out this movie was far less graphic than a lot of other films I have in my past, and the disturbing scenarios are played out largely off screen.

So I"m ten years late to the party and telling most of you something you already know, "Saw" is an effective, low budget thriller that is full of plot holes but survives on the tricky premise it is based on. A serial killer who has the brains to engage in elaborate puzzles that lead to self inflicted death seems to be a stretch.  Most serial killers that are featured in film and television could qualify as geniuses and may be able to earn a doctorate at MIT. None of them seems close to the real life monsters that John Wayne Gacy, Angelo Bouno and Kenneth Bianci, or Richard Ramirez. The best character of a serial killer was Hannibal Lecter and he even he did not engage in the complicated "game-playing" that seems to be required of every new entry in the genre. Still. it is a movie only, and the idea of a two character drama played out in a locked room has all kinds of things going for it. There is still a lot of material outside of the room that has to be dealt with, but the main focus is on the two victims and their efforts to solve the puzzle of their imprisonment.

Co-screenwriter Leigh Whannell matches up well with veteran Cary Elwes as the two men, chained in a room and prompted to betray each other while at the same time trying to help each other. Elwes gets some pretty trite dialogue to spout, but he does it convincingly and in the last quarter of the movie, his desperation feels real. "Adam", Whannell's character, seems more genuine and the performance is much more solid from the get go. Danny Glover as the obsessed detective ends up chewing too much scenery in the final third of the film. Before his character goes off the rails, he seemed to be part of a legitimate police procedural. In a rush to wrap up the story, too many silly things have to happen.

To be honest, the most hard to watch scene for me was Adam's search for a clue in the toilet next to where he is chained up. A similar scene in "Trainspotting" is actually more vomit inducing. The kills are also not worse than any slasher film featuring Jason, Freddy, or Michael Myers.  All of "Jigsaw's" previous killings are only partially shown and the toilet scene was the one incident in the movie that the director seemed to linger over. The dramatic scene with the saw is much more implied than shown and the movie makes the right choice in avoiding becoming a gore fest, although the posters, trailers and other promotional material sell it that way. I don't know that this choice will be sustained in the other pictures in the series.

I'm not sure I will ever see any of the sequels. It seems unlikely that the simplicity of the concept will sustain itself for long before the need to satiate the morbid demand for audience shock begins to outweigh story considerations. I have to admire the execution of the plot and the direction of the film under modest financial circumstances. Some of the reviews from 10 years ago suggested that this was a vile film. Those comments were way over the top and in comparison to some of the things that have come after, Saw pales in the grotesque department. I appreciate special releases of older movies and the week that this was in theaters for Halloween was fine for me. Now next year, for the Fourth of July, could we please have the anagram version of this movie in theaters for a week to celebrate the fortieth anniversary of it's release. Seven days of Brody, Hooper and Quint chasing after a shark is at least as deserved as this this anniversary release was.

John Wick

This has been the busiest October I can remember in years. A ton of stuff has happened and much of it was not good. As a result, I've fallen several weeks behind on the "30 Years On Project", and it has been three weeks since I went to a movie (my last two posts were a week late). That being said, when I finally did get a chance to see a film, I pigged out on a low brow action film instead of a high profile prestige movie. It was a very satisfying meal and the popcorn chaser was excellent, uhmm, I've missed popcorn almost as much as going to a movie. Keanu Reeves entertained us today in the revenge story of "John Wick".

I'm sure I've said this in some other post about a film with these sorts of characters, but it appears that the most in demand job is not physical therapist, engineer, or administrative professional. According to the movies, professional hitman is the career of the decade and Keanu as John Wick happens to be the most dangerous. The storyline has him retired and grieving his lost wife. He manages to feel some hope because she has left him a puppy to help him get through his mourning. Dumb-ass Russian gangster types make the mistake of both stealing his prized Mustang, but killing the dog as well. That may be a spoiler if you have not seen the trailer, in which case I'm sorry, but I think everyone headed into see this, knows that Wick is pulled back into his vocation by the injustice of this act.

Earlier this week, I invented a quote to use in my class for an Impromptu speech topic, "Never trust a man who doesn't love a dog." I know I can't ever forgive Michael Vick and while I don't dislike people who don't care for dogs, I do not understand them. An addendum to the invented quote should also be "Don't ever screw with another man's best four legged friend." Dirty Harry got downright nasty when someone kicked his dog, John Wick goes even further, the Russian mobsters go down like [insert tasteless cheerleader joke here]. I'd like to see this again, just to engage in my own tally of dead crooks that Wick leaves in his wake. I know that a dozen get killed in the first main confrontation, and that is only twenty minutes or so into the movie. This is the sort of over the top violence fantasy that can only exist in a movie that is not really all that good but is as entertaining as hell. If I ever have the time, I might try to reproduce the splendid statistical analysis my on-line friend Dan Fogarty did on the Schwarzenegger classic "Commando". Wanton death on a scale like this deserves it's own special kind of foolish attention.

There are a host of actors in the film that are almost always a welcome addition to a movie. Ian MacShane, John Legazamo and Willem DeFoe all lend a hand to make this a little better than it has any right to be. We also enjoyed the fact that the guy who plays "Mayhem" in all those insurance ads that run during college football season, got a chance to have a few more lines, even though in the end, he gets treated a lot like he does in those ads. Michael Nyqvist, the guy who is the journalist hero in the "Girl with the Dragon Tattoo" films (the Swedish Originals), is the main Russian mobster in this movie, it is his son who does the stupid crime that sets off  mobster killing time. He also does a pretty good job being a loathsome character that deserves what he gets.

If you are a regular reader of this site, you know that I am a sucker for revenge based films. Liam Neeson and Denzel Washington have lead the way in the last few years but I'm happy to add Mr. Reeves to the pool of killers of miscreants that I enjoyed spending time with. I may be one of the few people to see "47 Ronin" much less actually like it. This role requires the deadpan delivery and mopey expression that Keanu Reeves is known for. He also gets to use the physical skills that he has been employing for the twenty years since "Speed" made him an action hero. There is not any subtlety or surprise in anything that happens in this story, but it is efficiently told and cathartic for all of us dog lovers who would like ten minutes with Mr. Vick tied to a chair and a baseball bat in our hands. It is a fantasy, not a serious film and that's exactly the sort of stuff I was in the mood for. 

Annabelle KAMAD Video Review

The Judge

It's been a week since I saw this movie. I'm sorry about being late on the post, it has been a tough week here at KAMAD. We lost a four legged member of the family and while getting out of the house to a movie relieved some of the depression, I could just not find the enthusiasm to write. It will probably never stop hurting but I am a lot more functional a week later so I thought I better get to this before I gave up on it entirely. This is one of those rare films that come around now, a straight dramatic story driven by the performances of the stars. There are a few twists but none of them are "Gone Girl" head slams. The story set up is pretty simple. Professionally successful but personally screwed up hot shot lawyer Robert Downey Jr. gets word that his mother has passed away and he travels back to the home town he escaped from for her funeral. The town is not the only thing that he was running from, Hank also has been avoiding his father Joseph. A stern family man in Hank's memory and an iron willed judge for the community. While home and tentatively negotiating the troubled waters of his family, Hank is forced to stand up for his father who may have been involved in a deadly accident that was more than an accident.

Robert Duvall is "the Judge" and his relationship with his son Hank is the core of the movie. There is a mystery and a murder trial, but that is all in aid of forcing these two to confront the past and come to some form of detente while they still can. The two stars are as sharp as can be in their parts. Each plays the defensive victim and the recriminating accuser from time to time. While Downey has the biggest slice of dialogue and action, Duvall's character is the focus of the story. As the plot unfurls, we discover layers of character and story that give Joseph Palmer a lot more development than he gets from simply donning the robes of office. Legal dramas have played fast and loose with courtroom procedure since movies first started and this is no exception. Imagine if you had someone that you resented in the witness chair and you wanted to both protect them and at the same time uncover some personal history under oath. It would never play in a real court but on the set of a Hollywood drama, it is the kind of thing that justifies making the movie in the first place. The script is really not great. In fact, I swear I saw the same plot a couple of weeks ago in a comedy. A son returns home to deal with the death of a parent. Unresolved conflicts with siblings bubble to the surface, tension exists, a mentally challenged character utters wise things, an old girlfriend get tossed into the mix and issues of paternity and trust come up every few minutes. Just like the comedy "This is Where I leave You",there is another curve thrown at you almost to a five minute metronome. Just to be sure that it is taken dramatically, "The Judge" also throws in a tornado.

The supporting cast is also good. Vincent D'Onofrio is the big brother who has a tragic past and the burden of looking out for the family as a sandwich adult. His wife and kids are in the movie but I don't think they had any lines. Most of D'Onofrio's work is done non-verbally and he is best in those scenes where he shrugs his shoulders or looks at his brother with a meaningful glance. Vera Farmiga is the old girlfriend abandoned by Hank and now much more in control than she was twenty years earlier. Billy Bob Thornton can almost steal a movie with his eyebrows and he attempts it here. As the prosecutor going after "The Judge" he initially seems to be a malevolent force for Downey to overcome but as the trial plays out, he is a needed foil for the Judge and the son to be able to confront their demons. By the way Hollywood, more Billy Bob Thornton please.

The problems with the movie are the potboiler plot and the need to fit in several turns that give each of the lead actors some chances to shine. Downey gets to have a romantic clinch with Farmiga, that ends because he has questions and doubts that he is doing the right thing. His young daughter is used to give him the warmth that he lacks in any other aspect of the characters life. She also gives Duvall an opportunity to show the warmth that Hank always wished for but never felt he was getting from his dad. There is a traumatic scene in the bathroom as the ailing Judge fails to keep his secrets from his son because his body is failing him. The courtroom scene with Duvall on the stand and Downey asking questions is the lynchpin of the movie and it works well enough to keep us involved. When the Judge recalls the words that the dead man spoke to him, I personally would have been fine if Joseph Palmer had gone all Denzel on him. 

"The Judge" is a solid piece of entertainment that can't reach greatness because of the overblown plot and the cliche strewn story line. The actors in the film elevate it to slightly above average, but the performances themselves are also handicapped by a script that lays it on way too thick. So on the charge of being overly dramatic, I find "The Judge" guilty. I hereby sentence it to limited box office success and no awards season potential. It is not a bad film, but Downey and Duvall are accessories to cinematic excess that means that their chance to work together here is less successful than any movie fan would hope for.