MovieRob, the host of Acting School 101 on the Lambcast, invited me to join him for a discussion of the films of Sean Connery. Anyone who has been here before certainly knows that I think Connery IS James Bond so I was thrilled to participate. We countdown our own top five performances by Mr. Connery and have a good time talking about toupees and other acting tools.
In preparation for the podcast, I went through my laserdisc collection and put up a wall of Connery features. Four of my five picks can be found here. Try to guess what they are before you listen to the podcast. Have fun everyone.
Set in 1989 as the Berlin Wall is about to come down, "Atomic Blonde" is a Cold War Spy thriller with a kick. The twist is that instead of James Bond we have Jane Bond, so all those people who have made that casting suggestion to EON Productions can now all cool their jets. Director David Leitch comes off of a long career as a stunt coordinator and he previously was an uncredited director of "John Wick". He clearly has an eye for action scenes and stages some brutal fights for star Charlize Theron to kick ass through. From a shoot em up perspective, this is a fairly successful film. However, as a spy thriller with delusions of franchisehood, it leaves a bit to be desired.
Let me give you a little background on the literary character of James Bond as a prelude to discussing Lorraine Broughton, the English spy played by Theron. After Ian Fleming died, the literary 007 lay fallow for a few years. there were attempts to revive the series in the late sixties and seventies, but they never paid off. Sometime during the 80s, the publishers got their crap together and found a new author to pen Bond novels for several years. John Gardner had success in this field on his own, but the Bond Franchise would certainly be a jewel in his crown if it succeeded. Gardner wrote a more than a dozen Bond adventures, but he had too obvious a formula after a while. Inevitably there would be a double cross by one of the characters and occasionally there would be a triple cross. That is what is happening in this film. Double and triple crosses, however without the clarity of a narrative context. In other words, these things just happen out of the blue without much set up and certainly no trail that would allow an audience to participate in the process. Kevin Costner and Gene Hackman made it work in "No Way Out" because there was a ticking clock, and mixed motives that distracted us. "Atomic Blonde" doesn't bother to clarify anything. The end of the movie is a head scratcher and I was able to make sense of the first "Mission Impossible" film.
James McAvoy is the suspected double and at the end of the story, you need to be able to clarify why he has acted in the manner that he did. It's almost impossible to explain because it makes no sense. We know he fits a particular type but we are not clear on his motives or why any of this had to go down the way it did. The film is structured like a police procedural, where the suspect is telling a story that we get to see, but it it interrupted by side tracks and events that the subject would not have been aware of. "The Usual Suspects" made an effort to tie things together with bits of information in the background of the interrogation, this film does no such thing. So watch this for the action and style and forget about trying to figure out what the hell is going on.
Theron is ice cold as a blonde killing machine, and she plays the part of a spy being debriefed with the right amount of frustration with her superiors. Toby Jones is the MI-6 section supervisor who cross examines her and they have a couple of nice testy moments. John Goodman is a CIA advisor that she is reluctant to speak in front of, but we don't know why until the end of the film. It also makes no sense but at least it counteracts the bad taste that another twist was going to leave in our mouths. Sophia Botella was in "The Mummy" earlier this summer and in "Star Trek Beyond" last summer. She gives a solid performance as a French operative in over her head, and interestingly as a romantic interest for Theron, even though her part is mostly meaningless. Between Theron and Botella, fishnet clothing may end up in short supply in the European markets.
The look of the film is good and the style choices for the lead are interesting. I appreciated that when a character had been in a fight, that there were signs that a fight had taken place. The degree of punishment for the fight participants, whether winner or loser, is never quite believable because it is so over the top, but I suppose that is what makes it a fantasy spy film rather than a leCarre' story. It is a cool film, but not as cool as you want it to be given the trailers. Once again, all the best stuff is in the ads and there is not enough saved for the film.
If you watch the trailer for this film, you will not be expecting a horror movie. The tone of the preview clearly outlines that this is a meditative film about the afterlife and not a Halloween fright flick. The impression the ad leaves you with is that this movie is going to contemplate the emotions of grief and loneliness. It turns out however, to have bigger things on it's mind, although what those things are is not entirely clear to me. The tagline on the poster says "It's all about time." So if you are in the mood for a slow moving, abstract story about the metaphysics of death, her it is.
The above introduction might give the impression that I did not like the film. On the contrary, there are a number of things that the film does that are intriguing and thoughtful. Writer/Director David Lowery clearly has things on his mind, but he is taking his time getting them into ours. I thought the film he made last year, the re-imagining of "Pete's Dragon", was wonderful. There are quiet moments of beauty that get lingered over and many shots are clearly carefully composed. The reservation I have is that the point of it all is more opaque as the film goes along. The mediation of grief is one of the shortest elements of the film. The widow is shown in despair and coping in very mundane ways. Her story though disappears halfway through the film. At one point the "Ghost" in the story essentially commits suicide. Yeah, I know that does not make much sense but none of this is supposed to be taken literally, my hesitation is that It's not very focused on how we should try to digest it. The turn involves a switch in time, from the future to a past maybe a century earlier. When the past starts to replay itself, I guess we are to see existence as an infinity mirror. The closest we get to any explanation of why is the pontification of a beer guzzling philosopher at a house party that the "Ghost" lingers through.
The deliberate pacing worked for some scenes but in others I found it very off putting. Two examples can help illustrate. First, when the couple featured in the story first hear a sound in the middle of the night, after they check for it's source and return to bed, they cling to each other very intimately. It's not a sex scene or any kind of exposition, it is just a few moments of silent hugging, kissing and nuzzling, much as any couple might engage in when both are awake and want the other to know that they care. It goes on for a few minutes but it leads to nowhere. As a character moment I think it tells us something about their relationship that we might not have know. The second extended scene involves the widow, sitting on the kitchen floor, alone, eating a pie. We see every bite and the mucus dripping from her nose as she is grieving, but it is all too much and too long. Lowey is making a film where the camera rarely moves. The shots are static because that's the way he wants us to perceive time. Unfortunately it also tries our patience when it happens repeatedly.
This year's Academy Award winning actor, is the star of the film, but he appears in maybe five to ten minutes of the film. Casey Affleck is fine in those scenes, but there is nothing to suggest that the spirit, embodied by a hospital bed sheet, is in any way the actor we know. The performance that dominates the movie is a pantomime by an image of a child's version of a ghost. This is the accomplishment of the director and not the actor. I doubt that Affleck stayed on set to sit under a sheet and not move for long stretches of time. Jack Nicholson famously told Michael Keaton when they made "Batman" to let the costume do the acting. That is exactly what happens here. Rooney Mara fares a little better but her part is also almost without dialogue. The way in which she is displayed sitting on the bed or the floor, or looking out a window, is all a directors choice and it largely works. The two leads have faces that are not used very vividly in the movie, and the rest of them is minimal as well.
I suspect that this experimental type film will be attractive to fans of existentialism. I prefer narrative and character, but I was intrigued by the ideas in the film, at least up to the point where the issue of the infinite became the focus. This is going to be one of those films that when written about, says more about the reviewer than anything else. I hope this commentary does not make me appear to be too shallow, but I do want to appear to be honest. I sort of liked it, but I was also irritated at times. Frankly, you will have to make up your own mind.
What looks like is going to be a Gothic horror set in the Civil War period, turns out to be a psycho-sexual drama with a slightly demented finish. I was not fooled by the trailer or other marketing, because I'd seen the original version of the story from 1971. There are a few changes in the film which were supposed to alter the perspective from the soldiers point of view to that of the women in the story. I guess that would be the justification for remaking a film that was not particularly compelling the first time out. Let's just say for the moment that they may have altered the perspective some but they have not overcome the issue of the film lacking a need to exist in the first place.
Sophia Coppola is a director that many admire but I have found most of the films by her, that I have seen, to be cold and disengaging. They are beautifully shot and "The Beguiled" is certainly beautiful. Set in Virginia during the last year of the War between the States, the story concerns a wounded Union soldier taken in by a girls academy. The school is run by matron southerner Nicole Kidman. She is assisted by a younger woman played by Kirsten Dunst and they are in charge of five young women and girls who are being educated in a traditional form for young ladies. As they learn French and penmanship and sewing skills, their life is disrupted by the war around them. The introduction of Corporal McBurney (a solid Colin Farrell) into their island of antebellum etiquette throws things into a tizzy. Since it is a Sophia Coppola film however, it is done at a languishing pace with each frame posed as if it were a still life being painted for the wall of another plantation.
The pacing of the story is so agonizingly slow, but still interesting, because of the mores and cultural rules the people of that time operate in. Even when he is being chastised by Kidman, the dialogue between the two consists of polite and well thought out vocabulary. The inflections and tones contain the reprimands more than any word does. McBurney slowly courts the Dunst character and again it is done in a manner reflecting the times. In the original film, Clint Eastwood is much more clearly manipulative and he is wooing multiple women simultaneously. Farrell's version of the character seems sincere in his approach to Edwina, but Kidman's Miss Martha is also drawn to him and Elle fanning as the recalcitrant Alicia is the most brazen of the girls who have sexualized the Corporal in their heads. The little girls are fascinated by him as well but it is his Irish Charm and status as a Union soldier that holds their interest. As the story gets closer to the dramatic elements, it feels like it wakes up in a burst of energy and tries to accomplish everything the movie set up in the first ninety minutes in a two minute segment. There is a betrayal on a couple of levels, but those come rapidly and are followed by a resolution that seems to have been arrived at capriciously. The film feels like it is missing the second act.
Farrell and Dunst are the two standout performances. They are tentative and then passionate and frustrated and anguished in very effective moments. Kidman seems a little miscast. She is older but certainly desirable rather than repressed and desperate. Her delicate bathing of Farrell when he first arrives was the strongest part of her performance but in the manner she shows herself during the rest of the film, she feels a little stiff. The biggest unpleasant surprise from the actors comes from Elle fanning, an actress that i thought was special in Super 8, but here she looks like she is play acting and although she is an aggressive flirt, she does not give off the impression of lustfulness that would justify the Corporal's behavior.
The only way I see this film as being a more feminist version of the original is that only one of the women completely falls under the sexual power of the man, and he is the one who is manipulated by two of the other women. That's about it. This is a good film but not a great one. It retells the original story but without much justification for doing so. It also makes the languid pace of the original seem frenetic by comparison. The only music in the film occurs on screen when the girls are singing or performing, with the exception of an occasional synthesizer note held for a long period as a prelude to a couple of moments near the end. That may be another reason the fil feels longer than it should, without a melody it feels plodding. This is a film for Coppola Completists or someone who has missed the original and has already seen everything else playing. I am largely indifferent on it.
Sometimes, in the heat of the summer, on a sweltering day when relief from the sun would be welcome in any form, you get a chance to have a Popsicle. It is cool and sweet and has no nutritional value except that it is full of sugar and it will energize you. That's exactly what I wanted "Valerian and the City of a Thousand Planets" to be. Disposable summer fun that I could savor for a couple of hours before getting back to chores, work or other family obligations. Well, it did not quite work out that way. Sometimes that "Big Stick" Popsicle is more slimy than you anticipated, or the "Bomb Pop" has watermelon flavor instead of cherry in the red, white and blue version you eyed in the back of the freezer compartment. It's still cool and sweet but instead of satisfying, it disappoints.
"Valerian" is a technical marvel to look at. There are creative and inventive ideas in every frame and the movie is a wonder to behold. The best things about this movie can all be seen in the visuals shared in the trailers. The graphic novel that the film is based on may have originated some of these concepts, I don't know because I am completely unfamiliar with it. The director Luc Besson, is the guy who brings it to life here and you can tell his vision is a big part of the film because so much of it feels familiar from the Besson film "The Fifth Element". The backgrounds are overstuffed with details, the aliens are grotesque and oddly beautiful at the same time. Images are mixed and layered on one another in deep and interesting ways. When people write about "world building" in films, this is a place they can go to for an architectural lesson. The problem is that it is all form over substance. We have no idea why things work they way they do or how any of it might matter. If you thought Chris Tucker was the best thing in the "Fifth Element", than maybe this film will make sense to you. I still am unsure why a three headed character with distinct bodies, knows anything about what is going on, but if a clue or exposition moment is needed, these duck-like refugees from Jar Jar Binks gene pool will show up and provide it, arbitrarily.
That's the thing I find so frustrating about this movie. It is arbitrary in the story telling and character development. Valerian and Laureline are partners, but are they romantically involved? They may be, but it could just be that this is coming up for the very first time. We get no context and Laureline seems irritated at the mere suggestion that it could be the case, and then proceeds to act as if they have a deep romantic relationship anyway. The characters bond with tactical partners momentarily, but when those creatures or people die, there is often not even a shrug of the shoulders to indicate that there was any connection at all. The only one that does get a half moments consideration is the character of Bubble, played by Rihanna. After a completely unnecessary showcase for the talents of Rihanna and the visual effects team, that character is disposed of as soon as the plot deems it unnecessary. Imagine if after dropping off Luke and Obi-Wan, Han Solo exited the story never to be heard of again. That's the kind of thing that keeps happening here.
The young leads are not up to carrying the film, in spite of their looks and credits. Maybe the director is to blame, but if Bruce Willis and Milla Jovovich and Gary Oldman had not held together the weirdness of the now cult classic Fifth Element, the movie would just lie there. That is what happens here, the movie is in front of us, and there is action going on, but no one cares because the characters are not really interesting or fun. Valerian seems to be a James Bond type without the self awareness to be depreciating. Dane DeHaan never seems to know that he should be self mocking and play it lighter than air. If he had the charm of Han Solo he could carry off the swagger, the problem is he does not. Cara Delevigne as Sargent Laureline is pretty and physically tough, but her only facial expression seems to be a scowl. Clive Owen appears but does not bother to act in the picture. For a European film directed by a Frenchman, the movie lacks any Joie de vivre. It runs through its paces and introduces characters but rarely seems to have any fun with them.
If the film had matched the first ten or fifteen minutes during it's entire running time, it would have been great. The problem is that the film goes on for another two hours without the same kind of character development or empathy. Once the David Bowie song is finished and the planet Mul is gone, the rest of the film feels like a clockwork orange, designed to be clever but accomplishing nothing but dreariness. If you turn off the sound and play some Pink Floyd or Vivaldi for the rest of the movie, i think you will find it a lot more tasty. As it is, after a couple of bites you will realize that this is not the ice cream treat you wanted and buyers remorse will settle in. When is Guardians Vol. 2 available for home video?
A few months ago, I saw a film that was set in the aftermath of the events of Dunkirk. "Their Finest" was a personal drama set during the London Blitz. Up to this point it has been my favorite film of the year. It has now been supplanted by a film that features the events that are referred to in the first movie. I have been anticipating Christopher Nolan's "Dunkirk' for several months, ever since the first teaser trailer showed up on the local cinema screens. I have seen eight of his films and much like the first ten years of Pixar, I was never disappointed. There is however that first time when your expectations will exceed the results. We will have to hold on for another film for that to happen. "Dunkirk" is a dramatic success without strong characters, a tension filled story for an historical event that people know the outcome for already, and a technical achievement that relies on the directors eye more than every special effect in the book.
Let's look at those accomplishments in that order. Fionn Whitehead is starring in his first film, and he manages to give a credible performance without a large amount of dialogue and with no back story. His character is one of nearly 400,000 men trapped against the sea by the enemy forces after a military failure in the early part of World War II. Beyond running and searching for a place to relieve himself, the only way we know anything about his character are his actions. He is empathetic, but also fearful. He manages to get to the front of a line of soldiers waiting to embark on a hospital ship by using his cleverness and his empathy. He wordlessly connects with another soldier as they collaborate ways to escape from the beach. A third soldier enters the picture as they escape from a sinking ship, he is played by Harry Styles, another character that we can only judge from his behavior in interacting with the other two. This is so not a traditional war story designed around characters that we will care about and feel an emotional bond to. These three main characters from the troops trapped on the beach are ciphers standing in for all the other men trapped there as well. No one talks about their girlfriend at home, or reminisces about their dog, or tells a story of their battlefield experience. They unambiguously try to survive and escape. That pretty much sums up everything which focuses on them. The same is true of Tom Hardy's character, Farrier, a Spitfire pilot who joins the battle and has maybe a dozen lines in the story but is on screen maybe more than anyone else. It is another opportunity for him to act while hiding behind a mask. In this film he gets to do more than hook his thumbs in his suspenders but we only see his face at the very end. We know his emotions only through the choices he makes as a pilot in combat. He is heroic, thoughtful and practical. All of that has to be conveyed with few props and no other actor on screen to play off of. The closest we come to characters that we might identify with and care about are the three men heading to "Dunkirk" as part of a flotilla of rescue boats. Mark Rylance is the captain, accompanied by his son and a seventeen year old boy who sometimes serves as a mate on their pleasure boat. Mr. Dawson knows what it is they will be facing. When the three pick up a stranded soldier on a ship that has sunk, there is more dialogue than anywhere else in the film. Because of the interaction and the small amount of background we get, it ends up that the most emotional investment we have in any characters are those in the civilians rather than the troops. That's about as close to a negative thing I have to say about the film characters.
Nolan made a decision to tell three basic lines of story in the film. Each is highlighted early in the film with a title card indicating where and when the events we are watching took place in the context of the experience. What he has managed to do is build stories that have completely different timelines into a single whole where everything synchronizes in the third act. The vessel at sea is a story that takes a full day. The aircraft battles occur in a two hour window. The story of the land bound soldiers occurs over several days. Each story line has small little conflicts and extended moments of tension, but as the climax gets closer, we see those stories intersecting and the brilliant score by Hans Zimmer begins to speed up its pace, For most of the movie it si background music that feels like minutes ticking against a clock. The more time passes, the more tense it becomes. At the climax, the score is more traditional with some of the same themes but accelerated into ticking seconds rather than minutes. The story of the soldiers involves several near misses, both in the sense of death and in being rescued. Those moments play out very much in bursts of energy followed by moments of calm. Most of the time on the small boat is more lethargic and there are brief moments of energy that pass rather quickly. Almost every moment in the plane's cockpit involves aerial combat. Each segment there is brief but filled with action. Nolan mixes these moments expertly to keep the flow of the story going. The characters in each of these scenarios get different resolutions as well. Each outcome feels authentic given the circumstances.
I'm not a film maker or much of a photographer, but I can notice when something is being done effectively in showing us a story. The aviation combat scenes are primarily shot fro a perspective immediately next to the fuselage over the wings of the plane. The only time we see a pilots eye view is when there is targeting and the enemy is being shot at. All of the scenes of the pilots are in close up inside of the cockpit. The vastness of the beaches and the number of British and allied forces hoping for rescue are emphasized with wide shots that put the figures in perspective. The beaches are not crowed but rather they are dotted with need lines of men queuing up for rides that never seem to arrive. The scenes set on the ocean show the ships traveling across the channel, but they are not bunched together until the end. The "Moonstone", the yacht that Rypance captains, is small in contrast to the military vessels that are sometimes sinking in her wake. All of the ships are made more insignificant by the smoke climbing into the sky on the horizon. The deadly action that starts off the film is directed at a frantic pace, with the same high levels of dread that marked "Saving Private Ryan", but without the conspicuous violence. The deadliest moments involve the participants struggles inside of the various craft they board, Fire and drowning are the most pronounced threats in this view to the events. Nolan reminds us that the danger is not simply a bullet or a bomb, although there are plenty of those, but panic and hubris can take a soldier as well.
It is not spin to turn this military failure into a false victory. The expedition onto the continent had failed, miserably. There was however a victory in the retreat that took place. Tacitus said it best, "He that fights and runs away, may turn and fight another day: but he who is in battle slain, Will never rise to fight again." These words are not the excuse of a coward but the logic of a realist. The British people were able to see that this successful retreat would enable them to continue to fight. Nolan's story shows the shame on the faces of the soldiers returning home as well as their relief. It is the enthusiastic embrace by the public that makes the event a victory in the long run. "Their Finest" showed how that might be turned into a morale booster in the darkest hour of the war. "Dunkirk" shows us the sacrifice and courage it took to stand this bitter turn of events and grow from it. Later this year we will get a film featuring Gary Oldman as Winston Churchill. The film ends with a piece of Churchill Rhetoric, designed to rally the citizens of Great Britain, but also to plead with America. The events depicted in the film give credence to his words.
He that fights and runs away, May turn and fight another day; But he that is in battle slain, Will never rise to fight again.
Tacitus
Read more at: https://www.brainyquote.com/quotes/quotes/t/tacitus118925.html
"Even though large tracts of Europe and many old and famous States have
fallen or may fall into the grip of the Gestapo and all the odious
apparatus of Nazi rule, we shall not flag or fail. We shall go on to the
end, we shall fight in France, we shall fight on the seas and oceans,
we shall fight with growing confidence and growing strength in the air,
we shall defend our Island, whatever the cost may be, we shall fight on
the beaches, we shall fight on the landing grounds, we shall fight in
the fields and in the streets, we shall fight in the hills; we shall
never surrender, and even if, which I do not for a moment believe, this
Island or a large part of it were subjugated and starving, then our
Empire beyond the seas, armed and guarded by the British Fleet, would
carry on the struggle, until, in God’s good time, the New World, with
all its power and might, steps forth to the rescue and the liberation of
the old."
This is a story that needs to be understood by new generations. Nolan gives the events a context that most of us need and does so with a degree of technical excellence that is superlative. If it is not emotionally wrenching in every segment, it still has a heart that we can all admire.
