"Noah" - All Creatures Wild and Wacky

The best way to enjoy "Noah" is simple:  know little to nothing about Noah's three Biblical chapters in Genesis.  As the filmmakers take multiple liberties with the plot, co-writer and director Darren Aronofsky tells a version of the story never shown before.  He gets points for ambition and originality, but does it all work?  Yes and no.

"Noah" is a fast-paced, action-disaster flick with more CGI battles than "Transformers."  It's also a head-scratching oddity that viewed under the right (or wrong) circumstances could be hilarious.

Russell Crowe stars as Noah, and once again saves mankind in his ultimate role - spiritual gladiator with an environmental soul.  Along with his wife (Jennifer Connelly) and  three sons, Noah lives a peaceful, faithful life in a world of sin.  Unlike the Biblical version, Noah never hears the voice of God, but instead has a couple dreams about death and floods.  He builds the ark, the animals are called (all CGI and rather unimpressive), and a hard rains starts to fall.  Along the way, a couple major conflicts arise.  First, Noah must find wives for his sons to take along and help repopulate the planet.  It's a contrived obstacle invented by the filmmakers, but it does provide Noah with the inner-struggle of whether the earth should be repopulated or not.  Well, duh, why'd you get on the ark then?

The second conflict involves the evil king Tubal-cain.  Played by the excellent and underrated Ray Winstone, he's a multi-faceted villain who first wants to destroy Noah, and then wants aboard the ark.  A direct descendant of Adam and Eve's son Cain, Tubal-cain laments the Creator's absence in the world.  Although this character is sure to anger Biblical scholars and literalists, Tubal-cain adds some excitement to the story, resulting in the movie's best thrills. 

One major problem is the lack of background on the world that is to be destroyed.  That, to me, would be a fascinating exploration of the evils within our heart.  How did we go from the Garden of Eden to such a decadent evil civilization that needs to be wiped out?  Aside from a brief prologue explanation, not much is shown.  All we really see are roving bands of thugs which look more post-apocalyptic than pre-.  They are a clichéd gang of grunts reminiscent of a "Mad Max" movie or even the descriptions from Cormac McCarthy's "The Road."  I really wanted a better sense of who are these people and why have they so angered their creator.

Along these lines comes the second major problem:  the lack of insight into Noah.  Again why is he so special as chosen by God to be the lone survivor?  He respects the earth and all living creatures, but lives apart from his fellow man.  Rather than being a righteous soul in a world of sinners, he exists completely outside their society - and this is a big difference.  Ultimately, when he decides to build the ark he never questions his faith, nor does anyone else.  Russell Crowe does his best to look pensive, but the filmmakers failed to provide enough context for him to be such an important character.

Ultimately, the movie lacks a meaningful relevance to our life.  Outside of the blatantly obvious "we are destroying the earth" imagery, a true sense of connectedness is missing.  When the flood is over, and life returns to Earth, what is the message for us today?  I believe it's a movie about faith.  I'm not sure that it really is, though, and perhaps that theme is just my own projection.  I'm curious to know what other people think.  So in that regard, "Noah" is worth seeing and discussing.

"Noah" the movie is one interpretation of this ancient story.  At over two hours long, it moves fast.  So forget what you know and enjoy the ride.  

"The Grand Budapest Hotel" - Wes Anderson's Latest Masterpiece

Every Wes Anderson movie seems to exceed the previous one.  In terms of scope, ambition and style - each one adds to the whimsical genre that he has created for himself.  The newly released "Grand Budapest Hotel" continues that upward trend with a bold, fast-paced, hilarious, literary story featuring an endless parade of stars.

Following the success and ambitions of "Moonrise Kingdom," Mr. Anderson pushes his creative and cinematic limits with a highly imaginative comedy set in a fictional Eastern European country in 1932.  It's actually a story told in multiple flashbacks - a story within a story within a story within a story - thus making the audience both enthralled by, and dubious of, the storytellers' integrity.

The main plot focuses on Monsieur Gustave H. (Ralph Fiennes) - the sophisticated, old-world concierge of the mountaintop resort.  Meticulous and proper, yet also profane and sneaky, Gustave's life mission is to maintain the highest standards of service and luxury for the grand hotel.  Even in 1932 he's a bit anachronistic.  Much like the movie's director, his perfectionist eye for detail is all about the personal, handmade touches of class that few people in the later generations notice or appreciate.

Gustave also has the habit of seducing older women.  MUCH older women who happen to be rich.  When Madame D. (Tilda Swinton) dies and leaves a priceless painting to Gustave, her family takes an elaborate revenge on the unsuspecting concierge.  What follows is an action-packed, genre-bending journey across the snowcapped chalets of prewar Europe, where we encounter the likes of Edward Norton, Bill Murray, Jeff Goldblum, Willem Dafoe, and Adrien Brody. 

This is Wes Anderson's most commercial movie to date, blending humor and thrills, while limiting the arthouse eccentricities.  It's a near perfect journey to an imaginative world, where both the narrators and audience recognize a bygone era.  Not just the opulence of European aristocracy, or the analog delights of handwritten notes, but also the beauty of original filmmaking.  Undoubtedly it's one of the more inventive and unpredictable movies we'll see this year.  It's not based on a comic book, or a remake, or a sequel.  But a good, old fashioned original story.

The one flaw is that with so many great character cameos, I wanted more.  Adrien Brody's sulking, menacing Dmitri could have been better utilized as a villain.  He only briefly appears, and is more of a caricature than a three-dimensional antagonist.  It's always great to see Owen Wilson, who practically steals the show in his brief 2 minutes of screen time, but again such a tease leaves the audience wanting more.  Clocking in at just over 90 minutes, I could have sat through a much longer version, and with these actors it would have been a pleasure.

Miniature set display from Arclight Theater, Hollywood.

"The Grand Budapest Hotel" is fun entertainment, but also nostalgic and melancholy.  I left the theater reflecting on the past.  Distant memories and details that we haphazardly choose to remember - and not just ones filtered through movies (although that happened too).  I realize it's only March, but I'm certain "The Grand Budapest Hotel" will be remembered  when the Oscar nominations are announced next year.   

2014 Oscars Recap

The 86^th Annual Academy Awards proved to be a thrilling mix of glitz, gravitas and blockbuster.  It was an exciting show, hosted by second time emcee Ellen DeGeneres, who dished out witty jokes while pulling such memorable gags as ordering pizza for the audience, and taking an impromptu star-studded photo with Meryl Streep, Brad Pitt, Jennifer Lawrence and Julia Roberts.

The big winners were split between the powerful slavery drama 12 Years a Slave, which won Best Picture, and with the innovative sci-fi spectacle Gravity, which won Best Director plus six other technical awards.

Although it only won three Oscars, 12 Years A Slave made the biggest impact.  By winning the top honor, it marked the first time a film made by a black director won Best Picture.  In addition, it won Best Adapted Screenplay for John Ridley’s excellent script of the 150 year old memoir by Solomon Northup.  In one of the most deserving honors, Kenyan actress Lupita Nyong’o won for Best Supporting Actress in her first ever movie.

12 Years A Slave writer John Ridley

Gravity’s total of seven Oscars led the night, highlighted by Mexican born Alfonso Cuarón winning Best Director – a first for a Latin American filmmaker.  Gravity also scored wins for Best Cinematography, Best Editing, Best Score, Best Visual Effects, Best Sound Editing, and Best Sound Mixing.

Gravity Director Alfonso Cuaron

The true-life AIDS drama Dallas Buyers Club also won three key victories:  Matthew McConaughey for Best Actor, Jared Leto for Best Supporting Actor, and a much deserved Makeup and Hairstyling award.

Matthew McConaughey

Cate Blanchett won Best Actress for "Blue Jasmine."  This is her second Oscar, after winning Best Supporting Actress for portraying Katherine Hepburn in 2004's "The Aviator."  This win also represents another milestone:  five straight decades an actress in a Woody Allen movie has won an Oscar.

Cate Blanchett

The evening's other multiple winners included The Great Gatsby, which won for Best Costumes and Best Production Design.  Also, the Disney movie Frozen won for Best Animated Feature, along with Best Original Song for the hit “Let It Go.”

The Best Foreign Language Film went to Italian director Paolo Sorrentino’s Felini-esque comedy The Great Beauty.  This was the first Italian film to win this honor in fifteen years since Life is Beautiful.

The Best Documentary Feature went to 20 Feet from Stardom, the riveting story of the many backup singers who struggle for recognition in popular music.  Singer Darlene Love made a memorable acceptance speech when she broke into song to show that she is more than a supporting role player.

Other highlights for the evening included a touching Wizard of Oz tribute, where Pink sang “Over the Rainbow” – the Oscar winning best song from 75 years ago!

Pink sings "Over the Rainbow"

Once again, the In Memoriam tribute was especially moving.  It’s always sad to remember the recently departed legends which this year included Joan Fontaine, Esther Williams, and Philip Seymour Hoffman.  The tribute was capped off by Better Midler’s stirring rendition of “Wind Beneath My Wings.”

"The Rialto Theater" - A Photoplay in 10 Pictures

"The Rialto Theater" is an original photography story about a father and son.  When the alienated son encounters his father, he attempts to bridge all gaps of time and failure with the hope of finally attaining reconcilation and love.

All photographs were shot on medium-format 120 film, with a 1950s era Yashica-A camera.  Not a single frame was altered digitally.

Special thanks to Chris Heltai (The Son) and Elias McCabe (The Father).  Photographed in South Pasadena, California on January 11th and 25th, 2014.

 

"Night Film" by Marisha Pessl - Book Review

I decided to review "Night Film" - a new novel from Marisha Pessl - because the primary subject is a film director, and the themes/subplots involve moviemaking, hero worship, creative genius, and artistic eccentricity.  "Night Film" is a fascinating page-turner that I recommend to all aspiring filmmakers.  For everyone else, it's a solid mystery-thriller with several creepy scenes and a few preposterous plot twists.

"Night Film" is narrated by investigative-reporter Scott McGrath, a divorced 43 year-old living in New York City.  He recently suffered a career disgracement when his attempt to uncover a scandalous story on the reclusive film director Stanislas Cordova proved erroneous.  When Cordova's 24 year old daughter Ashley dies in an apparent suicide, McGrath is drawn back into Cordova's world, determined to find out the truth about this eccentric family of artists.

As McGrath digs deeper into Ashley's life, he essentially becomes a character in one of Cordova's horror movies.  He uncovers supernatural curses, people and clues disappear without explanation, and a whole cast of bizarre supporting players help/obstruct the case.  One of the more perplexing plot points is McGrath's decision to take on two young assistants, loosely connected to the late Ashley.  Together, the three form an unlikely (and implausible) band of detectives, chasing Ashley's shadow through New York City's darkest corners - and into the disturbing universe of Stanislas Cordova.

Cordova maintains a veil of secrecy to protect his creative genius.  When a close associate is asked what Cordova needs in order to thrive she replies, "Darkness."  She elaborates further:  "I know it's hard to fathom today, but a true artists needs darkness in order to create.  It gives him power.  His invisibility."  McGrath's question, however, is whether Cordova has taken that darkness too far.  And has his daughter paid the ultimate price?

Author Marisha Pessl

One of "Night Film's" biggest strengths is the authenticity of the central character of Cordova.  A filmmaker known for his terrifying horror films, Cordova refuses to be photographed and has not granted an interview in over 30 years.  His movies have a rabid cult following, and he now lives in semi-retirement at an isolated compound in upstate New York.  Cordova is an amalgamation of Stanley Kubrick, Terrence Malick, Francis Ford Coppola, Roger Corman, Michael Cimino, and Alejandro Jodorowsky among others.  The best part is that Cordova exists alongside them, in a parallel universe to ours.  When McGrath's young assistant says that Cordova grew up in New York playing chess in Washington Square, she is quickly corrected by an expert:  "That was Kubrick. . .Get your geniuses straight."  When McGrath feels that Cordova has crossed a line, he states that Cordova should be "terminated with extreme prejudice" in a direct reference to "Apocalypse Now."  At times, the story is very "Heart of Darkness"-esque, with the characters literally travelling up a river to look for the cult (movie) leader.

The book is full of movie and pop culture references, some not so direct.  Stylistically, it resembles "The Girl with the Dragoon Tattoo" as they both feature a disgraced journalist who take on their darkest case with the help of a quirky young female assistant.  At other times I thought of "Beautiful Ruins" by Jess Walter as it also deals with a parallel Hollywood intermingling real and fictitious people.

The novel is also full of fake news stories, reproduced to look like the real thing.  Much work and detail have gone into these pages to help make Cordova's world seem like an extension of our own.  These include interviews from Rolling Stone, and articles from Time, Vanity Fair, and the New York Times.  While this is definitely an unnecessary 21st Century marketing gimmick, I did enjoy reading these, as I have read so many authentic ones on the real directors I personally admire.  I guess it proves the role we all play in building up hype and worshipping false idols.

Fake NY Times Obituary

"Night Film" ultimately succeeds because it sticks to the template of a couple classics:  "Rebecca" and "Rashomon."  The former because the characters (and ultimately the reader) become obsessed with a character that never appears.  We learn every nuance of Ashley Cordova, yet she never speaks or lives on a single page.  Every character seems to have some Ashley anecdote, so McGrath - and we by extension - care more about the dead girl than the living ones.  The novel resembles "Rashomon" because it features various players telling vastly different versions of Ashley's brief life; often times the same exact event perceived by three different people.  Do we ever learn the truth?  Is there such a thing, or are they all, like the best films, simply stories we tell?

In the end, "Night Film" channels the great cinematic biopic "Citizen Kane" as it tackles the subject of the brilliant, flawed Stanislas Cordova.  While McGrath searches for answers to Ashley's death, he's really searching for Cordova's Rosebud.  We see both the complexities and simplicities of one man's life, and how the deeper you look, the more normal everyone becomes.  Even the great Hollywood icons.