I Am Love

I'm late to the party, I admit.  But, man oh man, was it worth circling back for.  I Am Love is so beautiful and lush in it's cinematography, that I had to step back and separate the feast for the eyes from the story, just to make sure I wasn't being falsely seduced by the pretty.  What I found was an operatic story, that in the hands of someone other than Director Luca Guadagnino, it would have turned into melodramatic mush.  But, along with the pitch-perfect reserve of Tilda Swinton, it truly delves into an inside look at the life of quiet desperation of a woman with everything and nothing.  She has wealth, a beautiful home in Milan, a house full of servants, three lovely children, and a successful husband.  But, again and again, she muses upon the fact that she traded in her identity and her passion for this privileged life.  She poignantly says to her lover that she doesn't even remember her Russian name, having lived so long with the name (and identity) that her husband christened her with when he chose her so long ago.

Many critics (especially those in the US) slammed the movie as melodramatic, and this was not meant as a compliment.  They noted the obvious wealth of the family as reason enough to dismiss the film as some fairytale having no meaning for the average soul, along with the super lush score and quasi-gothic coda.  I disagree with this take.  I think it hearkens back to the universal human quest for meaning in our lives, the concept of true love, and the costs of compromise and secrets.  While the setting of this film in Milan, Nice, and London may be well beyond the financial and socio-economic realities of most viewers, the emotions and conflicts can be found in any social stratum. The film is really old fashioned in this sense.  In fact, Guadagnino and Swinton co-produced the film together, and purposefully set out to make a film that would "modernize the old-fashioned melodrama," and somehow "rejuvenate the filmmaking style made famous in the 1940s and 1950s by the likes of Alfred Hitchcock ('Rebecca') and Douglas Sirk ('Magnificent Obsession')."  There were only a few moments where their efforts took me out of the moment of the story.  For most of the film, the John Adams score was amazing in lending the proper tone.  But, at other times it was a bit heavy-handed, such as the whole chase scene where Swinton's character is following her soon-to-be lover through the streets of Nice.  Similarly, the camera work was almost always beautiful and elegant, but when it wasn't, it was hugely distracting.  At one point, the two lovers are driving into the countryside, and oddly the POV is from the actual front bumper of the car, not the occupants.

It's interesting, story wise, that instead of the punitive cause and effect that is often the case in films where women follow their passions in lieu of duty, this piece deftly moves beyond that rut.  When tragedy comes after Swinton's character has found love outside of the stifling confines of her societal and familial ranks, she actually uses the pain of the loss of her son to launch her own freedom.  Likewise, when she discovers her daughter's secret love of a woman in lieu of the chosen young man she'd been with, she seems giddy at the thought that some spirit of individuality and passion that she instilled in her child has flourished.

Much has been made of the food porn nature of the cuisine, and of the beyond beautiful wardrobe.  Once again, Swinton and Guadagnino were deliberate in their choices in making these elements an integral part of the storytelling.  They brought in Carlo Cracco, the Milanese chef as an advisor to the director so that the food became "a tool to express the utter giving that a lover can display to the other without words."  The fashion was designed by Fendi and Jil Sander specifically for the film, and the red dress Swinton wears in the scene when her character falls in love is classic costume design success at it's best.  

Much has also been made of the explicit sex scenes in the film. Different than most American films, though, is the fact that it never feels gratuitous.  It is spot-on, and right in the moment, utilizing the characters' passion for one another, the nature surrounding them, and the music that fits perfectly.  It is a reminder of how un-real so many Hollywood "love scenes" are written and shot.  It is also a reminder of how the American "male gaze" has formed the norm for the depiction of sex in film.

A fun aside that, for me, ties together all of this ode to classic film, fashion, and la dolce vita was the addition of 70s fashion model/icon Marisa Berenson as the matriarch of the family.  Every time her character was onscreen, I was struck by the fact that her fabulosity seemed to allude to her character having lived in a previous life the real life of the actress playing her.  I've included a few shots from her from her heyday:

Limitless

After a week of film viewing, I sat this morning mulling over what had worked, and what had not, in each film.  I never go to a movie with the expectation of it being a masterpiece.  Instead, I go into it with my mind open to seeing what creative collaboration was birthed from the efforts of the writer, director, and all of the other talents who placed their imprint upon the production.  That's not to say I don't see and call a shitty production when I see one.  I so do.  But a shitty movie can be hugely instructive, so I appreciate those as well.

Here's the roundup (Spoiler Alerts):

Limitless

Yes, we pretty much knew where the sci-fi plot was going to take us, and what ethical dilemmas that may raise.  But the premise and acting was still interesting, and visually, it was a fun ride.  Director Neil Burger actually gave the lighting in the film it's own story arc with the shifts when Bradley Cooper's character was taking the pill, and when he wasn't.  Also, the use of graphics/effects with the stock ticker on his apartment tin ceiling tiles, letters raining down while he whizzes through writing a book in four days' time, or the glitch in his character's time sequencing all lend to an uptick on the straight narrative form.  Some proactive camera work also lent to the film's message of being off kilter, playing with speed, POV, and time.  They used Fuji camera stock for the off-drug gritty life scenes, which always lends well to greens and reds, and gives a "photographic" and grittier feel.  For the on-drug, polished too-perfect scenes, they used Kodak to give a more luminous feel.  The RED camera was used for the über fast street-tracking scenes, that lend to the feel of a brain on amphetamines.  There's even some questioning on the internet boards of whether the color of Cooper's eyes were enhanced to feed into the different modes of his body off and on the drug. In the final scenes, is it possible that they also had him in a wig to subtly suggest that the drug use is still in effect?  Overall, a interesting mix of the fun toys and tools of the storytelling and filmmaking trade. Once you have your story, dive into the filmmaking sandbox and 

see what toys can be used to take the premise to a new level, to build a new layer of the story.

Next up, Adjustment Bureau.

SUCKER PUNCHed!

I had every intention of writing a dissection of Sucker Punch after seeing it this weekend.  But when I read this one, I figured, "Why re-invent the wheel?"  Read on:

http://www.lunalindsey.com/2011/03/analysis-of-sucker-punch-feminist.html

Still Standing

So this has been a year of amazing lessons.  Since the wise person is supposed to learn from their lessons, I'll be taking a whack at delving into the in's and out's of the filmmaking process from the perspective of a newbie.  And I'll try to keep it interesting.

TTFN!
Lotusfilmgirl

After being in the frenzy of a doc feature production with a 6 month pre-production/production/post-production schedule, I will be back to posting in the coming days. Stay tuned!

The Extra Man--worth checking out (Except for the Katie Holmes character--more on that later--this was a lot of fun to watch)

http://www.variety.com/index.asp?layout=print_review&reviewid=VE1117942004&categoryid=31

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Posted: Wed., Jan. 27, 2010, 3:37pm PT

The Extra Man

A Wild Bunch presentation of a Likely Story/3 Arts production. (International sales: Wild Bunch, Paris.) Produced by Anthony Bregman, Stephanie Davis. Executive producers, Jonathan Ames, Stefanie Azpiazu, Agnes Mentre, Vincent Maraval, Robert Pulcini, Shari Springer Berman. Co-producer, Rebecca Rivo. Directed by Robert Pulcini, Shari Springer Berman. Screenplay, Pulcini, Jonathan Ames, Berman, based on the novel by Ames.

Henry Harrison - Kevin Kline
Louis Ives - Paul Dano
Gershon - John C. Reilly
Mary - Katie Holmes
Vivian - Marian Seldes
Lagerfeld - Celia Weston
Katherine - Patti D'Arbanville
Aresh - Dan Hedaya
Lois - Lynn Cohen
George - John Pankow

By TODD MCCARTHY

An imperious older New York eccentric mentors a promising young one in "The Extra Man," a highly entertaining character comedy exemplified by the same virtues the titular leading man ascribes to himself -- wit, intelligence and joie de vivre. Kevin Kline soars in one of his best screen roles, that of an impoverished self-styled aristocrat who contrives to live the high life as an escort to wealthy old ladies. Although too devoted to matters literary, theatrical, operatic and sexually outre to make it with general audiences, this adaptation of Jonathan Ames' novel exudes the sort of smarts and sophisticated charm specialized audiences seek.

Bouncing back to form impressively from "The Nanny Diaries," "American Splendor" writer-directors Robert Pulcini and Shari Springer Berman have made a sort of timeless New York story, one centered on a relative innocent who comes to the big city and ends up being tutored in ways he could never have expected by an idiosyncratic gentleman of high style who expresses cracked opinions with such eloquence and authority that they brook no argument. There have been many such tales, but this one brings to mind "My Favorite Year," primarily for the theatrical flamboyance of the older characters and for the brilliance of the actors playing them, then Peter O'Toole and now Kline.

One key difference is that the young man here is not a total blank sheet waiting to be written upon, but a genuine oddball with his own extreme eccentricities. Louis Ives (Paul Dano) is a gangly, polite, formal, dough-faced prep school English teacher whose twin obsessions -- old literature and cross-dressing -- are expressed in a dream he has of "The Great Gatsby" in which he appears in drag.

Let go from his job, Louis arrives in New York to explore new horizons and, answering an ad for cheap accommodations, is confronted not only with a shabby apartment and very Spartan quarters, but with its occupant, Henry Harrison, who's offering the extra room. A college literature teacher himself and allegedly a playwright, Henry is a throwback in style as well as perspective; he speaks in the British-tinged stentorian tones of early 20th century actors, has a wardrobe almost that old, and polishes his gray hair with black tint when he goes out on the town. Admitting to views about sex and women that are "to the right of the Pope," he believes that American education started declining when females were admitted to colleges and will not allow Louis to bring visitors to the apartment. "No fornication!" he bellows.

Not that there's much imminent danger of that. Other than his discreet visits to a tranny bar and to a couple of women who assist him with his cross-dressing wardrobe, Louis seems almost unformed sexually; his "bipolar fantasies," as he puts it, are to become a young gentleman and to see a girl when he looks in the mirror. While he tries to work that one out, he begins accompanying Henry on his social rounds -- at dinners where the acerbic older man tries not to insult his hosts so he'll be invited back to Palm Beach for the winter season; and to the opera, where Henry teaches his protege his technique for getting in for free.

In due course, Louis gets a job at a small environmental magazine, where he sort of befriends co-worker Mary (Katie Holmes), whom he may see as a "Gatsby" Daisy -- and whose lingerie he covets. There's also a subplot concerning Gershon (John C. Reilly), a building weirdo with giant hair and beard who, despite his frightening appearance, speaks in a very odd falsetto, as well as one involving Henry's former boarder, whose arrival on the scene precipitates the somewhat arbitrary and indifferent wrap-up.

But the core of the film remains the interactions between teacher and student. Henry and Louis have major differences -- there's no one who could possibly agree with all of the curmudgeon's outrageous views -- but Henry likes Louis because they speak the same language. For all the aggravation, Louis knows he has a lot to learn from his unique host, who has such a commanding presence that it's hard not to come under his sway, even when looking askance at the substance of his remarks.

The same holds true for the viewer, given the mesmerizing allure of Kline's outsized but impeccably calibrated performance. Perhaps no contemporary American actor can carry off the sort of classical stage enunciation he can, and here he applies it to a character who uses it both for the effect he knows it creates but, even moreso, out of personal affinity. Henry has a tremendous sense of style, only it's a style of 80 years ago, which is what makes him so funny, an effect compounded by Kline's exceptional sense of timing.

By contrast, Dano soft-pedals his characterization to excellent effect; Louis seems like a rather calculated sort of misfit on paper, but Dano's underplaying and innate physical oddness make him not only palatable but oddly sympathetic. The actresses playing the women in the men's social orbit, including Marian Seldes, Celia Weston, Patti D'Arbanville and Lynn Cohen, are all delights.

Terry Stacey's lensing is vibrant, production designer Judy Becker has poured considerable detail in Henry's worn apartment, Suttirat Larlarb's costume designs show real wit and Klaus Badelt's score is a vigorous asset.

Camera (Deluxe color), Terry Stacey; editor, Pulcini; music, Klaus Badelt; music supervisor, Linda Cohen; production designer, Judy Becker; art director, Charles Kulsziski; costume designer, Suttirat Larlarb; sound (Dolby Digital), Damian Canelos; supervising sound editors, Julia Shirav, Kent Spalding; re-recording mixer, Lora Hirshberg; assistant director, Mariela Comitini. Reviewed at Sundance Film Festival (Premieres), Jan. 25, 2010. Running time: 108 MIN.

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Sundance 2010

Got in on Monday afternoon to Park City, where 5 feet of snow had fallen over the weekend. The energy and the buzz is always amazing. I love the mix of folks who are diehard film buffs, industry folks, young filmmakers, and those who never see a movie while they are here but do not miss a party.

Crazy altitude headache lasted an entire 24 hours, along with the huffing and puffing that goes with mountain air until your body adjusts. You instantly feel for your asthmatic grandmother.

The shuttles are the smartest thing going. You can basically get anywhere you need to go. Overheard the other day, these women were doing a play-by-play of a film a lot of us were on our way to see. I wanted to choke them. Everyone around them was shooting daggers of hate. "Do not f*c# up my moviegoing with your loose lips," was the translation of the hatestares. There was also a first time filmmaker who was talking extra loud about needing to "GET TO MY SCREENING. OF MY FILM. THAT'S SCREENING HERE. MY FILM. AT A THEATER HERE. SCREENING. HERE. MY FILM." Yeah, we all got it.

Got a last-minute invite to Chefdance. Great food and people watching. It was set up in the basement of Harry O's niteclub/live music venue. Mya performed upstairs after dinner to a jam-packed house of people. Even the club here is getting in on the movie business. There was a roving pack of cameras mostly focused on whichever female patron was most likely to have a wardrobe malfunction while dancing. Naturi Naughton, of Notorious and Fame performed, as well. She is crazy talented, definitely one to watch. I talked to her later about possibly working together to shoot a classy and beautiful video to spotlight her talent and beauty. Went to another party or two. It's all blending together. Blame it on the al-al-al-al-al-al-titude.

Saw a graffiti art piece by British artist Banksy. There is a film here on his work:

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Banksy's 'Exit' to premiere at Sundance Film, narrated by Brit Rhys Ifans, is fest's Spotlight Surprise By Gregg Goldstein Jan 20, 2010, 09:41 PM ET The infamous (and anonymous) graffiti artist Banksy is pulling what may be his biggest prank ever at Sundance -- with the help of fellow Brit Rhys Ifans. The guerrilla pseudo-documentary "Exit Through the Gift Shop," billed as "A Banksy Film" and narrated by Ifans, will have its world premiere Sunday night at the Library Center Theater as the fest's Spotlight Surprise. Cinetic Media is repping sales for the stealth project. Hopes are that an adventurous distributor will pony up as many millions for the film as Banksy earns for the "street art" he secretly leaves in urban spaces. Several of his works have appeared on Park City walls this week. Insiders say "Exit" takes audiences on hairpin twists and turns as it chronicles renegade urban artists and pranksters from around the world. The film is billed as an exploration of street art. According to a description, "Los-Angeles based filmmaker Terry Guetta set out to record this secret world in all it's thrilling detail. For more than eight years, he traveled with the pack, roaming the streets of America and Europe, the stealthy witness to the world's most infamous vandals. But after meeting the British stencil artist known only as 'Banksy,' things took a bizarre turn." Jaimie D'Cruz of U.K.-based Keo Films produced the project. Holly Cushing and James Gay-Rees exec produced. But whether the artist known as Banksy helmed the film himself is still a mystery. "Sundance has shown films by unknown artists, but never an anonymous one," said fest director John Cooper. He described the film as "part personal journey and part expose on the art world, with its mind-altering mix of hot air and hype." Adding to questions surrounding the film, U.K. crop circle hoaxter John Lundberg was said to be enlisted by Banksy for stealth promotion. However, a spokesperson for the film said Lundberg had no involvement with it. "Exit" is a separate project from "docuBANKSY," an in-the-works documentary about the artist discovered last year on the Internet. Much like Banksy's work, more about the film can be easily found now in Park City, hidden in plain sight.

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