Released on September 17, 1991, Guns & Roses albums "Use Your Illusion I & II," were follow-ups to their highly acclaimed debut, "Appetite For Destruction." Between these two musical masterpieces, three tracks ("Don't Cry," "November Rain," and "Estranged") were selected as a part of a trilogy of videos to be directed by Andy Morahan. Though the first two songs were commercial successes, "Estranged," though still mildly successful, failed to attain prominent status among critics and fans. However, in the realm of video and short film efforts, "Estranged" is a tour de force of melancholy, allegory, and allusion. The video is cut into 3 basic parts (Axl's home, the streets of L.A., & in the middle of the ocean), all culminating in an intense Slash guitar solo. I will attempt to sort out these parts and hopefully bring about a better understanding of the whole.
The video begins on an empty children's playground, a reflection of a past carefree and beautiful. The scene then cuts to a SWAT team infiltrating the home of Axl Rose in an attempt to bring him out of hiding. Ironically, Axl is hiding in an overhead compartment of a child's room--a possible allusion to the "Diary of Anne Frank," a biography about a child forced too quickly into adulthood by uncontrollable circumstances. The scene then cuts to a less abstract Guns & Roses performance, where Axl and his band mates are voyerized and idolized by millions. During the performance, there is a cut sequence where we see Axl lie down on a couch to rest and have what appears to be an out-of-body/dream sequence, which involves him going into the shower with his clothes on. This scene parallels the wedding scene in "November Rain" (the second installment of the trilogy) in which the event is rained out, a harkening back to his now dissolved marriage. We next see Axl being led out of the house quietly by what appears to be a large authoritative figure. The clothes of all of the police officers, participants in Axl's removal, and even Axl, are all white and the decor of his home casts a stark, clean paleness early in the video. The scene is dreamlike, but we are to assume that his ejection is a reality and that his marriage has bitterly ended.
In the second third of the video, the mood drastically changes and we see that Axl has returned to the streets of L.A.--a place where he once struggled to survive (the theme of much of G&R's "Appetite for Destruction"), but now finds comfort. At this point, the almost surreal dolphin imagery begins to appear in the backdrop of televisions, storefronts, cargo planes, and in the streets. The dolphins appear to symbolize a memory of his past life, possibly childhood, in which Axl lived worry free and happy. These "memories" will later rescue him and keep him from drowning in a sea of heartache and self-estrangement. During the sequence on the streets of L.A. we get a Slash guitar solo in which he floats along the crowded sidewalk in and out of people, but is not even noticed. This scene speaks to the band's past as "no names" that left their homes and sought to make their way as musicians. Axl's return to the streets marks his frustration with the new idolization of the band and his longing for a life more ordinary.
The third installment of the video begins on a large cargo ship in the middle of the ocean. Frustrated with his broken marriage, the band's idolization and his inability to return to the life he once knew, Axl attempts to take his life by jumping off the barge and into the ocean. He refuses help from drowning/support from his band mates (life buoy, row boat) and ultimately sinks toward the bottom of the abyss. On the verge of drowning, Axl is saved by the one thing he holds onto that makes him happy, his memories ("dolphinified"). As the dolphins lead him toward the surface, the background illuminates with the color of sunrise, symbolic of Axl's new beginning. In a very Arthurian Excalibur moment, Slash rises out of the ocean for a final guitar solo to play his friend home. A helicopter of Axl's band mates descends on the ocean for his rescue; they have never stopped looking for him or offering their support. However, despite his band mate’s efforts, the notion is that to find tranquility, Axl had to reach into himself and discover it on his own. One of the final images in the video is of one of Axl's sneakers drifting to the bottom of the ocean floor. This Cinderella-esque moment suggests that a part of him has actually fallen to the bottom of the ocean and will remain there and also implies that he may return there again someday. We are left with a postscript of Axl sitting on the couch where the dream sequence began, he is wrapped in a robe alongside of the memory (dolphin) that saved him.
"Estranged" has a running time of 9:40 seconds and is truly a masterpiece, which documents the struggle and self-resurrection of one of pop culture's most well-known vocalists. In today's world of pop music reduced to 2-3 minutes for the sole purpose of air play, "Estranged" is beacon of stability and high art.
4 out of 4
Tuesday, February 10, 2009
Wednesday, February 4, 2009
Dead Ringers (1988)
"Dead Ringers" is David Cronenberg's psychological thriller about identical twin gynecologists (both roles played by Jeremy Irons) who are renowned and accomplished physicians in their field. Always together and never "separated" since birth, the brothers live a symbiotic life in which each sibling, though physically alike, feeds off of the other's talents. When the more confident brother seduces an actress and shares her with the shyer sibling, their lives begin to unravel as the latter seeks independence--separation.
"Dead Ringers" is similar to Cronenberg's earlier efforts, "Videodrome," "Scanners," and "Dead Zone" in that the protagonist(s) share a sort of supernatural ability that exceeds normal human capacity; however, it's this ability/dissimilarity from much of the rest of humanity that ultimately leads to their undoing. If there is any film that Cronenberg draws much of his influence from, it has to be De Palma's "Sisters" (1973). The title sequence is eerily similar and also implements odd combinations of early sketches, which foreshadow the events and psychology of the film. "Ringers" alternates between what appears to be early, medieval looking surgical instruments and early depictions of the female anatomy, while "Sisters" begins with a series of early depictions of conjoined twins. Though Cronenberg's brothers are not, or never were, conjoined physically (although they are in a dream sequence), it appears that their connection, and what ultimately prevents their assimilation into humanity, is their mental symbiosis.
Although I'm not the biggest fan of the Jeremy Irons' acting gamut, I have to applaude him for his work in this film. Not only would playing two characters in the same film be difficult, but also portraying two characters that are identical in appearance makes his performance doubly challenging. What astonishes me most about Irons' effort is that the audience is able to distinguish between the two characters although they are similar. Though Cronenberg's use of wardrobe aids in distinguishing the identity the brothers, it is Irons who ultimately constructs the emotion and psychological separation.
"Ringers," like most of Cronenberg's work, is odd, supernatural, and bold, but is one of the more accessible of his efforts. It is certainly not a film for everyone, but in its own right deserves its place among other great psychological thrillers.
3 out of 4
"Dead Ringers" is similar to Cronenberg's earlier efforts, "Videodrome," "Scanners," and "Dead Zone" in that the protagonist(s) share a sort of supernatural ability that exceeds normal human capacity; however, it's this ability/dissimilarity from much of the rest of humanity that ultimately leads to their undoing. If there is any film that Cronenberg draws much of his influence from, it has to be De Palma's "Sisters" (1973). The title sequence is eerily similar and also implements odd combinations of early sketches, which foreshadow the events and psychology of the film. "Ringers" alternates between what appears to be early, medieval looking surgical instruments and early depictions of the female anatomy, while "Sisters" begins with a series of early depictions of conjoined twins. Though Cronenberg's brothers are not, or never were, conjoined physically (although they are in a dream sequence), it appears that their connection, and what ultimately prevents their assimilation into humanity, is their mental symbiosis.
Although I'm not the biggest fan of the Jeremy Irons' acting gamut, I have to applaude him for his work in this film. Not only would playing two characters in the same film be difficult, but also portraying two characters that are identical in appearance makes his performance doubly challenging. What astonishes me most about Irons' effort is that the audience is able to distinguish between the two characters although they are similar. Though Cronenberg's use of wardrobe aids in distinguishing the identity the brothers, it is Irons who ultimately constructs the emotion and psychological separation.
"Ringers," like most of Cronenberg's work, is odd, supernatural, and bold, but is one of the more accessible of his efforts. It is certainly not a film for everyone, but in its own right deserves its place among other great psychological thrillers.
3 out of 4
Tuesday, February 3, 2009
Man on Wire (2008)
After three days of separate 30 minute viewings, I finally finished the documentary, "Man on Wire." I was really impressed with the story and found it an inspiring piece in a post-9/11 world. Though the tragedy of events of 9/11 are never mentioned in the documentary (and I thought this was a good choice), one can't help but to have an overwhelming feeling of emotion upon seeing these colossal structures.
"Man on Wire" documents the conquest of Frenchman, Philippe Petit to perform a tight rope walk across the Twin Towers during their construction in the early 1970's. The film intertwines personal footage of the preparation and actual feat, reenactments of the operation to secure the wire, and interviews of the individuals involved in the planning and execution. Director James Marsh does a nice job of keeping the film interesting by splicing the reenactment and personal accounts of getting and securing the wire to the tops of the Towers. This process keeps the film fluid by giving it a more exciting, illicit quality. Thought the "caper" conducted in this film is essentially illegal (but not to the extent of physically of financially damaging others), Phillipe and his cohorts, and possibly Marsh, compel the viewer to question the delicate balance between human expression and legality. One of the best pieces of footage to capture this tangling of emotion is the interview with one of the New York City police officers that is sent to the top of the Towers to bring down the Petit. You can tell in his interview that the officer struggles with his obligation to fulfill lawful duty and that at the same time, he appreciates that he has witnessed first-hand something so beautiful and immense. I think this realization is the crux of the film and is what truly makes it interesting and thought-provoking.
Though I can't speak as to the acting in this film, I will say that Marsh's character development (of Petit and his accomplices) is astonishing. By the end of the film, you feel that you have a better sense of these individuals and their motives--some self-serving, some for the sake of adventure, and some for the sake of art. Marsh does a fantastic job in "Man on Wire" of challenging his audience to evaluate Man's place in this world and the human condition.
3.25 out of 4
"Man on Wire" documents the conquest of Frenchman, Philippe Petit to perform a tight rope walk across the Twin Towers during their construction in the early 1970's. The film intertwines personal footage of the preparation and actual feat, reenactments of the operation to secure the wire, and interviews of the individuals involved in the planning and execution. Director James Marsh does a nice job of keeping the film interesting by splicing the reenactment and personal accounts of getting and securing the wire to the tops of the Towers. This process keeps the film fluid by giving it a more exciting, illicit quality. Thought the "caper" conducted in this film is essentially illegal (but not to the extent of physically of financially damaging others), Phillipe and his cohorts, and possibly Marsh, compel the viewer to question the delicate balance between human expression and legality. One of the best pieces of footage to capture this tangling of emotion is the interview with one of the New York City police officers that is sent to the top of the Towers to bring down the Petit. You can tell in his interview that the officer struggles with his obligation to fulfill lawful duty and that at the same time, he appreciates that he has witnessed first-hand something so beautiful and immense. I think this realization is the crux of the film and is what truly makes it interesting and thought-provoking.
Though I can't speak as to the acting in this film, I will say that Marsh's character development (of Petit and his accomplices) is astonishing. By the end of the film, you feel that you have a better sense of these individuals and their motives--some self-serving, some for the sake of adventure, and some for the sake of art. Marsh does a fantastic job in "Man on Wire" of challenging his audience to evaluate Man's place in this world and the human condition.
3.25 out of 4
Monday, February 2, 2009
Slumdog Millionare (2008)
I had a chance to view "Slumdog Millionare" this weekend as it arrived in town amongst the other Oscar hoopla films. The theatre was packed and the attendees ranged from teenagers to several individuals well into their 60s and 70s. I mention this because I felt that the subject matter of the film had great appeal to all age groups and the film itself was a very enjoyable experience overall. Though I am initially hesitant about films where there is an overabundance of Oscar buzz, I decided to try and go into the film with an open mind and sense of positivity.
What I found most enjoyable about the film was the direction and editing. "Slumdog" is a very beautiful film and vibrant with color. Though the subject matter of the film was very bleak and depressing, I found it nice that Boyle chose to use color as a means of portraying Indian culture in all of its alluring majesty. Even the scenes filmed in the poorer parts of town, stood out in contrast to depictions employed by other directors, who often overuse darker colors as a means to symbolize the inner and outer struggles of the lower class. Boyle's India, while similarly sad and emotionally binding, offers a glimmer of hope and prosperity in a world foreign to many of its viewers.
The camera work and editing in "Slumdog" are equally impressive and I my expectations (after viewing such films as "Millions," "28 Days Later," and "Trainspotting") were again exceeded. Boyle has a great eye for direction and captures some very impressive shots from various perspectives. The scenes, which are especially noteworthy, are the numerous chase sequences throughout the film. These scenes are cutting and quick and transition from characters running through multiple still frames to an assortment of high action tracking shots. I was also particularly impressed with Boyle's choice of film. In an age of digital clarity, Boyle chose to create a more subtle and grainier film. I thought that this was a very nice touch and have to applaud him for taking a chance on a very well done artistic decision.
The acting in "Slumdog" was very good and I thought that all three incarnations of the main actors did a very nice job of portraying their characters. I was most impressed with the characterization of the older brother, Salim. Though may the most complex of the three leads, the younger and older actors did a nice job of bringing this character to life.
Though much of my experience with "Slumdog" was very positive, I found that the plot of the film lacked in creativity. In a culture obsessed with reality television and game shows, drawing on a specific pop cultural icon (i.e. "Who Wants to Be a Millionare") is a bit too easy and trite. For such a serious film, I often found myself in disbelief that something so mechanical had been worked into a plot. During the scene where the children were in the storm pipe (approx. 15-30 minutes in), I turned to my wife and told her what the final "Millionare" question was going to be. Though I heard a few gasps when the question was revealed at the end of the film, I couldn't help but to look at my wife and sneer in disbelief. Before going to the theatre, I had seen an article, which professed "Slumdog" as the "feel good movie of the year" and I couldn't disagree more. If we are to take some sort of solace from this film, I feel that it has to be at the expense of another culture. The film is conclusively wrapped in a pretty pink bow and it's a shame that much of the struggle and plight of the characters is lost in translation on the audience. I feel that the film unintentionally mimics our culture in that it asserts that the end-all means to financial independence and removal from a bleak socioeconomic environment is through attaining fame (i.e. reality shows, game shows, sports, etc.).
Though I had some issues with the plot and message, I felt that "Slumdog Millionare" was a very enjoyable film. While I think that the Academy will ultimately choose it for "Best Motion Picture," for its accessability and wide audience appreciation. I would certainly put a few others above it.
3 out of 4
What I found most enjoyable about the film was the direction and editing. "Slumdog" is a very beautiful film and vibrant with color. Though the subject matter of the film was very bleak and depressing, I found it nice that Boyle chose to use color as a means of portraying Indian culture in all of its alluring majesty. Even the scenes filmed in the poorer parts of town, stood out in contrast to depictions employed by other directors, who often overuse darker colors as a means to symbolize the inner and outer struggles of the lower class. Boyle's India, while similarly sad and emotionally binding, offers a glimmer of hope and prosperity in a world foreign to many of its viewers.
The camera work and editing in "Slumdog" are equally impressive and I my expectations (after viewing such films as "Millions," "28 Days Later," and "Trainspotting") were again exceeded. Boyle has a great eye for direction and captures some very impressive shots from various perspectives. The scenes, which are especially noteworthy, are the numerous chase sequences throughout the film. These scenes are cutting and quick and transition from characters running through multiple still frames to an assortment of high action tracking shots. I was also particularly impressed with Boyle's choice of film. In an age of digital clarity, Boyle chose to create a more subtle and grainier film. I thought that this was a very nice touch and have to applaud him for taking a chance on a very well done artistic decision.
The acting in "Slumdog" was very good and I thought that all three incarnations of the main actors did a very nice job of portraying their characters. I was most impressed with the characterization of the older brother, Salim. Though may the most complex of the three leads, the younger and older actors did a nice job of bringing this character to life.
Though much of my experience with "Slumdog" was very positive, I found that the plot of the film lacked in creativity. In a culture obsessed with reality television and game shows, drawing on a specific pop cultural icon (i.e. "Who Wants to Be a Millionare") is a bit too easy and trite. For such a serious film, I often found myself in disbelief that something so mechanical had been worked into a plot. During the scene where the children were in the storm pipe (approx. 15-30 minutes in), I turned to my wife and told her what the final "Millionare" question was going to be. Though I heard a few gasps when the question was revealed at the end of the film, I couldn't help but to look at my wife and sneer in disbelief. Before going to the theatre, I had seen an article, which professed "Slumdog" as the "feel good movie of the year" and I couldn't disagree more. If we are to take some sort of solace from this film, I feel that it has to be at the expense of another culture. The film is conclusively wrapped in a pretty pink bow and it's a shame that much of the struggle and plight of the characters is lost in translation on the audience. I feel that the film unintentionally mimics our culture in that it asserts that the end-all means to financial independence and removal from a bleak socioeconomic environment is through attaining fame (i.e. reality shows, game shows, sports, etc.).
Though I had some issues with the plot and message, I felt that "Slumdog Millionare" was a very enjoyable film. While I think that the Academy will ultimately choose it for "Best Motion Picture," for its accessability and wide audience appreciation. I would certainly put a few others above it.
3 out of 4
Wednesday, January 28, 2009
Branded to Kill (1967)
Let me start off by saying that I am not a big fan of gangster films; I've seen all of the Godfather movies, but couldn't make it through even half of "Scarface." However, I picked up a copy of "Branded to Kill" a few years ago on Criterion, and it blew me away. The movie was made in 1967 by famed director, Seijun Suzuki and starred Joe Shishido, an actor noted for his prominent work in yakuza films of the time. Yakuza films were similar to the Roger Corman films of the 60's and 70's in that they were made quickly and on low budgets in hopes that the bulk turnaround would be profitable if the films were not highly successful.
"Branded to Kill" was unlike other films of it's time, in that Suzuki put a tremendous amount of creative effort into the film to give it artistic appeal (i.e. a sniper inside of a moving billboard and the infamous sink murder scene). Though color was available in the late 60's, Branded was shot in black and white. Suzuki's mastery of shadows and transitioning of color to this medium is astounding. I have yet to see another film that uses jump cuts to the extent and perfection as does Branded. Suzuki trims down the transitions well in the film and the plot is very freeflowing, but does not take away so much as to make it awkward or disjointed.
Branded is a story about number 3 hitman (all hitmen are known by their ranks), Goro Hanada (Shishido) who is working his way up the hitman ladder. Goro's only weakness is the smell of boiling rice, for which he has an odd fetish. Hanada is gainfully employed by the yakuza, until during a mission, a butterfly lands on the barrel of his gun and he misses his intended target. Subsequently, Goro is marked for death and must fight his way through crime bosses and numbers (literally) of hitmen. Furious with his script and inability to make profitable films, the production company fired Suzuki after the completion of Branded.
Today Suzuki's films are credited as a great influence by directors: Jim Jarmusch, Quentin Tarantino, and John Woo. I have seen other Suzuki films, but stylistically, "Branded to Kill" is by far my favorite.
4 out of 4
"Branded to Kill" was unlike other films of it's time, in that Suzuki put a tremendous amount of creative effort into the film to give it artistic appeal (i.e. a sniper inside of a moving billboard and the infamous sink murder scene). Though color was available in the late 60's, Branded was shot in black and white. Suzuki's mastery of shadows and transitioning of color to this medium is astounding. I have yet to see another film that uses jump cuts to the extent and perfection as does Branded. Suzuki trims down the transitions well in the film and the plot is very freeflowing, but does not take away so much as to make it awkward or disjointed.
Branded is a story about number 3 hitman (all hitmen are known by their ranks), Goro Hanada (Shishido) who is working his way up the hitman ladder. Goro's only weakness is the smell of boiling rice, for which he has an odd fetish. Hanada is gainfully employed by the yakuza, until during a mission, a butterfly lands on the barrel of his gun and he misses his intended target. Subsequently, Goro is marked for death and must fight his way through crime bosses and numbers (literally) of hitmen. Furious with his script and inability to make profitable films, the production company fired Suzuki after the completion of Branded.
Today Suzuki's films are credited as a great influence by directors: Jim Jarmusch, Quentin Tarantino, and John Woo. I have seen other Suzuki films, but stylistically, "Branded to Kill" is by far my favorite.
4 out of 4
Tuesday, January 27, 2009
Inland Empire (2006)
I actually got to see a prescreening of Inland Empire in an old theatre about a year ago and I must say I have mixed feelings about this new Lynch endevor. My feelings are so mixed in fact, that I had to take some time to digest it to put up a fair review. The stroy starts out fairly linear and intense, Laura Dern's character is up for a role in a new film and is visited by a gypsy "neighbor" who tells her prematurely that she has already gotten the part. While filming, she realizes that it is a remake of an old Polish film (named 47) that was never finished due to "horrible incidents" on the set. The film begins to mimic Dern's own life, her infedility, violence, and her background, among its themes.
The first hour is fairly solid, but the remainder soon begins to lose focus, and swirls into repetiton with undefined characters and situations. At first, I was a little angry about sitting through a 3 hour marathon and coming out of the theatre more confused than satisfied, but soon focused on the few moments of brilliance in the film. Empire takes from its predecessors, "Lost Highway" and "Mullholland Drive," in that Lynch uses dreamlike sequeces to bend reality, and juxtaposes charaters, names, and several storylines to mask what one might try to piece together into a coherant plot. I'm not opposed to this type of direction, but it seems that Lynch has gone much further than before, and as a result, really lost me in the fold.
In contrast, the cinematic techniques and the photography of Inland Empire are some of the best that I have ever seen. It is a beautiful film, from its black and white and vivid color sequences, to its overexposed and underfocused portions, Lynch really shows us the future of what filmaking should and hopefully will be. The lighting is phenominal and there are recurring characteristics of previous titles: the red theater curtains and stage and the shots which slowly reveal movement out of the darkness, which mark his earlier efforts, "Blue Velvet," "Fire Walk With Me," "Lost Highway," and "Mullholland Drive."
What Lynch does so well artistically, he gives up in substance, and as a result, I found myself leering at people who clapped at the end--feeling that in some way they had to make others think that in some way they "got" it. It seems that Lynch has reverted back to his earlier film school days, since "Inland Empire" reminds me more of "Eraserhead" (an early artistic venure) than of his later works, which melded the strange with substance and cinematic beauty. It's unfortunate that a second, third, etc. viewing will have to include a notepad so that I can somehow seperate the storylines and determine what parts/characters match, or possibly match with the others. I don't think its wrong for a film to be abstract and thought-provoking, but in my opinion, Lynch has crossed the line a bit too far. It's a film worth seeing if you're a Lynch fan, but if your new to his work, I'd suggest soething a bit more concrete.
Kudos go out to Laura Dern's exceptional performance (though with a bad Southern accent), a prostitute dance sequence using "The Locomotion," and a decent montage of action using Beck's "Black Tamborine."
2 out of 4
The first hour is fairly solid, but the remainder soon begins to lose focus, and swirls into repetiton with undefined characters and situations. At first, I was a little angry about sitting through a 3 hour marathon and coming out of the theatre more confused than satisfied, but soon focused on the few moments of brilliance in the film. Empire takes from its predecessors, "Lost Highway" and "Mullholland Drive," in that Lynch uses dreamlike sequeces to bend reality, and juxtaposes charaters, names, and several storylines to mask what one might try to piece together into a coherant plot. I'm not opposed to this type of direction, but it seems that Lynch has gone much further than before, and as a result, really lost me in the fold.
In contrast, the cinematic techniques and the photography of Inland Empire are some of the best that I have ever seen. It is a beautiful film, from its black and white and vivid color sequences, to its overexposed and underfocused portions, Lynch really shows us the future of what filmaking should and hopefully will be. The lighting is phenominal and there are recurring characteristics of previous titles: the red theater curtains and stage and the shots which slowly reveal movement out of the darkness, which mark his earlier efforts, "Blue Velvet," "Fire Walk With Me," "Lost Highway," and "Mullholland Drive."
What Lynch does so well artistically, he gives up in substance, and as a result, I found myself leering at people who clapped at the end--feeling that in some way they had to make others think that in some way they "got" it. It seems that Lynch has reverted back to his earlier film school days, since "Inland Empire" reminds me more of "Eraserhead" (an early artistic venure) than of his later works, which melded the strange with substance and cinematic beauty. It's unfortunate that a second, third, etc. viewing will have to include a notepad so that I can somehow seperate the storylines and determine what parts/characters match, or possibly match with the others. I don't think its wrong for a film to be abstract and thought-provoking, but in my opinion, Lynch has crossed the line a bit too far. It's a film worth seeing if you're a Lynch fan, but if your new to his work, I'd suggest soething a bit more concrete.
Kudos go out to Laura Dern's exceptional performance (though with a bad Southern accent), a prostitute dance sequence using "The Locomotion," and a decent montage of action using Beck's "Black Tamborine."
2 out of 4
Monday, January 26, 2009
The Wrestler (2008)
I went to see "The Wrestler" last night and was very impressed with the film. I haven't seen an Aronofsky film since my utter disappointment in "Requiem for a Dream, "which followed one of my favorite films, "Pi." I must say I was a little hesitant to go see this film, but the overall subject matter won me over. Growing up as a child near Charlotte, NC you can't deny your wrestling roots and the years of curling up on the couch in your good clothes after a midday sermon to watch some male on male brutality.
Aronofsky's direction is superb in this film and he doesn't rely on gimmicky edits as he does in some of his previous films. One particular scene, which I found very creative, was when Rourke (The Ram) had dressed for his new job in the deli and was making his way to the counter. The camera follows him down the hallways and through a maze of butchering equipment into the depths of what is his own personal hell. There is moment where his silhouette stops just in front of a shredded, industrial plastic curtain and you begin to hear the faint wresting announcement in the background just as he breaks through...a mimicry of his former life. I also thought the wresting choreography was well done, just the right amount of imperfections to make it seem "real."
Rourke's performance was by far the best acting I have seen all year and I will definitely be "in his corner" on Oscar night. I don't know that I would call it type casting, but Rourke's demeanor and physical appearance certainly parallels the years of self-inflicted abuse portrayed by his character. I can only assume that some of the script was improvised, but to me, that's where Rourke stole the show. The scenes with him behind the deli counter and in the dollar store are especially great and keep the film lighthearted and from turning too grim. Even though it's evident that Rourke is having fun with his role, he never steps out of character while improving and it really makes for some creative and endearing scenes. The more serious scenes are touching and well done and the even the wrestling is spot on. Rourke truly runs through an acting gauntlet and comes out the other side triumphant.
Rourke's love interest, Marisa Tomei (who plays the stripper, Cassidy) was stellar in the film and it's nice to see her in another career-resurrecting film following "When the Devil Knows You're Dead." I was initially put off at first by the amount of nudity in the film in terms of it's necessity (since sometimes it makes me feel uneasy for the actress and can sometimes break my suspension of disbelief), but I can sincerely say that Aronofsky’s portrayal of that seedy slice of society is dead on accurate and that Cassidy's meetings with Ram outside of that environment are more powerful and realistic as a result of this decision.
Though "The Wrester" was a very sincere and often humorous film, I found that the film's plot was a bit generic and ultimately, fairly predictable--the terminally ill father who has never been there, the reluctant reconciliation, and the tragic denouement (not really a spoiler, the trailer details it all). However, after some careful consideration, I think the film separates itself from others based on its ability to portray such a difficult and often belittled subject matter and it stands tall on its own merits (acting, editing, and directing).
4 out of 4
Aronofsky's direction is superb in this film and he doesn't rely on gimmicky edits as he does in some of his previous films. One particular scene, which I found very creative, was when Rourke (The Ram) had dressed for his new job in the deli and was making his way to the counter. The camera follows him down the hallways and through a maze of butchering equipment into the depths of what is his own personal hell. There is moment where his silhouette stops just in front of a shredded, industrial plastic curtain and you begin to hear the faint wresting announcement in the background just as he breaks through...a mimicry of his former life. I also thought the wresting choreography was well done, just the right amount of imperfections to make it seem "real."
Rourke's performance was by far the best acting I have seen all year and I will definitely be "in his corner" on Oscar night. I don't know that I would call it type casting, but Rourke's demeanor and physical appearance certainly parallels the years of self-inflicted abuse portrayed by his character. I can only assume that some of the script was improvised, but to me, that's where Rourke stole the show. The scenes with him behind the deli counter and in the dollar store are especially great and keep the film lighthearted and from turning too grim. Even though it's evident that Rourke is having fun with his role, he never steps out of character while improving and it really makes for some creative and endearing scenes. The more serious scenes are touching and well done and the even the wrestling is spot on. Rourke truly runs through an acting gauntlet and comes out the other side triumphant.
Rourke's love interest, Marisa Tomei (who plays the stripper, Cassidy) was stellar in the film and it's nice to see her in another career-resurrecting film following "When the Devil Knows You're Dead." I was initially put off at first by the amount of nudity in the film in terms of it's necessity (since sometimes it makes me feel uneasy for the actress and can sometimes break my suspension of disbelief), but I can sincerely say that Aronofsky’s portrayal of that seedy slice of society is dead on accurate and that Cassidy's meetings with Ram outside of that environment are more powerful and realistic as a result of this decision.
Though "The Wrester" was a very sincere and often humorous film, I found that the film's plot was a bit generic and ultimately, fairly predictable--the terminally ill father who has never been there, the reluctant reconciliation, and the tragic denouement (not really a spoiler, the trailer details it all). However, after some careful consideration, I think the film separates itself from others based on its ability to portray such a difficult and often belittled subject matter and it stands tall on its own merits (acting, editing, and directing).
4 out of 4
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