Not much time to be articulate and wordy this week (hopefully next week?) but I must pause in my daily madness long enough to tell you about 2 must-see movies playing in Toronto that you gotta catch.
Molly Maxwell's limited engagement at the Carlton Cinemas ends Thursday (unless they extend it? Please extend it!) I'll use this review from TFS to sum it up as I don't have the time. When it comes to 'coming of age' films, this is even better than Perks of Being A Wallflower (yes yes, I know there's better, but I'm grasping for recent examples in a hurry). Molly lives the life I've always dreamed for my adolescence, to be surrounded by freaks and have parents who let me do whatever I want, but clearly emotional turmoil touches everyone as they navigate their adolescence. There's something so fresh and authentic about the story. It's thought provoking and relate-able, and the leads have an incredible chemistry. I'd love to see this again sometime.
What I need to see again now is Trance, Danny Boyle's latest, which I saw a couple weeks ago at a preview and described as "Inception but with a sense of humour" (ok maybe not quite as intellectually stimulating, my buddy and I could guess what was going on early in the movie) It's really much more than that. Another Ada soundbite: "It's like what Shallow Grave would have been if it had a budget", actually I had that impression right after seeing the trailer. Unfortunately it's a limited release that's not getting the rave reviews I think it deserves. Granted I preface every recommendation I've made for Trance with "I'm a huge Danny Boyle fan, but I thought Trance was amazing". It's at AMC Yonge & Dundas this week and moving to the Carlton starting Friday. Despite guessing some plot details early on, I still enjoyed watching the transfer of power between characters (one of my favourite things about Shallow Grave), Boyle's trippy cinematic style, and of course his always-stellar soundtrack. I had a really good time and I think you might too.
Check these films out on the big screen while you still can!
Back in December, as a means of hyping the upcoming opening of Django Unchained in Theatres, I wrote an article that appeared on the Scene Creek website about my Top 5 Tarantino Movie Music Moments. In the process of choosing my 5 favs, I combed through a lot of scenes, where I discovered that although QT is often revered for his great musical timing and track selection, he can create an equally memorable scene with little or no use of music at all. Seriously, is there anything the man can't do? So, on the occasion of the Blu-Ray/DVD release of Django Unchained (today - April 16th), I wanted to share a handful of Quentin Tarantino's finest non-musical moments (in chronological order). You'll have to forgive me in advance for heavily favouring Pulp Fiction, truth of the matteris that PFis my favourite QT movie, I've seen it the most times, can recite the most dialogue from it, and I'm a little pressed for time in my "real life" commitments (how I've missed blogging on my own site, where I can include these inserts and fess up to such things...)
[Insert spoiler alerts, etc etc...]
1) The hallway shot as Jules and Vincent get ready to bust in on Brett & company (Pulp Fiction)
Early in the film we are introduced to Vincent Vega and Jules Winfield, a couple of henchmen on their way to retreive a briefcase for their boss Marsellus Wallace. As they enter the apartment of Brett & company, who have ripped off Marsellus, they share some gossip about their colleague Antoine, who was rumoured to have been thrown off a fourth floor balcony for giving Marsellus' wife, Mia Wallace, a foot massage. This conversation continues as they make their way down a long hallway, pauses briefly as they stop outside of the apartment door to check the time, and continues when they realize they're early and Jules decides "No, it's not time yet. Let's hang back." I love this scene natrually for its technical achievement, one long take consisting of a tracking shot all the way until they arrive at the door, at which point the camera becomes stationary, panning to follow Vincent and Jules while they continue debating the intimate nature of a foot massage, as if the camera itself is now becoming impatient for them to get on with their job. Switching from a track to a panning shot was an excellent decision, I think the impatience winds up rubbing off on the audience too, creating a sort of tension. Despite that we are oddly curious how this food massage conversation is going to go too, Vincent ultimately says one thing that wins him the argument, and it's hella funny watching Jules react. It amuses me to no end watching a couple of low-level gangsters gossip on their way to a job, it's so nonchalant but badass at the same time. I think it helps to set the tone for the entire film.
2) Uncomfortable silence over dinner at Jack Rabbit's Slim's (Pulp Fiction)
Ok, I'm already blatantly cheating with this scene, as a musical soundtrack does run throughout the entire scene. In my defense, the track ("Rumble on the Docks" by Link Wray according to the internet) was not deemed important enough by QT to be included in the soundtrack, and I think the music establishes more of an attitude and overall atmosphere rather than the song itself becoming exclusively associated with the scene. Vincent Vega's been asked by the big man to take his wife Mia out for an evening while he's away. Mia's choice is dinner at Jack Rabbit Slim's 50's themed diner. They sit at their booth (a converted car) and begin to converse and get acquainted, food is ordered, Vincent inquires about Mia's five dollar shake ("You don't put bourbon in it?), etc. Shortly thereafter is a long drawn out silence. The music actually swells slightly in volume emphasizing the lack of conversation as they look at each other from across the table. Finally Mia breaks the ice by commenting on the unpleasantness of the silence "Why do we feel it's necessary to yak about bullshit in order to be comfortable?...That's when you know you've found somebody really
special: you can just shut the fuck up for a minute and comfortably
share silence." I live by these words. Ok fine, the first quote I ever found on this subject matter was actually "True friendship comes when silence between two people is comfortable" but it was around the same time as Pulp Fiction was made, and to this date, if you ever sit in on a relaxed meal with me and either of my best friends, you will experience these comfortable silences firsthand. I don't know if Quentin agrees with this statement he wrote for Mia, but it applies to me on a very personal level, hence this scene is a favourite.
3) The adrenaline shot (Pulp Fiction)
Who needs music with everything else that is going on in this scene? When Mia accidentally overdoses, Vincent has no one to turn to other than his dealer Lance. After Vincent crashes his car outside Lance's house and the two have a quick heated argument, they bring the dying Mia inside to try and revive her. The hilarious bickering continues as they scramble around the house readying the adrenaline shot that will save the mob boss' wife. Lance digs fruitlessly in his spare room freaking out looking for a little black medical book, while his wife points out "if it's so important, why don't you keep it with the shot?" Actually, I don't think I can accurately describe the comedy of this scene in a way that will do it justice... read these long excepts if you're inclined, it's amazing even just in written form:
Lance: [answering the phone] Hello. Vincent: Lance! It's Vincent. I'm in big fuckin' trouble, man. I'm coming to your house. Lance: Whoa. Whoa. Hold your horses, man. What's the problem? Vincent: I've got this chick, she fuckin' O.D.in' on me! Lance:
Well, don't bring her here! I'm not even fuckin' joking with you,
man! Do not be bringing some fucked-up pooh-bah to my house! Vincent: No choice. Lance: She's O.D.in'? Vincent: She's fuckin' dyin' on me, man! Lance: Okay, then you bite the fuckin' bullet, take her to a hospital and call a lawyer. Vincent: Negative. Lance: This is not my fuckin' problem, man! You fucked her up, you fuckin' deal with this!
Lance: Are
you calling me on the cellular phone? I don't know you. Who is this?
Don't come here, I'm hanging up the phone! Prank caller, prank caller!
Lance: You are not bringing this fucked-up bitch into my house! Vincent:
This fucked-up bitch is Marsellus Wallace's wife! Do you know who
Marsellus Wallace is? Do you? If she croaks on me, I'm a fuckin'
greasespot!
Jody: [seeing Mia on the floor] Who's she? Lance: Look, go to the fridge and get the thing with the O.D. adrenalin shot. Jody: What's wrong with her? Vincent: She's O.D.ing! Jody: Get her the hell outta her! Lance, Vincent: GET THE SHOT! Jody: Fuck you! Fuck you, too! Vincent: What a fuckin' bitch! Lance: You just keep talking to her, all right? She's getting the shot, I'm gonna get my little black medical book. Vincent: What the fuck do you need a medical book for? Lance: I've never had to give an adrenalin shot. Vincent: You never give an adrenalin shot? Lance: I've never had to, all right! I don't go joy-poppin' with bubble-gummers! My friends can handle their highs! Vincent: GET THE SHOT!
Vincent: [Lance is looking for a medical book] Hurry up, Lance! We're losing her! Lance: I'm lookin' as fast as I can! Jody: [to Vincent] What's he looking for? Vincent: I dunno. Some book. Jody: [to Lance] What're you looking for? Lance: A little black medical book! Jody: What're you looking for? Lance: A little black fuckin' medical book! It's like a textbook they give to nurses. Jody: I never saw no medical book. Lance: Trust me, I have one. Jody: Well, if it's so important, why don't you keep it with the shot? Lance: I DON'T KNOW! STOP BOTHERING ME! Jody: Listen, while you're looking for it, that girl's gonna die on our carpet! You're never gonna find anything in this mess! Lance: I'm gonna fuckin' kill you IF YOU DON'T SHUT UP! Vincent: [from the other room] STOP ARGUING AND GET IN HERE!
Lance: [handing Vincent the needle] Here, I'll tell you what to do. Vincent: No no no no man, man I ain't giving her... You... you, you're gonna give her the shot... Lance: No, you're gonna give her the shot... Vincent: I ain't givin' her the shot... Lance: Well, I ain't givin' her the shot! Vincent: I never done this before! Lance:
Yeah, I ain't ever done it before either, alright? I ain't starting
now! Look, you brought her here, and that means that you're giving her
the shot. The day that I bring an OD-ing bitch over to your house, then I
give her the shot. Give her the shot. Vincent: [taking the needle] Give it to me. Jody: [handing him the marker] Here. Vincent: [Taking the marker] Gimme that.
Lance: You're going to give her an injection of adrenaline directly to her heart. But she's got, uh, breastplate... [taps Mia's chest] Lance: So you gotta pierce through that. So what you have to do is, you have to bring the needle down in a stabbing motion. [demonstrates] Vincent: I-I gotta stab her three times? Lance:
No, you don't gotta fucking stab her three times! You gotta stab her
once, but it's gotta be hard enough to break through her breastplate
into her heart, and then once you do that, you press down on the
plunger. Vincent: What happens after that? Lance: I'm kinda curious about that myself...
Lance: If you're all right, then say something. Mia: Something.
4) The Trailer battle between The Bride and Elle Driver (Kill Bill Volume 2)
There's no shortage of sword fights and other battles in the two Kill Bill movies but this one is my favourite. The Bride is presumed dead, and Elle has done away with Budd and taken his Hanzo samurai sword. But when Beatrix Kiddo rises from the grave (literally) they have an epic battle inside the tiny trailer, they use their swords but also resort to much less graceful tactics as well as the fighting becomes more savage. Elle gets a can of spat out tobacco in the face and later is almost drowned in the toilet. They send each other flying across the room and through walls, hair-pulling and crotch-kicking all come into play. Music does play a part in the finale of the fight, which has a gasp-worthy and most appropriate ending. Fine, it doesn't prove my no-music point, but if you want to see it all ends... http://youtu.be/RWwGXIjxbnI
5) Hans Landa meets the "Italian film crew" (Inglourious Basterds)
Like the adrenaline shot scene of Pulp Fiction, here is another insanely funny scene that's riddled with tension at the same time. This is the funniest scene in Inglourious Basterds, I still giggle every time. After their original plans go horribly awry, Plan B to infiltrate the "Nation's Pride" movie premiere and destroy the group of SS officials is for the very American Lt. Aldo Raine and his fellow Basterds, Donnie Donowitz and Pfc. Hirschberg, to impersonate an Italian stuntman and camera crew and accompany Brigette Von Hammersmark to the exclusive event. The reasoning behind this is that Germans don't have an ear for Italian so they are less likely to speak to the imposters nor notice their inauthentic accents. Unfortunately for them, they encounter the fluent Colonel Hans Landa, who not only sees through them in an instant but toys with them feigning ignorance. Everyone manages to stay in character, even when Aldo aka Enzo Golomi is asked to repeatedly say his name ("Gorlaaaami" according to Aldo), but the look on Brigette's face says it all.
Bonus: Opening scene of Django Unchained
I'm biased towards this scene because it not only serves as the introduction for one of Tarantino's greatest characters, Dr. King Schultz, but it is also hysterically funny and QT-indulgent in the greatest possible way. As a writer who likes to throw in big words and double entendres, I enjoy watching others do it, and applaud extra loudly when it's well-executed. The scene begins with the Speck Brothers leading a handful of chained slaves in the darkness, from a distance a wagon approaches with a comically large molar tooth on a spring swaying back and forth with a slight creaking as the wagon moves. A jovial Dr. King Schultz, a German dentist now living in the Pre-Civil War America, approaches inquiring about the Speck Brothers and the slaves that they are transporting. In an ironic turn, the good doctor speaks with his German accent but using sophisticated vocabulary meanwhile the Speck Brothers need things dumbed down. (Schultz: "I wish to parlay with you", Ace Speck: "Speak English") Schultz also goes on to use the word "caterwauling" which is an excellent choice, indulgently intellectual selection but perfect for the scene. I'll leave you to watch the rest of the scene and the movie on your own.
Opening today is The Place Beyond the Pines starring Ryan Gosling, Bradley Cooper, and Eva Mendes. It's a drama about multi-generational events that link two families, though you'd never know that based on the trailer and early online synopsis. I know I'm sometimes pretty misguided, but three of us walked into the theatre having learned about The Place Beyond the Pines through different sources, and not one of us walked out having seen the movie we expected.
I first heard about Pines around the time of the 2012 Toronto International Film Festival where it premiered. With Gosling and Cooper in the leading roles, the movie could have been about how to cut out paper snowflakes and I still would've been interested, but Cameron Bailey of TIFF informed us that we were in for a cinematic treat. The trailer also echoes Bailey's synopsis. What I got from these, in the most simplistic sense, was that "this is like Drive, but with a motorcycle". Not even close! After seeing the film I revised that statement to "It's like Crash, but with fewer characters" (Actually for the very few who have seen it, it's actually like Disconnect, but with police corruption instead of cyber bullying) I digress as this has little forbearance on the film, the media is misleading, but we already knew that.
The Place Beyond the Pines is directed by Derek Cianfrance, who most recently gave us Blue Valentine. It received a lot of rave reviews, but I was decidedly not a fan. Cianfrance seems to take an interest in the corrosion of relationships over time, with a glimpse of joy and redemption wrapped in a memory of better times. These are not easy things to portray with complete seriousness in a film, his storytelling skills are strong enough for him to execute with success though. Cameron Bailey also mentions Cianfrance's "insight into the strange ways of men". This comment made me laugh. I think Derek Cianfrance and I know some pretty different men.
Speculation aside, what you need to know about this movie and whether to see it: It's NOT Drive with a motorcycle. There's actually a lot of story packed into the film's 2hr 20min running time, potentially enough for two separate films, and that's what this movie sometimes felt like. Luke (Ryan Gosling), as the stunt cyclist trying to do right for the son he never knew he had, is complex and interesting enough to have his own film. His noncommittal ways with his son's mother, Romina (Eva Mendes), and his quiet insistence on suddenly becoming a part of their lives could be explored more extensively. Nevermind his morally ambiguous decision to start robbing banks in order to provide for them. On Avery's (Bradley Cooper) side of the story, we have the ambitious rookie cop's heroics, the fight against police corruption, meteoric rise in career, and quiet battle with his conscience over the single act that started it all. This end of the story actually felt a little compressed to me. There's nothing wrong with being concise and to leave your audience wanting more, in fact Luke's story had me feeling just that, but Avery's portion felt choppy and left me feeling less engaged in that second half. Cianfrance ties the two together nicely for his finale, I'm not left feeling entirely like I've watched two separate movies, but to say the story is brilliantly intertwined would be an overstatement.
Also to note: If you get motion sickness, skip the first few rows in the theatre. Shakey-cam does come into play for some pivitol scenes.
I think The Place Beyond the Pines is worth seeing, but do so without expectations, less distraction this way. Bottom line is that it features some fine performances and has an original movie narrative, it's not something you'll see every day.
Yep, the girl who doesn't like Audrey Hepburn wrote about Audrey Hepburn. Inspired by Vahram Muratyan, I'm trying to come up with a movie version in which I compare works about Paris & New York by directors/writers/actors/etc. Stay tuned in the coming months for posts about Luc Besson, Woody Allen, and Julie Delphy.
Try as I might, I'm still not a fan of Funny Face. Breakfast at Tiffany's is pretty good though (it was my 2nd time watching both films). Found this great still of Breakfast at Tiffany's online of Audrey looking lovely with the very adorable Cat.
Coming up: another "What The Movies Have Taught Us" column, and I'm working on a post specifically for this blog.
Movies I'm looking forward to seeing: Trance directed by Danny Boyle opens next week (so excited!), and we're just over a month away from Gatsby by Baz Luhrmann.
If you need something in between... Django Unchained, my 2012 fav, comes out on blu ray etc. on April 16th.
Also on the 16th is the Fleetwood Mac concert in Toronto, that's not really movie-related (nor do I have a ticket to go...yet??? Contact me if you know a non-scalper that is looking to unload tickets!) but the Stevie Nicks documentary and In Conversation session at TIFF Lightbox is.
Finally I can't in good conscience post a film blog today without mentioning Roger Ebert. The loss of Mr. Ebert has affected not just Hollywood and the entertainment industry, it's sad reaches extend to anyone who's ever read a movie review. His weekly show with Gene Siskel and then Richard Roeper was both informative and entertaining, from which I took diligent notes back in the pre-internet days. At The Movies was where I first learned about the existence of a little film called Ghost World, directed by a guy named Terry Zwigoff based on some book by Daniel Clowes. For those who know me well, you'll know that Ghost World is one of my top three films, Terry Zwigoff among my list of respected directors, and Daniel Clowes one of my favourite illustrators. Thank you for that (among many) 5 minute review Mr. Ebert, you opened up my world and helped foster an interest in not only the movie Ghost World, but also the work of Scarlett Johanssen and the world of comic arts.
