a.k.a. "The Oscar Messenger"

Archive for November, 2017

Marvelous,Classy Remake of Agatha Christie’s Classic “Murder on the Orient Express”


Kenneth Branagh’s classy, glossy re-make of Agatha Christie’s classic mystery “Murder on the Orient Express” is great, grand fun. It’s considered perhaps second only to  her “And Then There Were None,” it keeps being brought back to us each time with more style than ever. No matter how glossy, it’s “Orient Express”s superior and unique plot and plotting that holds us all enthralled and trapped by its’ ingenuity, as Christie’s characters are trapped by a snowy landslide somewhere in Eastern Europe in the 1930s.

Kenneth Branagh has decided to have fun with it, and so we do, too. I would say David Suchet’s TV version of it was the darkest one, also great. And Sydney Lumet’s glamourous film version with Lauren Bacall, Vanessa Redgrave, Rachel Roberts and Ingrid Bergman  all on board with Albert Finney at the helm as the beefiest Poirot in 1974.

Bergman seemed terribly mis-cast and under-used in the small part of the Missionary, but she was so incongruous as the plain, ex-governess who loved her “little brown babies, she won her third Oscar. This time in Supporting. And shocked everyone Oscar night that year.

I don’t know if Penelope Cruz, now cast here as a Spanish missionary, is going to repeat that hat-trick. But Michelle Pfeiffer might. Pfeiffer’s part has considerably been built up, and indeed, she has enough scene stealing and scenery chewing moments to qualify as this year’s Best Supporting Actress.

She is Mrs. Hubbard, an aging film star on the decline, who shrieks and cries and over-acts her way through “Express,” to the point where I almost thought that Branagh had re-written this adaption to make her the guilty party. She certainly ACTS, or over-acts her way to jail, if indeed she is the one who did it.

IT, being the murder of Johnny Depp’s horrible henchman, but no, Branagh didn’t touch the bed-rock of Christie’s great murderous conceit. Depp is perfectly vile as the soon to be dispensed with Ratchet. Josh Gad has a very large part, too, as Depp’s vile, scheming secretary. Branagh even get to chase Gad as he tries to escape at one point in the movie.

I’ve never seen Hercule Poirot move as much as he does in this movie, and Josh Gad, too, for that matter. Poirot has fight scenes, incongruous as they may be, and a broken heart from an ex-girl friend. Strict students of Christie and Poirot may object to these *gasp* liberties that Branagh has taken.His ridiculously gigantic moustaches that seems so heavy and overdone, he might at any moment fall face forward from its weight.

But while I noted these disparities, they did not stop my enjoyment of this very enjoyable romp.

Advertisements

“Wonderstruck” is Wonderful! Julianne Moore Triumphs Yet Again in Todd Haynes’ Best Film.

The great, essential New York Film Festival continues to top itself.I can’t stop talking about all the wonderful films I saw there this season.

It was an incredible year that it was having. now reveals their Centerpiece Film to be one of the best of the year, and the one film to emerge that may just end up  not only the most beloved but the most acclaimed. Haynes has had an amazing career to date with his legendary team of producer Christine Vachon and cinematographer Ed Lachman. His films are never quite embraced as they should be by the mainstream. Haynes is Out and Gay and so is Vachon, but here in “Wondersruck” the brilliant Centerpiece film of this amazing festival, they have eschewed gay themes entirely and turned to a serious subject that you would never think their twinkling talents would ever touch – deafness.

Wonderstruck 5

There has never been a film that has addressed this terrible affliction head on, and with such grace and style and heart and heart-break. “The Miracle Worker” comes to mind as the only film to really face this disease. But Helen Keller was both blind as well as deaf and both Patty Duke as Keller and Anne Bancroft as her soul saving teacher both got Oscars. “Wonderstruck” should be showered with awards in every category that it is eligible for. Julianne Moore may be heading towards her second Oscar and her sixth(or is it seventh?) nomination for sure in a duel role that is head-spinning as well as heart-breaking. Her range is tested and she proves more than equal to the daunting task. She is Haynes’ muse, and is more than up to the double challenges these two roles face her with. She is for sure one of our greatest actress. Always amazing, in “Wonderstuck” she astounded me. Julianne Moore 2

Also unforgettable is the wan, fey, first time performer, deaf actress Millicent Simmonds(pictured above). She plays the pivotal role of the non-hearing Rose, who wants to break out of her restrictive home in Hoboken, in the silent film black and white half of Haynes’ stunning cinematic coup du cinema. Just like Soirse Ronan’s “Lady Bird,” she wants to spread her wings and fly as Lady Bird does, to New York City. She is first seen as simply a lost little girl, wandering the streets of 1920s New York all by herself.

She keeps grasping articles and ads about a glamourous stage actress, Lillian Mayhew, who turns out to be her mother. So her seemingly pointless mission leads her to a theater and to Mom, here played by an almost unrecognizable Julianne Moore in the first of her two wildly divergent roles. To reveal her second would be to spoil the movie. So don’t let anyone tell you anything about it.Wonderstruck 2

Her vain diva of a mother is a parent who wants nothing to do with her deaf child. She’s ashamed that her child is deaf.  “Wonderstruck” is the name of a book about museums that brings both halves of this bifurcated film together. The other half is set  50 years later in 1977 New York (and in color, with sound) and involves another runaway child, this time a boy, Oakes Fegley. His mother, the only parent he’s ever known (played beautifully in a cameo appearance by Michelle Williams) is killed at “Wonderstruck”s outset in a car crash.  Ben has nightmares about wolves. And flees his Gunflint, Minnesota home when  lightning strikes him deaf.

So we have two deaf 12 year-old children running from what they see as  unbearable situations, to New York City, to find a new home, one that will hopefully heal them, simultaneously, one in black and white and silent in the ’20s, to one contemporary and in color with sound. This seemingly impossible to connect or reconcile story, Haynes (and cinematographer Lachman) manage to pull off in a grand manner. Culminating with both twelve year olds finding their way to the Museum of Natural History. I will reveal no more.

The sound work by a huge team under the super vision of Drew Kunin is simply astounding. Silence and foley affects and sound mixing and sound editing have never played such an integral part in a feature film. But here the sound department just shines in creating a world where there is no sound whatsoever. The deaf lead a very hard life and “Wonderstuck” reveals its’ woes and complex challenges quite beautifully with a style and grace that is unparalleled.

The dizzying editing between past and present and black and white and silent and color and sound is by the wizardly of Affonso Gonclaves. The impeccable period and modern costumes are by the great Sandy Powell and the production design is by Mark Friedberg.
“Wonderstruck” is based on Brian Selznick’s book, from which he also wrote the moving screenplay.

I hope “Wonderstruck” isn’t too sentimental for our jaded times, but audiences and families can bring their children to this and enjoy it and be educated by it. The Museum of Natural History is really a character in this film and its’ great dioramas of wildlife are shown to full and wonderful effect. “Wonderstruck” is wonderful, that’s all there is to it.

Liz Smith passes at 94. One of the greatest gossip columnists.

Liz Smith 1Legendary Gossip Colunmist Liz Smith passed earlier today at 94. A great lady, and a great journalist and a great writer. She will be missed.

Call Me Oscar! Beautiful, Lyrical “Call Me By Your Name” One of the greatest Gay Films Ever!

“Call Me By Your Name” One of the Best of the Year!
Call Me By Your Name 5
The New York Film Festival  is having a stellar year. It is just about to reveal that “Call Me By Your Name” by Italian Director Luca Gaudagnino is one of the best films of the year and one of the most beautiful films you’ll ever see and the greatest gay film of all time. Or one of them. It’s right up there in terms of majesty and courage  with “Brokeback Mountain.” Just as we’ve never been able to get the star-crossed lovers of Heath Ledger and Jake Gyllenhaal out of our collective minds, so will newcomer Timothee Chalamet and Armie Hammer(“The Social Network”) be linked together for eternity, so beautiful, so tender is their love story. And in Gaudagnino’s hands so casual, so comfortable, so engaging and so absolutely irresistible. Bravo to all!
Call Me By your Name 1
In this difficult time we now live in, how welcome is a sweet,peaceful film about love? We NEED to see this simple affirmation of human dignity and ROMANCE.
Starting off an a very natural note of casual shyness, Elio (Chalamet) wanders around this parents’ sun-dappled villa in Liguria in Northern Italy in 1983, shirtless, lazy and lost. He finds himself when a summer guest, who is a strapping American, who is joining the professional American/Italian intellectual enclave that Elio’s parents belong to, as a research assistant. Oliver is at first a colleague of his father’s (the always excellent Michael Stuhlbarg) and then gradually becomes a playmate and true friend to teenaged Elio.Call Me By your Name 2
If I have one quarrel with “Call Me By Your Name” it is the deep longeur of the meandering first hour. But when sparks start to fly, they FLY!
Unlike in “Brokeback” there is no great societal force keeping Elio and Oliver away from each other. In fact, Elio’s parents ENCOURAGE the developing relationship, which does turn in to a deep erotic bond,  the likes of which we’ve never really seen portrayed on screen in this subtlety, depth and beauty. Chalamet and Hammer are off the charts erotic, and yes, there are many, many loves scenes, so beautiful I can barely describe them. Use your imagination and you’ll be right!Call Me By Your Name 4
As the summer progresses so does Elio’s experience of his own body. Everything around him becomes sexually charged. There is a scene in bed, where Elio alone regards a luscious, large peach as if it were Oliver. and as the juice as he squeezes it runs all over  his shirtless, hairless chest and down into  his pants and — Well, I’ll stop there. Suffice it say, you’ve never be able to see a peach again without thinking of Oliver. And Elio….
Chalamet and Hammer could both end up nominated for the Oscars this year and well they should be. Elio and Oliver are iconic roles. And Guadagnino, as director, has never been better. He approaches everything so slowly, so carefully, so delicately, it’s almost unbearable, until the two lovers come together in a  delicious, exquisite slow burn.
And in bed, they have the sensuous, intimate moment when Oliver tells Elio to “Call me by your name.” In other words, he wants Elio to call him, Elio. And he’ll call Elio Oliver. It sounds ridiculous, but it’s swoon-worthy. It’s like the transmigration of souls when true love is at its’ ultimate moment, and identity is shared and also obliterated by one-ness.
There are no heavy scenes in this movie of stillness and caresses, and love, love, love.
I never wanted “Call Me By Your Name” to end. I want to see it again IMMEDIATELY! And so will you!
“Call Me By Your Name” is sublime.

Call Me By Your Name 5

Tag Cloud

%d bloggers like this: