The Shape of Water: a Guillermo del Toro
film. As with most del Toro films, you will either hate the film or
be pleasantly astonished. As a del Toro fan, this fantastical love
story truly impressed me. My outline fails to provide an adequate
description of what occurs during this 123-minute film, but this is due to my
limitations and not to what del Toro, the co-author and director, has created.
The story takes place in Baltimore 1962. The racism, sexism and class imbalance that existed in 1962
is clearly presented. Elisa Esposito (Sally Hawkins), the protagonist, is
a mute janitor working at a high security federal government facility. Her
co-worker, friend and sign language interpreter is Zelda (Octavia
Spencer). The facility is deeply involved in the Space
Race. Colonel Strickland (Michael Shannon), the facility’s head of
security, brings to the facility a humanoid amphibious creature (Doug Jones)
that he captured in the Amazon River. The intention is to study the
creature in the hopes of expediting man’s ability to travel in
space. The Russians are aware of the creature and have planted a spy
at the facility, Dr. Hoffstetler (Michael Stuhlbarg). The fifth
major character in this film, is Giles (Richard Jenkins), Elisa’s neighbor, a
recovering alcoholic who loves watching 1930’s dance movies. Over
time, Elisa and the creature form a close bond and a uniquely interesting story
develops. With the help of Zelda and Dr. Hoffstetler, Elisa develops a
plan to save the creature from the agency’s exploitive
and killing clutches. The antagonist, Colonel Strickland, is
portrayed as a violent misogynist, and the few shots of his home life show
stiflingly idyllic scenes reminiscent of Father Knows Best; the film is
laced with references to old movies and TV shows. Despite the fact that
some of the characters are one dimensional stereotypes, this movie really
works. You come to sincerely care for the creature, and the love
story between the creature and Elisa feels genuine. Hawkins’ performance
is a significant reason why this film succeeds. There are a small
number of directors whose work I always try to see; Guillermo del Toro is
definitely on this short list. Despite the rather odd storyline,
experiencing The Shape of Water was a real pleasure. I highly recommend this movie.
Guttman's Garage
Monday, January 15, 2018
Saturday, January 6, 2018
Movie: Darkest Hour
Darkest Hour: a Winston Churchill movie.
2017 was a year for Churchill, both directly (the excellent “Churchill &
Orwell: The Fight for Freedom” written by Thomas E. Ricks) and indirectly (Dunkirk).
Darkest Hour opens in May 1940. The outlook for Great Britain is
bleak. The Germans are overrunning France and the devastating invasion of
Belgium and the Netherlands are close at hand. Neville Chamberlain’s
“peace in our time” program has failed, and despite the ruling Conservative
Party’s distrust and fear him, Churchill becomes Prime
Minister. This 125-minute film focuses on the myriad crises facing
Britain and Churchill, including the Conservative Party’s obstinate inability
to comprehend that one cannot make a deal with Hitler. The story, written
by Anthony McCarten and directed by Joe Wright, is limited to the first few
weeks of Churchill’s reign as Prime Minister. The film lays out
Churchill’s many foibles - his self-doubts, his drinking and acerbic behavior –
as well as his intense intellect and deep compassionate for those whom he
loved. Gary Oldman as Churchill gives an Oscar worthy performance
and “Darkest Hour” is worth seeing just to marvel at Oldman’s
presentation. The talent in this film is not limited to
Oldman. Ben Mendelsohn is excellent as King George, who is portrayed
very differently from the character we met in The King’s Speech.
Stephen Dillane as Viscount Halifax and Ronald Pickup as Chamberlain are
outstanding. Although her screen time is limited, Kristin Scott Thomas as
Clementine Churchill, is superb, as is Lilly James as Elizabeth Layton,
Churchill’s secretary. Of particular note is the subway scene
towards the end of the film showing Churchill interacting with average British
citizens. Contrary to the impression that might be given from the
trailers, Darkest Hour is much more than just Churchill’s
speeches. I highly recommend this superbly acted film, which offers
a stunning contrast to the politics of America 2018.
Saturday, October 28, 2017
Movie: Victoria and Abdul
Victoria and Abdul: a movie “based upon real
events . . . mostly” states the film’s opening text. Victoria is Queen
Victoria of England (Judi Dench) and Abdul is Abdul Karim (Ali Fazal), a Muslim
Indian. The story takes place between 1887 and 1901 during the last years
of the Queen’s life. Judi Dench as Queen Victoria is the reason to
see this film. She offers another remarkable
performance. The story begins with the arrival of Abdul, one of two
Indians sent to the royal household to present the Queen with a ceremonial coin
commemorating her Diamond Jubilee. Abdul is instructed not to make
eye contact with the Queen but he does. The Queen takes note of his good
looks and fine bearing, and a close mother/son relationship
develops. The opening scenes are presented with a light comedic
touch, but you soon begin to wonder how much of the story is real as the
relationship develops. Abdul becomes the Queen’s munshi
(teacher) as she learns Urdu and reads the Quran. Abdul is portrayed
as the person who provides the Queen with new vigor during the final years of
her life. The Queen’s staff, the political crowd that surrounds her
and her son Edward VII/Bertie (Eddie Izzard), are quite displeased about the
Queen’s interaction with Abdul. The film’s presentation of Queen
Victoria as having a progressive perspective on race and cultural relationships
is not consistent with my understanding of the historical record. The
screenplay by Lee Hall makes a point of showing the racism that dominated
Victorian society. When Abdul’s wife and mother-in-law arrive at
court wearing burqas, the antagonism towards Indians escalates. Although
the film directed by Stephen Frears never adopts a sanctimonious tone during
its 112 minute span, its level of playfulness decreases. I suspect the
degree to which you like the film will depend upon your reaction to Abdul and
whether you find his relationship with Queen Victoria believable.
Personally, I couldn’t shake off the “mostly” qualifier in the opening
text. Nevertheless, Judi Dench is on screen for a significant part of the
film and so long as she is present, this film is one worth seeing.
Saturday, October 14, 2017
Movie: Marshall
Marshall: a courtroom drama based on a real
case. The year is 1941. The place is Bridgeport, Connecticut.
The lead lawyer is Thurgood Marshall. The movie is about the
criminal trial against Joseph Spell (Sterling K. Brown), a chauffeur/butler
employed by Eleanor Strubing (Kate Hudson), a wealthy white woman, whom Spell
is accused of having raped and thrown off a bridge. Chadwick Boseman, who
is making a career playing famous Black men (Jackie Robinson, James Brown), is
outstanding as a young Marshall. The excellent script by Michael and
Jacob Koskoff draws its courtroom scenes from newspaper accounts as no trial
transcript exists. The Spell case was reported in the mainstream press,
including the New York Times. It was a major case for the NAACP
because, unlike most of Marshall’s cases, this one took place in the North.
The movie opens and closes with Marshall traveling by train from one town to
another to defend black men. Most of this 118 minute film focuses on
how Marshall manages to defend an individual who would otherwise not have had
any counsel. The first step in the process is finding a licensed
Connecticut attorney willing to take the case. That attorney turns about
to be a young insurance defense counsel named Sam Friedman (Joseph
Gad). A major reason why the film works is the interplay between
Friedman and Marshall. Despite the seriousness of the story, there
are some delightful comedic scenes. In the courtroom, the presiding
judge (James Cromwell) is presented as being every bit as racist as one would
expect a Southern judge to be in the 1940’s. The movie also includes
scenes showing the community’s reaction to Friedman defending a black man
accused of rape. An additional twist to this case arises from the
fact that the Judge would not allow Marshall to speak in the courtroom.
This results in an unexpected courtroom dynamic because, as it happens, this
is Friedman’s first criminal jury trial. The only scene that
does not work is when Marshall and his wife are out at a Harlem nightclub with
Langston Hughes, and particularly the short scene where Zora Hurston
appears. Showing Marshall having a life independent of his NAACP
work is a good idea but limiting it to the interaction with Hughes would have
been sufficient. This, however is a minor shortcoming. The film,
directed by Reginald Hudlin, is excellent. The characters come
across as authentic and the dynamic between Joseph Spell and Eleanor Strubing
make for a story worth telling. In these interesting times, it’s
good to be reminded while simultaneously being entertained just how overt the
racism in this country was a mere 75 years
ago.
Saturday, September 23, 2017
Movie: Wind River
Wind River: a mystery set on the Wind River
Indian reservation in Wyoming. The movie opens with a woman running
barefoot through a bleak, snowy field at night. We then meet Corey
Lambert (Jeremy Renner), a U. S. Fish and Wildlife agent who also works as a
hunter/tracker. In his introductory scene, Lambert is lying on his belly
camouflaged in the snow. He is killing wolves that have been preying on
sheep. A bit later we see Lambert searching for a mountain lion that has
killed a neighbor’s cattle. This is when he discovers the body of an 18
year old Indian woman named Natalie (Kelsey Asbille Chow). Lambert
immediately recognizes Natalie as she was his teenage daughter’s best
friend. Natalie is the woman we saw running through the snow at the
film’s opening. We learn that three years earlier, Lambert’s
daughter had been found dead under similar circumstances. The balance of
this excellent 111 minute story involves our learning what happened to Natalie
while simultaneously glimpsing into life on an Indian reservation. Because
Natalie appears to have been murdered, the FBI is summoned to
investigate. It is the federal government which has jurisdiction over
capital crimes on Indian reservations. A rookie agent, Jane Banner
(Elizabeth Olson), is sent to Wind River from Las Vegas. She has not
been advised as to the weather and must borrow the snow gear of Lambert’s late
daughter. Lambert and Banner develop a close relationship, which is
presented without slopping over into a Hollywood romance. As the
story unfolds, cinematographer Ben Richardson offers beautiful shots of the
Wyoming winter. The cast of Wind River is small but includes some
very strong, honest performances. Gil Birmingham plays Natalie’s grieving
father, Martin. His screen time is relatively short but Oscar
worthy. Graham Greene as the Tribal Police Chief also offers a fine
performance. Renner is excellent, both as a grieving father and a
professional hunter. The bad guys are one dimensional but the
storyline from writer/director Taylor Sheridan remains powerful. Due to
the cinematography, this superb movie is one that should be seen on the big
screen.
Tuesday, September 12, 2017
Movie: Menashe
Menashe: an engaging story about a father and
his son. The film takes place in Brooklyn. Menashe (Menashe
Lustig) is a widower whose wife died about 11 months ago. Although
the wife is frequently part of the film’s conversation, she never makes an
appearance; we’re not even shown a photo of her with one brief exception, a cell phone picture. Menashe’s son,
Rieven (Ruben Niborski), is about 11 years old. When the film opens,
Rieven is living with his uncle and his family because the Rabbi (Meyer
Schwartz) believes a child should live with a family and Menashe is not
interested in remarrying. Menashe and almost all the characters in this
film are Hasidic Jews. As such, the Rabbi’s Talmud perspective that
a good man should have “ a good wife, a good home, nice dishes” is the
governing principal that drives this 82 minute film. Menashe
is directed and co-written by Joshua Z. Weinstein and the film is about
Menashe’s attempts to regain custody of his son without
remarrying. There is only one date scene in the movie and I doubt it
lasted even five minutes. Scenes of females speaking total less than
5 minutes. The story is authentic; it is based upon the actor
Menashe Lustig’s own life and is about the Hasidic life style as much as it is
about Menashe and Rieven. Most of the dialogue is in Yiddish with
very readable English subtitles. Menashe is an ordinary guy working
in a supermarket, but because he is an appealing person, the film
works. If you are interested in seeing a slice of Hasidic life, you
should see this film.
Saturday, August 12, 2017
Movie: Maudie
Maudie: a film based on the Canadian artist Maud
Lewis. The film commences during the mid-1930’s. The location
is Nova Scotia. Maud (Sally Hawkins) is in her early 30’s and lives
with her Aunt Ida (Gabrielle Rose) but wants to return to the family
home. Maud sees her brother and only sibling, Charles (Zachary
Bennett), speaking with Ida. She begins pestering Charles about returning
home. We learn from Charles’ remarks that Maud has a disability which, in
Charles’ view, renders Maud incapable of caring for herself. Charles
tells Maud he sold the family home and leaves. As the film unfolds,
we learn more details about Maud. Contrary to the impression we’re given
by Charles, Maud’s disability is physical, not mental; she has rheumatoid
arthritis. To escape from the control of Aunt Ida, Maud takes a job as a
housekeeper to a loner named Everett Lewis (Ethan Hawke). Everett
grew up in a male orphanage. He has a temper and lacks basic social
skills. With these two very different characters, director Aisling
Walsh weaves an entertaining and surprisingly romantic tale based upon the
screenplay by Sherry White. The 116- minute film works because of
the Oscar quality performances of Sally Hawkins and Ethan Hawke. From
the outset, it is obvious that Maud has grit and will somehow
prevail. Everett grows on you. Based upon very quick and
selected shots of the real Maud and Everett at
the end of the film, you learn that Maud was far more handicapped than she is portrayed, which makes her success as a
painter that much more remarkable. The film shows Maud painting for
the sheer pleasure it brings her. The postcard size pictures are noticed
by a summer resident from New York named Sandra (Kari Matchett). Although
the film does not offer details, we learn that Maud’s drawings are becoming
well known, presumably through Sandra. Maud’s fame explodes. Even Vice President Richard
Nixon contacts Maud by mail asking to purchase one of her
pictures. The film takes you up to the time of Maud’s death in
1970. As the film credits run, her paintings are shown. The
characters’ lives are hard but they endure. The film may treat Everett
more kindly than he actually was, but as you watch the relationship between Everett
and Maud grow, the story becomes inspirational. The opening of the
film is a bit weak, however, if you stay with it, you will be
rewarded. This film has no special effects and can easily be enjoyed
at home with a bottle of wine.
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