Countdown: Nebraska

From my wonderful publisher Open Books

Almost there folks! Just 4 days remain until the official launch of ReelRoyReviews, a book of film, music, and theatre reviews, by Roy Sexton!

Please note that, in addition to online ordering, the book currently is being carried by Green Brain Comics in Dearborn, Michigan and by Memory Lane Gift Shop in Columbia City, Indiana. Memory Lane also has copies of Susie Duncan Sexton’s Secrets of an Old Typewriter series.

Here’s what Roy thinks about Nebraska: “Payne absolutely nails the small-town American vibe of suspicious desperation, envious gossip, and corrosive pride, and he does it without once condescending to his subject matter or judging the characters in play.”

Learn more about REEL ROY REVIEWS, VOL 1: KEEPIN’ IT REAL by Roy Sexton at http://www.open-bks.com/library/moderns/reel-roy-reviews/about-book.html. Book can also be ordered at Amazon here.

“He believes everything that people tell him…” Nebraska

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

I daresay Alexander Payne’s Nebraska may be my favorite film of 2013, and it is in my top 100 of all time. Payne (Election, Sideways, About Schmidt) presents as believable a treatise on family in middle America as I’ve ever seen, but, in his nuanced approach, he never loses the cinematic essence of his narrative.

The film stars Oscar nominee Bruce Dern as a Montana curmudgeon who gets one of those “you’ve won a million dollars if you just buy some magazines” come-ons in the mail. In his deep desire for something special to happen in his life, he believes it. The film opens as Woody Grant (Dern) makes yet another breakout from the home he shares with his exasperated wife (Dern’s brilliant fellow nominee June Squibb) and attempts to walk the 900 or so miles between Billings, Montana and Lincoln, Nebraska – where the letter-generating marketing company is headquartered – to claim his prize.

Enter Dern’s youngest son David, played by a refreshing Will Forte (Saturday Night Live, MacGruber), who beautifully balances frustration and familial love when he agrees to take his dad on the obviously fruitless quest to Lincoln. The dynamic between Dern and Forte is magic with both performers (assisted by director Payne) bringing out the best in each other, depicting a convincing parent/child dynamic with all the warmth, wit, frustration, and heart that entails.

(As an aside, I just heard, for the first time, Harry Chapin’s heartbreaking song “Mr. Tanner” courtesy of darling Laura Benanti’s equally delightful At 54 Below live album. I kept thinking about this song while watching the movie – similar joke, slightly different punchline, but equally affecting. Watch Benanti’s performance here.)

The road trip has its complications, generated in part by Woody’s alcoholism and possible dementia. Woody and David end up making a memorable stop in the father’s hometown of Hawthorne after Woody takes a fall and bangs up his noggin. Despite his son’s advice to the contrary, Woody tells a group of former drinking buddies about his newfound “winnings,” and that spark sets off a slow-burning comic powder keg of jealousy, greed, pride, resentment, and miscommunication among Woody’s family and friends.

Payne absolutely nails the small-town American vibe of suspicious desperation, envious gossip, and corrosive pride, and he does it without once condescending to his subject matter or judging the characters in play. The cast is perfection, from the aforementioned Dern, Forte, and Squibb to Bob Odenkirk as oldest son Ross and Stacy Keach as country-fried thug/bully Ed Pegram. I think any of us who grew up in small towns know that last guy – Keach perfectly personifies the overbearing charmer who has his greasy thumb on every citizen’s every move.

If Dern and Squibb, Payne and the movie don’t walk off with armloads of Oscars, I will be heartbroken. And Forte was robbed by not being nominated – he is the glue holding the film together.

Payne has populated the rest of the town and Woody’s extended family with a spectacular assortment of unknown performers (at least unknown to this viewer). Every one of them seems like they just walked out of the general store in AnyTown, USA and onto this movie set. The brothers, cousins, sisters-in-law in the film especially have it down: that stultifyingly overcast atmosphere created by family members who haven’t seen each other in years, with their probing questions, insulting assumptions, and tedious conversations about cars and mileage while watching Sunday afternoon football on TV. (Particularly observe Forte whose expressions in those scenes are priceless, fully leveraging his improv comedy training without breaking character once.)

Payne is not making fun of this place or its inhabitants, but he is putting this microcosm on display, warts and all, in a near-allegorical illustration of how life catches up with everyone, how we all get older, and how disappointment is a toxin that saps the soul. And somehow he gets that all done with a light touch, warm-hearted humor, and one darn poignant moment after another. When Forte and Dern arrive at the marketing joint in Lincoln, Forte tells the bemused woman who works there, “He [Woody] believes everything that people tell him.” She replies, “Oh, that’s too bad.”

And if you aren’t chuckling knowingly at Forte’s karaoke dinner with his loving/combative/crazy/adorable parents or weeping some sweet, salty tears at the film’s final moments, then you are made of granite!

Go see this movie. Now.

Deja vu all over again: Lincoln

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

Whether or not Steven Spielberg intended his latest film Lincoln to serve as a finely crafted allegory for our contentiously political times, it very much is one. The movie succeeds on multiple levels, not only allegorical but also as instructively engaging historical psychodrama and crackerjack cinematic entertainment.

Daniel Day-Lewis as the titular American president is warm yet flinty and infinitely watchable in yet another amazingly chameleonic performance in his long and storied career. He manages to evade the trap of most historical biopics – he is neither overly reverential nor artistically self-indulgent. And he is most assuredly not some wax figure in Disneyland’s “Hall of Presidents.”

Day-Lewis’ Abraham Lincoln is a fully realized, at times lovable, always affecting flesh-and-blood creation. I challenge anyone to read about Lincoln after watching this movie and NOT hear Day-Lewis’ voice in your head or visualize the mischievous, twinkly fire in his eyes.

The film is set against the backdrop of the Civil War (no shock there) and focuses on the political machinations required to have the 13th Amendment pass the House of Representatives, where it has been stuck for the better part of a year. Lincoln realizes that, if the Civil War ends before the Amendment’s passage, he might not ever amend the Constitution to prevent slavery forevermore.

Needless to say, Beltway (was it called the “Beltway” in those days?) backstabbing and hijinks ensue, and anyone who has lived in America in the past twelve years will reflect  “the more things change…the more they stay the same.” Neither Spielberg nor screenwriter Tony Kushner proselytize (though there is speechifyin’-a-plenty) but the ugliness of watching entitled white dudes debating the finer points of social issues for which they have no real skin in the game is like deja vu all over again.

The supporting cast is a who’s who of America’s finest players, from always delightful David Strathairn to a gonzo-fun James Spader who seems to be channeling Robert Downey, Jr., at his most drug-addled. Lee Pace of ABC’s short-lived Pushing Daisies is fun as a posturing, preening Congressman opposed to the Amendment, and Jackie Earle Haley continues his run of great late-career performances as the peace-seeking Confederate Veep, literally left cooling his heals on a riverboat as Lincoln pushes the Amendment through.

Sally Field as Mary Todd-Lincoln is adequate, and I’m not sure if her part was a bit underwritten or if I have just seen her return to the same actorly well a few too many times. Kushner seems to be channeling a postmodern perspective on the Lincolns’ marriage/family through every bit of Field’s dialogue, and she does yeoman’s work making it sound natural but at times it still seems stilted.

The film also suffers from about four endings too many. We know what happens to Lincoln in the weeks and months following the Amendment’s passage, and, trying to cram all of that detail into what is more-or-less an extended diorama-like montage at the film’s conclusion detracts. And, of course, Spielberg can’t help but include his trademark fairy tale mythologizing here and there – it is ok, but the film is so strong otherwise that I could have done without those vintage touches.

But the best moments of the film come at the hands of two old pros who don’t share a minute of screen time: Tommy Lee Jones as Abolitionist Thaddeus Stevens and Jared Harris as Ulysses S. Grant. Both bring gravitas and pixie dust to their roles, more than holding their own with Day-Lewis. Their characters leap from the pages of history books and very quickly feel like people you have known personally for years. Absolutely remarkable work here.