[Image Source: Wikipedia]
One of the things I look forward to most every holiday season is the movie marathon I share with my parents. Hollywood back-loads all their great Oscar bait films from Thanksgiving to New Year’s, and every year my parents and I try to cram in as many as we can in a three-to-four day period. Invariably, we have a number of disappointments along the way.
Let me be clear, sometimes we do all of this in a single day. I think our record may be four movies in one twenty-four hour period…but that was also a day where we got so intoxicated by movie magic and stale popcorn that we saw anything with the right start time that allowed us to go from one movie right into the next (tickets purchased for all, of course). I believe on that auspicious occasion, in our weakness, we saw The Golden Compass…I think we were the only three people in America who ever saw The Golden Compass. It was pretty turgid.
So what cinematic treasures did Santa leave in our collective stocking this year? Three super-hyped, market-saturating, blockbuster-hopefuls: Les Miserables, Django Unchained, and The Guilt Trip. You know what? All three were perfection – that has never happened in the brief history of the Sexton Family’s Hide-from-the-Bothersome-Relatives-Holiday-Film-Fest.
Les Miserables ran the risk of not meeting the breathless anticipation whipped up through its ubiquitous and compelling advertising campaign. Happily, it far exceeded our expectations in every way. Much has been written about Tom Hooper’s decision to have his actors act and sing the challenging music live, as opposed to recording in a studio weeks before filming, only to lip sync before the cameras. It works and works well.
We listened to the soundtrack album the night before seeing the movie, and I’m still not sure if that was a good or bad idea. The CD is not exactly fun listening. Yet, it did prepare us for the vocal stylings of the key performers, and, as viewers, we were perhaps better equipped to appreciate the film as narrative. My mom said it best, “It’s like watching a film with sub-titles…you just get used to the singing and after a point forget you are even watching a musical…in a good way.”
I enjoyed every performer in the film, and any flaws, in my estimation, are inherent in the source material. For instance, I don’t much care for the young lovers storyline, and the nefarious Dickensian innkeepers even less so. Regardless, everyone in the ensemble – notably Hugh Jackman, Anne Hathaway, and Eddie Redmayne – executes their piece in Victor Hugo’s ever-unfolding diorama of some French Revolution (I’m still not sure which one) breathtakingly. I cried countless times. Darn, this movie is cathartic.
[Image Source: Wikipedia]
I don’t much want to get into a debate about the merits of Russell Crowe’s performance as Inspector Javert. People are hung up on his singing style – which I for one thought was just fine, though we did have our doubts when listening to the CD before seeing the film. What I ask is that you view his performance as that of a consummate actor
in service to story
in a cinematic
way. He could play the role as Snidely Whiplash. He doesn’t. He underplays to great effect, against the overall hammy-ness of the show’s origins, offering a stolid, pedantic take on his character’s rigid moral code. I liked him a lot. ‘Nuff said.
Django Unchained is pure Tarantino in form and style and exceptionally crafted in every way. Strangely, both Django and Les Miz (I sort of hate that nickname by the way), released together on Christmas Day, explore themes of persecution, faith, oppression, and the redeeming hope of friendship and love. Who’d-a-thunk?
In Django’s case, a lot of ink has been spilled already about the violence, gunplay, and prodigious use of the “N-word” (another diminutive that always bugs me). Do I admit to feeling a bit squeamish at times during the film for these reasons? You betcha. Was I more bothered that some thuggish teenagers in the Midwestern audience with me were laughing un-ironically at these elements? God, yes. Is that Tarantino’s fault? Emphatically, no.
What Tarantino has been doing to great effect through his last several films – the Kill Bill two-parter, Inglourious Basterds, and now Django – is put our societal propensity for violence, pettiness, ugliness under a tight microscope. He directs particular ire at our American condition to view the different with derision and hate and anger. With Django, he may as well throw battery acid on the Southland, exposing the inherent hypocrisy of good Christians whose economic standing was achieved on the bloody backs of far too many African-Americans.
[Image Source: Wikipedia]
If nothing else, go see this one for Leonardo DiCaprio’s bravura turn as the well-heeled owner of a plantation cheekily named Candyland
. He is a whirlwind of oily smiles, fey mannerisms, and unbridled bile. I adored watching him in the film. Christoph Waltz and Jamie Foxx more than hold their own, but the film springs fully to life when DiCaprio joins the proceedings. Pay close attention when he brings his doctor’s bag into the dining room – that
scene alone is Oscar-worthy. Not
the time you want to take a potty break.
Finally, The Guilt Trip … if one of these things is not like the others, I suppose it is this film, but it is no less perfection in my eyes. I am astounded at the negative reviews I have read on this one. I suspect the film is a victim of its holiday timing and its star power (Barbra Streisand and Seth Rogen). If it had been quietly released in March or some other time, perhaps viewers would give it a fair chance…or maybe not.
Regardless, this is a gem of a little film. As actors, both Streisand and Rogen can be undermined by their own excesses (see Prince of Tides and The Green Hornet respectively). Yet, in this film, they are authentic, subtle (or at least what passes for subtlety for either), and thoroughly charming as a mother and son trapped in one tiny car together on a cross-country road trip.
The film blessedly avoids slapstick predictability and deftly sidesteps Freudian mama-bashing. The dynamic between the two actors is that of mother and son, a delicate spiderweb of love and generosity and aggravation and pride, and they deliver it with aplomb. I really loved this movie, and I hope, with time, people will discover and enjoy it for the kind-hearted enterprise that it is.
That’s it folks…and if you see three people next Christmas Day schlepping a monster-size bucket of popcorn from one Fort Wayne, Indiana-theatre to the next, give us a wave…and discourage us from seeing another Golden Compass.