Weekly Digest
Brokeback Mountain (2005) Dir. Ang Lee; Starring Heath Ledger, Jake Gyllenhaal, Michelle Williams, Anne Hathaway, Randy Quaid, Linda Cardellini, Anna Faris.
An incredibly painful story of forbidden love that is destined to be forever unfulfilled, due to the unfortunate circumstances of time, and place. Ang Lee’s absolutely exquisite direction is what stands out the most here; his handling of the material is so thoughtful, sensitive, and sincere. We’re transported into the sad, and somewhat different (although similar) worlds, of Ennis and Jack, who meet tending to sheep together on Brokeback Mountain, in Wyoming, 1963. They find a connection that summer; one that they both know will never be matched. At the end of their time on Brokeback Mountain, the two inevitably return to their lives back home. To be together is just not a possibility. Over the next twenty years of their lives, the two are married, and become fathers, too; they occasionally meet, but these encounters are so so cruel, as they’re charged with the type of euphoria that can by no means last a lifetime, as it should, but only a few days. This is such a sad movie. Ennis and Jack are both trapped within worlds that are so insular and tightly regulated by small town ideology that it’s simply impossible to escape. We’re stuck there with them, and we, like them, begin to lose hope, too. They’re bound to lives that neither want, and both share dreams that will forever remain fantasies. There are many, many wonderful things about this film. Ang Lee’s direction, as mentioned, is beautiful; the cinematography is simply stunning; as is Gustavo Santolalla’s score; the screenplay carries with it many interesting and complex characters that seem like, and could be, real people, responding to their situations in the only ways they know how. The performances in this film are also very good. Heath Ledger and Jake Gyllenhaal deliver their best performances yet, and have most certainly set themselves new standards. The supporting cast is also wonderful. Michelle Williams, playing Heath Ledger’s quiet and lonely wife, has some of the most moving scenes in the film. There are also memorable performances from Anne Hathaway, Linda Cardellini, Anna Faris, Kate Mara, and Randy Quaid. We could only predict that this film would bring with it a heavy share of controversy, which is a shame, because it really cheapened the film into something it’s not. It’s not an epic “gay cowboy” film in any sense; it’s a quiet, understated film about forbidden love, and the personal sacrifices people are forced to make due to the restraints placed upon them. “Brokeback Mountain” was not my favourite film of 2005, but I certainly think it was one of the better films made last year. - 4/5
“Town & Country” (2001) Dir. Peter Chelsom; starring Warren Beatty, Diane Keaton, Andie MacDowell, Garry Shandling, Jenna Elfman, Nastassja Kinski and Goldie Hawn.
An absolutely disastrous film that tries so hard emulate the wit and sophistication of Woody Allen’s romantic comedy stylings, but just misses its mark completely. Successful architect Beatty is celebrating his twenty-fifth anniversary to architect wife Keaton, but when his best friend (Shandling) admits to having an affair behind his wife’s (Hawn) back, this suddenly inspires similar thought in Beatty. Some of the women he meets along his way include the somewhat obsessed cellist Kinsky, a rather forthcoming MacDowell, and the young and vivacious Elfman. Sexual humour works quite effectively in a lot of films, but it completely falls to pieces in this one. For a movie that so desperately needs to deploy a more ‘tongue-in-cheek’ brand of humour that would be more suitable to its plot, the screenwriter took a disastrous wrong turn right at the beginning and mistakenly thought this story might be more entertaining if his characters assumed a hideously crass vernacular perhaps more appropriate to gross-out teen comedies such as American Pie. I’m all for cheap, crude laughs, but it only works when it’s needed. Alas, the characters and plot are cheapened to the extreme; I found myself cringing throughout the whole movie, thinking about what this group of talented actors would give to have this one secretly erased from their resumes. “Town & Country” is officially recognised as one of the biggest box-office failures of all time. This film was made for approximately $90 million, after many re-shoots and production changes, and took in about $4 million at the box-office. I can see why. This world would be a better place without this film, and when I think about where the wasted $90 million could have gone in the world instead of into this god-awful film’s budget, depression ensues. Had this film not starred whom it did, it would have been a complete write-off.
Score: 1/5
My Summer Of Love (2004) Dir. Pawel Pawlikowski; starring Natalie Press, Emily Blunt, Paddy Considine.
This incredibly small-scale, hauntingly ethereal film soars thanks to the wonderful realisation of a strong script based on Helen Cross’s novel about two teenage girls who meet in a small, isolated English town one summer and develop a friendship that carefully matures into a passionate romance. Whilst Mona (Blunt) is the local girl, living in the pub her now-deceased mother once ran - which is now being transformed into a place of worship by her born-again, ex-con brother - the seductive, spoilt and dangerously bored Tamsin is home for the summer from boarding school on suspension and is staying at her parents’ extravagant country manor. The relationship between these two girls unfolds in such an intelligent, complex way; the film is fascinatingly psychological and just I became so invested in these two very complex, multi-dimensional characters that are literally brought to life by fabulous newcomers Blunt and Press. This is just goes to show that the effectiveness of a film has no ties to its budget. This one’s a treasure.
Score: A very strong 4/5
Fearless (1993) Dir. Peter Weir; starring Jeff Bridges, Isabella Rosellini, Rosie Perez, Benicio Del Toro, John Turturro
One of the most praised films of 1993 is Peter Weir’s “Fearless”, a film about an everyday man with a fear of flying who was perhaps meant to die in a horrific air disaster, but didn’t, and returns back to the real world as someone completely different; someone entirely ‘fearless’. He used to be allergic to strawberries, and can now eat them; whilst he used to be scared of heights, a rush now washes over him as he stands on the edge of his office building’s roof. He also appears incredibly different, too. He has this gentle, ghostly presence, and his everyday discourse has assumed a softer, more comforting tone. The freakiest part of all this is that all survivors of the disaster herald Max as the man who saved their lives. Something happened to Max minutes before the plane hit the ground. Everything around him stopped for a split second. Then, remaining perfectly calm, he proceeded to help those around him in need of it most. What happened to Max during that split second? Perhaps the old Max died, and a new one was born. Perhaps it was the decisive moment where the trauma peaked and delusion sunk in. We don’t know, and we’re not meant to. His incredibly bewildered wife (Rosellini) doesn’t know who he is anymore; she isn’t sure what happened to Max on or after that flight either, and wants the old Max back. She’s also uncomfortable with the relationship Max develops with the distraught Carla Rodrigo (Perez) - who blames herself entirely for the death of her infant on that flight - as he ushers her back to life. Whilst this film is incredibly observant and wonderfully acted, and overall, quite a strong film, it didn’t move me in the ways that I’d hoped. This film, as gripping as it is, had the potential to reel audiences in completely, but disappointingly, I found myself remaining a spectator of the film for the entire duration, not a participant. That being said, “Fearless” is still a good film that is most certainly worthy of a watch. Perhaps it suffered from what I like to call MDBS - Million Dollar Baby Syndrome - in which the hype surrounding a film’s brilliance seems somewhat bloated for what the product actually is.
Score: 3.5/5
An incredibly painful story of forbidden love that is destined to be forever unfulfilled, due to the unfortunate circumstances of time, and place. Ang Lee’s absolutely exquisite direction is what stands out the most here; his handling of the material is so thoughtful, sensitive, and sincere. We’re transported into the sad, and somewhat different (although similar) worlds, of Ennis and Jack, who meet tending to sheep together on Brokeback Mountain, in Wyoming, 1963. They find a connection that summer; one that they both know will never be matched. At the end of their time on Brokeback Mountain, the two inevitably return to their lives back home. To be together is just not a possibility. Over the next twenty years of their lives, the two are married, and become fathers, too; they occasionally meet, but these encounters are so so cruel, as they’re charged with the type of euphoria that can by no means last a lifetime, as it should, but only a few days. This is such a sad movie. Ennis and Jack are both trapped within worlds that are so insular and tightly regulated by small town ideology that it’s simply impossible to escape. We’re stuck there with them, and we, like them, begin to lose hope, too. They’re bound to lives that neither want, and both share dreams that will forever remain fantasies. There are many, many wonderful things about this film. Ang Lee’s direction, as mentioned, is beautiful; the cinematography is simply stunning; as is Gustavo Santolalla’s score; the screenplay carries with it many interesting and complex characters that seem like, and could be, real people, responding to their situations in the only ways they know how. The performances in this film are also very good. Heath Ledger and Jake Gyllenhaal deliver their best performances yet, and have most certainly set themselves new standards. The supporting cast is also wonderful. Michelle Williams, playing Heath Ledger’s quiet and lonely wife, has some of the most moving scenes in the film. There are also memorable performances from Anne Hathaway, Linda Cardellini, Anna Faris, Kate Mara, and Randy Quaid. We could only predict that this film would bring with it a heavy share of controversy, which is a shame, because it really cheapened the film into something it’s not. It’s not an epic “gay cowboy” film in any sense; it’s a quiet, understated film about forbidden love, and the personal sacrifices people are forced to make due to the restraints placed upon them. “Brokeback Mountain” was not my favourite film of 2005, but I certainly think it was one of the better films made last year. - 4/5
“Town & Country” (2001) Dir. Peter Chelsom; starring Warren Beatty, Diane Keaton, Andie MacDowell, Garry Shandling, Jenna Elfman, Nastassja Kinski and Goldie Hawn.
An absolutely disastrous film that tries so hard emulate the wit and sophistication of Woody Allen’s romantic comedy stylings, but just misses its mark completely. Successful architect Beatty is celebrating his twenty-fifth anniversary to architect wife Keaton, but when his best friend (Shandling) admits to having an affair behind his wife’s (Hawn) back, this suddenly inspires similar thought in Beatty. Some of the women he meets along his way include the somewhat obsessed cellist Kinsky, a rather forthcoming MacDowell, and the young and vivacious Elfman. Sexual humour works quite effectively in a lot of films, but it completely falls to pieces in this one. For a movie that so desperately needs to deploy a more ‘tongue-in-cheek’ brand of humour that would be more suitable to its plot, the screenwriter took a disastrous wrong turn right at the beginning and mistakenly thought this story might be more entertaining if his characters assumed a hideously crass vernacular perhaps more appropriate to gross-out teen comedies such as American Pie. I’m all for cheap, crude laughs, but it only works when it’s needed. Alas, the characters and plot are cheapened to the extreme; I found myself cringing throughout the whole movie, thinking about what this group of talented actors would give to have this one secretly erased from their resumes. “Town & Country” is officially recognised as one of the biggest box-office failures of all time. This film was made for approximately $90 million, after many re-shoots and production changes, and took in about $4 million at the box-office. I can see why. This world would be a better place without this film, and when I think about where the wasted $90 million could have gone in the world instead of into this god-awful film’s budget, depression ensues. Had this film not starred whom it did, it would have been a complete write-off.
Score: 1/5
My Summer Of Love (2004) Dir. Pawel Pawlikowski; starring Natalie Press, Emily Blunt, Paddy Considine.
This incredibly small-scale, hauntingly ethereal film soars thanks to the wonderful realisation of a strong script based on Helen Cross’s novel about two teenage girls who meet in a small, isolated English town one summer and develop a friendship that carefully matures into a passionate romance. Whilst Mona (Blunt) is the local girl, living in the pub her now-deceased mother once ran - which is now being transformed into a place of worship by her born-again, ex-con brother - the seductive, spoilt and dangerously bored Tamsin is home for the summer from boarding school on suspension and is staying at her parents’ extravagant country manor. The relationship between these two girls unfolds in such an intelligent, complex way; the film is fascinatingly psychological and just I became so invested in these two very complex, multi-dimensional characters that are literally brought to life by fabulous newcomers Blunt and Press. This is just goes to show that the effectiveness of a film has no ties to its budget. This one’s a treasure.
Score: A very strong 4/5
Fearless (1993) Dir. Peter Weir; starring Jeff Bridges, Isabella Rosellini, Rosie Perez, Benicio Del Toro, John Turturro
One of the most praised films of 1993 is Peter Weir’s “Fearless”, a film about an everyday man with a fear of flying who was perhaps meant to die in a horrific air disaster, but didn’t, and returns back to the real world as someone completely different; someone entirely ‘fearless’. He used to be allergic to strawberries, and can now eat them; whilst he used to be scared of heights, a rush now washes over him as he stands on the edge of his office building’s roof. He also appears incredibly different, too. He has this gentle, ghostly presence, and his everyday discourse has assumed a softer, more comforting tone. The freakiest part of all this is that all survivors of the disaster herald Max as the man who saved their lives. Something happened to Max minutes before the plane hit the ground. Everything around him stopped for a split second. Then, remaining perfectly calm, he proceeded to help those around him in need of it most. What happened to Max during that split second? Perhaps the old Max died, and a new one was born. Perhaps it was the decisive moment where the trauma peaked and delusion sunk in. We don’t know, and we’re not meant to. His incredibly bewildered wife (Rosellini) doesn’t know who he is anymore; she isn’t sure what happened to Max on or after that flight either, and wants the old Max back. She’s also uncomfortable with the relationship Max develops with the distraught Carla Rodrigo (Perez) - who blames herself entirely for the death of her infant on that flight - as he ushers her back to life. Whilst this film is incredibly observant and wonderfully acted, and overall, quite a strong film, it didn’t move me in the ways that I’d hoped. This film, as gripping as it is, had the potential to reel audiences in completely, but disappointingly, I found myself remaining a spectator of the film for the entire duration, not a participant. That being said, “Fearless” is still a good film that is most certainly worthy of a watch. Perhaps it suffered from what I like to call MDBS - Million Dollar Baby Syndrome - in which the hype surrounding a film’s brilliance seems somewhat bloated for what the product actually is.
Score: 3.5/5