Archive for Adrien Brody

Harry Houdunnit

Posted in FILM, Television, Theatre with tags , , , , on October 24, 2014 by dcairns

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Fiona is on a Houdini kick, so she compelled me to watch the History Channel’s biopic, starring Adrien Brody (authentically Hungarian) as the Great Man.

Scripted by Nicholas Meyer (TIME AFTER TIME) with numerous fictional flourishes (Rasputin? the bullet trick?) and a tacked on voice-over which works hard to ruin everything, along with an irksome, pumped-up music score, the show is nevertheless diverting, since the facts of Houdini’s existence are remarkable enough and Meyer includes plenty of them. Brody is good, even if he is spectacularly elongated where HH was spectacularly compact. Director Ulli Edel (LAST EXIT TO BROOKLYN) throws all he’s got at it, and some of it sticks, but stricter organisation of shots would have helped. It’s more like an exciting compendium of effects than a job of organisation.

The real revelation is that Houdini soars whenever it documents the magic act, even when making stuff up. And most of the tricks are followed by explanations, where available (only the vanishing elephant is left as a tantalizing mystery, and indeed the trick as presented onscreen looks quite impossible). It’s the rather clumsy attempts to provide psychological explanations for Houdini’s actions and career and life which drag the two-parter down to earth like multiple balls and chains. So I propose a new approach for the next biopic — try focussing on the career, the reason we’ve heard of the character in the first place, and skip over everything else — leave the motivation as mysterious as the dematerialised pachyderm. If your character is a showman like Houdini, there will still be plenty of drama…

 

Grand Hotel

Posted in FILM, literature, Politics with tags , , , , , , , , , , , , , , , , , , , on March 12, 2014 by dcairns

The Grand Budapest Hotel

My friend Stephen Murphy worked on the makeup for the aged Tilda!

To the 100-year-old Cameo Cinema to see THE GRAND BUDAPEST HOTEL. They were also showing INSIDE LLEWYN DAVIS. You wait ages for a movie with F. Murray Abraham in a roll-neck sweater and then two come along at once.

I liked MOONRISE KINGDOM more than any other Wes Anderson film (though I still haven’t caught up with BOTTLE ROCKET which some people like best of all, considering everything subsequent to be an ever-downward spiralling into bloodless mannerism, which is a point of view) and I liked FANTASTIC MR FOX before that more than everything before that, so there was evidence that he was on a roll. I didn’t like this one as much as those but I enjoyed it. There was a slightly uncomfortable quality though.

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The art direction and look are as finicky and perfectionist as ever — I don’t dislike that so that’s fine. And he does vary the screen ratio, the font and even the lens I think on this one (unless all those zooms are all CG fake, which is possible), so in a superficial way we have to say he’s progressing artistically. I’ll come to the more thematic progress in a moment.

More good stuff: Ralph (it’s pronounced “Ralph,” by the way) Fiennes is extremely funny and a little bit endearing, doing his Leonard Rossiter impersonation which he always does when asked to be light. No bad thing. I can’t decide if it IS an impression or if it’s just his natural comic mode. Weirdly, Peter Serafinowicz’s impersonation of Ralph Fiennes as Leonard Rossiter seems to predate IN BRUGES, the first film I saw in which he got his Rossiter on properly. Maybe he was inspired by it.
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The whole rest of the cast is very fine. It’s deliriously overdone, like everything with Anderson. Is this role a good use of, say, Harvey Keitel’s remaining time on earth? He mainly seems to have been employed to jiggle his pectorals. Couldn’t somebody who needs the money and exposure more be given a chance at that? But it was nice to see Jeff Goldblum, who doesn’t seem to do enough movies, and who should still be a top leading man, not some kind of guest star. Nobody else can do what he does.

This is really the first Wes Anderson film with proper villains, it seems to me. Adrien Brody is not really heavyweight enough compared to Willem Dafoe, who does all the nasty stuff anyway, so there’s a slight problem of dramatic priorities in terms of dealing with those characters and their evil schemes. The violence was startling for an Anderson film. Sure it’s cartoony but it leaps out at you in this flat, pastel, artificial world. I felt it was a problem that (a) Anderson concocts his own version of European history, with a Ruritanian central setting (which is fine in itself) menaced by a fictional version of Nazi Germany (which was fine for Chaplin in THE GREAT DICTATOR but doesn’t make such clear sense here) and (b) gives almost all the violence to some scheming aristocrats — in other words, Nazi Germany, present by proxy, has almost no role in the story. I didn’t get the sense that the personal perfidies of Brody and Dafoe were there to be compared to the encroaching political darkness, either in terms of “These minor villainies are insignificant compared to what’s coming” or “These minor villainies are a microcosm of what’s coming.” I felt Anderson was actually uncomfortable dealing with the politics at all. He’s said that the kind of politics he likes in films is the kind you get in DUNE — fictional factions whose movements add to the reality of the created world, rather than saying anything about this world or making any kind of point. I mean, there are NO politics in DUNE — there are good guys, bad guys, and different factions, but there is no sense that the Atreides clan, the Harkonnens or the Emperor desire any different kind of constitutional set-up. It’s similar in GBH.

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The natural comparison would be with Lubitsch and TO BE OR NOT TO BE. How do you stage a comic operetta narrative against a backdrop of fascism? The difference is, Lubitsch had a compelling reason to do it and he knew what the reason was, and he clearly thought deeply about all his choices. I mean, for all I know Anderson had reasons and thought deeply too, I just don’t see the evidence onscreen. I think the film falls short of that part of its ambition which is serious, which is why I don’t feel reminded of the work of Stefan Zweig.

One thing that was fun about MOONRISE KINGDOM was that it didn’t have any bad guys but still managed to function as a peculiar kind of action movie, making quite enthusiastic use of Bruce Willis as an icon of that genre. GBH has a chase through a museum seemingly inspired by the one in Hitchcock’s TORN CURTAIN (a lovely scene in a darkened hall full of suits of armour, each picked out of the enveloping blackness by its own personal spotlight, is the film’s most striking visual development — it doesn’t violate Anderson’s ironclad aesthetic, but it doesn’t look like anything else he’s done either) and a toboggan chase that comes either from ON HER MAJESTY’S SECRET SERVICE (an influential film, these days) or THE FEARLESS VAMPIRE KILLERS, though the figures’ movements in longshot have the speeded-up zaniness of FANTASTIC MR FOX.

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I would like another animated Wes Anderson film, please.

Blocking and Punching

Posted in FILM with tags , , , , , on June 17, 2010 by dcairns

Great fight scene in THE DARJEELING LIMITED! (starts at around 4:06)

Enjoyed this Wes Anderson, which I belatedly got around to after adoring FANTASTIC MR FOX, although I did have more trouble than usual with the fact that his characters are all rich layabouts with designer suitcases. Why should that bother me? It might be because the characters are out of their natural environment, which might be presumed to be the kind of urban world of THE ROYAL TENENBAUMS. India here is a colorful backdrop to the privileged cavortings centre-stage, and it seemed there might be more of dramatic import going on behind, say, Adrien Brody. But the film seems aware of this ridiculousness, and of the touristic nature of the characters’ approach to India, and of it’s own fairly shallow skimming of the subcontinental surface. And it’s laying a trap, because things do get deeper and darker.

Meanwhile, the fight, where the comedy comes not from slapstick blows exchanged, but from camera blocking — it’s all “jump up from below frame” and “step left out of frame” until it’s basically a choreographed puppet show using real protoplasm instead of foam rubber (not counting all the packing attached to Owen Wilson’s head).

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