Archive for December 1, 2017

The Private War of Representative Wilson

Posted in FILM, Politics with tags , , , , , , , , , on December 1, 2017 by dcairns

Both Frank Tashlin and Mike Nichols ended their careers with films about, one might say, private wars, but there the resemblance more or less ends. Though, if Bob Hope in THE PRIVATE NAVY OF SGT. O’FARRELL and Tom Hanks in CHARLIE WILSON’S WAR were to trade places, I don’t know how much difference it would make.

The Nichols film makes for an interesting capper. Scripted by Aaron Sorkin, who always does these things, it hashes up an unruly true story into a palatable dramatic shape. The REAL story buried inside the true one is that Wilson’s covert funding of Afghan rebels fighting the Soviet invaders eventually led to the Taliban, and a US invasion which we’re still dealing with today. The film does its best to acknowledge that without admitting any culpability on the part of its protagonist, which is an impossible balancing act. And when the movie denounces the immorality of funding the mujahideen just enough to make the USSR waste resources fighting them, without giving them enough support to win, it has to kind of ignore the fact that this policy gave us Glasnost, whereas Charlie Wilson’s policy gave us… some very bad things indeed.

What else is bad? Oh yes, the warnography, which consists of strange montages of expensive battle reenactment and cheap stock footage, scored by Thomas Newton Howard with militaristic romanticism. Most of this is just montage stuff, presumably thrown in to stop this just being talk, but the talk is what’s good about it. One little scene showing Russian pilots discussing their sleazy love lives while strafing women and kids, before being heroically taken out of the skies by Wilson’s freshly-supplied rocket launchers would be enough to make you sick were it not immediately followed by a tight closeup of Amy Adams’ tightly-skirted ass, which makes things even worse, but somehow I can’t bring myself to blow chunks while looking at Amy Adams’ ass. But it’s probably an all-time career low in taste for Sorkin and Nichols.

   

When the film is dealing with dialogue, it’s on EXTREMELY sure footing, though. Hanks and Philip Seymour Hoffman are terrific in slightly different modes, and we get great scenes with them and Om Puri and then Ken Stott. Ken Stott as an Israeli? Is it the thing about Scotsmen and Jews both being mean? Whatever, when a terrific Brit character actor turns up completely by surprise, we rejoice.

As this is a political drama, this is fairly male-dominated. Among the females being dominated are Adams, gazing worshipfully at Hanks, and Emily Blunt. Julia Roberts is sexualized, but in charge. Her extraordinary makeup impressed Fiona, if it’s not historically correct for the true-life character, then it’s an inspired invention.

“She’s doing her eyelashes like Audrey Hepburn! And those weird-painted on shadows around her eyelids…” It’s the Caligari approach to cosmetics.

Nichols sure sense of casting and timing is undiminished in all the scenes of scheming and arguing. His compositional sense is less pleasing since he stopped working with Harold Michelson on storyboards, and his sense of structure is diminished without Sam O’Steen as editor — though I’m not sure whether executive interference had something to do with the dumb action scenes and the choppy transitions in the last third. But what you get in this film is just-passable coverage assembled with incredible zip into scenes which showcase terrific actors speaking terrific words. And that’s somewhat rare today, as it was ten years ago when this thing came out and I apparently didn’t bother to see it.

Blogathon Man

Posted in FILM, MUSIC with tags , , , , on December 1, 2017 by dcairns

Here’s where you can read links to the latest entries in The Late Show: The Late Movies Blogathon.

Matthew David Wilder guest-blogs below with an indescribable meditation I guess you’d call it on late cinema, late humanity, lateness itself. It’s beautiful. Here.

David Ehrenstein got in early with a tribute to what a friend of mine insisted on calling UNDER THE MERRY TUNE, the first and last dramatic feature film directed by the artist we can safely go back to calling Prince, I think. Here!

First-time participant Jonathan Wertheim weighs in on Sydney Greenstreet’s swan song, MALAYA, here.

Gareth, of Gareth’s movie Diary, long-term contributor, delivers an appreciation of a Val Guest picture which should qualify as late since it’s thirty years into the man’s career, but I think he still had twenty-odd years to go. Are all Val Guest movies late? Could be. Anyway, this is a good one, and a good piece! Here.

Regular guest Shadowplayer David Melville Wingrove assesses Gerard Philipe’s final outing here.

More will follow. You can read my own latest entries underneath this one, if I can figure out how to pin it to the top. I’m pretty sure I shouldn’t use an actual pin.