Films seen in London, England — (slight spoilers for INSIDE LLEWYN DAVIS) —
You could play a pretty good drinking game with LONE SURVIVOR, the worrisome Afghanistan conflict story. Simply take a shot anytime any character says something optimistic (e.g., “We’re going to be OK,”) and then gets shot in the foot. A shot for a shot. You would die of alcohol poisoning before the halfway mark.
Alternative title: MARK WAHLBERG SLOWLY BECOMES A POBBLE.
Clarification: by “pretty good drinking game” I mean “something you should not do, ever.”
The movie is excitingly-staged warnography, and gave me a very bad feeling.
One way of looking at INSIDE LLEWYN DAVIS is as the feline version of Clint Eastwood’s THE CHANGELING.
Another way of looking at it is this — a common narrative trope of films made in the early sixties, when this film is set, but particularly in the UK (e.g. SATURDAY NIGHT AND SUNDAY MORNING, A TASTE OF HONEY), is that whenever anybody has sex they get pregnant (if they’re a woman). Cue backstreet abortion and misery. Joy must not go unpunished, especially if you’re working class (this “yes, but” model informs socially conscious narratives from LAND WITHOUT BREAD and LOS OLVIDADOS to the present day: every silver lining must have its cloud). The question of birth control simply does not arise, since in that primitive age condoms were unmentionable. We don’t wonder about Albert Finney knocking up Rachel Roberts, I think it is (married to another man — did this directly inspire Carey Mulligan’s predicament in ILD?), despite his being characterised as someone experienced and aware of the biological processes. In INSIDE LLEWYN DAVIS we do wonder about it a bit, especially as Carey Mulligan has a big speech about condoms and how Llewyn should be permanently wrapped in one, and especially as we learn this has happened before. Drunkenness, sure, and the guy’s kind of a dick, but still…
Actually, apart from the who serial impregnator thing, and some nasty heckling of another act late in the story, Llewyn’s dickishness seemed entirely justified to me. Maybe that’s why I’m not a bigger success in life. The only person he doesn’t offend, really, is F. Murray Abraham (always a welcome face, with the best scene in the film) — I guess because Abraham makes it clear he’s not offering any help. Llewyn only alienates people who might help him. Is that a character trait or a plot device?
London, until Saturday. Hoping to meet regular Shadowplayer Anne Billson, who’s passing through the big smoke too, on Saturday. Expect pictures! Possibly involving skulls. But the purpose of the trip is even more groovy, if such a thing were possible. Not sure when I’ll be able to tell you…