Short Takes. "Beginners" and "Sleeping Beauty".

Here are two films so in love with their concepts that they manage to both completely enthrall or distance themselves from their audiences. In Sleeping Beauty, director Julia Leigh gives us a retelling of the classic story by setting it in a luxurious brothel. Emily Browning plays Lucy, a college student who deals with sex to get what she wants but fear not, this isn't one of those trashy sex movies. In fact there is almost no sex onscreen, except for the kind of erotic service she provides: every evening, Lucy is drugged by her madame (the eerie Blake) who puts her to sleep and lets men - usually older and very grotesque - do to her whatever she wants, except penetrate her. Leigh's postfeminist take on the classic children's story does make us wonder if something similar could've happened to the poor heroine in the story we all know so well. Was this sleeping chick a magnet for necrophilia-loving trolls and villains? 

What disappoints about this tale is that we only think of this, because the film is so dull, so full of itself and its pace so comatose that we wonder if we weren't drugged as well. Browning still fails to prove what's so special about her to make her the star of recent big productions and Leigh's literary knowledge fails to ignite any sort of cinematic spark. 

Mike Mills' Beginners inversely, seems to have been adapted from a Dave Eggers' novel (or any other hipster icon for that matter) and it works, despite it being an extreme case of "look at how indie I am". Ewan McGregor once again dazzles, in a totally underrated way, as Oliver, an illustrator (of course) trying to deal with his father's death.
His father is played by the astonishing Christopher Plummer who gives a performance full of such joy and wonder that one can't help but fall in love with him. He plays a man who comes out of the closet after his wife's death, his boyfriend is played by Višnjić and their scenes together might be the most memorable in the film, as they ring true in their depiction of simplicity and awe. The lush Mélanie Laurent plays Oliver's love interest and needless to say so, their story falls so deep into its own delusional drama that you only want the scenes to go back to Plummer. The film is excessively twee and might be too sweet for its own good. The problem is that it fails to acknowledge this and surprisingly this also becomes its salvation. By failing to see its flaws the movie moves and talks like the beautiful girl who smiles at everyone and hasn't realized she has a piece of lettuce stuck on her teeth.

Grades: Sleeping Beauty *           Beginners **

(My) Best of 09: Supporting Actress.

5. Mélanie Laurent in "Inglourious Basterds" (read my review)

As Shosanna Dreyfus, French beauty Laurent becomes the vessel of revenge in Quentin Tarantino's historical fantasy.
She's your archetype QT female character: driven, intimidating and so damn cool. Laurent's perfect dramatic timing serves her greatly in scenes with Christoph Waltz and in her most iconic moment she is able to evoke Nastassja Kinski and "The Wizard of Oz", all at the same time.



4. Gwyneth Paltrow in "Two Lovers" (read my review)

As a woman completely unaware of her power over men, Gwyneth Paltrow gives "Two Lovers" its central theme: our ability or inability to escape from who we're becoming.
She plays Michelle, next door neighbor to Leonard (Joaquin Phoenix), an indecisive young man who sees in her the opportunity to start over. She makes it clear that she's in love with someone else and Leonard willingly enters her world of self destruction.
She takes Michelle to femme fatale levels as she becomes an addiction to Leonard. We know she's no good and we know her hysterics and drama are the last thing we need, but we would never refuse an invitation to join her on the dancefloor.


3. Penélope Cruz in "Nine" (read my review)

For someone who first catches our attention by stating she's not wearing any clothes, it's a miracle that Penélope Cruz gives Carla her best moments dressed head to toe and looking as if hell walked over her.
As the mistress of famed director Guido Contini (Daniel Day-Lewis) she sizzles in the hilarious, if a bit underwhelming "A Call from the Vatican", but Cruz knows better than to give it all to us at once and the number, contrary to our beliefs, is nothing but foreplay.
She's brilliant in latter scenes where she quietly lets Guido put makeup on her, fully aware that she is after all another character he needs to direct in his life and she breaks your heart upon the realization that she will never ascend to a lead role.
She might be wearing gorgeous clothes but it's in these introspective, dark moments where Cruz seems completely naked.


2. Rosamund Pike in "An Education" (read my review)

Helen (Pike) is the kind of woman who would've been played by Marilyn Monroe or Gloria Grahame in the 1950's. Characters around her would've described her as someone "who's dumb and knows it" and as trophy girlfriend to a distinguished bachelor (Dominic Cooper in this case) she would've been used mainly for comedic relief and eye candy.
But what Rosamund Pike does with Helen goes beyond beauty and perfect, almost musical, comedic timing (few actors delivered their lines better in any 2009 film) she finds the truth inside her that characters around her are so desperate to find.
The film's lead (Carey Mulligan) is trying to find a reason; Helen may not have found hers' but she's so self aware of her limitations that she is not willing to compromise inner peace for mere survival.


1. Marion Cotillard in "Nine" (read my review)

Contrary to what she thinks, Luisa Contini (Cotillard) might just be the most special character in "Nine". As wife of Guido Contini (Daniel Day-Lewis) she does more than stand his infidelities, deal with his paranoia and give good social face.
She also happens to be his muse and moral center. Of course this isn't enough to keep a person alive, especially when there is nothing in it for you.
Just as Guido must learn to appreciate her more, Luisa needs to learn the difference between obligation and love. She's as guilty as Guido in how they both have turned their marriage into an addiction, yet we can't accuse her of weakness. Cotillard turns Luisa into someone who has made a lifestyle out of submission.
But the actress is so subtle that she gives Luisa a wordless backstory that make us become fascinated by the enigma she represents.
When she sings the heartbreaking "My Husband Makes Movies" she establishes who she is at the moment and when we get to the harrowing, almost brutal "Take it All" she finally takes her own stand.
Cotillard of course doesn't make this an obvious transition from backbone-less being to proud amazon; but a smooth, beautiful realization that to love someone else we must love ourselves first.

Wishful Thinking (Oscar Edition).

With Oscar nominations less than twenty four hours away it's our last time to look up on the skies, find a star, make our biggest wishes and then watch the following day how AMPAS shatters them.

This year mine would be:
"Bright Star" getting in for Best Picture and Best Director but since I know those are laugh-out-loud lost causes, then would they please please nominate Abbie Cornish for Best Actress?
After all the buzz she got in Cannes she seemed one of the most sure causes come awards season, but they have replaced her with the likes of Emily Blunt in a mediocre biopic, Helen Mirren in a we-haven't-seen-it-but-it must-be-good-because-you're-in-it biopic and most terrifying of all Sandra Bullock in a racist trying to pas of as feelgood biopic.
Considering how Cornish is almost a lost cause as well, I'll cross my fingers for Bullock and Blunt, maybe that'll jinx their chances.

Oh and if "Bright Star" is ignored in Costume Design and especially Cinematography someone will need to give me a tranquilizer or shoot the Academy.

I would also love to see "The Hurt Locker"'s Anthony Mackie or Brian Geraghty get in Best Supporting Actor over people like Matt Damon whose whole movie is a big pile of "huh?" in the face of art.

I rest assured that the Foreign Language Branch won't fuck up this year and snub "The White Ribbon" or "A Prophet" and they would make for a perfect trio if they also remembered "The Secret in Their Eyes" (with "The Milk of Sorrow" and "Samson and Delilah" rounding up the lucky five). If any of these is snubbed and "Winter in Wartime" or "The World is Big and Salvation Lurks Around the Corner" made it, it truly would be outrageous.

As usual I won't even bother with predictions, they are perhaps one of the most frustrating and Sisyphean endeavors any Oscar buff can get into and even if none of my wishes get granted, a boy has the right to dream, doesn't he?

Inglourious Basterds ***1/2

Director: Quentin Tarantino
Cast: Brad Pitt, Christoph Waltz, Eli Roth
Diane Kruger, Michael Fassbender, Mélanie Laurent, Daniel Brühl
Til Schweiger, Mike Myers, Julie Dreyfus
B.J. Novak, Gedeon Burkhard

Some believe that art has the ability to influence history and change its course. Quentin Tarantino takes this belief to the extreme by making a movie that literally changes the way history occurred.
"Inglourious Basterds" is a revenge fantasia that selfconsciously acknowledges its deep love for film while questioning the very notions of its existence.
Set in Nazi occupied France, the movie opens when SS Colonel Hans Landa (Waltz) arrives to the house of farmer Perrier LaPadite (Denis Menochet who in one scene gives the most haunting performance in the movie) searching for hidden Jews.
"The Jew Hunter" as Landa is known sits with Perrier as an ongrowing menace fills the air. We discover that the farmer is indeed housing Jews and after delivering a monstrous metaphor (only more monstrous because it makes Nazism "comprehensible") his team shoots the hidden family.
But he lets one of them escape, Shosanna Dreyfus (Laurent), who grows to become a theater owner in Paris still harboring a desire for revenge towards the Nazis.
Her opportunity comes when German soldier-turned movie star Fredrick Zoller (Brühl) is smitten by her and decides that he wants his movie premiere (a piece of propaganda called "Pride of the Nation") to be held in her theater.
With the assured presence of Propaganda Minister Joseph Goebbels (Sylvester Groth) and the rumor that Adolf Hitler (Martin Wuttke) himself will attend the premier, Shosanna begins to plot a macabre plan that would finally settle differences between her and the SS.
But she ignores that there are more people with their sight set on her theater.
A special OSS army force known as the "Basterds", who specialize in killing Nazis, come up with a mission of their own to end the war in Shosanna's theater by blowing everyone up.
Led by Lt. Aldo Raine (Pitt) the Basterds are comprised of Jewish Americans and Germans for whom Nazi killing is personal (Raine is of Native American descent, he's also known as "Aldo the Apache").
Among its most prominent members are, second in command, Donny "the Bear Jew" Donowitz (Roth who embodies raw macho qualities and mythical deity hatred) and Hugo Stiglitz (a fantastic Schweiger) a sociopath German officer who turned against the Nazis before being recruited by the Basterds.
Other allies include British Lt. Archie Hilcox (a scene stealing Fassbender, you end up wishing he was in the movie much more), a film critic turned soldier who goes undercover to France and German screen siren Bridget von Hammersmark (a luminous Kruger) performing Mata Hari duties for the Allies.
Tarantino frames both missions with surprising efficiency, establishing their differences without making them too episodic.
As usual he indulges his characters in overlong talks (the man lives for words) and complimentary flashbacks that provide more quirk to already eccentric characters (one vignette explaining the combustible qualities of nitrate film is a delightful piece of trivia).
However his maturity shows in the fact that this time more than ever his characters seem driven by something that exists outside the iconoclastic director.
With Shosanna for instance he goes beyond making her a "Quentin Tarantino creation" and more of an actual human being; the farfetchedness of her revenge plan makes sense with her.
Laurent of course helps make Shosanna so memorable, her performance is magnificent and moving. When she dresses for the night of the premiere, the combination of femme fatale glamor and hatred she channels like tribal cannibalism is especially powerful.
She shines in her scenes with Waltz who turns in a villain with instantly iconic characteristics. He plays him like a maniacal Mephistopheles who enunciates with contemptuous diplomacy.
His kind of sadism is the one that can make you be on the edge of your seat for ten minutes, only to have him leave without a single act of violence.
You understand why he is so feared by the people he hunts down. Waltz fills him with so much life that he literally jumps out of the screen.
And as for Tarantino-esque cameos, few things are as delightful as Rod Taylor and Samuel L. Jackson in blink and you'll miss them performances.
With them he reminds us, again, of his vast knowledge of cinema. In the opening scene he pays homage to Sergio Leone, Stanley Kramer and "The Searchers" within ten minutes and the rest of the film throws more B movie, macaroni combat and classic Hollywood movie references than you can even count.
What makes this movie different is that this time he's not in it merely for the geeky show-off-ness. He knows occult movies, we get it, but why should we care about it? With "Inglourious Basterds" he actually has something to say using this meta language.
For the first time he actually questions his points of view using the medium he knows the best.
In a scene where Zoller watches his movie he turns around to see how everyone is loving the way he inhumanly shoots other human beings following army orders.
As the others cheer his actions, he seems to become disgusted by this glorification of violence and we know he is being stirred by something unexpected.
For him it's perhaps his realization that the Nazis have imposed an agenda of hatred upon him and only now does he see beyond his political loyalties.
But as an audience member take a look around the room and see how other viewers are also relishing in hos the Basterds torture and murder Nazis.
Is "Pride of the Nation" self criticism with a wink?
Tarantino lets us know that he understands a line must be drawn between art and the artist's beliefs, even Shosanna acknowledges the genius of Leni Riefenstahl, but what compromise can be reached when mind and heart battle at the same time?
"Inglourious Basterds" only achieves brilliance when Tarantino, who has so far thrived in his B movie violence, wonders if he in fact has the last word on WWII.
Is his ending better than history's? Tarantino from the 90's would probably have made every possible attempt to justify his vision, this more mature filmmaker abstains from chewing the ideas for us and forces us to leave the movies with a dilemma: as pleasing as his resolution is, does it offer any actual redemption?

Crush of the Week.