Tag: Mystery

Two Films of Luca Guadagnino: “I Am Love” (2009) & “A Bigger Splash” (2015)

EmmaLeave a comment

I Am Love (2009) starring Tilda Swinton, Flavio Parenti, & Edoardo Gabbriellini

Emma (Tilda Swinton) left Russia to live with her husband in Italy. Now a member of a powerful industrial family, she is the respected mother of three, but feels unfulfilled. One day, Antonio (Edoardo Gabbriellini), a talented chef and her son’s friend, makes her senses kindle. -Synopsis

After watching Challengers this Spring, I decided to look up films that Luca Guadagnino directed in the past. For most (American) viewers, he became one to watch w/ I Am Love; Swinton has worked w/ him on many projects. This is a domestic drama w/ fine food, timeless fashion, and romance. The story is set in (modern-day) Milan, yet the visual style reminded me of a bygone era. The title is taken from the aria La mamma morta, part of the 1896 opera Andrea Chénier by Umberto Giordano; music is a major element here. Swinton learned both Italian and Russian for the part- wow! Swinton’s IRL daughter (Honor Swinton Byrne) played Emma as a child. As the idealistic heir of the biz, Flavio Parenti does a fine job (and looks gorgeous). Fans of Adam Driver (like me) will recognize Italian actress Alba Rohrwacher; they acted together in Hungry Hearts (2014). Here she plays Elisabetta, the artistic daughter of the (buttoned-up) Recchi family.

[1] Who is Mr. Guadagnino, the director? Where does he come from? He seems incredibly sure of himself. Costumes, interiors, landscapes are a visual feast. The score is also a very bold touch.

[2] While I was moved by much of the visual beauty of the film and the idea of breaking with tradition and listening to the voices within, I was infrequently emotionally involved with the characters and I Am Love felt distant and often contrived.

[3] Throughout the movie, it seemed that the food acted as a metaphor: Emma was starting to taste a whole side of her existence about which she’d never known.

-Excerpts from IMDb reviews

A Bigger Splash (2015) starring Ralph Fiennes, Dakota Johnson, Matthias Schoenaerts, & Tilda Swinton

The lives of a high-profile couple, a famous rock star (Tilda Swinton) and a filmmaker (Matthias Schoenaerts), vacationing and recovering on the idyllic sun-drenched and remote Italian island of Pantelleria, are disrupted by the unexpected visit of an old friend (Ralph Fiennes) and his daughter (Dakota Johnson), creating a whirlwind of jealousy, passion, and- ultimately- danger for everyone involved. —Synopsis (Fox Searchlight)

Swinton plays Marianne Lane, a British rock star (similar to Bowie) on an extended vacay on an island of Italy. Paul De Smedt (Matthias Schoenaerts) is her quiet/chill bf of several yrs. The happy couple is forced to host Marianne’s music producer/ex-bf, Harry Hawkes (Ralph Fiennes), when he drops in w/o warning. Adding to the disruption, Harry brought along a much younger/American woman, Penelope (Dakota Johnson), who turns out to be his daughter! As Marianne has recently injured her vocal cords, she speaks V little (and almost in a whisper). Harry (never at a loss for words) takes over the villa’s kitchen, invites his friends over, and does a (hilarious) dance! We start to wonder: What is his motivation to be here?

If you enjoyed The White Lotus, I think you may also like this film (which is a blend of comedy, drama, and mystery). The (natural) way that Guadagnino deals w/ nudity, sensuality, and intimate relationships is rare (esp. for those who don’t see a LOT of European films)! As one viewer wrote: “Guadagnino is a remarkable filmmaker with a retro eye and a futuristic sensibility.” There is a small side plot involving young men (refugees from North Africa); this felt superfluous to some viewers. At a Q&A session for this film, Guadagnino (now 52 y.o.) explained that his mother is Algerian (raised in Morocco) and a Muslim! However, when she married the director’s father, she was estranged from her family.

[1] The quartet core together concocts a palpable interplay between each of them, Ralph Fiennes is the MVP simply because he is all over the place and wondrous to behold under a fully liberated context, and at the same time his performance knowingly triggers a tint of abstruseness which belies the nature of every human soul…

[2] A Bigger Splash is a character development masterclass by Guadagnino. Over the first hour, the film gives everything to build up the intricacies of each character’s attributes so that every subsequent variation and elaboration feels exhilarating. This is a film about people and relationships; how different associations can sometimes coalesce, yet at other times grate, how secrets and history must awkwardly co-exist with the fantasies of perfection.

-Excerpts from IMDb reviews

“Victor Frankenstein” (2015) starring Daniel Radcliffe & James McAvoy

EmmaLeave a comment

James McAvoy and Daniel Radcliffe star in a dynamic and thrilling twist on a legendary tale. Radical scientist, Victor Von Frankenstein (McAvoy), and his equally brilliant protégé, Igor Strausman (Radcliffe), share a noble vision of aiding humanity through their groundbreaking research into immortality. But Victor’s experiments go too far, and his obsession has horrifying consequences. Only Igor can bring his friend back from the brink of madness and save him from his monstrous creation. -Synopsis (20th C. Fox)

Igor [in opening voiceover]: You know this story. The crack of lightning. A mad genius. An unholy creation. The world, of course, remembers the monster, not the man. But sometimes, when you look closely, there’s more to a tale. Sometimes the monster is the man.

Who is Igor, some of y’all may be asking? Fans of Mel Brooks’ comedies will know Igor (Marty Feldman) as the wide-eyed/hunchback assistant to Gene Wilder in Young Frankenstein (1974). There is at least one joke from that classic in this movie. The directorial style is all over the place; some scenes are manic, while others drag on w/o much effectiveness. The editing is choppy; I’m guessing several scenes were cut for time (by the producers). The one female character, Lorelei (Jessica Brown Findlay), is underused and has V little character development. The romance is undercooked; the filmmakers should’ve just focused on the friendship (bromance). The soundtrack is often too loud and overbearing. There are horror elements, yet NOT much was scary (aside from one of the “monsters”).

Victor: Life is temporary, why should death be any different.

The late Christopher Lee said: “Every actor has to make terrible films from time to time, but the trick is never to be terrible in them.” I think we can apply that to McAvoy here; the Scottish actor gave it 100% (exuding energy and enthusiasm in the larger than life role). He was ALL in, so that his natural accent popped out when Victor is esp. passionate about something. Radcliffe is the POV character, which is a rare take; it’s easy to sympathize w/ him. The wealthy investor/med school student, Finnegan (Freddie Fox), doesn’t get much to do; he will soon he seen on S2 of House of the Dragon. The policeman obsessed w/ capturing these men, Inspector Turpin (Andrew Scott), will bring to mind Moriarty in the BBC Sherlock series (also played by the Irish actor). Many of the crew from Sherlock worked on this movie.

“Hail, Caesar!” (2016) starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Scarlett Johansson, Tilda Swinton, & Channing Tatum

EmmaLeave a comment

This movie follows a day in the life of Eddie Mannix (Josh Brolin), a Hollywood “fixer” in the ’50s; he cleans up messes made by actors under contract at Capitol Pictures. When the movie studio’s biggest star, Baird Whitlock (George Clooney) disappears, Mannix has to deal w/ more than just the fix. This movie was written/directed by Joel and Ethan Coen; the brothers had been brainstorming the story for a decade, BUT never wrote anything. After Clooney (known for his practical jokes) announced Hail, Caesar! as his next project at a press conference, the Coens (who received a LOT of publicity), decided to make the film for real! There was real studio exec (E.J. Mannix) who worked as a producer/fixer at MGM. One of his contributions to motion picture history is a ledger w/ the budget and income of every film made at MGM from 1924-1962.

[Eddie has gathered several clergymen to get their opinions on how the issue of God should be handled in the Hail Caesar! movie]

Protestant Minister: God loves everyone!

Catholic Priest: God is love!

Eastern Orthodox Priest: God is who he is.

Rabbi: This is special? Who isn’t who he is?

Catholic Priest: But, how should God be rendered in a motion picture?

Rabbi: God isn’t in the motion picture!

Hail, Caesar! (the movie w/in this movie) paid several tributes to Ben-Hur (1959); one scene shows Baird (playing a Roman general; based on actor Victor Mature) becoming speechless at the sight of Jesus. DeeAnna Moran (Scarlett Johansson) is loosely based on swimmer turned actress, Esther Williams, who starred in musicals for MGM w/ elaborate sets, synchronized swimming, and high diving. To prep for playing Hobie Doyle (based on Will Rogers), Alden Ehrenreich learned horseback riding, rope tricks, gun twirling, and guitar- wow! The actor felt twirling the spaghetti (to mimic a lasso) was the hardest part; Hobie does that on his date w/ Carlotta Valdez (Veronica Osario- a Venezuelan-American actress). As Hitchcock fans will notice, Carlotta Valdez is also the name of a historical character mentioned in Vertigo (1958). Carlotta is based on Brazilian singer/dancer/Bdwy actress, Carmen Miranda (AKA “The Brazilian Bombshell” or “The Chiquita Banana”). Twin sisters/celeb columnists, Thora and Thessaly Thacker (Tilda Swinton), may be based on Ann Landers and her twin sister, Abigail Van Buren (AKA Dear Abby).

Hobie Doyle [repeating the line]: Would that it were so simple?

I’d recommend this to fans of classic films (like me), though it’s NOT a cohesive movie as a whole, it has several FAB scenes! As a fan of the Coens’ work commented: “They travel from universe to universe remaining true to themselves.” The scene btwn Ehrenreich (the standout among the large ensemble cast) and Ralph Fiennes (who plays British director Laurence Laurentz) is hilarious! The tap dance w/ Channing Tatum is a LOT of fun; he looks light on his feet and graceful. I’m sure many viewers will be surprised! Clooney is NOT afraid to portray the pathetic side of some Hollywood stars. If you are looking for LOL moments, those are few; there is plenty to smile (or chuckle) at.

[1] Quirky and lingering, that’s the Coen brothers way […]

…if you’re obsessed with cinema (I know I am), intrigued by the ins and outs of Hollywoodland lingo, and want to revel in the Coen brothers strutting their movie within a movie pedigree, then Hail, Caesar! will cure your wintry blues. All I gotta say is “hail” yes!

[2] It was as if the Coen Brothers simply said “let’s do a film for ourselves…who cares whether or not the public enjoys it or not!”. I appreciated it myself…but I am also not the average film-goer. As for the average viewer, the film makes allusions to many events in the history of Hollywood… but if you aren’t aware of these events or rumors, you’ll not understand or appreciate much of the film.

-Excerpts from IMDb reviews

“10 Cloverfield Lane” (2016) starring John Goodman, Mary Elizabeth Winstead, & John Gallagher, Jr.

EmmaLeave a comment

After getting into a car accident, Michelle (Mary Elizabeth Winstead), awakens to find herself in an underground bunker w/ two men- Howard (John Goodman) and Emmett (John Gallagher, Jr). Howard offers her crutches to help move (w/ her leg injury from the crash); he tells her to “get good on those” before leaving. She is told that there has been an attack and the outside world is poisoned! However, Howard’s intentions soon become questionable. Michelle wonders: Is it better in here or try top get outside?

Howard: People are strange creatures. You can’t always convince them that safety is in their best interest.

I came across this film recently while browsing; I think it’s still streaming for free. I’m NOT an expert on modern horror; these movies are often shot quickly w/ low budgets. Teens/20s viewers seem to watch these more in theaters, from what I’ve observed/heard. There are some classic horror films which I still haven’t seen. I was impressed w/ the pacing (editing) and direction of this movie. Dan Trachtenberg, who now mainly works in TV, earned a Directors Guild of America Award (DGA) nom for Outstanding Directing – First-Time Feature Film. The screenplay was written by Josh Campbell, Matt Stueken, and Damien Chazelle (who most recently directed Babylon).

Emmett: We’re here. We’re alive. That means something… It’s gotta.

We know Goodman (a veteran character actor) is always good in every role; he creates an (unexpected) villain. I’d seen Gallagher, Jr. (who also has a career in folk music) in The Newsroom; he plays a farm boy-next-door who regrets missing out on college. Michelle and Emmett (a good guy) form a friendship bond, which Howard is angered (and perhaps threatened) by. I learned that different tonal versions of most scenes were shot (from light/humorous to angry), so filmmakers could find the right mix in the end. I enjoyed the story a LOT until the ending- it wasn’t what I expected at all!

[1] It’s incredibly compelling mainly because of its intense focus on character, while it’s the several subtle twists and turns that keep us on the edge of our seat as our reading of the situation (always seen through the lens of the protagonist) continues to organically change.

[2] There are little if any horror elements in this movie. […] Those of you looking for a tense, slow building atmosphere are going to love this one! This is primarily a mystery movie.

[3] This film done everything right in terms of keeping you on edge, building tension and keeping you guessing. You feel just as confused and vulnerable as the protagonist and have no idea where everything is leading. But then, out of nowhere, it suddenly takes a sharp turn down towards WTF-ville and completely kills everything that it worked hard to build over the duration of the film.

-Excerpts from IMDb reviews

“Love Crime” (2010) starring Ludivine Sagnier, Kristin Scott Thomas, & Patrick Mille

EmmaLeave a comment

An elegant business exec, Christine Rivière (Kristin Scott Thomas- who speaks fluent French), brings on Isabelle Guérin (Ludivine Sagnier) as her protege. Christine seems to enjoy toying w/ the young/naive woman. Christine is involved w/ Phillipe (Patrick Mille), an arrogant/charming lawyer who consults w/ this company. Soon, Isabelle’s ideas become creative enough for Christine to pass off as her own. In time, we see that Christine has underestimated Isabelle’s ambition/cunning!

As one viewer commented, this is “not a whodunit, but more of a what’s-she-gonna-do next” story. I heard about this French neo noir film on the Fatal Attractions podcast. Alain Corneau (1943-2010) was a Cesar Award-winning French writer/director; he died soon after Love Crime was released. The American remake (undercooked and boring) was titled Passion (2012); it was directed by Brian De Palma and stars Rachel McAdams and Noomi Rapace. If you like this movie, you may want to check out The Business of Strangers (2001) starring Stockard Channing and Julia Stiles.

The French ain’t like us (Americans) y’all- that can be surprising (yet refreshing) to watch! They don’t need big budgets, expensive sets, action scenes, or likeable lead characters. They also don’t carry the (Puritan) baggage when is comes to nudity, sex, or relationships btwn men and women. After a meeting out of town, Isabelle jumps into Phillipe’s arms and kisses him w/ fervor (looks a BIT aggressive). These women are battling it out in (and out) of the boardroom! The filmmakers don’t shy away from melodrama. If you like psychological thrillers, then I recommend this movie.

…Mr. Corneau makes witty use of the contrasting faces and temperaments of the two main actresses. Ms. Thomas, her manner as impeccable and dry as her French, is all angles and edges, most terrifying when she seems most at ease. Ms. Sagnier, soft and skittish and visibly struggling to maintain her composure, turns out to be even scarier.

-Excerpt from NYT review by A.O. Scott

[1] The narrative style is one of omniscient point of view. As an audience, you are along with the perpetrator for a ride all the time. The fun is in seeing (and sometimes guessing) how she uses the “self-framing” trick (think “The Wrong Man,” but in that movie the audience is in the dark and are in for a big surprise, unless they are really smart) to get away with murder, literally.

[2] What makes the film so fascinating is the clever move/countermove screenplay that provides tantalizing hints increasing skullduggery. The two female leads play beautifully off each other and the hapless men that get in their way are interesting in their own right.

[3] …here we have real human action. With women as the characters, “action” does not have to constitute external phenomena as is the case with men. For women, “action” is the deadly silent conflict between personalities, and how they outwit each other. This is a true “psychological thriller,” whereas many claims of that kind are made by films which are not all that psychological.

-Excerpts from IMDb reviews