Dogs Bark

A Serious Man - - Cesar Chavez (2014, Mexico) - - 28 March 2014

Recommended - - Perhaps swayed by the applause at the Tucson premier - - given-up by people the subject actually knew - - I very much liked Cesar Chavez. It’s not flashy; director Diego Luna (Milk) isn’t Oliver Stone and Chavez wasn’t Jim Morrison. He was, foremost, a community organizer and like President Obama, quietly intelligent, funny and politically brilliant. Michael Peña (American Hustle) combines exactly these attributes, complimented by the more passionate Dolores Huerta, talented Rosario Dawson (Trance). America Ferrera (Ugly Betty) was also superb as Chavez’s wife, Helen . . . gently chiding his machismo. John Malkovich (Red) co-produced the picture (w/Gael García Bernal, No), and memorably plays an evil grower.  This isn’t the ultimate biopic of Cesar Chavez but hopefully not the last. His Gandhian side, the basis of the twenty-five-day fast that probably shortened his life, is not well articulated. Perhaps Cesar Chavez will be a catalyst for that future film.

Just Say - - No (2012, Chile) - - 25 March 2014

Recommended - - No is the true story of the non-violent downfall of Chilean dictator Augusto Pinochet. In 1988 and after fifteen years of rule, General Pinochet announced a plebiscite to decide if he would continue in office for another eight years. Pinochet and his military believed they could rig the election such as to win. But that’s not the way it happened, as documented by Pablo Larraín’s (Tony Manero) intriguing film. Gael García Bernal (The Motorcycle Diaries) plays real life Chilean mad man René Saavedra who develops the TV campaign to dump Pinochet. The movie was nominated for last year’s foreign language Oscar. I liked it but found Garcia Bernal’s acting a wee bit somnambulant. The filming technique, imitating nightly news footage (Sergio Armstrong, The Maid), worked well for the exterior shots but abstracted from the more intimate moments. Regardless of these difficulties, No is still a great movie.

Still Sponge-Worthy - - Enough Said (2013, USA) - - 15 March 2014

Recommended. The amusing degradation of mid-life ‘dating’ needs no introduction to Julia Louis-Dreyfus (Veep), not that there’s anything wrong with that. You got the feeling that Elaine Benes would clearly begat ‘Old Christine’ Campbell who now begats over-50 Eva of Enough Said. Without ever tripping over her Oscar gown, JDrey made klutziness adorable. This cute-as-a-button-hood is her only enemy, making the concept of chronic datelessness a bit absurd. Fortunately it’s this endearing goofiness that also suspends our disbelief.  Director Nicole Holofcener (Friends with Money) sets Louis-Dreyfus off nicely against equally adorable James Gandolfini (True Romance). The chemistry is effervescent - - but sad - - given what happened after the wrap party; the jokes about his weight and general lack of health scattered throughout the script take on an unintended ghoulishness.  Catherine Keener (Capote) and Toni Colette (Little Miss Sunshine), the Millie Helper of the modern era, add a couple of sharply-drawn desparate housewives.

No Go, Gadget - - America, America (1963, USA) - - 15 March 2014

Not recommended. In Richard Schickel’s biography of Elia Kazan (On The Waterfront), America, America is described by Kazan as his favorite film . . . but not his best. Gadg was a director, not a writer. To extract a story from his family history was more difficult than he anticipated and resulted in a bloated script that drags repeatedly to an undramatic conclusion. Nevertheless, the film gained three Oscar nominations, writing, direction and best picture - - for Kazan - - and a win for Gene Callaghan’s (The Hustler) splendid black-and-white art direction. There are also some wonderful, small acting flashes by Paul Mann (Fiddler on the Roof) as a Constantinople rug merchant who tries to help Stavros (Stathis Giallelis, Cast a Giant Shadow), Kazan’s uncle, as he makes his way from Turkey to the US and the sadly forgotten Katharine Balfour (Love Story) as a cougar, seduced and abandoned by Stavros. But overall, I must pass.

Object Of Affection - - Lars And The Real Girl (2007, US/Canada) - - 11 March 2014

Strongly recommended. After falling in love with Her, I wanted to see the comic potential of even more extreme gyno-simulacra, specifically, Bianca, the lead actress of Lars And The Real Girl.  Perhaps this is all sort of creepy to you; I get that . . . but director Craig Gillespie’s (Fright Night) and scripter Nancy Oliver’s (Six Feet Under) Oscar-nominated movie is about much more than sex surrogates.  Lars Lindstrom, as masterfully created by Ryan Gosling (Drive) is mentally ill - - at least delusional - - according to his shrink (Patricia Clarkson).  Despite this, his sweetness and loyalty to Bianca overwhelms the fantasy (even for Minnesota) town he occupies and soon everyone loves her and is baking her cookies.  This was the real stimulation of my fondness, the possibility that we can best treat our non-violent mentally ill by accepting them as they are . . . and perhaps we can even accept each other in the bargain?

A Ford, Not A Lincoln - - I Shot Jesse James (1949, USA) - - 3 March 2013

Not recommended. Long before Casey Afflick (The Assassination of Jesse James by the Coward Robert Ford) gained his undeserved Oscar nomination, even before Nicholas Guest in The Long Riders, John Ireland (Red River, All The Kings Men) played the dirty little coward, Bob Ford. Actually, this was the only movie to focus on Ford and just the third Jesse James movie. It was also the first directing gig for legendary auteur Samuel Fuller (Shock Corridor, Pick-Up On South Street), who also wrote the script. The film is interesting in that respect but only as a cult object. Fuller’s iconic long takes and general weirdness is nowhere to be seen in this rather dull story. The plot spends little time with Jesse James, following Ford to Colorado and into a completely made-up love triangle. For the Fuller devotees, I Shot Jesse James is a must-see but for everyone else . . . a misfire.

Suffer The Moms - - Philomena (2013, UK) - - 1 March 2014

Recommended. Philomena Lee’s case is but a single page in a larger chapter of abuse by the Irish Catholic Church. Unwed teenage mothers were sent, as penance, to Church-run laundries where they worked without pay. The babies were sold to American couples, with or without the consent of the mothers. The last Magdalene laundry closed in 1996. In Philomena, Dame Judi Dench (Skyfall) does an outstanding job representing the guilt and dignified anger this injustice created. She is aided in searching for her purloined son by journalist Martin Sixsmith (Philomena screenwriter Steve Coogan). The journey evokes a mystery story, from Ireland to America and back again. Stephen Frears (The Queen) directing is up to his usual high standards. Dench - - playing off Coogan’s cynicism - - never gets her Oirish-adorable overly up. The result is a thoughtful and moving story  . . . all to, yet another, beautiful but Oscar-passed, Alexandre Desplat (The King’s Speech) score.

Duke’s Picks - - The Oscars 2013 - - 1 March 2014

OK! Not too shabby this year. I’m happy with most of these nominations.  I think the reason is that the list of all nominations is short, with way too many multiple nods for the same movies. There are numerous excellently coiffed, lit, cut or scored movies that didn’t get those second-tier kudos. For example, WHEN is Chris Lebenzon going to get an Oscar? Look him up; one of the pioneers of modern action-adventure editing . . . and I think he owes me money from high school. Anyway, here are my picks

Best Actor in a Starring Role  - -  Christian Bale, American Hustle - - Very, very tight. I thought the pathetic dignity of his performance was beautiful. Matthew McConaughey will probably win it and I can’t much argue with that choice but I think Bruce Dern would be my second choice. This was the year for sad dignity. Chiwetel Ejiofor was also very good. I thought DiCaprio was miscast in a bad movie and I would have given his nod to Tom Hanks in a brilliant performance.

Best Actress in a Starring Role - - Amy Adams, American Hustle - - So amazing to see Ms. Adams competing with Mary Louise again but consider that an honor in itself (yeah, yeah). In any case, Streep deserves to be here. So does Dame Judi, who was lovely and delectably subtle in Philomena. The excitement over Cate’s recycled Vivian Leigh is beyond me and Sandra Bullock is the Richard Sherman of Hollywood, in my book.

Best Actor in a Supporting Role - - Jared Leto, The Dallas Buyers Club - - This one isn’t even a contest. Barkhad Abdi, Jonah Hill, Fassbinder . . . sparring partners. Bradley Cooper was good but Leto was transcendent. Rayon was a wonderfully messy and endearing character. Yes, to the trans commenters, Leto did lean on some drag stereotypes but please . . . what do you think drag IS?

Best Actress in a Supporting Role - - Julia Roberts, August: Osage County - - Actually, I thought Oprah won this in The Butler. Cameron Diaz was brilliant in The Councilor but maybe a bit too gynecological in one scene for the Establishment.  I would love to give this to June Squibb. She was wonderful . . . as were Lupita Nyong'o and Jennifer Lawrence.  I give a very slight advantage among the nominated ladies to Roberts because her acting was so wonderfully harsh and spare, totally unglamorous. She served her part.

Best Original Screenplay - - Spike Jonze, Her - - Again, no contest here. American Hustle, Nebraska and The Dallas Buyers Club were excellent scripts but Her is the definition of original screenplay. It avoided numerous very dangerous traps along the way and kept me guessing throughout. And where was Inside Llewyn Davis?

Best Adapted Screenplay - - John Ridley, 12 Years a Slave - - I didn’t see Beyond Midnight and Captain Phillips and Philomena were very good scripts. I give it to 12 Years A Slave because, unlike the other two, Solomon Northup is not only dead but, outside of his book, largely unknown, making it hard to get any help on the details!

Best Cinematography - - Pass - - I missed The Grandmaster and Prisoners so my opinion here is crippled. I’d like to give it to Inside Llewyn Davis, which deserved much more Oscar attention and was beautifully photographed. Nebraska, August: Osage County and Philomena also had some lovely scenery shots, although only the first was nominated. Gravity will probably win thanks to the planet overshadowing its very minor star.

Best Direction - - David O Russell, American Hustle - - There you go again . . . As far as the direction of actors goes, the kind that say, George Cukor or Elia Kazan mastered, David Russell occupies the reigning chair. Nothing against those other guys . . .who are wonderful. But no story can become a drama without a well-helmed cast.

Best Picture - - Megan Ellison, Spike Jonze, Vincent Landay, Her – - I’m still not happy with ten nominees. But actually I thought there were only a couple ringers here, which I would have replaced with Inside Llewyn Davis and maybe, The Councilor or Drive. American Hustle, Nebraska, Dallas Buyer’s Club, 12 Years A Slave and Philomena were all great films and any of these would please me if it won. My infatuation with Her is in its wide-open extent, questioning not just love but the very definition of humanity. I fell for Samantha and I will probably be quoting her and Her from here on.

And so it goes . . . with twenty-four hours to go I am still dateless for the ceremony. Somehow, I managed to embarrass Lois Griffin last year (I know!), when I accidently erased her zipper during the tribute to the dead guys. I thought about Meg Griffin, who must be eighteen by now, but she’s already going with a Fitzsimmons characture of Steve Jobs. Oh the humanity! Maybe this Jersey Girl is available . . .

 

I hear she’s got a body that can stop traffic.