Ambition, Beauty

Lust, Caution is so much more than I expected it to be, and what I got out of it was nothing short of amazing. I'm not sure why my expectations weren't higher - Ang Lee only made one of my favorite films of all time, Brokeback Mountain. Lust, Caution isn't a masterpiece like Brokeback Mountain. Wait, maybe that isn't fair. I shouldn't use Brokeback Mountain as a measuring tool, because nothing else would ever have a chance. It's just too special to me. Lust, Caution is excellent in its own right. And really, the two films are so different that it's hard to compare. Actually, all of Ang Lee's movies are different from one another - he surprises me every time with his versatility. He very recently touched my heart with Brokeback Mountain, and he's done it again with Lust, Caution.

Lust, Caution is indeed the infamous film that received the dreaded- gasp - NC-17 rating for explicit sex. I respect Ang Lee so much for not compromising his vision and making this an R-rated film. In fact, I applaud him. The rating system is so messed up anyway. Violence is more acceptable than sex? What? How warped. I guess I agree with the NC-17 rating, because the sex is definitely graphic, yet how this gets slapped with an NC-17 and so many brutally violent films slide by with an R boggles my mind. I love Teeth. That's not a secret. But Teeth is as graphic in its depiction of violence (and the violence is sexual in nature, too) as Lust, Caution is graphic in its representation of sexuality. There are countless other violent examples. It just sickens me. It's not fair. America is so afraid of sex. The sex in Lust, Caution is not gratuitous at all. Every single scene involving sex advances the plot and enhances character development. There's a physical level to the sex, obviously, but there's also an emotional one. How Lee combines the two is exquisite. The sex is absolutely essential to the film. Bravo, Ang Lee.

Lust, Caution has gotten a raw deal, from the pitiful distribution based upon the rating to virtually no discussions of it other than accusations of sensationalism. Even when people were roaring about the sex, that passed by relatively quickly. The film has been misunderstood, overlooked, and forgotten, and I think that's tragic. It's an astonishing achievement. I'm reluctant to give too much away plot-wise, so all you need to know (I'm hoping to entice you into seeing it anyway) is that the film is set during World War II, in Japanese-occupied China, mainly Shanghai, and Tang Wei stars as Wong Chia Chi, a young Chinese woman who, along with five other college students, joins the resistance movement. Among many other people, the resistance plans to assassinate Mr. Yee (Tony Leung), a Chinese man working with the Japanese. Wong Chia Chi works as a spy and seduces him. I won't reveal anything else, but I'll give you a clue: It's not called Lust, Caution for nothing.

People utilize the expression "This film has everything" so often that I think it loses some of its impact. When I use it, I really mean it. I'm going to say it now about Lust, Caution. This film has everything. It really does. History, war, intrigue, suspense, action, sex, violence, drama, humor, friendship, danger, love and, of course, lust. It might be too slow-moving for some people's tastes, but if you stick with it, it's a very satisfying journey. I call it pacing, but I understand how it could be frustrating. I even had a little trouble getting into it for the first half hour or so, but once I was in, I was hooked. The story is so wonderfully complex, and I promise that you'll never guess how it'll play out. It's surprising and shocking all the way to the very end.

I've actually watched the film twice now, and it only got better the second time. I KNEW what was going to happen, but I was somehow even more riveted and anxious and on the edge of my seat with suspense. It was like a trance. For about the last 45 minutes, I was gripping my right arm with my left hand so hard that I was actually digging my nails into my flesh and causing pain, and I didn't even realize it. Lust, Caution affected me that viscerally. The ending is one of the best and most effective I've ever seen. I felt like the wind was knocked out of me, and my heart was beating out of my chest. It hit me really hard emotionally, tears and all. It's an extremely subtle film, but it's also dynamically powerful.

Ang Lee is an extraordinary filmmaker. He exercises such control over this complicated, intense story. To pull it off required incredible finesse, sensitivity, and dedication on his part. Lee has a distinct, delicate touch, but there's also an urgency and exhilaration about his directing. In many ways, he's as dichotomous as the the titular themes. Every minute detail has been planned and has a purpose. It's glorious. Lust, Caution is absolutely GORGEOUS. It's just heavenly to look at. The cinematography by the insanely gifted Rodrigo Prieto is breathtaking. The colors are dazzling, and the compositions are rich and layered. You can tell that Prieto and Lee have a wonderful collaborative relationship, because they create magic together. The production design is outstanding. I felt like I was transported back to 1940s Shanghai. A world that actually existed has been stunningly recreated. The costumes are also great, and Lai Pan did the costumes AND production design, so that's awesome. The screenplay by James Schamus and Hui-Ling Wang is phenomenal, especially considering this epic film is based upon Eileen Chang's very short story.

The whole time that I've been writing this review, and it's been awhile, I assure you, I've been listening to the Lust, Caution score, composed by the genius Alexandre Desplat. I'm almost done with my second spin. Something has actually dethroned The Assassination of Jesse James by the Coward Robert Ford as my favorite score of 2007. It's more than that, though - it's one of my favorites ever. It's so beautiful! The main theme is haunting and lovely, and his use of leitmotifs is divine. I love every single one of the 23 tracks he composed. I'm not sure that's ever happened for me with a score before. The music simultaneously gives me chills and melts my heart. It's perfect. Um, Oscar nomination? Anyone? Sheesh. Amateurs. Anyway, I don't know if heaven exists, but if it does, Desplat's score for Lust, Caution is what they would play there.

The two main characters played by Tang Wei and Tony Leung are extremely fascinating, but they wouldn't be half as interesting or sympathetic as they are without exactly the right casting and execution. Well, the casting and execution are impeccable. It's a tribute to the actors, for sure, but also to Ang Lee's instincts, knowledge, and skill. It's obvious that he's a remarkable director because the acting is as good as it gets. This is Tang Wei's FIRST film, and she's dynamite. I can't believe that she never acted before. She's a marvel. It's such a brave, passionate, skilled performance of a really demanding role. It's a crime that she's been blacklisted in China for playing this part. I sincerely hope things work out for her, because she's a huge talent. Lee-Hom Wang is another standout, and another newcomer to acting (he's apparently, like, the biggest pop star in Asia, which is a fun fact) as Kuang, Wong Chia Chi's closest friend in the resistance. And he's a total babe. Tony Leung is brilliant as Mr. Yee. My vocabulary is really good, but I'm worried that I'm running out of adjectives here. Leung is one of the most talented and prolific Chinese stars ever. I guess he had mainly played good guys or romantic leads before, so this was a total departure, according to Leung himself in the making-of featurette. Lee saw something amazing in him to realize that he could play such an angry, morally conflicted, carnal, ferocious character. He's quite terrifying at times. Tony Leung is fire on the screen. Like Tang Wei, he communicates so much with just his eyes. But then he has these tender moments that make me swoon from his poignancy and subtley. Tang Wei and Tony Leung make their flawed characters so real and memorable, and they both deliver multi-faceted, nuanced, courageous, beautiful, heartbreaking performances. No other actors could have done what they did. The acting in Lust, Caution is invigorating.

I adore Ang Lee. I really admire his intention of bridging the past with the present and connecting generations. He's done something so unique by taking a culture that is usually depicted as modest and repressed and proving, fiercely and unflinchingly, that people are the same everywhere. East, west, whatever. Boundaries mean nothing. This is probably his most personal project, and it's a knockout. He should be extremely proud. His passion and commitment to the subject and to the art of cinema in general are so inspiring. With Lust, Caution, he explores themes that are epic as well as intimate, controversial as well as relatable, and all deeply profound, universal, timeless, and human. At its essence, Lust, Caution is about what it means to be a human being and all of the heartache, terror, pain, confusion, happiness, and ecstasy that it encompasses.

You know, when I started this review, I was planning on giving Lust, Caution four stars out of five. I said it wasn't a masterpiece like Brokeback Mountain. I was wrong. It's just as much of a masterpiece, in its own way, as Brokeback Mountain. While Brokeback Mountain is my personal favorite of Lee's work and nothing can ever replace it in my heart, I don't think I was giving Lust, Caution a fair shake with that initial rating. Actually, I don't think I was being unfair; I just didn't know how deeply this film had penetrated me.

As I've been writing and writing, and loving every second of it, and examining my feelings and just allowing the film to consume me, my appreciation for it has been growing and blossoming. I think I've been experiencing a cinematic epiphany, right before my own eyes. I attained a sublime, pure state of being and became so wonderfully in tune with myself in this post. I was able to watch my thoughts unfold in surprising, gratifying ways. What a rare, amazing thing to happen. I certainly didn't expect anything like it when I started out. I was holding back somehow, and I wasn't even aware of it. I had yet to discover my true reaction to the film, and now that I have, I almost want to weep with joy. I guess I could classify this revelation as spiritual. After all, cinema is my only true religion. During this process, I realized that I like Lust, Caution a hell of a lot more than I thought I did. I mean, I really liked it before, but I'm throwing caution to the wind - I am madly in love with this beautiful film.

Rating: ***** (out of 5) - In light of this review and the film's rating, I was forced to alter my Top 20 of 2007 list one last time. It was totally unexpected. Much to my surprise and delight, Lust, Caution made the cut.

Has Judd Apatow Gone Too Far?

Okay, if you live in or near a major metropolis, or even in a big suburb, I think we can all agree - we're sick of the damn Forgetting Sarah Marshall ads already! Sheesh. No matter how you feel about the movie, whether you're crossing off days on the calendar or cursing the arrival of yet another Apatow flick, enough is enough with the freaking ads. This advertising campaign is why the word "overkill" was invented. It's a tribute to Judd Apatow's refreshing type of comedy that people aren't totally repelled from the film altogether. Actually, I guess that's yet to be seen. It ain't over until the box office numbers are in next Sunday night/Monday morning. Meh, who am I kidding? Forgetting Sarah Marshall is going to be a massive hit. If I'm wrong, I will humbly eat my words.

I love Judd Apatow and almost everything he's done. When I refer to the cinema of Judd Apatow, a revolutionary new school of comedic filmmaking, I'm including his whole empire, meaning all the films with his name on it, even if he's only the producer and didn't write or direct the project. His mark is all over them, in a good way. The most notable Apatow films are: The 40-Year-Old Virgin, Knocked Up, Superbad, Forgetting Sarah Marshall, and the upcoming Pineapple Express, which has enough buzz to put a bee to shame. I think I described his comedy best in two reviews I wrote for Suite101.com. So, I'm going to to plagiarize myself here, because I can't quite seem to articulate those thoughts as well now. I first mentioned him in my review of Albert Brooks' Mother: "Judd Apatow (The 40-Year-Old Virgin, Knocked Up), Seth Rogen and Evan Goldberg (Superbad), and Diablo Cody (Juno) are the best comic writers in Hollywood today. They have all perfected the art of combining shocking, brutally honest, and often raunchy comedy with sweet, honest humanity. Judd Apatow is the king and pioneer of this recent movement. With all the trash currently out there (Meet the Spartans, Fool's Good, Strange Wilderness), discerning filmgoers have Apatow to thank for resurrecting and reinventing a brand of comedy, with heart and hysterics, that has been virtually lost since the days of Preston Sturges and Billy Wilder." Then, in my review of Harold & Kumar Go To White Castle, I said this: "Apatow's films (The 40-Year-Old Virgin, Knocked Up) and Harold & Kumar share intimate character studies, unflinching humanity, hilarity stemming from honesty, and huge hearts. Harold & Kumar also contains that magical raunch factor so integral to Apatow's films, its purpose being to shock puritanistic America out of its conservative slumber. These films make sex a normal part of life, which it is, and which American society tries to pretend it isn't." So, put all that together, and that's the essence of Judd Apatow's work.

Attaching Judd Apatow's name to a movie, his golden seal of approval, practically guarantees success. His distinct sensibilities are always there. I mean, he knows what he's doing. He chooses a project for a reason, right? I think he's absolutely brilliant. He really is a modern-day Billy Wilder or Preston Sturges. I really couldn't pay someone a higher compliment than that. He's the closest we'll ever get to them in this crap-filled comedic landscape, and for that, we should be thanking the cinema gods. When I say he's as close as we'll ever get, I'm not saying we're just settling for him; I sincerely believe he's damn close to the level of genius of those masters. Apatow has built this huge reputation for himself and set a really high standard, and so far, he's done a great job of upholding both. You have to admit - it's pretty remarkable when you've only directed two films, and you're already considered an auteur.

So, that was my elaborate set-up for the Forgetting Sarah Marshall ad campaign. You all know the ads I'm talking about. "My mom always hated you, Sarah Marshall." (Actually, there's no comma on the ads - I added that myself because I enjoy proper grammar.) "I'm so over you, Sarah Marshall." "You suck, Sarah Marshall." "You do look fat in those jeans, Sarah Marshall." I believe there's also one that simply says: "I hate you, Sarah Marshall." I spend a lot of time in heart of downtown Chicago, so for the past month and a half, I've seen these ads EVERYWHERE. They whiz by on the tops of cabs, lurk around bus stops, and scream at me off the sides of buses. I just don't think this approach is very clever. Sure, it's getting people talking, but so what? So does a good premise and a great trailer. The movie was already sold. The ads are dumb. Maybe they were cute or funny the first couple times, but we're talking serious advertising assault here. They're so aggravatingly, hellishly irritating. I hate them.

Besides just being annoying, these ads have become controversial. They're rubbing a lot of people, mainly women, the wrong way. Oh, there's also a lot of Sarah Marshalls who are pissed. To them I say - get over it. If they're only mad because their name is negatively being thrown around, then that's pretty lame. Does anyone who knows them really think that they're the Sarah Marshall being referred to on the top of the cab, with the website info and R-rating on the bottom? And if people don't know them, then they don't know that their names are Sarah Marshall, do they? I think their outrage, on the superficial name level, is silly.

But, that's not all the flack these ads are receiving. There are harsh accusations of misogyny. This "misogyny" is allegedly blatant and even intentional. I'm a woman who considers herself pretty down with feminism, and I think the misogyny charge is bullshit. Judd Apatow is not misogynistic and neither are his films. While I agree that the ads are too abundant, people know it's a movie. I know, I know, movies can be very real. But in this case, these ads are exposing the main character's idiocy and immaturity. When I see the ads and watch the trailer, HE'S the one who looks bad, not Sarah Marshall. I view his hatred of her in the context of HIS insecurity, self-loathing, and pathetic wallowing. He's a loser! Yes, he's the protagonist, and we're asked to identify with him, but he's majorly flawed, and we know that and accept that going in.

Judd Apatow's films are male-centered. So? That doesn't inherently make them misogynistic. If people have a problem with him making movies about men, then go make your own female-centric movies! He's doing what he can and what he knows. You can't ask him to save the world and single-handedly rid the cinematic landscape of all its evils. In The 40-Year-Old Virgin, Knocked Up, Superbad, and apparently in Forgetting Sarah Marshall, the men are totally clueless, socially awkward, or just plain morons. If people want to misconstrue his films as anything, wouldn't they seem to be male-bashing? In The 40-Year-Old Virgin and Knocked Up, the women are the ones who stabilize the men. The woman is the savior. If you ask me, that's pretty awesome.

Superbad is more about the relationship between the guys, but I think the women are represented fairly in that movie, too. When Seth drinks too much and tries to hook up with Jules, she says no because a) she admirably doesn't drink, b) she doesn't want to do anything with him while he's drunk, c) she's not a slut, and d) she wants to explore their feelings like adults, not like juvenile, horny maniacs. Fogell's girl Nicola is admittedly not that well-developed and seems kind of one-dimensional, but look at who she's paired up! How three-dimensional is McLovin? Not very, but it doesn't matter. Every character is a film does not have to be developed to the fullest extent of screenwriting law. Then there's Becca, Evan's crush. She's popular but isn't ashamed to talk to shy, nerdy Evan. She acts kind of foolish at the big party, but so does he, and she later understands the consequences of her actions. I was pleasantly surprised at Superbad's depiction of women in the high school world. They have intelligent things to say, they're down to earth and, most importantly, they're respected and adored by the male characters.

Superbad needed some explanation, but I think it's obvious that women are respected in The 40-Year-Old Virgin, Knocked Up, and Forgetting Sarah Marshall (again, if I'm wrong and it's a misogynistic piece of trash, I'll eat my words). In fact, I think Trish in The 40-Year-Old Virgin is kind of revered. Apatow's women are equal to Apatow's men. In all cases, I actually think they're depicted as superior. The Forgetting Sarah Marshall marketing is totally misguided and out of control, but it's unfair to prejudge a movie based on advertising and a trailer and call it misogynistic. I don't hate Sarah Marshall. Seeing a bunch of ads doesn't condition me to start watching the film already hating her, and I don't think anyone else with a brain would do that either. Sarah Marshall seems like a lovely woman. Jason Segel's character, what's his name, is the one who has to prove his worth and likability to me. Apatow's female characters may not be the best, most progressive specimens of femininity imaginable, but why is he expected to provide that? I think they're great as they are, and he makes a conscious effort to avoid stereotyping and sexism. His women strike me as real people. They're not caricatures or setbacks to feminism at all. His movies just happen to center around men. He shouldn't have to make a film with a female lead just to prove he's not a woman-hater. I know he's not. I don't even understand how that could be open for debate. I'm definitely a feminist, but I'm not unreasonable about it. Sometimes, so-called feminists go too far, read way too much into things, and resolve to only see what they want to see.

Now that I've defended Judd Apatow's honor, I return to the ad issue. There is one Sarah Marshall ad that bothers me more than the rest. "You do look fat in those jeans, Sarah Marshall." Okay, hold up a second. I realize that it's the ramblings of an immature, just-dumped imbecile, but this goes way too far. A line has been crossed. This is the woman the ads are saying looks fat in her jeans?

Kristen Bell? Smoking hot, body to die for, one of the most gorgeous women ever - THAT Kristen Bell? Wow, now I've seen (and read) everything. This is tricky, because I think this is mainly the fault of the people marketing the film and not Apatow. However, I get the feeling that he's super-involved in every aspect of the process, so he's probably also to blame, even though it's difficult for me to say that. Misogyny is too strong a word, but I do think this ad is sexist and anti-feminist. It preys upon a common insecurity of women. It's become stereotypical and almost farcical, the whole "Do I look fat in this?" thing, but it's grounded in reality. This is a very prevalent, valid fear that exists because of an unrealistic standard of beauty imposed upon women by society. It has become a punchline, especially concerning jeans, but I'm not laughing. I'm certainly not laughing at this ad either. I'm offended. I mean, older women can see how ridiculous it is that Kristen Bell could ever conceivably be called fat. It's preposterous. My problem is that I think this ad, as prominently displayed as it is, can be harmful to younger, more impressionable girls of the high school and younger range. They see that, they maybe don't know it's a joke, and they put two and two together ("If she's fat, I must be a whale."), and voilà, self-esteem meltdown. I KNOW it's a joke, and even I find myself thinking, "Boy, I wish I looked like Kristen Bell in MY jeans." I just think it's a horribly negative message to have out there. It only contributes to the warped ideal of body image plaguing society. Girls can see it and get the wrong idea, and that's why it infuriates me.

The ad campaign as a whole? The trailer? Not misogynistic. The movie? It does not appear to be misogynistic in the slightest. This particular ad about Sarah Marshall and her jeans? I wouldn't call it misogynistic, because I know it's rooted in playing up the flaws of the film's leading man, but it's definitely sexist. I believe the advertisers and even Apatow himself got carried away, didn't think about the potential ramifications of that seemingly harmless message, and went way too far. I know it's not intentional, but it's harmful nonetheless. With the rest of the ads, I think it's easy to discern reality from fiction. With this one, it's too blurry for my liking.

I found a pseudo-article on Cinematical's website by Erik Davis that bothers me almost as much as the ad. In it, he talks about the ads and all the backlash. He oinks this: "One ad which reads, 'You DO look fat in those jeans Sarah Marshall' has some women signing up for gym classes, and applying extra make-up in the morning." I think that's a pretty chauvinistic, reductionist viewpoint. It's so flippantly arrogant. Yuck. Hey, Erik, maybe the whole "thinking" thing isn't working out for you. Don't do it. You might hurt yourself.

I know this post has been epic, but thank you for sticking with me. Even with that advertising snafu, as grossly negligent as it may be, my respect for Judd Apatow has not been diminished at all. It's forgiven because his work more than makes up for it. And I can't wait to see Forgetting Sarah Marshall. For the integrity of cinema, the comeback and reinvention of great comedy, and yes, for the honor of my gender, I'm really, really excited.

To conclude, Judd Apatow is NOT a misogynist, his films are NOT misogynistic, and the women in his films are infinitely stronger than the women in most films. I think I have to use the E-word here: empowering. Gosh darn it, Apatow's women are empowering. Judd Apatow, as a woman, I tip my hat to you, good sir.

I have very strong opinions, and I realize that they might be contentious. I think the phrase "Them's fightin' words" can be applied to this post. So be it. I'm throwing down the gauntlet.

Crank It Up, Sacha!

I think Sacha Baron Cohen is one of the funniest and most talented people who ever lived. He's an unparalleled comedic genius. If I was asked to pick my five favorite comedians of all time, he would be on the short list with Buster Keaton, Charlie Chaplin, and Harold Lloyd. He's THAT good. Keaton, Chaplin, and Lloyd would simply adore him. Somewhere, I'm sure they're watching and laughing.

Of course, when I speak of Sacha Baron Cohen's talent, I'm talking about his work on Da Ali G Show and how he's expanded upon the indelible personas that he created on it. If you're not familiar with the show, you should be. Why aren't you?? Go watch! Now! The show surrounds Cohen's three alter egos: vulgar, sex-obsessed, ignorant British thug with a Jamaican flavor Ali G, Kazakhstanian anti-Semitic, misogynistic, homo-curious (or is it just his culture?) journalist Borat, and flaming gay Austrian fashionista Brüno. When I first watched the show, I couldn't believe that they were all played by the same person. He's a total chameleon. Each character has his merits, so it's impossible to choose the best. No matter who it is, though, the targets are always Americans. No one has ever exposed American ignorance like Sacha Baron Cohen.

Ali G manages to talk to politicians and professionals and all sorts of famous intellectuals by pretending he's reaching out to a younger audience with the issues. His "show" is like MTV on crack. Borat makes men uncomfortable with his eastern European kissing and groping and says the most offensive things possible about sex or just whatever. I believe Brüno has the most comic possibilities. He's the biggest threat to conservative Christian-Americans (aka the South). He hits on every guy he sees and spends a lot of time talking to people in the fashion industry and exposing their shallow, idiotic pretensions. Cohen is always 100% committed to the role. Until they see it on TV, these people have no idea it's a ruse. They think they're doing it for some cable show in [insert country here]. It's all improvised, and I've only seen him almost sort of crack a couple times, but it's barely noticeable. Otherwise, he's a man of steel. He's following very closely in the tradition of the Great Stone Face, Buster Keaton.

Borat has become a household name since the movie came out. I love the movie and all the attention it received, but honestly, the show is better. The complete series of Da Ali G Show is only two short seasons. Unfortunately, once you're exposed, it's hard to play anymore. It can only last so long. The series is perhaps the most hilarious achievement I've ever witnessed, which is really high praise. I laugh to the point of tears during every skit. It doesn't ever get old, and it never ceases to amaze me that it's REAL. It's astounding. Anyway, I just wanted to say that I was a fan of Sacha Baron Cohen before he was popular. I was a fan of the show pre-Borat. I'm not merely jumping on the bandwagon, even though it's a worthy bandwagon to jump on. I just want to go on record that I liked him and the show before it was the cool thing to do. So...there.

I'm especially staking my claim to Brüno and Cohen now because I know how big they're both going to get (yes, both - the character AND the man; for being the same person, they really are like separate entities, which is a testament to his brilliance) with the upcoming Brüno movie, which I'm insanely excited about. I don't know what could be better than letting flamboyantly gay Brüno loose upon the South. I hear he even pays a visit to the church of Fred Phelps. That's a showdown I can't wait to see. I hope he actually gets to talk to Satan, I mean Phelps, himself. It's going to be magic. If anyone can put Phelps in his place, it's Cohen. This movie will be brutally scathing and epically hilarious.

If you've never seen Brüno in action, I'm including three of his best segments from the show. All of his bits are phenomenal, but these just might be the cream of the crop. If you've already seen them, I'm sure you won't mind watching them again.







Okay, I'll come clean. I had an ulterior motive all along. I was mainly inspired to write this post because I received a heads-up on the full title of the Brüno movie. Naturally, I wanted to sing Sacha Baron Cohen's praises, but the title was my primary motivation. It's better than I could have ever dreamed. I just hope I've built it up sufficiently, because it deserves it. Are you ready for this?

Here it is:

Brüno: Delicious Journeys Through America for the Purpose of Making Heterosexual Males Visibly Uncomfortable in the Presence of a Gay Foreigner in a Mesh T-Shirt

That. Is. AWESOME. I think that really says it all.

Anthony and Juliette

It's been almost a month since Anthony Minghella died, and even though I haven't written about him yet, I've been thinking about this amazing man quite a bit. I obviously can't write an elaborate tribute every time someone famous dies; I only do it for the people in the film industry who have touched my life the most profoundly, like Adrienne Shelly and Heath Ledger. Actually, I have two other tributes, much more minor in scale comparatively, dedicated to TV personalities Brett Somers and Charles Nelson Reilly on here. They were special enough to be included on my otherwise all-film blog.

So, in the realm of film, Anthony Minghella is worthy of the type of massive personal eulogy I devoted to Heath Ledger and Adrienne Shelly. His death is a tremendous loss (the more I'm learning about him, the more I see that), and he simply means that much to me. I really want to express my feelings about his death and, more importantly, his life. For his tribute, I decided that I would watch five of his films and write mini-reviews of all of them so that I could commemorate and contextualize his career, emphasize his significance to cinema, and discuss how Minghella and his films have affected me. I have two films left to watch, so it'll still be awhile until I write it. With this post, I just wanted to say that I haven't been neglecting him. I've got big plans for the lovely Mr. Minghella.

In the meantime, I want to share a poem written by the lovely Juliette Binoche for Anthony Minghella after his death. It's beautiful, and I love her for writing it. I'll leave you with her words now:

To Anthony

I shall learn to live without you.

With all we’ve done and undone

with all the missing parts I’ll have to carry on hoping

you were the bedrock of fun, the laugh that made me laugh

and your hand came with love and care

I could see your thoughts going faster and faster

ahead in their curved complex understanding

your excitements became my excitement in the joy of sharing

my friend of art

you’ve gone missing

we shared a heart beating in this inner world of creation

and your ideas became real to me

I was your angel and you opened my wings

and you were the words I could fly into

my friend of heart

I will carry the unsaid

I will cherish my forgiveness until I see you

and please forgive me for my painful silence

magnetic eyes of yours with its sparkling needles

we dared a gift to the unknown

the search for truth in the battle of being

we attempted a glimpse on the other side

with joy with joy

JB

Clooney Drops the Screwball

Is it wrong that I'm happy about the failure of George Clooney's latest directorial effort, Leatherheads? Because I am. If that's wrong, then I don't want to be right. Take that, George Clooney! Ahem. I know I already used that picture of Clooney in another post, but it's just too priceless to pass up. He looks like such a bloody fool. And he is SO trying to be Cary Grant in it. Ugh. Blasphemous. Anyway, not even my love for John Krasinski can make me feel any pity or sympathy for the movie or Clooney. Leatherheads only made $12.7 million at the box office, coming in THIRD after 21 and Nim's Island. It made less money than Nim's Island! And it got slammed by critics. Like, REALLY slammed. Mmm...sweet.

At least for the time being, smug George Clooney has been put in his place. I love it. Your cocky charm didn't cut it this time, bucko! Bucko? I don't think I've ever said that in my life. I must mean business. I feel sort of evil for being so happy about this, but I just really don't like Clooney. He irks me. Leatherheads looks stupid and smug, so I take a lot of pleasure in the fact that smug Mr. Clooney's smug, self-congratulatory project failed.

That's what happens when you take on screwball when you have no business doing it. The only semi-recent 100% successful screwball venture was served up Coen-style in 1994 with The Hudsucker Proxy. I think Judd Apatow incorporates some screwball elements into his films, and there are definitely screwball characteristics still floating around, but Joel and Ethan Coen proved that they were the only people capable of making a full-fledged, totally devoted, all-encompassing screwball comedy in decades. I realize that might be a controversial opinion, but so be it. I know film history, and I know screwball. The Hudsucker Proxy is a brilliant film, a loving throwback to yesteryear, and an homage to the masters. The Coens got it totally right. But, as a rule, if your name isn't Howard Hawks, Frank Capra, or Preston Sturges, back away from the screwball! Don't even try it.

And no matter how many times people compare you to Cary Grant, Georgie, you are NOT Cary Grant. Got it?

I think I've gotten most of the gloating out of my system, for the moment, except for a couple final jabs (I have to go out swinging, don't I?), so it's time to just kick back and bask. Let me enjoy this rare Clooney failure. Like Daniel Plainview with a milkshake, I want to drink it up.

That poster of George Clooney's grotesquely self-satisfied mug used to make me sick to my stomach from contemptuous disgust. Well, it still makes me sick to my stomach...only now it's from vindictively vindicated laughter. "The Brains"? Man, irony's a bitch.

Safe in the Hands of Todd Haynes

I'm in love with Todd Haynes. I know he's gay, but I'm okay with that. This beautiful man has captured my heart and stimulated my mind in ways few filmmakers ever have. Let me briefly summarize my Haynes chronology. My introduction to his work was Far From Heaven, which I absolutely adored. I think it's a glorious, loving homage to Douglas Sirk and All That Heaven Allows, as well as a socially conscious, poignant, intelligent reinterpretation of that film, melodrama, and cinema in general. Next came I'm Not There, which I dubbed the best film of 2007. For my glowing review, go here. His grasp of filmmaking, his ability to challenge preconceptions of what film should be, and his total dedication to his art, which are consistent elements in all of his films, blew my mind. Haynes thinks on levels that most people probably don't even possess. I'm Not There is a work of genius. Then, I really got to know and love him as a person with his wonderfully endearing appearances on the Independent Spirit Awards, both having fun (good-naturedly, at his own expense - the Rainn Wilson fake audition for I'm Not There and his "Rainn on Film" interview) and being vulnerable, articulate, and moving (his acceptance speech for the Robert Altman Award and his tribute to Heath Ledger). Just when I thought he couldn't get any better, I saw Safe. Hi, my name is Lisa, and I'm a Haynes-a-holic.

Written and directed by Haynes, Safe is an underrated gem that was released in 1995. The people who have seen it love it, but I think it's been tragically buried by time. It stars Haynes' muse, Julianne Moore, as Carol White, an upper-class suburban housewife with too much time on her hands. Like all of Todd Haynes' work, this is a very challenging film. I was totally engrossed while watching it, but it affected me so profoundly, both emotionally and especially intellectually, that I had to just sit and collect my thoughts for about five minutes before I could even begin to vocalize my reaction to my viewing companion. Safe is deeper than the darkest recesses of the ocean. Seriously. Safe is a marvel. To describe it almost seems futile. I could never capture or distill its brilliance in mere words, which is why I'm going to keep this review fairly short. I also don't want to give anything away.

Carol is married to Greg (Xander Berkeley, from 24), but he's always working. They have extremely mechanical sex, and they're so detached from each other. She starts feeling sick, for no apparent reason, and he pretty much dismisses her. Her vapid friends aren't much help either. How could they be? No one really knows each other. Safe is set in the 80s, by the way, so there's a delightful use of music and costumes. Even though it's a period piece (the 80s is a period!), Safe transcends time. It's just as relevant today, maybe even more so. Carol keeps getting sicker, and she eventually discovers a group (more like a cult) of people who are suffering from her symptoms. She goes to live with them at a sort of commune - to make sure she's safe. Basically, Carol and these other people are allergic to modern society. They're sick as a result of all the toxins, chemicals, and other invisible monsters plaguing our sterile world. What is our chemical-laden, sterilized, disconnected, modified, artificial society really doing to us? How many times have people gotten sick and doctors can't figure out why? It's pretty compelling, don't you think?

Anyway, to leave it at that is a gross oversimplification of the plot and of Haynes' message and intentions. There's so much more going on. I've barely scratched the hypo-allergenic surface. Safe is so deliciously provocative. It's also very unsettling. It's a film that you will never forget once you've seen it. The aesthetic and technical aspects of Safe are as deliberate and brilliant as anything I've ever seen. Everything is so carefully planned out. Most of the shots are extreme long shots in order to capture the isolation and detachment rampant in society, as well as the more personal isolation and detachment of Carol. Moore is often just a tiny dot on the screen, trapped in her palatial suburban prison. The compositions are divinely intricate. The colors pulsate. The incomparable sound design engulfs us, making us feel as oppressed as Carol. It's astonishing how horrific Haynes can make even the most mundane household noises sound.

Julianne Moore, an actress I've always adored, is DYNAMITE as Carol White. It's a performance for the ages. She's so restrained and subtle. It's like watching a poem. She totally gets lost in the character, and from the second we see her, we're lost in her, too. She's empathetic and completely heartbreaking. It's the best work I've ever seen her do, and that's saying a lot. Her relationship with Todd Haynes is just pure magic. Safe is so outstanding, such a pillar of cinematic achievement, that it could be the basis of a whole semester-long film class in which you break it down shot by shot. It's that good. Each shot is a masterpiece, and when you combine all of those individual masterpieces, it's practically orgasmic. The final shot will make your heart pound and leave you breathless.

Todd Haynes is a genius. He's one of the most sensitive, intelligent, and talented filmmakers working today. He never plays it safe (see what I did?), and in my opinion, it always pays off. Safe is loaded with meaning, metaphors, allegories, satire, scathing criticism, and social commentary. It's one of the most fulfilling and rewarding cinematic experiences I've ever had, and I think it'll only get better each time I watch it.

Safe has totally heightened my awareness of myself and my surroundings. I can't stop thinking about this film. It's haunting me. I'm fascinated, and justifiably disturbed, by the questions raised by Haynes with this film. What does being "safe" mean to me? Is the meaning different for every person? Are any of us really safe? And then there's this thing, this elaborate mechanism on planet Earth known as civilized society, something which has evolved and supposedly been perfected over thousands of years. Is Safe saying that society is poison? I'd say so. Well...IS society poisonous? Are we literally killing ourselves with the artificial, impersonal world that we created?

I buy it.

Rating: ***** (out of 5)

Top 20 of 2007: Redux

I know this is really ridiculous since it's practically mid-April, but I'm finally posting my revised list of the best films of 2007. It's been almost three months since I posted my original list, and it took me so long just to come up with that one. After I did it, though, I realized I might have decided a bit too soon, since there were quite a few notable 2007 releases that I hadn't seen. As I started catching up, my list changed dramatically, and I had to make room for some new additions. I don't want to take anything away from my original list. I stand by it, because that was the best of what I had seen at the time, and even though some films have been bumped off entirely, that doesn't mean that I love or respect them any less. I just saw other films that I loved and enjoyed a bit more. The order of the survivors has also changed slightly. For comparison purposes, you can view my original list here.

Anyway, I've been delaying this because I take my lists very seriously, and this was a really tough call. I've spent a lot of time thinking about the films, and it's been a difficult process deciding which to keep, which to add, and what order to put them in. They're all five-star films, so ranking them was particularly challenging. I could probably flip-flop and shuffle them and tweak the list for all eternity, but I had to just go with my heart and my instincts and stop the madness, so this is the final fruit of my ordering labor. There were also more 2007 films I wanted to see, and I thought that they might end up being contenders. But, I finally put my foot down. This has to be the last call, because otherwise it could go on forever. I can't possibly see everything. Whatever I haven't seen yet...in the words of John Lennon, well...oh well. I'm satisfied now, and that's how it's going to stay.

Without further ado, I present my definitive list of the best films of 2007:

1. I'm Not There
2. Juno
3. No Country for Old Men
4. After the Wedding
5. Atonement
6. Black Book
7. The King of Kong: A Fistful of Quarters
8. Into the Wild
9. Once
10. L'Iceberg
11. Planet Terror
12. The Diving Bell and the Butterfly
13. Superbad
14. Waitress
15. The Assassination of Jesse James by the Coward Robert Ford
16. 2 Days in Paris
17. Sunshine
18. In the Valley of Elah
19. There Will Be Blood
20. Lust, Caution

C'est fini! La fin!

For real.

I promise.