We take a trip to the west coast for this installment of great movie characters. Writer/Director Lisa Cholodenko’s Laurel Canyontakes aim at the music bizz and the many oddball free spirits who inhabit this bottom-line world. Her muse is Ian McKnight, a charming lothario who fronts a Brit rock-n-roll band.
McKnight’s singing ability is matched only by his skills of seduction. Both Frances McDormand and Kate Beckinsale fall under his spell. He possesses the voice, looks and confidence to make women – young and old – weak in their knees. McKnight defines the rocker persona with a “fuck you” attitude and even rides a cool motorcycle.
In the following scene, Ian – portrayed by Alessandro Nivola – and his lover/producer Jane (the brilliant McDormand) ponder the inclusion of a tender ballad on his latest album. Notice how he controls the scene, eventually flipping an irritated and stressed Jane. “No, I’m not fucking kidding,” he says. Carefree, yet persuasive words from the unflappable Ian McKnight.
Today’s post on great movie characters takes us into deep space aboard the ship Serenity, captained by ex soldier turned smuggler, Mal Reynolds. Mal possesses all the qualities you want in a Captain: he’s clever, charming, tough, relentless and has a biting sense of humor. Mal is on the run from the Alliance, a vindictive regime that rules the galaxy with an iron fist.
He carries a massive chip on his shoulder and leads his crew with a gunslinger’s mentality. He will back down to no one even it means putting his ship in harms way. For all his faults, Mal stands for what’s right and just and will defend these ideals to the death if he has to.
In the following scene Mal – played by Nathan Fillion – confronts his pursuer, a steely eyed government agent known only as the Operative. Mal has just found his friends slaughtered by Alliance forces. Below his blood-streaked face burns the rage of a man who has seen too much death: “You think I care?” he asks with indifference. But Mal does care. In fact, he cares too much, which makes him more dangerous than the Alliance ever imagined.
We flashback to 1976 for this installment of great movie characters – to the Lone Star State on the campus of Robert E. Lee High School (insert your own joke). There’s a slew of memorable roles in Richard Linklater’s Dazed and Confused, but one in particular stands out: David Wooderson.
Wooderson, played by Matthew McConaughey, likes hanging with his high school pals, despite the fact that he’s at least four or five years their senior. This uncouth super-cool pothead allegedly works for the city, but his uncanny ability to throw an impromptu kegger are where his real skills lie. I was quite impressed with the young McConaughey and his natural acting style. However, after watching him for the last fifteen years it seems apparent that Matthew wasn’t really “acting.”
In the following scene, Wooderson stops by the local burger and fries joint to express his affinity for ladies with scarlet locks. Notice how he matter-of-factly insults the two bookworms: “Alright, alright, alright!” The mating cry of one David Wooderson.
Over the next couple months – in addition to my regular reviews – I’m going to examine some of my favorite film characters and heap much-deserved praise upon the actors responsible for bringing these fictional creations to life.
First up is Danny Archer, as portrayed by Leonardo DiCaprio in 2006’s Blood Diamond. Archer – a guileful soldier of fortune – works to smuggle conflict diamonds out of the war-torn nation of Sierra Leone. He finds himself in dogged pursuit of a diamond big enough to earn his ticket out of Africa for good. In the following scene, Archer and dedicated photo-journalist Maddy Bowen (Jennifer Connelly) speak of his youth and his evolution from wide-eyed patriot to embittered gun-for-hire.
DiCaprio earned a worthy Best Actor nomination for his memorable performance. Watch his eyes: an obvious sadness conceals a lifetime of pain. “God left this place a long time ago,” he says. Haunting words born within the tortured soul of Danny Archer.
Often times the simplest of stories make the best movies. You don’t need layers of subtext or elaborate plot devices to construct a moving or memorable film. All it takes is a little humanity and some very sound acting to create an enjoyable experience. It’s sometimes easy to forget among all the special effects and big budgets, that movies – for the most part – have always been about people and the trials and tribulations they face on a daily basis. When it comes right down to it, the movies that have affected me are the ones that provoke me to think about myself, but more importantly, others. My Best Friend is a simple story about something we all have a tendency to take for granted: Friendship.
Francois Coste (Daniel Auteuil) is a successful antique dealer with zero friends. His selfish attitude and abrasive social skills aren’t very attractive qualities. Francois insists he has many friends but his business partner Catherine refuses to believe him, so she wagers Francois that he cannot produce a “best friend” in the next ten days. The stubborn Francois accepts the challenge and embarks on a mission to locate a companion, any companion. Helping him in his search is Bruno (Dany Boon), a good-natured taxi driver obsessed with trivia. Bruno attempts to instruct the oblivious Francois in the art of meeting people, but Francois fails to grasp the concept. As their time together increases, a friendship begins to form. But Francois’ determination to win his wager with Catherine threatens his budding relationship with Bruno. Francois soon learns that using someone for personal gain is no way to treat a friend.
The entire film has A Christmas Carol feel to it with Francois as Scrooge and Bruno playing the role of Bob Cratchit. Catherine could be considered a Jacob Marley type figure, warning Francois that he needs to change his ways or risk being alone. Unlike ol’ Ebenezer, Francois isn’t mean, he’s just indifferent. Material things are his real “friends,” but he seems painfully naive to this truth. Bruno shares not only his time but also his trust. However, the notion of giving something other than money to another person is lost on Francois. His stunted social graces make him both sad and comical. His own daughter’s refusal to acknowledge him as her father sounds an alarm, but he has no idea how to respond. In his journey to find another, he must also find himself. For Francois, redemption can only come from within.
Writer/Director Patrice Leconte hands the reigns of this endearing story over to his actors. Daniel Auteuil and Dany Boon both deliver strong performances. Auteuil, one of France’s best actors, continues to display an uncanny versatility: I’ve seen him play a ruthless con-artist, a paranoid family man and now a likable ass. He plays a perfect comic foil to Dany Boon’s straight man. Speaking of Boon, he shines in his portrayal of the lonely Bruno, a decent man with a melancholy past. My Best Friend is the exact type of movie that is easily overlooked by mainstream audiences. It doesn’t have big stars or a headline grabbing hook, which is probably why I enjoyed it so much. Seek it out if you’re a fan of little films with big hearts.
In my review of A Bittersweet Life last week, I mentioned how Korean cinema has really come on strong in the last decade. Well, count Memories of Murder as one of the best examples of Korea’s insurgence into the international film market. Set in 1986, the movie depicts the events surrounding Korea’s first known serial killer and the dedicated police detectives assigned to the case. Very similar to 2007’s Zodiac, the story contrasts the brutal killings against the detailed investigative procedures utilized to solve the crimes.
Someone is raping and murdering women in the rural province of Gyunggi. Detective Park Doo-Man is tapped as the lead investigator. Together with partner Cho Yong-koo the two men set about to find the killer. Their methods are sloppy and their interrogation techniques needlessly violent. Help soon arrives in the form of Seoul’s top cop Seo Tae-Yoon, a smart, driven detective who brings much-needed experience to the case. While Park Doo-man pegs a local retarded youth as the prime suspect, Seo Tae-Yoon searches for solid evidence. Meanwhile, the murders continue, leaving the detectives baffled. Suspects are hauled in only to be released due to insufficient evidence. Frustration builds inside the police department. A sudden break leads to the arrest of man whom Seo Tae-Yoon believes to be the murderer. Will DNA prove him guilty? Or is he innocent like the others? As the time for another killing nears, the detectives wait, hoping they have the right man.
Memories of Murder focuses on two central story threads. The first of which concentrates on the ineptitude and brutality displayed by the small-town cops. Park Doo-Man wastes much of the film chasing dead ends, while his partner Cho Yong-koo plays the role of enforcer, viciously beating suspects into false confessions. The accurate depiction of extreme interrogation methods caused quite an uproar among the Korean citizenry when the movie was released. Corruption and shoddy investigating have plagued South Korea’s police departments for years. Park Doo-Man’s ridiculous pursuit of hairless men and a visit to a shaman for clues are samples of the types of irresponsible conduct displayed.
A second recurrent theme deals with the transformations of detectives Park Doo-Man and Seo Tae-Yoon. At the beginning, Seo Tae-Yoon is under control and professional, while Park Doo-Man behaves like a petulant child. As the film progresses the two men undergo a role reversal. Seo Tae-Yoon’s growing discouragement turns to anger as the body count rises; his inability to solve the crimes wounds his ego and pride. Park Doo-Man sheds his flippant personality and becomes a steady, calming force who ultimately proves his worth as a cop. But the mounting pressure that comes with the job and its damaging effects prey on the sanity of both men. It’s easy to see how good men can be ruined by life’s pitfalls and failures.
Writer/Director Joon-ho Bong does not pull any punches. His refusal to turn his camera away from the inhumanity adds to the authenticity of a film based on true events. His decision to compare the actions of a killer to those of a police officer is bold but appropriate. Also worth noting is the inclusion of humor which serves as needed respite in an otherwise intense story. Kang-ho Song stands out in his portrayal of the careless detective Park Doo-Man. His character’s evolution is the most interesting to follow. Memories of Murder is a powerful exploration into the minds of men who live in a world consumed by cruelty. It’s difficult to watch but more than worth your time.
I’m not sure why I find boot-camp movies so intriguing. Maybe it’s watching human beings endure trials I know I couldn’t handle. Allowing myself to be mentally and physically educated into thinking and behaving under a strict code of conduct quite frankly scares the shit out of me. I’ve always wondered how I would act given those circumstances. Would I give-in to their will, or resist? I do know that it takes a unique individual to become a soldier, especially during war times. Full Metal Jacket, An Officer and a Gentleman, and Jarhead are three different types of films that deconstruct the boot-camp experience. This list should also include Tigerland, an edgy low-budget drama set in 1971 Louisiana at the height of the Vietnam War.
Colin Farell plays Roland Bozz, a smart-ass Army recruit who prefers time spent in the stockade rather than the barracks. He is a conscientious objector who believes the military is no place for any man, let alone himself. Educated, charismatic and disobedient, Bozz relishes his role as outcast. His only real friend is Pvt. Jim Paxton, a wannabe author who gave up college to volunteer for military service. Paxton can see through Bozz’s careless exterior to the scared little boy who dwells inside.
But Bozz is much more willing to help others than himself and it’s this quality that draws the ire of his superior officers. He moves to the beat of his own drum, much to the chagrin of some of his platoon mates, in particular the mentally unstable Pvt. Wilson who makes it his mission to put Bozz in his place. Matters escalate once the recruits enter Tigerland, the mock Vietnam training ground designed to push soldiers to the brink. To survive Tigerland, Bozz, Wilson and Paxton must defeat not only the elements, but also each other.
Director Joel Schumacher chose a bare bones style for Tigerland and it fits to a tee. Shot on Super 16mm with hand-held cameras, the film adopts a docudrama feel, encapsulating the gritty nature of the intense, often brutal story. To be a soldier means to be a killer. It’s this moral dilemma that challenges every young recruit. Bozz refuses to accept his lot; for him being human means being free, and giving in to an institution designed to strip away humanity would not be true to his nature. He refuses to believe in what the Army represents, so he martyrs himself to save others. His behavior at first glance could be confused for selfishness, but in reality it’s purely selfless. Bozz, like any good hero, protects the weak and those incapable of fighting the system. His relentless defiance to authority is both admirable and reckless. But that’s Bozz: a walking dichotomy who, like war, is confusing and unpredictable.
This film put Colin Farell on the map. His innate rough-n-tumble charm was perfect for the character of Bozz. It’s easy to see why the young actor garnered so much positive reaction for his performance. True “bad boys” are hard to find in Hollywood these days, so Farell fills a void. His style is very naturalistic and fearless. Bozz is not supposed to be a typical tough-guy with all the answers, in fact he’s just the opposite; he’s human and therefore feels human emotions. Credit screenwriters Ross Klaven and Michael McGruther for crafting a multi-layered, conflicted character. Tigerland is proof that strong acting and a well-conceived story can shine a big spotlight on a small movie.
Roy Scheider was one of those actors who, in my opinion, never received his just praise. He did nab two Oscar nominations (All that Jazz, The French Connection) but starred in countless noteworthy films including Klute, Jaws, Marathon Man, Sorcerer, and Naked Lunch. Best known for his portrayal of Chief Martin Brody in Jaws, Scheider played several memorable characters in many underrated movies. One such movie is 52 Pick-Up, a taut extortion thriller featuring a variant collection of oddballs and sleazebags.
Harry Mitchell (Scheider) leads a successful life in Los Angeles. He owns his own company, drives deluxe sports cars, and has a beautiful wife named Barbara (Ann-Margret). On the surface, everything seems splendid. However, Harry’s clandestine activities, which involve an extramarital affair, land him in deep water with three creepy blackmailers. He is ordered to pay 100K or an incriminating tape will be released. Harry doesn’t take the thugs seriously until they resort to threats and murder. But rather than cooperate, Harry flips the script: Using $52,000 as bait he pits the terrible trio against one another. What ensues is a battle of wits between Harry and the lead blackmailer, a crazed menace named Alan, who will stop at nothing to collect the cash.
A world without morals. That’s what Director John Frankenheimer and writer Elmore Leonard have crafted in 52 Pick-Up. The only redeemable character is Barbara, but her motives are questionable when you consider her profession is in politics. Harry, in the role of hero, seems right at home mingling with low-rent criminals and their lawless nature. Are we meant to root for Harry, despite his lies and infidelity? Should we be sympathetic because he carries a heavy tax burden? He is the lesser of two evils, but arrogance and selfishness are to blame for his predicament. Alan and his pals live an unscrupulous existence; their behavior, while inexcusable, is befitting their place in society. Harry, on the other hand, is supposed to be an upstanding citizen and yet finds himself, through all fault of his own, embroiled with seedy criminals. The story unfolds as a cautionary tale: Playing in the devil’s playground even once will ultimately get you burned.
Frankenheimer, known for action films, eschews elaborate car chases or prolonged shootouts and relies on character to steer the plot. We meet several disparate people, from a seductive stripper to a whacked-out killer, all of whom display the gamut of emotions that define the human condition: rage, fear, guilt and desperation. Scheider plays Harry as a clever, assured man who knows he holds an intellectual advantage over his enemy. Harry treads unfamiliar territory but does so confidently. John Glover steals the movie portraying Alan Raimy, an opportunistic hood with a Baltimore accent. Glover pulls off a difficult double-play; he’s funny and scary. Based on crime master Elmore Leonard’s best-selling novel, 52 Pick-Up deals with deranged people navigating a sea of corruption. It’s far from groundbreaking, but does a fine job of keeping your attention.
We take a trip to the west coast for this installment of great movie characters. Writer/Director Lisa Cholodenko’s Laurel Canyon takes aim at the music bizz and the many oddball free spirits who inhabit this bottom-line world. Her muse is Ian McKnight, a charming lothario who fronts a Brit rock-n-roll band.
