Burn After Reading

BURN AFTER READING is a comedy with two funny lines. J.K. Simmons gets both of them. And he's only in the movie for ten minutes, tops.

The film, a misanthropic screwball comedy, is so heavy on misanthropy and so light on comedy that I spent more time marveling at the train wrecks piling before me than sustaining any kind of comic mood. Its as if everyone involved was told they were making a tragedy, with the exception of Simmons and his minion David (Sledge Hammer!) Rasche.

Many folks liked this picture, but I don't get it. How can you laugh when you're busy feeling bad for everyone onscreen?

Sunrise: A Tale of Two Humans

Emotionally captivating, visually wonderful, and technically marvelous, F.W. Murnau's SUNRISE: A SONG OF TWO HUMANS is a fitting swan song for the silent era.

Released in 1927, the same year THE JAZZ SINGER heralded the dawn of the talkies, SUNRISE proved that you don't need words to expound upon the human condition. The film tells the story of a marriage in crisis: the man, once happy at home, has fallen in love with another woman; one with expensive tastes. He's been selling the livestock to finance the affair, and now his mistress is really putting the screws to him. "Why," she asks, "doesn't your wife have an 'accident'? Then you could sell the farm and we could move to the city." It's a tempting offer. I'm not going to tell you if he takes her up on it or not.

What I will tell you, however, is that Murnau's touch is never more assured. He helps his actors and actresses sell their roles and, in the process, plays the human heart like a master. We laugh, we cry, we bite our nails, we're wholly lost in the story of these people and wholly vested in their fates. From perfectly timed comic touches like the reactions of a very proper gentlemen to the wardrobe malfunctions of the hapless woman standing beside him to scenes filled with a dark foreboding as rich as any in cinema, this is a film that knows how to work its audience.

Murnau supplements the cast's efforts through an extraordinary collaboration with cinematographers Charles Rosher and Karl Struss, men who figured out how to make their camera glide through space, use multiple exposures to create heightened realities, and even pull off some kind of trick that looks just like a modern green screen. These men's collective eye for composition and technical expertise combine to create a world sometimes simple, sometimes extraordinarily dazzling, and ever interesting. There's always something happening in every corner of the frame in SUNRISE, and I look forward to teasing out more details in subsequent viewings.

No kidding, folks: this movie has everything. It's a flat-out masterpiece, and well deserving of its Academy Awards (Best Picture, Unique and Artistic Production; Best Cinematographer; Best Actress in a Leading Role). What a gem.

Into the Wild

I was vaguely aware of Chris McCandless (aka Alexander Supertramp) before I viewed INTO THE WILD. I knew that Jon Krakauer, author of Into Thin Air, wrote a book about him. I thought the guy was basically a spoiled kid who thought he could just tramp off into the Alaskan bush with no preparation and got himself killed.

But you know what I just wrote about MONSTER? About how film can take us into worlds we didn’t know existed, into people we’d never understand otherwise? INTO THE WILD does this, taking us into McCandless’s world and into the heart of a fatally idealistic, romantic young man who wanted only what idealistic and romantic young men have always wanted: to find adventure and find the truth.

Sean Penn wrote and directed INTO THE WILD with a sure control of technical detail and an eye for character. As McCandless (Emile Hirsch, quite fine in the underrated SPEED RACER) travels America, the film wraps us in beautiful foreboding and the love of good people. It leads us to care about the young man at its center without allowing us to forget the damage he’s doing to those he left behind. It shows us that, by the time McCandless made it to Alaska, he actually was marginally prepared to be there. And it takes us on his journey with care and tenderness.

This is a beautiful film, with beautiful images, music, and performances. It’s a thoughtful film, a film that cares about ideas and emotions in a real, personal way. It’s a riveting film, one that keeps us fully engaged though we know how it will end. And it’s a great film, the kind we recommend to our friends. See it soon.

Monster

MONSTER, the Aileen Wournos story, takes us into an alien world and shows us what it’s like to live there. That’s the world of Wournos, a person who grew up in what, to many of us, is an alternate universe. Wournos doesn’t live in a place where people are basically good and things generally work out for the best. Rather, she lives in a world where people are vile and things generally fall apart. And while MONSTER never lets Wournos off the hook for her actions, it does leave us with an understanding of where she’s coming from.

Aileen Wournous was a street hooker who became a murderess, killing her customers and stealing their cars and cash. The film shows us why, and it’s a portrait of incredible sadness. As the film begins, Wournos (played by Charlize Theron) is in despair, on the verge of suicide. And then something totally unexpected happens: she falls in love, and she dares to hope. But in Wournos’s world, hope is a false promise. When the money runs out and the rope begins to fray, she’s gotta come up with something. And here’s where the movie breaks our heart, because when you’re Aileen Wournos, the list of somethings you can come up with is tragically limited.

The film has its flaws: Wournos occasionally says things that sound more like the voice of a writer than that of the character. Theron’s performance sometimes jars, as occasionally she belies her physical transformation with vocal ticks that remind us who it us under all that makeup and costuming. But these, frankly, are nitpicks. MONSTER is a very, very good picture, and well worth seeing. I’m sorry I waited so long.

Chopper

CHOPPER reminds me of SEXY BEAST. But imagine the Ben Kingsley character as the protagonist.

Here, Eric Bana plays a guy street-named Chopper. He’s a violent and charming sociopath whose ability to destroy the lives of everyone around him is eclipsed only by his self-absorption. The film, based loosely on the eponymous Australian criminal, is misnamed, however. It should have been named BANA, because its real focus is the ability of its lead actor.

This is the picture that broke Bana out, and for good reason. His Chopper is wheedling, arrogant, dangerous, needy, unpredictable, charming, streetwise but stupid, and extremely violent. Like Kingsley in SEXY BEAST, his every moment creates tension, both in the characters on the screen and the people watching. But as the protagonist of this film, Bana has to keep the tension going almost all the time. It’s amazing.

Well, here I am in my fourth paragraph, and I still haven’t mentioned the story, really. Fact is, I can hardly remember it, for the story is not Chopper’s draw: the performance is. Wow.

Die Nibelungen

Fritz Lang’s THE NIBELUNGEN, clocking in at over five hours long, is an ambitious work that had a huge impact in its day. Unfortunately, it hasn’t aged well. I slogged through the saga with one eye on the screen and one on the clock, never believing in anything or anyone I saw onscreen.

The film begins with Siegfried, a blacksmith’s apprentice who forges a blade so keen that his master declares he has nothing more to teach the young hero. Taking the sword and setting out to find his fortune, he slays a dragon, finds an invisibility cloak, and captures the treasure hoard of the dwarves. This is the best part of the picture, with a magnificently realized dragon puppet that’s over eighty feet long, great craft on Siegfried’s part, and a transfiguration effect that must have take days days to create.

But soon enough, Siegfried is in the hall of the Burgundian Kings, the titular Nibelungen. And here’s where the picture gets nasty. From here on out, the film is a feast of misogyny, racism, and general repudiation of Judaeo-Christian values. There’s deceit and counter deceit, blood revenge, cruel realpolitik, and an ultimate affirmation of the heroic woman only in terms of her cold-hearted cruelty. There’s a significant portion among the Huns that makes this proud people out as barely a step above lowland gorillas. But most importantly, and unforgivably, there’s nothing here to hang on to: the characters aren’t inherently fascinating, the pageantry isn’t particularly dazzling, and the whole thing feels rather flat.

At least, that’s how it seems to me, the modern viewer. The film made such a splash during its initial release that Goebbels asked Lang to make propaganda films for the Nazi political effort (showing great judgment, the director promptly fled to America). But while I can put myself into the mind of a person who enjoyed INTOLERANCE and THE IDLE CLASS, I can’t see the appeal of this one. It’s coming from a place too alien to me.