No 198 - Fargo
Directors - Joel Coen and Ethan Coen
When a horror film states that the film is nothing more than 'found' footage, you kinda know that it isn't true. Cloverfield, Paranormal Activity and The Blair Witch Project are all obviously not real. We know that; but is part of the story telling. It is part of the fun.
However, when a film begins with a disclaimer that it is based on a true story - you kind of expect it to be at least partially based on a true story.
I think it takes a certain ballsiness and a pretty weird sense of humour to put that in - and Fargo begins with a disclaimer stating that only the character's names have been changed. But then, the Coen brothers are ballsy people with a very odd sense of humour which is littered throughout this film, despite the dark subject matter.
I mean in the closing credits, Prince is listed as having a cameo in the film.
He doesn't.
Beyond the really odd (and essentially nonsensical) additions before and after the feature, the Coen's humour and distinctive style runs thickly throughout the film; mainly in the naive homeliness of the majority of characters. You have to love a film which relishes the juxtaposition of a series of grisly murders and characters who curse less than Ned Flanders.
Most of the cursing and violence stems from one character - Carl Showalter, played by Steve Buscemi sporting an awesome moustache, which sort of makes him look like a young John Waters (which is at least pointed out constantly, with Carl being frequently described as 'funny looking' - which, indeed, he is). Carl is an angry man and is responsible for almost all of the swearing in the film (if you don't include lines "Well gosh darned heck" as a swear). He is also the 'brains' behind the bungled crime which is at heart of the story. He is brilliant.
You see, I always assumed Fargo was some kind of murder mystery, with Frances McDormand's police officer - Marge Gunderson - discovering the bodies and everything stemming from there. However we don't meet her for over half an hour, and instead the film begins with the bungled kidnapping. So we meet the excellent Carl and the equally brilliant Jerry Lundegaard, played by William H Macey. He is (as is often the way with William H Macey's characters) a hapless and unlucky fool who is also insanely nervous. Macey ticks and twitches his way throughout the film and is the most suspiciously nervous person I've ever seen. No wonder Marge immediately realises he may up to no good.
Marge Gunderson is the real star of the film, and allows Frances McDormand to play that kind of homely and adorable character that she plays so well. It is only strengthened by the fact that she is absolutely at the mercy of her pregnancy; constantly with the munchies and constantly out of breath. Her excellent policing and unfazed strong attitude work as a great juxtaposition with the physically vulnerable situation she is in. The film, mostly, follows her (with the occasional asides to H Macey and Buscemi) and we get to see her lovely homely life that involves (a lot of) eating and chatting to her friends.
Marge is a well respected police officer who is happily married to a loving husband, is pregnant and is just doing her job. It is great to watch a police film in which the hero doesn't have a point to prove or personal flaw. She is just an officer who is good at her job. And has an excellent accent. I ruddy love the accent. To my British ears, it provides a certain level of humour to the proceedings. This scene makes me forget that it is a police interview with two hookers and just makes me smile.
I just really like how they say yeah.
And of course... how can I not love a film which involves a death where someone is fed into a wood chipping machine. Feels apt.
Showing posts with label william h macy. Show all posts
Showing posts with label william h macy. Show all posts
Friday, 2 July 2010
Monday, 7 June 2010
This cannot be "One of Those Things... ” This, please, cannot be that. And for what I would like to say, I can't. This Was Not Just A Matter Of Chance
No 89 - Magnolia
Director - Paul Thomas Anderson
My apologies again, I have been on a bit of a roll with watching films (both on and off list) and have not been keeping up to date with my blogging. So, apologies if once again my views are less concise in these blogs, as several days have passed since I saw some of them.
I had only ever seen Magnolia once prior to this viewing and I remembered it being one of those films which I had to struggle through... I'm not sure if I hadn't been in the correct mind back then or if I have matured (ha!) but I found completely the opposite this time. I still found it long, but this time it was fascinating and captivating and full of characters who were incredibly interesting.
The key phrase here being 'full of characters' - this is a massive ensemble cast. Massive and powerful. But not only is it a massive cast, it is a phenomenal cast full of powerhouse actors (though several of them are P. T. Anderson regulars) John C Reilly, William H Macy, Philip Seymour Hoffman, Julianne Moore, Tom Cruise. There are so many respected actors in this film that they even turn up in bit parts. Look at Alfred Molina sneaking in for a scene. This is clearly a film that a lot of people wanted to be part of. What impresses me is the balanced way that the film juggles such a large cast and allows each character to have their own story and to have enough time for that story to be told.
Most of the stories are terribly, beautifully sad. Look at Donnie for example - the tragic former child genius who no longer has a purpose in life. A strange and lonely man, you can see him as worrying premonition of the current young genius Stanley's future. However, there are some quietly uplifting stories scattered throughout.
Take John C Reilly - his Officer Jim Kurring is another lonely person (a definite theme throughout this film), but through mild bending of policing policy he manages to find happiness. And it is wonderful to see John C Reilly playing a deep and meaningful role rather than something silly.
However, the real star of this film is Tom Cruise. This film is further evidence that he should break away from his 'safe' action hero roles and play a bastard more often. After all, he is excellent as Lestat and even manages to be one of the more enjoyably silly elements of Tropic Thunder. Frank TJ Mackey is a wonderful character - allegedly based on Ross Jeffries, he blusters around full of arrogance and with a back story full of lies.
What is really interesting though is watching his defences crumble as he is interviewed by someone who knows his true back story - the way he moves from being charmingly contradictory, through to aggressive, and finally to a petulant silent bastard.
His final scenes with his dying father are generally beautiful and show a wondrous character arc.
It is a film which really takes care of its character but which puts them through a proper obstacle course of emotions. Whilst this film is emotionally tiring it stays grounded in realism; so the few times it moves away from realism have a powerful punch.
Let's begin with the montage of people singing Aimee Mann's Wise Up - this is something very easy to get wrong, to make look cheesy. Yet kudos to Anderson, he manages to make a montage which not only isn't jarring, but is actually moving.
It is also surprising that when Deus Ex Machina is literally used (a genuine biblical plague) in order to bring the characters closer together it doesn't feel forced. It feels surprising and strange. But it feels like it is handled correctly. And there is something sickeningly funny about watching the cars try to drive through the bloody piles of frogs in the aftermath of the storm.
There is an awful lot going on in this film. Even were the film to give each character a simple character arc, it would still be a long film - but its characters are flawed, complex and real, which makes a film that is both long and utterly captivating.
However, whilst this may sound like scant praise, the best bit of the film is the introduction: an amazing narration from Ricky Jay begins to explain the nature of coincidences and of freak moments. It also sets up the importance of suspension of disbelief. It sets us up for the strange cinematic moments amongst the tragic realism but it also ensnares the viewer. I found it fascinating and from those first moments I was hooked. I was prepared to go on the journey this film was offering. I was willing to believe or disbelieve whatever it takes in order to be in the world of the film (this doesn't always happen... sometimes I just can't suspend my disbelief and the whole film jars).
For while the film is grounded in realism, it still relies a lot on coincidence.
And to quote the narrator:
We generally say - 'well, if that was in a movie, I wouldn't believe it.' Someone's so-and-so met someone else's so-and-so and so on. And it is in the humble opinion of this narrator that strange things happen all the time. And so it goes. And so it goes.
Director - Paul Thomas Anderson
My apologies again, I have been on a bit of a roll with watching films (both on and off list) and have not been keeping up to date with my blogging. So, apologies if once again my views are less concise in these blogs, as several days have passed since I saw some of them.
I had only ever seen Magnolia once prior to this viewing and I remembered it being one of those films which I had to struggle through... I'm not sure if I hadn't been in the correct mind back then or if I have matured (ha!) but I found completely the opposite this time. I still found it long, but this time it was fascinating and captivating and full of characters who were incredibly interesting.
The key phrase here being 'full of characters' - this is a massive ensemble cast. Massive and powerful. But not only is it a massive cast, it is a phenomenal cast full of powerhouse actors (though several of them are P. T. Anderson regulars) John C Reilly, William H Macy, Philip Seymour Hoffman, Julianne Moore, Tom Cruise. There are so many respected actors in this film that they even turn up in bit parts. Look at Alfred Molina sneaking in for a scene. This is clearly a film that a lot of people wanted to be part of. What impresses me is the balanced way that the film juggles such a large cast and allows each character to have their own story and to have enough time for that story to be told.
Most of the stories are terribly, beautifully sad. Look at Donnie for example - the tragic former child genius who no longer has a purpose in life. A strange and lonely man, you can see him as worrying premonition of the current young genius Stanley's future. However, there are some quietly uplifting stories scattered throughout.
Take John C Reilly - his Officer Jim Kurring is another lonely person (a definite theme throughout this film), but through mild bending of policing policy he manages to find happiness. And it is wonderful to see John C Reilly playing a deep and meaningful role rather than something silly.
However, the real star of this film is Tom Cruise. This film is further evidence that he should break away from his 'safe' action hero roles and play a bastard more often. After all, he is excellent as Lestat and even manages to be one of the more enjoyably silly elements of Tropic Thunder. Frank TJ Mackey is a wonderful character - allegedly based on Ross Jeffries, he blusters around full of arrogance and with a back story full of lies.
What is really interesting though is watching his defences crumble as he is interviewed by someone who knows his true back story - the way he moves from being charmingly contradictory, through to aggressive, and finally to a petulant silent bastard.
His final scenes with his dying father are generally beautiful and show a wondrous character arc.
It is a film which really takes care of its character but which puts them through a proper obstacle course of emotions. Whilst this film is emotionally tiring it stays grounded in realism; so the few times it moves away from realism have a powerful punch.
Let's begin with the montage of people singing Aimee Mann's Wise Up - this is something very easy to get wrong, to make look cheesy. Yet kudos to Anderson, he manages to make a montage which not only isn't jarring, but is actually moving.
It is also surprising that when Deus Ex Machina is literally used (a genuine biblical plague) in order to bring the characters closer together it doesn't feel forced. It feels surprising and strange. But it feels like it is handled correctly. And there is something sickeningly funny about watching the cars try to drive through the bloody piles of frogs in the aftermath of the storm.
There is an awful lot going on in this film. Even were the film to give each character a simple character arc, it would still be a long film - but its characters are flawed, complex and real, which makes a film that is both long and utterly captivating.
However, whilst this may sound like scant praise, the best bit of the film is the introduction: an amazing narration from Ricky Jay begins to explain the nature of coincidences and of freak moments. It also sets up the importance of suspension of disbelief. It sets us up for the strange cinematic moments amongst the tragic realism but it also ensnares the viewer. I found it fascinating and from those first moments I was hooked. I was prepared to go on the journey this film was offering. I was willing to believe or disbelieve whatever it takes in order to be in the world of the film (this doesn't always happen... sometimes I just can't suspend my disbelief and the whole film jars).
For while the film is grounded in realism, it still relies a lot on coincidence.
And to quote the narrator:
We generally say - 'well, if that was in a movie, I wouldn't believe it.' Someone's so-and-so met someone else's so-and-so and so on. And it is in the humble opinion of this narrator that strange things happen all the time. And so it goes. And so it goes.
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