Monday, December 26, 2016

Impressions of La La Land

Yesterday I saw La La Land and uncharacteristically wanted to go ahead and share some thoughts:

I was a big fan of Whiplash and interested in seeing this, Chazelle's next film.  After Whiplash, I sensed and hoped that Chazelle might be the type of filmmaker I have been waiting for, a sophisticated cinephile with enough mainstream appeal to succeed in imposing and protecting his cinema within Hollywood.  I was excited when I first discovered David Gordon Greeen, Andrew Bujalski, even Bennett Miller.  But, in truth, Gordon Green and Bujalski never seemed to have the sensibility to fully crossover.  They might get their chance to work within the system but it would be in the way the system wanted them to work and not the other way around.  Miller, in a similar way to Kenneth Lonergan, will probably succeed in continuing to make smart cinema in Hollywood, but it will almost certainly be a cinema devoid of style and without any internal dialogue or link back to film's history.  Meanwhile La La Land is truly bold cinema, a young auteur's willingness to go all in, cash in on his sophomore effort fully knowing that it really does not matter how daring he is because if he makes a film that connects he will be given additional chances.  If not, he will be back to making small-scale indy work as he grovels for Hollywood to give him another shot.  Chazelle gambles and emerges, in my eyes, as the most gifted new American filmmaker since the exciting new voices of the nineties, like James Gray and Tarantino.  I made a similar, now obviously irresponsible claim in '99 when O'Russell, Payne and The Wachowski Brothers all had breakout years.  But I have more trust this time around.  After all, one of Chazelle's main subjects of La La Land is how to preserve something that is under great threat of fading away.  

Saturday, December 3, 2016

Favorite (four), part thirty-seven

Just like in my other thirty-six posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Miguel Gomes' Tabu
Clearly I am late to the party but there seems to be something very special happening right now in Portuguese cinema.  I already recently got on the bandwagon for Manoel de Oliveira and now I am starting to see what this Gomes guy is all about.  If Tabu is any indication, he might be one of the most gifted and bold filmmakers at work.  Visually it is absolutely rapturous cinema, using modern black-and-white like the killer poetic weapon it can be when in the right hands (think Wenders' work with Muller or Dead Man, again Muller).  And Gomes' style, in addition to his visual approach, is as free-wheeling and exciting as Godard can be in his most effective moments.  Gomes jumps all around chronologically, mixes silent cinema with voiceover and uses music and nature as well as the great Swiss one.  I can't wait to see more of Gomes' work.  He's exactly the type of filmmaker, in its current isolationist cinema culture, Americans are losing out on by not having more readily available.

Hong Sang-soo's Right Now, Wrong Then
Hong's latest outing once again treads familiar territory - a doppelganger narrative, a filmmaker as main character and plenty of scenes of eating and drinking.  This installment especially benefits from Hong's ability to capture so many of those awkward but charged emotions we have all experienced during the early stages of courting.  And the way the second narrative remixes the events that have come before has Hong working at the absolute height of his skill.

Terrence Davies' The Deep Blue Sea
Anyone who has ever been in an unbalanced relationship, where one party is clearly more committed than the other, will recognize themselves in Davies' film.  I don't have enough familiarity yet to know how this work compares with Davies' other films but Davies' treatment feels very real, nuanced and smart.  The acting is extraordinary.  I have never been a fan of Weisz but you feel every moment of her angst and Hiddleston is exuberant and brings tremendous energy whenever he is on screen.  Davies' approach is a bit arch and theatrical but his treatment here is nothing short of courageous and accomplished.

Jeffrey Dupre and Maro Chermayeff''s Soundbreaking
The access that the filmmakers had, most likely because of Sir George Martin's involvement, is extraordinary.  And the fact that they chose to tell the story thematically rather than chronologically gives the film a pulse and an entertainment quotient that Ken Burns' work never seems to achieve.