Directed by Wes Anderson and screenplay by Anderson from a story by Anderson, Roman Coppola, Jason Schwartzman, and Kunichi Nomura, Isle of Dogs is the story of a young boy in a futuristic, dystopian-Japan who travels to an island where dogs are living in exile due to an illness outbreak. The film is Anderson’s second stop-motion animated feature as it plays into a boy’s search for his dog where a group of dogs decide to help the boy as well as deal with being in exile because of a leader who hates dogs as the story is narrated by Courtney B. Vance. Featuring the voice cast of Bryan Cranston, Bill Murray, Edward Norton, Jeff Goldblum, Koyu Rankin, Greta Gerwig, Frances McDormand, Scarlett Johansson, Ken Watanabe, Fisher Stevens, Yoko Ono, Harvey Keitel, Liev Schreiber, Bob Balaban, Tilda Swinton, Frank Wood, and F. Murray Abraham. Isle of Dogs is a majestic and adventurous film from Wes Anderson.
Following a mandate to ban dogs from a Japanese by its mayor claiming that dogs are spreading diseases as they’re consumed by a mysterious illness, the film revolves around a young boy who travels to an island of trash to find his dog. It’s a film with a simple story as it explores conspiracy theories and paranoia from the perspective of humans while the dogs are dealing with hunger, an on-going flu, and the horrific environment they live in. Wes Anderson’s screenplay opens with a prologue of a legend about the arrival of dogs in Japan and how it lead to this conflict between man vs. dog until a boy came to the aid of dogs and would make them man’s best friend. It’s a story that would be replayed in this futuristic version of Japan where a mayor who hates dogs decides to create something to get the public to have dogs banned as it is told in four parts by an unseen narrator. Yet, the main narrative involves the mayor’s nephew Atari (Koyu Rankin) wanting to retrieve his dog Spots (Liev Schreiber) whom he got just after Atari had been injured in a train crash that killed his parents.
The need to retrieve Spots would have Atari land on this island filled with trash that was also the former site of a factory and amusement park where he would meet five dogs in Chief (Bryan Cranston), Boss (Bill Murray), Rex (Edward Norton), King (Bob Balaban), and Duke (Jeff Goldblum) where four of the dogs would help Atari find Spots but Chief is reluctant as he’s a stray dog that hasn’t known any loyalty to a master as he’s known to bite. Yet, the dogs would deal with a rescue team that has robotic dogs to attack where Chief decides to help Atari as it would play into this development between dog and boy, respectively, as it would also lead to some revelations to the former while giving the latter a sense of hope. The film also has subplots as it relates to students wanting to go against the mayor led by American foreign exchange student Tracy Walker (Greta Gerwig) who believes there’s a conspiracy happening involving the mayor and his cohorts where they are also attempting to shut down a scientist in Professor Watanabe (Akira Ito) from creating a cure for the dogs.
Anderson’s direction is definitely intoxicating for the way he uses Japanese art and its architecture to create a world that is futuristic in some ways but also harkens to the tradition of the past. With the help of animation director Mark Waring, Anderson creates a film that does play into his visual sensibilities in terms of his precise compositions, camera movements, and offbeat humor. Yet, he would also utilize broad visuals to play into this world as the island of trash is desolate but also wild with rumors of cannibalistic dogs who eat other dogs. There are also these elements where Anderson uses satire as it relates to the rule and rhetoric of Mayor Kobayashi (Kunichi Nomura) that has similarities to current events in the world in how dogs are being treated as they’re sent to this island of trash with more plans to get rid of them altogether. Especially as Kobayashi has a henchman in Major Domo (Akira Takayama) who is trying to create more chaos where a lot of the visuals play into elements of suspense and drama.
Anderson’s direction also has these tender moments as it relates to the developing relationship between Chief and Atari as it has bits of humor and drama with Chief carrying a secret of his own about his life as a stray dog when the subject of favorite foods emerge during a conversation with the other dogs. Many of the dialogue between the dogs are in English while the humans, with the exception of Tracy and a few translators, are in Japanese. It allows audience to see a world that is unique while unsettling at times as it plays into this growing tension for truth with the people in this Japanese city being told false things while Tracy is trying to reveal the truth with Atari making plans to return to the city with the dogs in the hope that the truth will come out. Overall, Anderson crafts a mesmerizing and exhilarating film about a boy who travels to an island of trash to find his dog.
Cinematographer Tristan Oliver does excellent work with the film’s cinematography in the way many of the backgrounds are lit as well as the presentation of some of the interior settings in day and night in terms of the lighting. Editors Andrew Weisblum, Ralph Foster, and Edward Busch do brilliant work with the editing as it has elements of jump cuts and other stylish cut to play into the action and suspense as well as some of the drama. Production designers Paul Harrod and Adam Stockhausen, with art director Curt Enderle, do incredible work with the look of the city in all of its grand detail as it is a major highlight of the film as well as how it would look in the day and night as is the island of trash with its decayed buildings and other places in the island.
Visual effects supervisors Lev Kolobov and Tim Ledbury do fantastic work with the visual effects as it is mainly bits of set dressing including scenes shown on a TV screen for the characters to watch as it help play into the stop-motion animated look. Sound editors Wayne Lemmer and Christopher Scarabosio do superb work with the sound in some of the sound effects involving the drones and robotic dogs as well as in some of the locations the characters are in. The film’s music by Alexandre Desplat is amazing for its usage of Japanese percussion and string music to help play into the drama and suspense as it’s another major highlight of the film while music supervisor Randall Poster provides a soundtrack that include a few score pieces of films by Akira Kurosawa and a song by The West Coast Pop Art Experimental Band that play for some of the adventure scenes.
The casting by Douglas Aibel and Kunichi Nomura is incredible as it features some small yet notable voice roles from co-writer Nomura as Mayor Kobayashi in all of his grandiose persona as well as Yoko Ono as Professor Watanabe’s assistant, Ken Watanabe as a head surgeon who helped Atari following the train crash, Fisher Stevens as a dog named Scraps whom Spots meet as he would tell him about cannibal dogs, Kara Hayward as a female dog named Peppermint, Anjelica Huston as a mute dog, Frank Wood as translator machine, Yojiro Noda as a news anchor, Nijiro Murakami as a school newspaper editor, Akira Ito as Professor Watanabe as a scientist who wants to disprove Kobayashi’s claims while wanting to create a cure for the dogs, and Akira Takayama as Kobayashi’s right-hand man Major Domo who would help Kobayashi in creating the anti-dog propaganda.
Liev Schreiber is terrific as Atari’s dog Spots who had been assigned to look after Atari following a near-fatal train crash while Harvey Keitel is superb as Gondo as a dog who leads a group of his own. F. Murray Abraham and Tilda Swinton are fantastic in their respective roles as Jupiter and Oracle as the former is a dog that helps the other dogs in finding Spots by showing them the way while the latter is a dog that claims to see the future as he’s really more into TV. Frances McDormand is excellent as Interpreter Nelson who would reveal the things that Kobayashi is saying while Greta Gerwig is wonderful as Tracy Walker as an American foreign exchange student who helps lead a student revolt against Kobayashi. Scarlett Johansson is brilliant as Nutmeg as a show-dog that convinces Chief to help Atari as she sees Atari as someone that can find the goodness in Chief.
The quartet of Bob Balaban, Jeff Goldblum, Bill Murray, and Edward Norton in their respective roles as King, Duke, Boss, and Rex are brilliant as the four dogs who have been treated well by their masters as they’re willing to help Atari find Spots while dealing with Chief’s reluctance. Koyu Rankin is remarkable as Atari as Kobayashi’s nephew who is eager to find his dog as he endures injuries and heartache as he is determined to get his dog back while befriending the other dogs including Chief. Finally, there’s Bryan Cranston in a phenomenal performance as Chief as a stray dog who has endured being captured and in a lot of fights who is reluctant to help Atari due to his own mistrusts towards humans where he later finds a sense of trust as well as a role that is far more important than himself.
Isle of Dogs is a tremendous film from Wes Anderson. Featuring a great cast, gorgeous visuals, top-notch stop-motion animation, amazing set designs, and a thrilling score by Alexandre Desplat. The film is an exciting yet compelling adventure film that takes a simple concept and inject some real-life allegories about the world as it all plays for a boy’s love for his dog. In the end, Isle of Dogs is a spectacular film from Wes Anderson.
Wes Anderson Films: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - The Grand Budapest Hotel - The Auteurs #8: Wes Anderson
Wes Anderson Film Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom) – (The Grand Budapest Hotel) – (Isle of Dogs)
© thevoid99 2018
Directed by Sofia Coppola and written by Coppola, Bill Murray, and Mitch Glazer, A Very Murray Christmas is a musical comedy where Bill Murray hosts a Christmas special at the Carlyle Hotel in New York City as a deadly snowstorm arrives where he wonders if anyone will show up. With Murray as himself, the special is an offbeat yet lively take on the world of variety specials that is about the holidays and Murray himself. Also starring George Clooney, Miley Cyrus, Paul Shaffer, Maya Rudolph, Michael Cera, David Johansen, Chris Rock, Jason Schwartzman, Jenny Lewis, Rashida Jones, Dmitri Dmitrov, Julie White, and the band Phoenix. The result is a fun and heartwarming TV special from Sofia Coppola.
It’s Christmas Eve at New York City’s Carlyle Hotel where Bill Murray is hosting a live Christmas special as the city has been hit by a snowstorm where none of the guests he wanted to have including George Clooney have arrived. Thus, the day becomes a nightmare where Murray goes into a full meltdown where he desperately tries to save his TV special while drowning his sorrows at the bar with friend and music director Paul Shaffer. Along the way, a lot of hilarity and singing ensue with those working at the bar and a few guests saddened by the snowstorm. It’s a simple story where Murray just tries to get into the Xmas spirit while dealing with talent agents, producers, and all sorts of people trying to kiss his ass. Still, there is a lot that happens where Murray and whoever is around him play songs whether it’s traditional or contemporary Xmas songs and songs that don’t fit into that mold.
Sofia Coppola’s direction is quite intimate but also gorgeous for the way she presents the rooms and bar at the Carlyle Hotel which is a character in the special. With the aid of cinematographer John Tanzer and production designer Anne Ross, Coppola ensures the low-key look of the hotel as well as provide a sense of whimsical comedy in Murray’s attempt to stage this TV special. Coppola’s usage of close-ups and medium shots maintain that sense of intimacy while many of the musical moments are either improvised or planned. With the aid of music director Paul Shaffer, the songs that are sung range from traditional songs and holiday standards along with contemporary songs that are either for the holidays or a song like Todd Rundgren’s I Saw the Light . With the aid of sound editor Max Green, the sound of noises in the kitchen and bar helps with the atmosphere as well as Sarah Flack’s editing where it is straightforward to play into what is happening.
The musical numbers that are improvisational do give the special a very lively feel where it has this sense of not knowing what is going to happen while it does have an air of fantasy where the look of it is brighter and colorful thanks to Tanzer’s stylish lighting, Flack’s upbeat editing, the art direction, and Stacey Battat’s playful costume design. It adds to what Murray would’ve wanted in his Xmas special as it sort of mocks the idea of the variety show but also have some fun with it. Even as it is all about celebrating Christmas with friends and colleagues despite all of the chaos that occurs.
The special’s cast include appearances from Dimitri Dimitrov as Murray’s assistant, Jenny Lewis as a singing waitress, the French-indie band Phoenix as chefs, David Johansen as the bartender, Maya Rudolph as the lounge singer, Amy Poehler and Julie White as Murray’s producers of the special, Jason Schwartzman and Rashida Jones as an engaged couple that were supposed to be married at the hotel, and Michael Cera as a talent agent who is desperate to have Murray as his client.
As themselves, George Clooney, Chris Rock, Miley Cyrus, and Paul Shaffer all bring their own sense of charm to their appearances with Clooney providing some nice vocals on Santa Claus Want Some Lovin’ while Rock plays a reluctant player in Murray’s attempt to revive his TV special. Finally, there’s Bill Murray who brings a very diva-esque approach to himself as someone that is just losing it over the failure of his show where he tries to get himself in the Xmas spirit where it’s Murray sort of making fun of himself and his persona while being so fun to watch.
A Very Murray Christmas is a phenomenal TV special from Sofia Coppola that is about the brilliance that is Bill Murray. Fans of the actor will no doubt get a chance to see the man making fun of himself while trying to put on a fun Xmas special that manages to be entertaining and more. In the end, A Very Murray Christmas is a sensational TV special from Sofia Coppola.
Sofia Coppola Films: Lick the Star - The Virgin Suicides - Lost in Translation - Marie Antoinette - Somewhere - The Bling Ring - The Beguiled (2017 film)
Sofia Coppola Soundtracks: Air-The Virgin Suicides OST - The Virgin Suicides OST - Lost in Translation OST - Marie Antoinette OST - (The Bling Ring OST)
Related: The Ads & Videos 1993-2008 - The Auteurs #1: Sofia Coppola - Favorite Films #1: Lost in Translation - Favorite Films #4: Somewhere - 10 Reasons Why Lost in Translation is the Best Film Ever...
© thevoid99 2015
Written and directed by Cameron Crowe, Aloha is the story of a defense contractor who is assigned to go to Hawaii to oversee the launch of a satellite as he falls for an Air Force pilot while dealing with an old flame. The film is an exploration of a man who finds himself back in a world with people he used to know as he tries to maintain a sense of hope and something new in old surroundings. Starring Bradley Cooper, Emma Stone, Rachel McAdams, John Krasinski, Danny McBride, Alec Baldwin, and Bill Murray. Aloha is a hokey, sappy, and extremely ludicrous film from Cameron Crowe.
A defense contractor hired by a billionaire to oversee the launch of a satellite that is to be above Hawaii finds himself not only falling for his Air Force pilot liaison but also deal with the re-appearance of an old flame he hadn’t seen in years. It’s a film that wants to be a lot of things where it’s not just this man who used to be so much to people as all he wants to do is finish this project and leave Hawaii yet he is encountered by this idealistic and lively young woman who wants him to show a world that is far more important and with possibilities. At the same time, there’s a lot that is happening as it relates to the life of Brian Gilcrest (Bradley Cooper) who deals with things in his past as well as the satellite he’s about to launch for this billionaire. Thus, lies the problem with the film at a whole. It has a lot that it wants to tell yet has no idea what it wants to be.
Cameron Crowe’s screenplay isn’t just a mess but it doesn’t really have characters that audiences will be engaged by nor will they care about. Instead, there’s just caricatures as Gilcrest is the cynic who has given up on leading a good life as he is seen as a screw-up by former colleagues. The idealist is the Air Force pilot Alison Ng (Emma Stone) who is a quarter-Hawaiian as she loves her home state as she is interested in Gilcrest’s past as well as his relationship with ex-girlfriend Tracy Woodside (Rachel McAdams) who is married to a pilot named Woody (John Krasinski) who is mostly very silent. Ng is a combination of the idealist who is eager to make Gilcrest see the better things in the world and to play into some of the folklore of Hawaii among its natives. It’s not a real character but rather someone that is very underdeveloped as is Tracy who is just a frustrated former flame and Woody is just this silent idiot as they both have children who aren’t real characters either since the son spends half the film carrying a video camera and talking about Hawaiian folklore constantly.
Another problem with the script is how obvious things are as it relates to Tracy’s daughter Grace (Danielle Rose Russell) who is 12 years old as it was sort of the exact same time Gilcrest and Tracy last saw each other. That’s just part of the script’s laziness where it plays into what audience might already know which hurts any kind of intrigue while other parts of the script such as Gilcrest’s relationship with Alison feels very rushed as it is obvious that they will fall in love but it goes very fast. Then there’s the story about Gilcrest’s job as it relates to this billionaire’s satellite and how the military is bought where it is clumsily written where military officials look like idiots while the character of the billionaire Carson Welch (Bill Murray) isn’t just underwritten but is also a caricature as someone who looks and feels like he is in another movie.
Crowe’s direction of the film doesn’t help matters of what is wrong the script but only makes things even worse. Much of it involves his presentation of Hawaii where it feels more like a postcard and a lot of white-washing where white people live in comfortable places while Hawaiian natives live in trailer parks. It’s has Crowe portray its main characters as white saviors unaware that there’s people that are going to fuck these natives over all because of what a billionaire wants. The direction has some unique compositions but nothing to really make anything interesting as there’s moments such as the first meeting between Gilcrest, Alison, and Tracy are all shot in one take where the camera would move from a two shot to a one shot to create something that is funny but it ends up not being funny at all. It’s among the things in the film that really tries to hard to win over the audience as a lot of the humor such as Woody’s silent communication ends up being very awkward and idiotic while other moments feel forced.
Another issue with Crowe’s direction is the way he uses music as about 90 to 95% of the film has a soundtrack that often has some kind of musical accompaniment whether it’s through Jonsi & Alex’s score which mixes ambient music and Hawaiian folk music or through whatever song that Crowe brings to the film. At one point, there’s a scene where Gilcrest’s former superior General Dixon (Alec Baldwin) to play Tears for Fears’ Everybody Wants to Rules the World where it really feels more like an excuse to play that song in the film for a party scene as if Crowe wants a song used to drive the story. It’s really a lazy plot device where not only does it become very repetitive but also distracting. There is also a feeling like there was a longer film there but either due to studio interference or Crowe made the decision to cut some things out. Whatever the case is, it feels like a film that had something there but the result is something that ends up being extremely conventional.
Another aspect of the film aside from some of the contrived nature of the story and how muddled it is where it wants to be so many things is that it ends in a resolution that is very tidy and extremely predictable. It is a conclusion that just reeks of unearned sentimentality as well as poor development that feels like a fucking waste of time. Overall, Crowe creates what is undoubtedly a very horrible film that never says anything interesting at all.
On the film’s technical front, the work of cinematographer Eric Gautier is very bland as some of the daytime exterior scenes look over-lit at times while there’s moments where the lighting for scenes at night don’t really do anything to make it interesting on a visual level. Even the editing by Joe Hutshing is distracting where it tries to be stylish and be straightforward but is unable to play into the muddled tone of the film. Production designer Clay A. Griffith, with art director Peter Borck and set decorators William Reyes Jr. and Wayne Shepherd, definitely play up the sense of white-washing in the film in the way Tracy and Woody‘s home look in comparison to where the native Hawaiians live in which is very uninteresting. Costume designer Deborah Lynn Scott doesn‘t do a very good job with the clothes as much of it is bland as it also includes one of the worst hats ever. Visual effects supervisor Jamie Dixon does some very awful work with some of the visual effects as it relates to some sequences in outer space which looks bad. Sound editor Dennis Drummond and sound designer Jamey Scott do an OK job in some of the sound work though it was unfortunate that some of it is often mixed with a lot of the music that appears in the film.
The casting by Francine Maisler is good for the cast she was able to bring though it is very unfortunate that many of them didn’t have a single good thing to work on. Smaller performances from Ivana Milicevic as Carson’s assistant, Hawaiian native leader Dennis “Bumpy” Kanahele, Michael Chernus as a hacker friend of Gilcrest, and Bill Camp as a military figure friend of Gilcrest as they’re all sort of wasted by the poor script. Jaeden Lieberher’s performance as Woody and Tracy’s youngest son Mitchell is a poorly written character that is very annoying as Lieberher is just aggravating to watch while Danielle Rose Russell as Woody and Tracy’s daughter Grace doesn’t really get to do anything at all. Alec Baldwin is wasted in a very poor role as General Dixon as someone who has a grudge with Gilcrest as he spends half of his time screaming and shit Danny McBride is also terrible as he plays Colonel “Fingers” Lacy as an old friend of Gilcrest who spends much of the film waving his fingers as if he wants to be a fucking cheerleader.
Bill Murray’s performance as billionaire Carson Welch is essentially Murray phoning it in as if he is in another movie as there are a few moments that are fun but it’s just quite lazy. John Krasinski’s role as Woody is pretty dumb since he spends much of the film being silent while a scene where he and Gilcrest communicate through silence is idiotic. Rachel McAdams is OK as Tracy as a former flame of Gilcrest who wonders if she still has feelings for him as it’s a character that isn’t developed very well as McAdams gets very little to do. Emma Stone has her moments as Alison Ng with her liveliness but it’s a character that is a fucking mess to deal with as it’s badly written at times while her attempts to be funny feels forced. Finally there’s Bradley Cooper as Brian Gilcrest as it’s not a bad performance but a very bland one where his attempts to be funny also feels forced while he is badly hampered by its poor screenplay which ruins his development as a character and gives his chance to find redemption to be poorly handled.
Aloha is a fucking piece of shit film from Cameron Crowe. Not only is it a film where a filmmaker loses his touch but also finds himself taking some major steps backwards as a storyteller where he tries to do so much but forgets to create real characters that people can root for. Whether or not this was the film that Crowe intended to make, it feels like there was a lot to be said but the end result really says nothing to make anyone laugh, cry, or feel anything other than anger and disgust. In the end, Aloha is a film that will make anyone say aloha and fuck off for insulting their intelligence.
Cameron Crowe Films: (Say Anything) - (Singles) - (Jerry Maguire) - Almost Famous - (Vanilla Sky) - (Elizabethtown) - The Union (2011 film) - Pearl Jam Twenty - We Bought a Zoo
© thevoid99 2015
Based on the biography Nightmare of Ecstasy by Rudolph Grey, Ed Wood is the story about one of cinema’s worst filmmakers as he struggles to find success through his offbeat yet cheaply-made films while forging a friendship with his idol in film actor Bela Lugosi. Directed by Tim Burton and screenplay by Scott Alexander and Larry Karaszewski, the film explores a period in Wood’s life where he tries to succeed through film that would culminate with the release of his most infamous film in Plan 9 from Outer Space as the titular role is played by Johnny Depp while Martin Landau plays the role of Bela Lugosi. Also starring Sarah Jessica Parker, Patricia Arquette, George “The Animal” Steele, Lisa Marie, Jeffrey Jones, and Bill Murray. Ed Wood is a witty and enchanting film from Tim Burton.
The film explores the life of a young artist named Edward D. Wood Jr. as he is eager to become a filmmaker like his favorite director Orson Welles where he later meets his idol in Bela Lugosi who would take part in Wood’s films. The film explores Wood’s life from the early 1950s where he is trying to get his film career off the ground and climax with him making Plan 9 from Outer Space which he became very famous for but for all the wrong reasons. Along the way, Wood struggles through personal relationships that fall apart as well as trying to get funding for his films like Glen or Glenda and Bride of the Monster where they would be reviled by critics and audiences. Yet, Wood has this optimism that is so compelling in his belief that he will become a great filmmaker while helping out the man he worshipped in Lugosi who is struggling with his own addiction to morphine.
The film’s screenplay is quite straightforward in its narrative but also filled with lots of humor in the way Wood often tries to succeed with his pals and his girlfriend Dolores Fuller (Sarah Jessica Parker) early in his career. Wood’s meeting and friendship with Lugosi is the heart of the story where Wood hopes to revive Lugosi’s career by putting him in his films despite everyone’s claims that he is washed up. However, Lugosi feels revitalized despite his issues where Wood would receive the support from a young woman in Kathy O’Hara (Patricia Arquette). Other aspects of the film includes Wood’s love of transvestite as he likes to wear women’s clothing which made him want to take part in a film version about the Christine Jorgensen story which he convinces a producer to create his own version of the story that would become Glen or Glenda . The script also explores the group of friends that Wood has where they’re a group of eccentric people as it’s this band of misfits trying to make a name for themselves.
Tim Burton’s direction is definitely a homage of sorts to the works of Ed Wood as well as being this film that plays into Wood’s attempt to find success as a filmmaker. Burton showcases a lot of what goes in the world of film where Wood had to use limited resources and such in order to make his films where his limitations and lack of funds often contribute to the poor quality of his films. Most of which is played for laughs but Burton is very sympathetic to Wood’s determination as he believes he is trying to make something good. Much of the direction has Burton go for simple compositions while giving the film a very old-school feel that recalls the period of the 1950s as it’s shot on location in Los Angeles. Burton’s approach to recreating some of Wood’s films do play into its low-budget aesthetics as well as wooden and terrible acting which adds the sense of joy into the film. Even in the scenes involving Wood and Lugosi where it’s humorous but also full of heart as it showcases how important their friendship is. Overall, Burton creates a very heartwarming and very funny film about the film career of Ed Wood and his friendship with Bela Lugosi.
Cinematographer Stefan Czapsky does brilliant work with the film‘s black-and-white photography to give the film a very old-school look to play into the period of the 1950s with some unique lighting schemes for some of its interiors and shots in its nighttime scenes. Editor Chris Lebenzon does excellent work in creating a straightforward style for most of the film including some stylish dissolves to play into Wood‘s own enthusiasm as a filmmaker. Production designer Tom Duffield, with set decorator Cricket Rowland and art director Okowita, does fantastic work with the set pieces from the set design of some of Wood‘s films which were quite terrible to the scary mansion ride where Wood and Kathy would have their first date at. Costume designer Colleen Atwood does amazing work with the clothes from some of the women‘s clothes and angora sweater that Wood would wear as well as the clothes of the other characters to play into their eccentricities.
Makeup designers Rick Baker, Ve Neill, and Yolanda Toussieng do superb work with the makeup from the look of some of the characters as well as Bela Lugosi as this old man often forced to live in the past. Visual effects supervisor Paul Boyington does nice work with some of the visual effects to play into the cheesy low-budget aesthetics of Wood‘s films. Sound editor John Nutt does terrific work with the film‘s sound from some of recreation of sound effects to the sounds that goes on in some of the film‘s locations. The film’s music by Howard Shore is wonderful for its orchestral score that features some lush string arrangements in its dramatic moments plus some light-hearted pieces in its comical scenes.
The casting by Victoria Thomas is great as it features some notable small roles from G.D. Spradlin as a preacher who would fund Plan 9 , Ned Bellamy as Kathy’s chiropractor who would fill in for Lugosi in Plan 9 , Max Casella and Brent Hinkley as two of Wood’s friends in their respective roles as notoriously bad actors Paul Marco and Conrad Brooks, the real Conrad Brooks as a bartender, Mike Starr as the exploitation film producer George Weiss who is reluctant to work with Wood, Juliet Landau as the actress Loretta King whom Wood mistakes an heiress as she would be a cause into Wood’s split with Dolores, and Vincent D’Onofrio as Orson Welles whom Wood would meet late in the film. Other noteworthy small roles include Lisa Marie who is wonderful as the TV host Vampira whom Lugosi likes as she would later work with Wood, George “The Animal” Steele in a terrific performance as the wrestler Tor Johnson, and Jeffrey Jones in a superb performance as the TV psychic entertainer Criswell who helps Wood get funding despite being wrong very often with his predictions.
Sarah Jessica Parker is excellent as Wood’s girlfriend Dolores Fuller who is often supportive but becomes frustrated by his lack of success as well as being a transvestite. Patricia Arquette is fantastic as Wood’s future wife Kathy O’Hara who not only accepts Wood for who he is but proves to be one of his biggest supporters. Bill Murray is hilarious as Wood’s openly-gay friend Bunny Breckenridge who often finds transvestites for Wood’s films as well as appear in them. Martin Landau is incredible as Bela Lugosi as he brings in a lot of energy into the role as well as being very foul-mouthed over Boris Karloff while trying to regain some attention as it’s Landau at his best. Finally, there’s Johnny Depp in a remarkable performance as the titular character as this very upbeat man who is eager to succeed while being a weirdo who likes to wear ladies’ clothing as it’s Depp in one of his quintessential performances.
Ed Wood is a phenomenal film from Tim Burton that features a great performance from Johnny Depp as the titular character as well as Martin Landau in an amazing performance as Bela Lugosi. The film isn’t just one of Burton’s best films but also a captivating story of a filmmaker trying to make it despite his lack of talent as it is a love letter to Wood but also a heartfelt story about Wood’s friendship with Lugosi. In the end, Ed Wood is a sensational film from Tim Burton.
Tim Burton Films: (Pee-Wee’s Big Adventure) - Beetlejuice - Batman - (Edward Scissorhands) - Batman Returns - (Mars Attacks!) - (Sleepy Hollow) - (Planet of the Apes (2001 film)) - (Big Fish) - (Charlie & the Chocolate Factory) - (Corpse Bride) - (Sweeney Todd: The Demon Barber of Fleet Street) - (Alice in Wonderland (2010 film)) - (Dark Shadows) - (Frankenweenie) - (Big Eyes)
© thevoid99 2014
Written and directed by Wes Anderson from a story by Anderson and Hugo Guinness, The Grand Budapest Hotel is the story of a concierge who asks for the help of a young lobby boy to prove his innocence following the death of an old woman as the woman’s son and his associates try to kill him. Inspired by the writings of Stefan Zweig, the film is set between two world wars in a fictional European country where the story involves theft, love, mischief, and all sorts of things that is expected in a Wes Anderson film. Starring Ralph Fiennes, Tony Revolori, F. Murray Abraham, Matheiu Almaric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Jude Law, Harvey Keitel, Bill Murray, Edward Norton, Saoirse Ronan, Lea Seydoux, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson, and Bob Balaban. The Grand Budapest Hotel is a rapturous yet exquisite film from Wes Anderson.
Read by a young girl who visit’s the fictional European country of Zubrowka, the film is multi-layered story about the recollections of a young lobby boy who worked for a prestigious hotel in the country that is run by a charming concierge who takes the young boy named Zero Moustafa (Tony Revolori) as his protégé. After the death of an old lady (Tilda Swinton) whom the concierge Gustave (Ralph Fiennes) had romanced, Gustave is inherited a prized painting much to the dismay of the old lady’s son Dmitri (Adrien Brody) who would have Gustave sent to prison over claims that Gustave killed his mother. With the help of Zero and a young baker named Agatha (Saoirse Ronan), Gustave would do whatever to prove his innocence as the older Zero (F. Murray Abraham) tells this story to a young author (Jude Law) at the hotel his mentor had cherished where the author (Tom Wilkinson) would turn it into a book many years later that the young girl is reading.
Wes Anderson’s screenplay delves into not just themes of nostalgia but also set it into a place in time where things were simpler and had a certain amount of respect where it is largely set in a hotel that was once a place of prestige and elegance where the film is set in three different time periods in 1932, 1968, and 1985 where the ‘68 and ‘85 portions involve the young author reflecting on the story he has created. Much of the narrative is set in 1932 where old Moustafa tells the young author his story where the Grand Budapest Hotel was his home and how he became a part of the world that Gustave has cherished until the death of an old lady would change everything. Especially as her son Dmitri would do whatever to get what he feels he’s supposed to inherit as he would send his henchman J.G. Jopling (Willem Dafoe) to take care of things.
It’s not just the story that makes the film so engaging but also the characters as Gustave is a man who likes to sleep with old ladies and give them the time of their lives while his greatest love is for the Grand Budapest Hotel in which he ensures that it maintains that sense of respect as the hotel of Zubrowska. It would be something that Gustave would have Zero do as it would be the role that Zero would play where this unique friendship between the two starts to form. Especially as Gustave would help Zero woo Agatha into a romantic relationship where the two would help Gustave get out of jail and evade the authorities and Dmitri where the third act would have the trio not only go back to the hotel but also deal with the sense of a world that is changing that would greatly affect the reputation of the hotel.
Anderson’s direction is definitely what is expected from him in terms of his approach to stylish compositions and attention to detail. Yet, he also manages to take some risks with his direction in not just the compositions he creates but also in the framing devices he goes into. Much of the scenes shot in 1932 is presented in a full-frame 1:33:1 aspect ratio to play into that period of time. Anderson’s direction is definitely controlled with that aspect ratio while adding a sense of looseness into the direction in the way he approaches humor. There’s also moments where Anderson utilizes that framing device to create some dazzling medium shots and wide shots where he creates scenes that is a mixture of stop-motion animation, miniature set designs, and some visual effects to play into that world that is Zubrowka.
The scenes between Mr. Moustafa and the young writer are shot in a 1:85:1 widescreen aspect ratio while the scenes involving the old author and the girl reading the book at present time is shot at a 2:35:1 aspect ratio. The 1968 sequence is once again filled with a lot of spectacular wide shots but also present a world that is filled with a sense of loss and sentimentality where the young writer looks into the history of this once great hotel. Anderson’s mixture of humor, drama, action, and adventure adds to many of the aspects of the film’s visual style not matter what aspect ratio is in where he maintains something that is visually-enriching but also captivating in the way he presents the story and the characters in the film. Overall, Anderson creates a very extravagant yet touching film about a concierge and his protégé trying to prove the former’s innocence in a strange murder plot.
Cinematographer Robert Yeomen does amazing work with the film‘s cinematography from the vibrant interior lights for the scenes at the hotel to some of the exterior settings in day and night to play up the rich look of the country as it‘s shot on location in Germany. Editor Barney Pilling does excellent work with the editing in creating some stylish cuts for some of the film‘s action and humor while also to help structure the story with its different timelines. Production designer Adam Stockhausen, with art directors Stephen O. Gessler, Gerald Sullivan, and Steve Summergill and set decorator Anna Pinnock, does phenomenal work with the set pieces from the look of the hotel itself as well as the design of the bakery boxes that Agatha works for and other decorative pieces as the art direction is a highlight of the film.
Costume designer Milena Canonero does dazzling work with the costumes from the uniforms of the people at the hotel to the lavish clothes of the guests as well as the dark look of Dmitri and his family/associates. Hair and makeup supervisor Heike Merker does brilliant work with the look of the Madame D. character in the way she looks as well as in some of the prosthetic makeup some of the other characters wear including the Mexico birthmark on Agatha‘s face. Visual effects supervisors Andrea Block, Christian Haas, and Gabriel Sanchez do fantastic work with some of the film‘s minimal visual effects while getting additional help from miniatures designer Frank Schegel and stop-motion animator Andy Biddle to play into the look of the hotel and some of its features.
Sound editor Wayne Lemmer does superb work with the sound to play into the atmosphere of the hotel as well as the prison and other locations in the film. The film’s music by Alexandre Desplat is just awesome for its mixture of Eastern European-based string music that is dominated by the balalaika that is mixed with some orchestral flourishes as it‘s definitely of Desplat‘s best scores while music supervisor Randall Poster brings in a few pieces of the times to add to the tone of the film.
The casting by Douglas Aibel and Jina Jay is just incredible for the ensemble that is created as it features appearances from Larry Pine as the Grand Budapest Hotel manager, Jella Niemann as the girl reading the book the author write, Giselda Voldi as Serge’s sister, and as members of a secret society of concierges that Gustave is in, Bob Balaban, Wallace Wolodarsky, Fisher Stevens, and Waris Ahluwalia. Other notable small roles include Lea Seydoux as a housemaid of Madame D., Mathieu Almaric as a servant of Madame D. who would provide crucial information for Gustave, Tom Wilkinson as the older author in the 1980s scene, Owen Wilson as a concierge who fills in for Gustave, Jason Schwartzman as the hotel concierge in the 1968 sequence, and Bill Murray in a very funny performance as a fellow concierge in M. Ivan who is also a member of the secret society of concierges.
Tilda Swinton is wonderful as the aging Madame D. who has cherished Gustave’s kindness as she would leave him a prestigious painting. Harvey Keitel is terrific as the prisoner Ludwig that Gustave would meet as they help each other break out of prison. Jeff Goldblum is superb as the hotel overseer Deputy Kovacs who is also Madame D.’s executor while Edward Norton is excellent as the army inspector Henckels who tries to do what is right while being a friend of Gustave. F. Murray Abraham is amazing as the older Zero Moustafa as a man who displays such grace in his role as a man reflecting on his past while Jude Law is great as the young author who listens to Zero’s story and reflects on a lost place in time.
Adrien Brody is fantastic as the very devilish son of Madame D. in Dmitri who is angry over what Gustave is getting while Willem Dafoe is brilliant as the very chilling J.G. Jopling who seems to have no problem in killing people as it’s definitely a role fitting for Dafoe. Saoirse Ronan is remarkable as the very brave Agatha whose talent for designing elaborate sweets is matched by her ability to do dangerous things in order to help Gustave and Zero. Tony Revolori is marvelous as the young Zero Moustafa as a young man trying to find his place in this hotel while helping Gustave to prove his innocence as it’s a major breakthrough for the young actor who manages to have some great moments with Fiennes. Finally, there’s Ralph Fiennes in a performance for the ages as Gustave as it’s one that is so full of charm where Fiennes really showcases his sense of wit where he is always funny from start to finish while proving to be a man who will fight for the people he cares for.
The Grand Budapest Hotel is a magnificent film from Wes Anderson. Armed with a glorious ensemble cast led by Ralph Fiennes as well as dazzling technical work and a fun score by Alexandre Desplat. The film is definitely one of Anderson’s finest in terms of its technical brilliance as well as an engaging story about friendship and finding a home in a troubled world. In the end, The Grand Budapest Hotel is a spectacular film from Wes Anderson.
Wes Anderson Films: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - Isle of Dogs The Auteurs #8: Wes Anderson
Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom) - (The Grand Budapest Hotel) - (Isle of Dogs)
© thevoid99 2014
Based on the book by Robert M. Edsel, The Monuments Men is the story about a group of men that consists of art experts and historians who become part of a special Allied force in World War II to save works of art that is to be burned by the Nazis. Directed by George Clooney and screenplay by Clooney and Grant Heslov, the film is a World War II adventure in which soldiers team with artists and historians to save works of art with the help of a French woman. Starring George Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Bob Balaban, Hugh Bonneville, and Cate Blanchett. The Monuments Men is an adventurous and fun film from George Clooney.
The film is based on a true story about a group of art historians, curators, and museum directors who take part in a special mission to retrieve pieces of art stolen by the Nazis and return it to its owners. Even as they learn that Adolf Hitler has written a decree to burn the artwork in case of the Nazis’ defeat while the Soviet Union is also trying to get their hands on the artwork before the Allies do that. It’s a premise that is very intriguing in the way it plays a role in history although George Clooney and co-screenwriter Grant Heslov seem unsure in how to tell the story and make it so much. While they create some very interesting characters and maintain that sense of suspense of the mission itself. It seems like Clooney and Heslov want to do something that is funny and touching but also have the story be filled with some adventure and suspense where the result is a script that isn’t sure what it really wants to be.
Clooney’s direction for the film is simple but also ambitious for the story he is trying to tell as much of the film is set in Britain, France, Germany, and Belgium. It’s a film that is quite worldly with some great set pieces and wide shots to play into the locations while also having a sense of intimacy in the way some of the characters interact with each other. There’s also a recurring air of suspense where it plays into the action that these men have to face as they aren’t soldiers but rather men of art. Especially as the film’s second half showcases the kind of sacrifices these men make where it does play into some of the drama where the suspense does intensify once the presence of the Soviets would emerge. Though there isn’t a lot of gun fights in the film, Clooney is still able to keep things going despite the inconsistency in tone for the film. Overall, Clooney crafts a very delightful film about men trying to save art in the final years of World War II.
Cinematographer Phedon Papamichael does fantastic work with the cinematography from its use of lights for much of the film‘s interior and nighttime exterior/interior scenes as well as some scenes in the caves with its use of lighting in order to convey a look that is reminiscent of some of the artwork presented in the film. Editor Stephen Mirrione does nice work with the editing to play into some of the film‘s suspense and action as well as using some unique rhythms for its humor. Production designer James D. Bissell, with set decorator Bernhard Henrich and supervising art director Helen Jarvis, does brilliant work with the set pieces from the look of Hitler‘s plans for his ultimate museum to the caves in Germany and the places in Paris. Costume designer Louise Frogley does terrific work with the costumes from the uniform the men wear to the dresses that the Claire Simone character wears.
Visual effects supervisors Asregadoo Arundi and Dominic Parker does excellent work with the visual effects for some of the visual backdrops that appears in the film. Sound editor Oliver Tarvey does superb work with the sound to play into much of the film‘s action as well as some of its quieter moments. The film’s music by Alexandre Desplat is amazing for its orchestral score where it‘s bombastic at times but also playful with its drum cadences while music supervisor brings in some music of that period for the characters to listen to during the break from the action.
The casting by Jina Jay is marvelous for the ensemble that is created in the film as it features some notable small performances from Holger Handtke as a Nazi colonel who reveres the art that is stolen as well as Justus von Dohnanyi as the Nazi officer Stuhl that Simone worked for as she would help the men find him in order to get the art that was stolen. Dimitri Leonidas is terrific as the German-speaking U.S. soldier Sam Epstein who accompanies Lt. Stokes in the missions as he aids them in the missions while hearing what the Germans have said. Hugh Bonneville is excellent as Major Donald Jeffries as a British art collector who is eager to search for a statue of Madonna that becomes a crucial MacGuffin to the story. Bob Balaban is superb as Pvt. Preston Savitz as an art expert who provides not just some of the film’s best comic moments but also some of the more touching moments in the film. Jean Dujardin is amazing as the French art expert Lt. Jean Claude Clermont who despises Nazis while being a man of wit and charm as he is eager to reclaim the art the Nazis stole from his country.
John Goodman is fantastic as sculpture expert Sgt. Walter Garfield as he also brings some humor to the film while expressing his love for sculptures. Bill Murray is great as the architect Sgt. Richard Campbell as a quick-witted guy who always says funny things while feeling homesick for his country. Cate Blanchett is brilliant as the French Claire Simone as a member of the resistance who spies on the Nazis as she helps Lt. Granger in finding some of the locations of the stolen artwork despite her misgivings over what the Allies want to do with the art. Matt Damon is wonderful as Lt. James Granger as an art expert who travels to France to meet with Simone in order to find the location of the stolen artwork as he brings some nice humor the role. Finally, there’s George Clooney in a stellar performance as Lt. Frank Stokes as the leader of the gang who is eager to retrieve these pieces of arts in the hopes that people will see them again after the war while dealing with the sacrifices made for these dangerous missions.
The Monuments Men is a pretty good film from George Clooney that is armed with a great ensemble cast that includes Clooney, Matt Damon, Cate Blanchett, Bill Murray, John Goodman, Jean Dujardin, Bob Balaban, and Hugh Bonneville. While it doesn’t live up to the ambitions of the story as well as being inconsistent in tone, it is still a film that is worthwhile for those who enjoy World War II stories. In the end, The Monuments Men is a stellar film from George Clooney.
George Clooney Films: Confessions of a Dangerous Mind - Good Night, and Good Luck - (Leatherheads) - The Ides of March
© thevoid99 2014
On August 29, 2003 at the Telluride Film Festival, Sofia Coppola unveiled her second feature-length film about an aging movie star who goes to Tokyo to shoot a whiskey commercial as he meets a married young woman as they both endure loneliness and uncertainty in the city. The film was called Lost in Translation as it would also make its mark some days later at the 60th Venice Film Festival as well as the Toronto Film Festival around that same month. Then on September 12 on that same year, the film began its limited run in the U.S. where nine days later, I saw the film for the very first time at the AMC Phipps Plaza Theatre near Lenox Square at the Buckhead area in Atlanta where I saw the film for the first of three theatrical viewings.
I paid $8 for a 7:05 PM screening not really sure what I was going to expect as my only interest in the film was the fact that it was something different. It was directed by Sofia Coppola whose first film The Virgin Suicides that I liked and it would feature music by Kevin Shields of My Bloody Valentine which I was getting into at the time. I would see the film again at the same theater on October 18 at a 9:45 PM and for the third time at the now defunct Lefont Theatre at Buckhead on Christmas Eve of that year. I don’t know why I decided to see the film three times in the theater as I had never saw a film in the theaters more than once with the exception of Ladybugs back in 1992 (I was 11 years old, what was I thinking? Yet, I still have a soft spot for Rodney Dangerfield).
I would see the film every September 21st as it was that day I saw the film as it was also Bill Murray’s birthday as I made it an annual tradition. For me, it is the best film ever made. Why would I say it’s the best film ever made? Well, I can give 10 reasons why it is my all-time favorite film. Criterion Collection always have 3 reasons into why a certain film belongs in their library. Here are my 10 reasons for why Lost in Translation is the best film ever made:
1. Its Sensitive Portrait of Alienation & Not Knowing
Part of Sofia Coppola’s running theme with pretty much all of her films has been the idea of alienation and identity as she creates characters who are quite disconnected in one way or another. In this film, it’s about people who are definitely lost in their life. For Bill Murray’s Bob Harris, he is at a point where his career is winding down while his marriage is definitely on the rocks as he realizes he forgot his son’s birthday which makes him feel like shit. For Scarlett Johansson’s Charlotte, she’s a young woman who had just graduated from Yale but has no idea what to do next as she has no clue why she’s married. As they’re both in Japan, the sense of alienation becomes very deep for both characters that includes one of Coppola’s most mesmerizing shots of Charlotte sitting next to the window gazing at the city of Tokyo.
2. Its Humorous Take of Cultural Confusing and Mistranslation
The concept of Americans spending some time in Japan definitely brings up a lot of things that might happen. Here is where the film’s title comes into play in not just some of its humorous moments but also in some dramatic elements. The most notable scene is Bob Harris being directed by a Japanese filmmaker for the commercial where the director is talking in Japanese while the translator would only say “turn to camera with more intensity”. It’s a moment that is baffling as it’s clear that Harris is aware he’s been given more instructions than what his translator told him. Another scene that is very funny is when a prostitute is sent as a gift for Harris as she tells him to rip her stocking which he misinterprets as “lip them”. The sense of mistranslation and confusion would play into a very evocative scene of Bill and Charlotte talking in bed where Charlotte asks why do the Japanese switch the “r” and “l”.
3. Redefining the May-December Romance
Most films based on the May-December romance scenario often has an element of creepiness depending on who is cast. This film not only redefined that scenario but add something that would make it unconventional and engaging. Notably as it plays into the lives of two lost souls in an aging actor in his 50s and an uncertain woman in her 20s where they basically just talk and have fun. There’s no sex or anything that is expected in romantic films. Instead, the conversations lean on towards something that is existential as well as personal where both Bob and Charlotte express their frustrations with marriage as the former comes to the realization that it has indeed lost its romance.
4. The Beauty that is Japan
If there’s one character in the film that is just as important as Bob and Charlotte, it’s Japan from the city of Tokyo to the ravishing sequence of Charlotte in Kyoto. Through the naturalistic yet rapturous photography of Lance Acord, the city of Tokyo never looked any better nor as intimidating for the way it plays into Bob and Charlotte’s isolation. The shots set at night including that amazing sequence of Bob and Charlotte coming home from the karaoke onto the Rainbow Bridge at night are among the most exquisite that is later matched by the Kyoto sequence where it aims for naturalistic camera work as opposed to the more post-card look of Hollywood-driven films.
5. Kevin Shields’ Return to the Music World & Its Rapturous Soundtrack
For anyone who had paid attention to the indie music world, there was always the question of who would make the big return to the world of music. My Bloody Valentine’s Kevin Shields would make his return with some new music for the first time in over a decade in contributing three amazing instrumental pieces and the song City Girl which is practically one of the most underrated songs of the 2000s. Yet, the film’s soundtrack is filled with an amazing array of artists as diverse as Phoenix, Happy End, Sebastien Tellier, Squarepusher, Death in Vegas, the Jesus & Mary Chain, Shields’ My Bloody Valentine, and Air. Ranging from indie-pop, noise-pop, Japanese folk, and ambient music. The film’s soundtrack from the supervision of Brian Reitzell just adds to the exotic quality of the film.
6. Bill Murray
Everyone knows Bill Murray as one of the funniest actors ever. Then in 1993, something new was emerging in Murray with Groundhog Day where he displayed some dramatic range that later lead to some great collaborations with Wes Anderson and Jim Jarmusch. In this film, Murray exudes a man who is coming to the end of career where Murray adds this melancholia that is unexpected. He does have moments where’s funny but in the most subtle of ways from the way he engages in conversation with Charlotte to the his reactions of his surroundings. Yet, it is that element of sadness in the character of Bob Harris over the way he deals with a crumbling marriage and the fact that he’s not a good husband or father as it adds a great amount of weight into Murray’s performance.
7. Scarlett Johansson
Playing a 25-year old graduate at the age of 17, Scarlett Johansson’s performance as Charlotte was truly unlike anything. Especially for someone at that age and having been acting for almost a decade at that time. Yet, Johansson just adds this very evocative quality to her performance in the way she can express so much by doing so little in such moments as her visits to Buddhist temples and Kyoto as well as being the comfortable foil for Murray. Johansson also has this melancholia as she plays a woman with no sense of direction as well as someone who is alienated by the world like other Coppola protagonists as the Lisbon sisters in The Virgin Suicides and the titular character in Marie Antoinette . Yet, Johansson added something that was very adult to her character as well as a sense of hope in Coppola’s lost-woman trilogy.
8. Making Karaoke Cool Again
Karaoke for a time stopped being cool because people were either singing very bad songs or were singing very badly as it stopped being fun. Thankfully, it would take Coppola, Murray, Johansson, Brian Reitzell, Roger Joseph Manning Jr., and some Japanese actors to make it cool again. Not only in the song choices ranging from the Sex Pistols, Elvis Costello, the Pretenders, and Roxy Music but also having fun with them. Yet, it’s Murray’s rendition of Roxy Music’s More Than This that really steals the moment as it’s Murray just singing it straight where it is also very moving to display that even karaoke can make someone connect with another person.
9. Sofia Coppola’s Ethereal Direction
Only a filmmaker like Sofia Coppola would create a film that has a lot of visual beauty mixed in with startling images that conveys something real. From the way she presents Tokyo as something that is very foreign to Western audiences to the sense of intimacy that is captured in the Hyatt Hilton Hotel in Tokyo. With its use of hand-held cameras to capture the chaos of the Shibuya cross way as well as the trademark shots of sunlight gazing over nature and cars being shown outside in a close-up. It’s definitely the work of someone who is finally creating her own language as a filmmaker as it would evolve in her subsequent films as it would make her one of the best filmmakers working today.
10. The Mystery Over Its Ending
The film’s ending remains one of the great endings in film but also its most mysterious. Largely as it plays to Bob Harris leaving Tokyo as he sees Charlotte walking into the streets as he goes after her to say one final farewell. It’s a very touching moment that is captured with great simplicity but it’s what Bob whispers to Charlotte that to this day, has many wondering what he told her. What did Bob whisper to Charlotte? The only thing that was heard clearly was the last word in “OK”. They kiss and part as Bob leaves to return to the U.S. while Charlotte takes one last glimpse of him as she walks into the streets of Tokyo as the music of the Jesus & Mary Chain plays through that is followed by a montage of the highways and buildings of Tokyo.
To Bill, Scarlett, Sofia, and all of those who worked on the film and helped it make it one of the best films ever. Domo arigato. Ten years since it came out to the theaters all over the world, it’s still as exotic as ever. Yet, if there’s one way to close this piece on the film. I think it’s best if we let Mr. Bob Harris say these parting words…
Related: Lost in Translation - Lost in Translation OST - Favorite Films #1: Lost in Translation
© thevoid99 2013
Originally Written and Posted at Epinions.com on 6/4/08 w/ Additional Edits & Revisions. Directed by Sydney Pollack and written by Larry Gelbart, Murray Schisgal, and Don McGuire with additional contributions from Barry Levinson, Robert Garland, and Elaine May. Tootsie tells the story of Michael Dorsey, an actor who is brilliant but extremely difficult as he tries to raise money for a play he co-wrote. Realizing that no one will hire him after his friend lost a huge part, he decides to play the part in a TV soap opera by dressing as a woman. During this time, he battles a sexist director while falling for one of his co-stars as well as attracting the attention of men. Starring Dustin Hoffman, Jessica Lange, Teri Garr, Dabney Coleman, Charles Durning, George Gaynes, Sydney Pollack, Geena Davis, Doris Belack, and Bill Murray. Tootsie is a brilliant, funny, sweet comedy that shows how a man becomes a better man as a woman.
What happens when a brilliant but difficult actor who can't get work when he decides to dress up as a woman to get a role for a TV soap opera? That is essentially the premise of the film as it is a mixture of comedy and romance where it all centers around the character of Michael Dorsey (Dustin Hoffman) who is a very gifted actor but is always difficult as the last job he got was playing a tomato for a commercial. He also helps out other actors where one of his friends in Sandy (Teri Garr) got turned down in an audition to play a role in the daytime soap opera Southwest General where Michael dresses up as a woman to get the part. With only his roommate Jeff Slater (Bill Murray) and his agent George Fields (Sydney Pollack) know the truth, Michael becomes a hit in the show despite having to deal with a sexist TV director (Dabney Coleman) while helping out an aging lead actor (George Gaynes) and falling for one of his co-stars in Julie Nichols (Jessica Lange). Throughout the course of the film, Michael Dorsey not only learns how to be a better man but also find out more about what it means to be a woman.
The film's script is a mix of romance, comedy, and light-hearted drama where it acts as a genre-bender but it is rooted in its comedy genre. What makes this film so brilliant is a funny, witty script that is filled with lot of light-hearted humor and dialogue, improvisation, and characters that audiences can relate to and root for. The script written by Larry Gelbart and Murray Schisgal is truly wonderful in how a brilliant but out-of-work actor is so desperate for work to raise money for his own play. He'll even dress up like a woman to get the role only to fall for a woman while realizing that being a woman makes him a better man in understanding them. The film is also in some strange way, a feminist film as Michael Dorsey makes Dorothy Michaels into a feminist of sorts. Particularly in one scene where she is acting on the TV show to a character playing an abused woman. Michaels' point of view about things makes her into a feminist character who helps women stand up for themselves and such.
While the script works as a part-feminist film with a man playing the feminist, it's still a comedy but also a romantic-comedy in the storyline between Michael/Dorothy and Julie. When Michael is being himself in a scene with Julie, he acts like a jerk but as Dorothy, he acts as her close friend as he gets a sense of understanding in being a woman. This is where Sydney Pollack's direction is at its brilliance in building up the relationship between Michael/Dorothy and Julie while allowing the audience to get to know its supporting characters including Julie's father Les (Charles Durning) who falls for Dorothy. With Pollack's background in television and theater, he explores the world of acting through its different forms. Both TV and theater as the character of Michael uses his skills to play to both mediums. Pollack's presentation of the TV soap format is very realistic in how the director and producer work around everything and how the actors rehearse and read their lines.
The sense of improvisation and looseness is also key to Pollack's direction as he lets the comedy flow naturally while not go way into silly, slapstick humor. Allowing the actors including himself, to say funny lines and be in character while letting the audience feel relaxed and giving them a good time. The result is truly superb as Pollack's direction is truly top-notch and smoothly entertaining.
Cinematographer Owen Roizman does a good job with the film's look with his polished yet colorful camera work to show the style of lighting for TV soaps and such while the shots of the exterior of New York City is wonderful to look at. Editors Fredric and William Steinkamp do an excellent job with the film's pacing and cutting style that is smooth and relaxing to play to the film's unique tone. Production designer Peter S. Larkin and set decorator Thomas C. Tonery do a fantastic job with the looks of the different apartments of Michael and Julie as well as the set designs of the soap opera set they created. Costume designer Ruth Morley and supervisor Bernie Pollack do a fantastic job with the film's costumes. Particularly on the dresses that Dustin Hoffman wears as well as the clothes of the cast for the soap opera.
Sound recordist Phillips Rogers does a fine job with the film's sound including the atmosphere of TV production and such. The film's music by Dave Grusin is bouncy and melodic as it leans towards the sound of soft rock. Yet, Grusin along with noted lyricists Alan & Marilyn Bergman create two memorable songs for the film both sung by Stephen Bishop. The upbeat title song and the love ballad It Might Be You , the latter of which was a hit song that works for the film's light-hearted romantic tone.
The cast assembled by Toni Howard and Lynn Stalmaster is excellent as it features small appearances from the likes of Estelle Getty, Ellen Foley, and Christine Ebersole plus cameo appearances from Andy Warhol and a then-unknown Marg Helgenberger. Memorable small performances from Amy Lawrence as Julie's daughter, Anne Shropshire as Amy's scary nanny, and the late Lynn Thigpen as Carlisle's assistant director. Doris Belack is great as the show's producer Rita Marshall who hires Dorothy on the spot while convinced that the show's success and increased ratings is all due to her. In her film debut, Geena Davis is good as a young actress who first appear in her underwear as she makes Dorothy a bit nervous while being one of the women Ron is having an affair with. George Gaynes is wonderfully funny as an aging actor who is forced to read his line through cue cards and such as Dorothy gives him confidence as he also falls for her. Sydney Pollack is great in his cameo as agent George Fields who has some of the funniest lines as Michael's agent who keeps telling him that no one will work with him.
Dabney Coleman is excellent as the sexist TV director Ron Carlise who likes to sleep around with other women and treat Julie inferior to him as he dukes it out with Dorothy Michaels. Charles Durning is brilliant in his charming role as Julie's father Les who tries to woo Dorothy while showing a softer side as a man longing for love since the death of his wife a long time ago. Teri Garr is great in her role as the insecure Sandy, a struggling actress who has a hard time getting a role only to duped by Michael's own flirtations as she finally gains confidence as an actress. Bill Murray is amazingly funny as Jeff Slater, Michael's laid-back roommate who knows what Michael is doing as Murray has some of the funniest one-liners film with his deadpan delivery that is Murray in classic form. Then there's Jessica Lange in an Oscar-winning performance as Julie Nichols. Lange's understated, graceful performance is a wonderful mix of beauty and depth as a young actress struggling to be a single mom and juggling an unhappy relationship as she gains confidence with help from Dorothy on her life as a woman. Lange, often seen as a pretty face, proves her talents as an actress in which, she wins her first Oscar for Best Supporting Actress.
Finally, there's Dustin Hoffman in one of his iconic performances as both Michael Dorsey and Dorothy Michaels. Hoffman's performance as Dorsey is brilliant for someone who is trying to be a total professional and artist who can't catch a break only to understand what women are. Hoffman as Michaels is a character full of charm and attitude as it's a brilliant performance-within-a performance that just knock the walls down. Hoffman is truly amazing from start to finish from the early scene of him acting various characters like an old man to a boy that shows his superb talents as one of cinema' finest actors.
Tootsie is a magnificent film from Sydney Pollack thanks to Dustin Hoffman's incredible leading performance. Along with Jessica Lange's touching supporting performance as well as other memorable performances from Teri Garr, Dabney Coleman, Charles Durning, and Bill Murray. The film is definitely one of the finest comedies of the genre as well as engaging for the way an actor whose desperation to find work has him getting a better understanding of what it means to be a man by pretending to be a woman. In the end, Tootsie is a spectacular film from Sydney Pollack.
Sydney Pollock Films: (The Slender Thread) - (The Property is Condemned) - (The Scalphunters) - (Castle Keep) - (They Shoot Horses, Don't They?) - (Jeremiah Johnson) - (The Way We Were) - (The Yakuza) - (Three Days of the Condor) - (Bobby Deerfield) - (The Electric Horseman) - (Absence of Malice) - (Out of Africa) - (Havana) - (The Firm) - (Sabrina (1995 film)) - (Random Hearts) - (The Interpreter) - (Sketches of Frank Gehry)
© thevoid99 2013
