Kajillionaire

 

Written and directed by Miranda July, Kajillionaire is the story of a young woman whose family takes part in schemes as they bring in a new person who is fascinated by their schemes leaving a major rupture in the family. The film is an exploration of family dynamics with this young woman being emotionally-stunted as she doesn’t understand the real world around her as this newcomer would help her see that. Starring Evan Rachel Wood, Richard Jenkins, Debra Winger, and Gina Rodriguez. Kajillionaire is a whimsical yet heartfelt film from Miranda July.

The film revolves around a family of scam artists who are trying to get money to pay their rent as they bring in an outsider to take part of their schemes as it would bring chaos to this family including their 26-year old daughter who doesn’t know much about affection or social skills. It is a film that explore a family who live on the fringes of society as they spend much of their life grifting and doing whatever they can to make money though the home they live in is often leaking due to construction next door as they’re trying to get money to pay their rent. Miranda July’s screenplay is straightforward in its narrative yet it is more of a character study of this family often spend their time doing these scams with their daughter Old Dolio Dyne (Evan Rachel Wood) doing much of the work despite her lack of social skills.

Her parents in Robert (Richard Jenkins) and Theresa (Debra Winger) prefer to do scams as a way to live outside of society but things are getting tough until Old Dolio creates a scam involving contest tickets she won for a trip to NYC as it relates to a lost luggage and insurance money they can collect. Yet, things don’t go well until they meet Melanie (Gina Rodriguez) on the flight back as she befriends them and takes part of their schemes as a way to do something where she is able to get them some money and such in ways that Old Dolio isn’t able to do. While Melanie’s contributions do make the family thriving and money, it would also alienate Old Dolio as Melanie would take notice as she becomes aware of the way Robert and Theresa behave towards their daughter as it is filled with a lot of complications.

July’s direction is largely straightforward in terms of its compositions and setting as it is largely shot in California to play into this world where it is becoming harder to scheme and grift for anyone who doesn’t live in conventional society. While there are wide shots that July has created whether it is to capture the scope of a location or the space of a room where the characters are in. Much of her direction is intimate with a lot of usage of medium shots while there are close-ups used sparingly to play into some of the emotional moments in the film. There are some quirky elements in the film such as how the Dyne family would hide from their landlord (Mark Ivanir) as well as how Old Dolio would enter the local post office through some maneuvering in order to not be seen by a camera. July also showcases how the family live in this office building that is leaking soap as they owe $1,500 in rent as it what motivates the family to try and scrounge up some money. There’s a scene in the second act where the Dyne family and Melanie go to the home of an ailing old man as he’s lying on his bed dying where he asks everyone to just bring some life to the house as it is this moment where everyone is just trying to give this man some comfort yet Robert and Theresa become more concerned with just getting money and then do something that is unexpected that would only add more discord in their relationship with Old Dolio.

July’s direction also play up into the fear with earthquake as it would be this metaphor for a family’s dynamic shaking up with Melanie kind of being the source of this shake up. Notably in a scene in its third act where Melanie and Old Dolio are in a gas station bathroom where a big earthquake happen as it’s shot completely in the dark where Old Dolio goes on a monologue about the idea of life with images of stars emerging. The aftermath of that scene has July shooting everything in one-take on a Steadicam tracking shot as it showcases a moment that is about Old Dolio’s reaction to what just happened. It is a moment that does showcase not just a world that opens for Old Dolio but also some revelations for Melanie who realizes how troubled Old Dolio is as she is someone who has been sheltered for far too long. Even as they also have to deal with Robert and Theresa where July brings up that air of ambiguity into whether the things they do are genuine or are they’re continuously playing a role. Overall, July crafts a witty yet compelling film about a family of scam artists who take in an outsider that would disrupt their lives and lifestyle.

Cinematographer Sebastian Wintero does brilliant work with the film’s cinematography as its emphasis on natural and available lighting with some stylish lighting for some of the daytime/nighttime interior scenes. Editor Jennifer Vecchiarello does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the drama and humor. Production designer Sam Lisenco, with set decorator Devynne Lauchner and art director Jessica Shorten, does fantastic work with the look of the home that the Dyne family live as well as the home of the old man they steal from and Melanie’s home. Costume designer Jennifer Johnson does nice work with the costume from the green tracksuit jacket that Old Dolio wear along with her baggy clothes as well as the ragged look of Robert and Theresa and the more stylish clothing of Melanie.

Makeup artist Katalin Urszuly and hair stylist Cindy Welles do amazing work with the look of Old Dolio with her long hair as well as the ragged look of Theresa to make them look like a family. Visual effects supervisor John Stewart does terrific work with the film’s minimal visual effects in a few bits of set dressing for scenes in New York City as well as the darkened room scene where Old Dolio talks about the stars. Sound editor Bjorn Ole Schroeder and sound designer Kent Sparling do incredible work with the film’s sound in the way earthquakes tremble as well as other sounds from the construction next door to the sound of buses and other small moments as it is a highlight of the film. The film’s music by Emile Mosseri is wonderful for its piano-based score with elements of ambient as it play into some of the humor but also in the somber moments in the film while music supervisor Gabe Hilfer create a soundtrack that features some music ranging from indie, hip-hop, and country with Bobby Vinton’s Mr. Lonely being a prominent song as it play into Old Dolio’s emotional state.

The casting by Mark Bennett is superb as it feature some notable small roles and appearances in Adam Bartley as a hot tub salesman, Diana-Maria Riva in a dual role as the voice of Melanie’s mom and a birth teacher in Farida, Da’Vine Randolph as a masseuse whom Old Dolio tries to scam, Rachel Redleaf as a young pregnant woman passing flyers, Michael Twaine as a dying old man Melanie and the Dynes go to for a scam only to bring life to his house, Patricia Belcher and Kim Estes as a posh couple Old Dolio tries to scam, and Mark Ivanir in a terrific performance as the Dynes’ emotional landlord as a man who is trying to run construction of his soap factory who is just troubled by the Dynes’ inability to get him his money. Richard Jenkins and Debra Winger are incredible in their respective roles as Robert and Theresa Dyne as a married couple who are scam artists as they prefer to not live in conventional society with Robert being someone who is trying to plan things and Theresa often being the one to make sure things are executed well as they bring some humor but also in also someone who prefer to hide their emotions.

Gina Rodriguez is remarkable as Melanie as a young woman Robert and Theresa meet on a flight back to California who takes part in their scams and get things done for them but becomes concerned about their motivations as well as the growing schism involving them and their daughter whom she befriends. Finally, there’s Evan Rachel Wood in a magnificent performance as Old Dolio Dyne as this emotionally-stunted woman who talks in a weird way as it is this haunting performance of this woman who knows how to perform a scam but is unable to deal with emotions and other things as she lack social skills. Wood’s performance also has this physicality that play into someone who has trained herself to do scams but is often still when it comes to the world outside of scams as it is definitely a career-defining performance for Wood.

Kajillionaire is a sensational film from Miranda July that features an outstanding leading performance from Evan Rachel Wood. Along with its supporting cast, gorgeous visuals, and its exploration of family dynamics who live on the fringes of society. It is a film that is an unconventional heist film of sorts yet it is really a study of an emotionally-withdrawn family who use their daughter for scams only to bring an outsider to help them as it would bring a schism to the family dynamics. In the end, Kajillionaire is a spectacular film from Miranda July.

Miranda July Films: Me and You and Everyone We Know - The Future (2011 film)

© thevoid99 2022

An Officer and A Gentleman

Directed by Taylor Hackford and written by Douglas Day Stewart, An Officer and a Gentleman is the story of a troubled man who joins the naval academy as he contends with an uncompromising drill sergeant as well as his own demons while falling for a local woman. The film is an exploration into a young man who is trying to find himself through the Naval academy as he tries to escape the life he is destined to be from his own father. Starring Richard Gere, Debra Winger, David Keith, Lisa Eilbacher, Harold Sylvester, Lisa Blount, Grace Zabriskie, David Caruso, Robert Loggia, Tony Plana, and Louis Gossett Jr. An Officer and a Gentleman is a riveting film from Taylor Hackford.

Set in the American Pacific Northwest, the film revolves a Naval officer candidate who arrives at the naval academy to make something of himself as he deals with a no-holds-barred drill sergeant while he falls for a local woman who is eager to get out of her small town life. It’s really a film that is about two people trying to make changes in their lives as they both have to contend with themselves and their own environments. Especially as they’re eager to have a chance to get a better life in a world where there’s many expectations and such. For Zachary Mayonnaise (Richard Gere), he hopes to succeed as a naval aviator officer in the hopes that he doesn’t become like his father (Robert Loggia) who has a reputation for being a drunk and chasing whores overseas where the young Zachary was forced to live him following his mother’s suicide.

Douglas Day Stewart’s screenplay explores Mayonnaise’s desire to better himself as he is also known for being a loner that feels guilty for his mother’s death. Upon arriving at this naval academy, he contends with Gunnery Sgt. Foley (Louis Gossett Jr.) who is uncompromising in his tactics but knows what to do in ensuring that his recruits would have to succeed as he sees Mayonnaise as a troublemaker. Even when he discovers that Mayonnaise does do a side business of selling pre-shined shoes and belt buckles for money where Sgt. Foley would haze him to wonder why Mayonnaise wants to be a pilot and why he’s at the academy. While Mayonnaise would befriend other candidates including Sid (David Keith), Seeger (Lisa Eilbacher), and Perryman (Harold Sylvester), he would also do whatever it takes to prove that he can be an officer.

During breaks at the academy, he would meet and fall for Paula Pokrifi (Debra Winger) as she is among the group of women who hopes to bag an officer so they can get out of their life of working in the factory and staying in a small town with little hope. Her friend Lynette (Lisa Blount) would bag Sid as Paula deals with Mayonnaise’s moody behavior and unwillingness to be close to someone as she copes with not having a good life. Especially as she is a naval officer’s daughter who abandoned her mother (Grace Zabriskie) when Paula wasn’t even born as it plays into the roles women have and uneasy one where Lynette would make an announcement for Sid that would compromise his chances to become a naval pilot. Especially as Mayonnaise becomes more reliable in helping others succeed instead of himself as he is unsure if he can be a gentleman for Paula because of his own demons.

Taylor Hackford’s direction is quite simple as he shoots the film largely in the state of Washington for its Pacific Northwest setting along with a few shots set in the Philippines for Mayonnaise’s flashback scene as a kid. Much of it is presented with simple compositions where Hackford use a few wide shots for the setting while maintaining an intimacy into the training sequences and other moments involving Mayonnaise and the hazing he would get from Foley. The usage of close-ups and medium shots are quite prevalent while Hackford does bring in moments of humor along with some intense moments to play into Mayonnaise’s loner persona as he doesn’t make him afraid of being selfish. Even as the moments where Mayonnaise would be hazed with such brutality as it would have this key emotional moment for Mayonnaise about why he refuses to quit.

Hackford also amps up the drama for the film’s third act as it relates to Sid’s own situation with Lynette that would prompt Mayonnaise to do something while coping with the people in his life that he lost. Even as he wonders if is destined to become his own father as it plays into this desire of wanting to not just an officer but also a gentleman in order to give Paula the sense of hope that she needs. Overall, Hackford creates a very engaging and compelling film about a man trying to start a new life in a naval academy and help a woman to escape her own dreary environment.

Cinematographer Donald E. Thorin does excellent work with the cinematography as it‘s quite straightforward to play into the look of its location where the colors are a bit dark and gray while going for more low-key lighting for the scenes at night. Editor Peter Zinner does brilliant work with the editing to capture the intensity of the training along with some straightforward cutting to play into some of dramatic events as well as some montage-style cutting for Mayonnaise‘s flashback scenes. Production designer Philip M. Jeffries, with set decorator James L. Berkey and art director John V. Cartwright, does terrific work with the dorm rooms the naval candidates live in as well as some of the locations such as the training bases and the motel where Mayonnaise and Paula would go to.

Sound editor Clive Smith does nice work with the sound as it‘s very low-key as it plays into the training the candidates go through. The film’s music by Jack Nitzsche is superb for its low-key yet somber score as it features elements of triumphant pieces with its usage of guitars and keyboards while being low-key at times. The film’s music soundtrack features contributions from Pat Benatar, ZZ Top, Dire Straits, Van Morrison, Morris Albert, and the ballad Up Where We Belong that is sung by Joe Cocker and Jennifer Warren that is written by Nitzsche, Buffy Sainte-Marie, and Will Jennings as it’s one of the finest love songs of the 1980s.

The casting by Lynn Stalmaster and Nancy Klopper is fantastic as it features notable small roles from Robert Loggia as Mayonnaise’s alcoholic naval seaman father, Tommy Petersen as a young Mayonnaise, Victor French as Paula’s stepfather who doesn’t like naval officers, John Laughlin as an unfortunate townie who got beat up by Mayonnaise, Grace Zabriskie as Paula’s mother, Ed Begley Jr. as the voice of an altitude chamber instructor, Tony Plana as officer candidate Serra, and David Caruso as the naïve officer candidate Daniels. Harold Sylvester is terrific as officer candidate Perryman as a family man trying to make it so he can provide for his family while Lisa Eilbacher is brilliant as officer candidate Seeger as one of the few women who is trying to make it as despite her lack of physical prowess in its obstacle course.

Lisa Blount is excellent as Lynette as a local woman who wants the same thing that Paula wants but a series of misunderstandings would put her into trouble with Sid. David Keith is superb as Sid as another officer candidate who is also trying to succeed until he learns that Lynette might be pregnant as he wonders about what to do. Louis Gossett Jr. is phenomenal as Sgt. Foley as a drill sergeant who is quite tough with his candidates yet is also preparing them for what is to come in combat as he’s also a man that is quite fair as he tries to push Mayonnaise to be a better man and see if he’s worthy of being an officer. Debra Winger is amazing as Paula as a factory worker who is eager to get out of her small town existence as she falls for Mayonnaise as well as try to understand his loner persona. Finally, there’s Richard Gere in an incredible performance as Zack Mayonnaise as a naval officer candidate eager to succeed as he copes with his own guilt and selfishness while finding ways to become a better man for himself and for Paula.

An Officer and a Gentleman is a remarkable film from Taylor Hackford that features great performances from Richard Gere, Debra Winger, and Louis Gossett Jr. It’s a film that isn’t just a compelling romantic drama but also a character study that explores a young man trying to make it in a naval academy to attain a better future for himself. In the end, An Officer and a Gentleman is a tremendous film from Taylor Hackford.

Taylor Hackford Films: (Bukowski) - (Teenage Father) - (The Idolmaker) - (Against All Odds) - (White Nights) - (Hail! Hail! Rock ‘n’ Roll) - (Everybody’s All-American) - (Blood In Blood Out) - (Dolores Claiborne) - (The Devil’s Advocate) - (Proof of Life) - (Ray) - (Love Ranch) - (Parker 2013 film))

© thevoid99 2015

Rachel Getting Married

Originally Written and Posted at Epinions.com on 10/26/08 w/ Additional Edits.

Directed by Jonathan Demme and written by first-time screenwriter Jenny Lumet, daughter of legendary director Sidney Lumet, Rachel Getting Married tells the story of a woman about to be married as families from different cultures and worlds celebrate. About to attend this celebration is the bride's younger, troubled ex-model sister whose in-and-out trips to rehab hasn't stopped her volatile, abrasive personality. Upon her arrival, she has to deal with all of the family that goes on including a visit from her estranged mother as secrets from family closets lead to turmoil. The film is an exploration of family dynamics amidst in a moment for a woman's celebration to be wedded while watching her younger sister deal with all of her troubles and its source. With an all-star cast that includes Anne Hathaway, Rosemarie DeWitt, Bill Irwin, Anna Deavere Smith, TV on the Radio vocalist Tunde Adebimpe with a cameo from hip-hop legend Fab 5 Freddy, and Debra Winger. Rachel Getting Married is a charming yet harrowing drama from Jonathan Demme.

It's a big weekend coming as Rachel Buckman (Rosemarie DeWitt) is getting married with friends and family watching. Arriving to attend the wedding ceremony is Rachel's younger sister Kym (Anne Hathaway) who is currently attending rehab for substance abuse. Clean for nine months though her abrasive personality is still in tact, the ex-model is picked up by her father Paul (Bill Irwin) and stepmother Carol (Anna Deavere Smith). Paul is extremely concerned for Kym's safety as Kym sees Rachel along with Rachel's friend Emma (Anisa George). Kym also meets Rachel's fiancee Sidney (Tunde Adebimpe) as Kym wonders if her mother Abby (Debra Winger) will show up.

Kym attends a near-by addicts meeting where she meets Kiernan (Mather Zickel), who is Sidney's best man. Yet, Kym learns that Emma is Rachel's maid of honor as Kym gets all dramatic until Rachel has Kym become the maid of honor. During a rehearsal dinner where Kym meets Sidney's family, Abby along with her husband Andrew (Jerome LaPage) show up. During the exuberant dinner, Kym gets her chance to speak as she talks about amends in her dark yet comical presentation. After the dinner, the family drama between Kym and Rachel becomes intense when Rachel makes a big announcement. With the wedding day getting closer, Rachel isn't sure if bringing Kym to the wedding is a good idea.

Kym meanwhile, begins to reveal the source of her troubles during an addicts meeting that involved the death of her younger brother Ethan many years ago. Things get worse during an innocent contest between Sidney and Paul where a plate that belonged to Ethan was accidentally shown. The drama intensifies at a salon when a man encounters Kym over some family secrets that she revealed during rehab that angers Rachel. Another family meeting with Paul and Carol watching reveals some heavy moments leaving Kym upset as Kiernan tries to put some perspective into what Kym had said in her meetings. When Kym goes to her mother, the family secrets over Ethan's death boils over driving Kym distraught. With the wedding now happening and Kym behaving, everyone celebrates as Kym ponders about herself and the fractured relationship she has with her family.

Any film set in a wedding celebration makes for a classic case for a dramatic template. Even when there's some family drama that is surrounding it. What makes this film unique is that it's about a celebration and the one person who is bringing all of the emotional baggage to that celebration. Of course, if it was done in a Hollywood-style type of drama. It would feel often false, contrived, and ends with a cheesy happy ending. Fortunately, Jonathan Demme and first-time screenwriter Jenny Lumet don't go for that route and instead take its time to study the characters and the surrounding that goes on.

Lumet's screenplay is truly top-notch as she explores the unique dynamic between a family and all of its dysfunction. In the center of all of this are the two sisters, Kym and Rachel. Kym is filled with a lot of guilt while is hanging by a thread on the brink of collapse while wanting attention and such. Rachel is a woman who is about to get married and is trying to cope with Kym's presence and the fact that Kym is willing to do a lot to ruin things. Watching all of this is their father who is extremely protective of Kym as he even suggests that she should return home for good so he can watch her. Along with his wife Carol, another person that's watching the drama from afar is their mother Abby. The distant woman is revealed to be part of the source to not just her divorce with Paul but also some of the family drama that goes on including the death of their son, Ethan.

What Lumet reveals is a lot of family secrets with everyone carrying some guilt as well as pointing the fingers over what happened. Yet, the ending clearly shows that this family still needs to figure things out while trying to help Kym, who is clearly fragile despite her selfish behavior. While the film is mostly dramatic, there are some touching moments like the rehearsal dinner, the wedding, and reception where it's clearly unique with this diverse group of people. While Lumet's script is definitely brilliant in its study of family dynamic and key characters. It's presented wonderfully and intimately in the hands of its director Jonathan Demme.

Taking cues from his work in documentary as well as the Dogme 95 cinematic style filled with hand-held cameras, no artificial lighting, on location sets, and on-location sound. Demme creates a film where the audience feels and acts like participants in the wedding and family drama that is unfolding. Yet, his approach to the direction is atmospheric and welcoming where the audience is immediately aware that they're watching something that might be going on in real life. Particularly the way he presents the drama with close-ups and perspective shots to reveal what the character is seeing and such.

Demme's direction is truly superb from the way he presents each scene to how the wedding celebration and reception is captured in all of its exuberance. Demme, whose feature-film work had often become conventional in recent years has finally returned to his improvisational, independent filmmaking roots. In this film, Demme creates probably his best and most poignant film since 1986's Something Wild.

Cinematographer Declan Quinn does excellent work with the film's natural, hand-held, Dogme 95 filmmaking style. Shot with digital, high-definition cameras including home video cameras, the film has a look and immediacy that plays true to the Dogme 95 style. The look of the film is grainy yet atmospheric in its look and coloring as it's definitely feels real as opposed to the flashy, sometimes artificiality of Hollywood films. Editor Tim Squyres does great work in the film's editing with the use of jump-cuts and transitions to create a rhythmic feel to the film. Squyres' work is truly superb in its sense of rhythmic cutting, smooth pacing, and immediacy to help Demme in what he wants in the direction of the film.

Production designer Ford Wheeler along with set decorator Chryss Hionis and art director Kim Jennings do a fantastic job with the look of the traditional home of Paul's house, the posh look of Abby's home, and the look of the wedding and its reception. With all of its Indian look and such including great costume design by Susan Lyall, the film has a unique, worldly look that looks inviting to the point that the audience wants to attend a wedding like this. Sound editor Paul Urmson and designer Blake Leyh create great, natural sounds to capture the atmosphere and tension of the film's drama and celebration scenes.

The music by composers Donald Harrison Jr. and Zafer Tawil is wonderfully diverse with mostly on-location playing of string instruments of violins and mandolins. With additional music ranging from hip-hop, indie rock, and world music, contributing to the film's rich soundtrack are TV on the Radio vocalist Tunde Adebimpe singing a Neil Young song and two original songs sung on location by Robyn Hitchcock, who makes a cameo.

The casting by Tiffany Little Canfield and Bernard Telsey is truly unique with an array of memorable roles and appearances where along with Robyn Hitchcock, two different icons make cameo appearances. Legendary indie film icon Roger Corman and hip-hop icon Fab 5 Freddy make some noteworthy appearances. Other small but memorable roles that stand out include Mel Jones as a speaker at the wedding, Roslyn Ruff as Kym's nurse in the opening scene, Andre B. Blake as a man who knew Rachel at a rehab meeting, and Jerome Le Page as Abby's husband Andrew. Other notable standout performances come from actors as Sidney's family including Kyrah Julian as his sister, Herreast Harrison as his grandmother, Gonzales Joseph as the cousin, and Carol Jean Lewis in a great role as Sidney's mother.

Mather Zickel is excellent as Kiernan, Sidney's best man and a recovering addict who sympathizes with Kym's issues as he tries to show perspective about addiction and recovery to her family. Anisa George is also excellent as Rachel's friend Emma who doesn't get along with Kym as she gets upset when she loses her role as maid of honor and tries to make Kym feel horrible. TV on the Radio vocalist Tunde Adebimpe is great as Sidney, the man who would marry Rachel as he makes himself part of the family while being the caring guy for both Rachel and Kym. Anna Deavere Smith is wonderful in a small but noteworthy role as Carol, Paul's wife who is trying to keep the peace in the family as she watches all the family drama unfold. Debra Winger is brilliant in her role as Kym and Rachel's distant, aloof mother who watches from afar over Kym's behavior unaware that she might've caused all of the problems in the family.

Bill Irwin is superb in his role as Paul, the family patriarch who is excited over the wedding and Rachel's happiness while extremely concerned for the well-being of Kym. Irwin's performance is filled with light, comical touches in his expressions as well as sadness over the fact that he lost a son and with regrets over how Kym had fallen. Irwin's performance is truly noteworthy and definitely a highlight of the film. Rosemarie DeWitt is great as the title character, Rachel, as she is trying to get ready for the happiest day of her life while dealing with her sister's presence. DeWitt brings a sense of anger and jealousy as she tries to one-up her sister in attention and often wins while having immense hatred for Kym in how Kym tries to be the center of attention. DeWitt is really the anchor of the film as her performance truly stands out as she gets her chance to shine.

If Rosemarie DeWitt is the film's breakthrough performance, then her co-star and lead Anne Hathaway is the film's real revelation and break-out performance. Known mostly for light-hearted comic fare like The Princess Diaries films, Ella Enchanted, The Devil Wears Prada, and most recently, Get Smart. Hathaway had always shown that she can do dramatic roles in films like Nicholas Nickelby, Becoming Jane, Havoc, and Ang Lee's 2005 masterpiece Brokeback Mountain. Yet, none of these films could reveal the pain and angst that Hathaway reveals in her role as Kym where Hathaway brings a raw, fiery, and stripped-down performance. There's moments where Hathaway brings a personality filled with selfishness and diva-esque where she makes her character at times, unlikeable yet reveal that there's something complex about Kym.

Hathaway exudes all of the troubles that Kym is as even when she's not speaking or just struggling, there's a performance that definitely makes the audience re-think of what she can do. There's comical moments in Hathaway's performance but it's often done with sarcasm, wit, and off-putting as opposed to her other light-comedic film work. While many will say that her performance is her trying to get an Oscar nomination, it's those performance that actually work where Hathaway proves that there's more to her than her beauty, winning smile, and comic charm.  It's in this performance that proves that Anne Hathaway is truly one of the best young actresses working today.

Rachel Getting Married is definitely one of the year's best films and certainly Jonathan Demme's most stylish film since 1986's Something Wild. Thanks in large part to Jenny Lumet's character-driven screenplay and the performance of Anne Hathaway, Rosemarie DeWitt, and Bill Irwin, it's a film that is harrowing yet charming. Fans of Anne Hathaway will be surprised in what the young actress can do while a new discovery is made in Rosemarie DeWitt. With a great soundtrack and a wedding/reception scene that is enjoyable to watch, it's a wedding that certainly anyone would love to attend. In the end, Rachel Getting Married is a film that is truly surprising, inviting, and real thanks to the grand yet intimate vision of director Jonathan Demme.

Jonathan Demme Films: (Caged Heat) - (Crazy Mama) - (Fighting Mad) - (Handle with Care) - (Last Embrace) - (Melvin and Howard) - (Who Am I This Time?) - (Swing Shift) - Stop Making Sense - (Something Wild) - (Swimming to Cambodia) - (Married to the Mob) - (The Silence of the Lambs) - (Cousin Bobby) - (Philadelphia) - (Storefront Hitchcock) - (Beloved) - (The Truth About Charlie) - (The Agronomist) - (The Manchurian Candidate (2004 film)) - (Neil Young: Heart of Gold) - (Man from Plains) - (Neil Young Trunk Show) - (Neil Young: Journeys) - (A Master Builder) - Ricki & the Flash

© thevoid99 2011

The Sheltering Sky

Originally Written and Posted at Epinions.com on 8/17/07 w/ Additional Edits.

1987's The Last Emperor marked a triumph for Italian director Bernardo Bertolucci as the film won several Academy Awards including Best Picture and a Best Director prize for Bertolucci. Following its award-winning success, Bertolucci and producer Jeremy Thomas decided to embark on another ambitious film that was to follow The Last Emperor in a trilogy of epic films relating to outside cultures and landscapes that would conclude with 1993's Little Buddha. For the second part of his trilogy, Bertolucci released a film based on Paul Bowles' novel of a New York couple traveling to North Africa with a friend as their own marriage disintegrates where the attempt to save their marriage ends in despair. The book from 1947 was finally made into a film for 1990's The Sheltering Sky.

Directed by Bernardo Bertolucci with a script written by Mark Peploe, The Sheltering Sky is an ambitious, epic, romantic film about a couple trying to save their marriage in North Africa only to find faults and failures that also included the involvement of other people. Shot on location in Morocco, Algeria, and Niger, the film unveils some of the most breathtaking images of the desert shot by Bertolucci's longtime cinematographer Vittorio Storaro. Starring John Malkovich, Debra Winger, Campbell Scott, Timothy Spall, Jill Bennett, and Paul Bowles as the film’s narrator. The Sheltering Sky, despite its breathtaking images, is a clumsy, dense film from Bernardo Bertolucci.

It's the late 1940s as an American couple named Port (John Malkovich) and Kit Moresby (Debra Winger) arrive onto a port in North Africa accompanied by their friend Tunner (Campbell Scott). While Tunner hopes to spend a month at least in Tangier, the Moresby are travelers hoping to spend maybe a year or two in North Africa to explore its wonders. Their marriage however, is failing as they spend their time alone and sleep in different rooms. Tunner sleeps in another room while he often tries to court Kit. When Port describes a dream that upsets Kit, they receive an unexpected visit by and Englishman named Eric Lyle (Timothy Spall) and his mother (Jill Bennett). Planning to travel through the desert for their next trip, Port wanders around Tangier where he meets a man named Smail (Ben Smail).

After encountering a little village and tribe where he encounters a hooker (Amina Annabi), she attempts to steal his wallet but fails as he nearly gets mugged. Upon returning to the Grand Hotel, Port begins to suspect a possible affair between Kit and Tunner. With Kit deciding to travel with Tunner by train, Port is accompanied by the Lyles on their trip through the desert to a nearby town. With both parties arriving, it's clear that Kit has been attracted to Tunner as they keep their affair a secret. Port meanwhile, is often asked by Eric for a loan about a possible endeavor. Port gives him a bit of money to be rid of the Lyles as he and Kit go on a bike ride through the desert. In another attempt to save their marriage, they go to a spot where they see the beautiful Sahara Desert. Unfortunately, their lack of passion and the years they've been in have made them cold.

Now going through the desert by bus, the Moresby and Tunner travel yet again as Tunner finds everything to be frustrating as he decides to leave the journey. Port and Kit continue their North African journey unaware of an epidemic coming through the various villages as flies are surrounding them. Port finds himself ill all of a sudden as Kit begins to worry. They continue on their trip to another town but Port is becoming increasingly ill. Things get worse as they find themselves in the middle of a sandstorm. With Kit now worried, she now fears for her own future as she suddenly finds herself being seduced and accompanied by a mysterious young man named Belqassm (Eric Vu-An). Taken to another village, she finds herself in the middle of a culture clash wondering what has this journey really been about.

Given Bertolucci's love of exotic cultures and existential explorations, the film is really about a journey gone wrong with jaded intellectuals being completely unaware of the world that is foreign to them. With the text from this famous novel by Paul Bowles, it's clear that the film's major weakness is in its adaptation. Those who haven't read the book (including myself), definitely will be bewildered by the film's unique narrative. Yet, it makes for a very awkward and detached sense of wonder for the audience who haven't read this book. Even for someone who might've read this book will notice a lot of missing subplots and things from that book.

The film's major weakness is the script by Bertolucci and brother-in-law Mark Peploe, largely because there's not much back story for the film’s protagonists nor is there any are they very interesting in some ways. Port is a self-indulgent and very pretentious though he has some redeeming qualities. Kit is also as detached since she often spends her time in a hotel room alone or with Tunner. Bertolucci, the director, does seem to make up for it with his visual composition and staging. Yet, because of the material he's working on, some of the drama doesn't feel right and the dialogue between Kit and Port is very dense that it seems that a character like Tunner and the audience have a hard time understanding their motives.

The film's narrative is wonderfully structured but uneven as well. Yet, it is unique in some ways since the first part is about Kit's unconventional take on the journey to Africa, the second act being about Kit and Port's disintegrating marriage. Yet, it all goes well despite some road bumps and then comes this third act. All of a sudden, it starts to feel and look like a different film with Kit now being the center of attention. Yet, it makes the entire film feel clunky despite some great scenes that Bertolucci has created and such. Yet, despite all of his intentions and his approach to the storytelling, Bertolucci does create a film that is interesting yet very flawed.

Longtime cinematographer Vittorio Storaro brings a majestic, gorgeous look to the film that makes up for any flaw that it has. Some of the film's interiors including a shot of sunlight in a hotel room looks very close to the old-school, Technicolor cinematography of late 50s/early 60s cinema. The exteriors also has an old-school feel that includes amazing shots of the desert with wonderful set-ups and epic scopes that has to be seen on a widescreen format. Storaro's use of colors whether it would be the blue-evening light or yellow sunlight is always jaw-dropping as his work with Bertolucci as well as other directors like Francis Ford Coppola and Warren Beatty is often top-notch.

Production designers Gianni Silvestri and Ferndinando Scarfiotti along with art director Andrew Sanders create a unique look to the film's period design from the cars to the cramped hotel rooms the Moresby lives. Given the locations they're in, each set piece is wonderfully decorated to give that sense of authenticity. Costume designer James Acheson also brings wonder to the costumes with the sheik-like clothing in the third act, the suits that the men wear, and the 40s dresses that Debra Winger wears throughout for almost the entire film. Editor Gabriella Cristiani brings a nice, elliptical pacing of sorts to the film while using intense cuts to convey the suspense of drama of some of the film's scenes. Sound editor Don Sharpe helps with the film's amazing sound to convey the horror of sandstorms and other surroundings in the desert.

Then there's the amazingly haunting, intensely dramatic score by Ryuchi Sakamoto that is filled with bass-heavy arrangements, lots of strings, and chords that convey the film’s bleak tone. Sakamoto's score is really one of the film’s highlights that also includes traditional, North African music from Richard Horowitz that is filled with a lot of rhythm and mysticism as the land itself. Along with several different kinds of music from the late 1940s, the film's soundtrack is rich in its diversity.

Finally, there's the film's cast that doesn't exactly feature a large ensemble but memorable performances and appearances. There's a few notable small roles from Amina Annabi and Ben Smail as Tangier natives along with a cameo from Italian film starlet Nicoletta Braschi as a French woman in a cafe scene early in the film. Eric Vu-An is good in his mysterious role as a nomad traveler who makes most of his appearance with just his look. A very exotic look who manages to charm Debra Winger. Jill Bennett and Timothy Spall are fine as the irritating Lyle with Bennett as this posh, smug photographer and Spall as a slimy, wormy thief who wants to be rid of his mother. In many ways, maybe this is why Spall got the role of Wormtail in the Harry Potter films.

In one of his early film roles, Campbell Scott is good as the charming, somewhat ignorant Tunner who seduces Kit while trying to understand their fascination with traveling. Scott makes the most of his role despite the fact that it's very underdeveloped. It's just a caricature of a lot of tourist-like characters as Scott would later do better work in the years to come. Debra Winger is fine in her role as Kit but doesn't seem give any real kind of life to the role. I'm not sure whether it's the character or Winger's performance but the character of Kit isn't that interesting. Sure, she looks pretty but her character just seems very detached from everything. Winger is a fine actress and is still better than most stars, it's just that she often seems overlooked.

John Malkovich is actually the film's best performance but that isn't saying much either. While there's some scenes where he and Winger are great together. There's some that don't work which is due to the script. Yet, Malkovich makes the most of it with his self-absorbed, pretentious performance that is always fun to watch. Malkovich usually often would rise above the material, especially as clunky as a film like this. Though his character isn't that interesting, Malkovich does pull all the stops, even as his character starts to become ill that shows wonderful dramatic range.

When the film was released in 1990, expectations were very high considering that it's a film by Bernardo Bertolucci and that he had just come off winning 9 Oscars for The Last Emperor. Instead, the film received mixed reviews and mediocre box office that it was a huge disappointment. Though there were praises towards the film's score and Vittorio Storaro's cinematography, it was a disappointment of sorts from Bertolucci. While he would return with a somewhat better film for 1993's Little Buddha, it was clear that Bertolucci had seen better days.

Despite some of the film's major flaws, The Sheltering Sky is still an interesting yet clunky film from Bernardo Bertolucci and company. While compared to some of his masterpieces like The Conformist, Last Tango in Paris, and The Last Emperor along with other great films like 1900 and The Dreamers, this film is really minor in some ways. Fans of Bertolucci will enjoy the film's epic scope and scenery, unless they hadn't read the book, they will feel like this is minor work. In the end, despite some of those triumphs. The Sheltering Sky is a good film from Bernardo Bertolucci but one would expect a lot more from the Italian auteur.

Bernardo Bertolucci Films: (La Commare Secca) - (Before the Revolution) - (Partners) - (The Spider's Stratagem) - The Conformist - Last Tango in Paris - 1900 - (La Luna) - (Tragedy of a Ridiculous Man) - (The Last Emperor) - Little Buddha - Stealing Beauty - (Besieged) - The Dreamers - (Me & You)

© thevoid99 2011