Showing Up

 

Directed and edited by Kelly Reichardt and written by Reichardt and Jonathan Raymond, Showing Up is the story of a sculptor who is about to open her own exhibition while she also tends to her family life as well as friends and competing artists just as she is convinced she’s going to get her big break. The film is an exploration into the art scene in Portland, Oregon where a woman is eager to make it while trying to devote much attention to her job, family life, and friendships. Starring Michelle Williams, Hong Chau, Andre Benjamin, James LeGros, Maryann Plunkett, John Magaro, and Judd Hirsch. Showing Up is an engaging and somber film from Kelly Reichardt.

The film follows the week and the life of a sculptor living in Portland, Oregon where she works for her mother at the Oregon College of Arts and Craft while is set to have her first major art exhibition while dealing her neighbor who is a competing artist as well as issues with her family and tending to a wounded pigeon that her cat attacked. It is a film that follows a woman who is struggling to work on her sculptors and manage other things in her life yet her apartment doesn’t have hot water as her neighbor isn’t fixing it in favor of her own work with her own exhibition. The film’s screenplay by Kelly Reichardt and Jonathan Raymond largely explores the life that Lizzy (Michelle Williams) has as her father Bill (Judd Hirsch) is a retired artist while she works at the college with her mother Jean (Maryann Plunkett) who is trying to do her work but also have this major exhibition that could be the break she needs as an artist.

Yet, her neighbor Jo (Hong Chau) hasn’t been able to fix Lizzy’s water heater as she is often distracted with other things relating to her own exhibit as well as having to care for a pigeon that Jo found which had been attacked by Lizzy’s cat. It all plays into the many things that are keeping Lizzy from completing her work for the exhibition as well as some family issues as it includes her reclusive brother Sean (John Magaro) who had been estranged from the family. Lizzy is also dealing with the fact that there’s other artists who have been doing exhibits that has been very successful as there is a pressure for her to get some attention as well as get some validity as an artist.

Reichardt’s direction definitely has some style as it is shot on location in Portland as well as places at the Oregon College of Arts and Craft in Portland, Oregon as it is a character in the film. Reichardt would maintain a simplistic presentation as she emphasizes on some long shots and a few static shots in either some medium or wide shots in certain rooms. Yet, the film opens with a shot that lingers for a few minutes as it moves around various sculptures that Lizzy has created. Much of the sculptures that Lizzy creates is mainly created by artist Cynthia Lahti as it has a unique style as a lot of the art work such as the work that Jo has created showcases a vibrant world that emphasizes on craftsmanship through all sorts of means in the world of art. Even as the college that Lizzy and her mother work at is filled with things that are unique where Reichardt maintains a looseness to the world and the many things that occur to ensure someone is always being creative or how sculptures are refined in a kiln. The attention to detail that Reichardt shows in what Lizzy would do to create her sculptures with its close-ups on her hands is a key aspect of the film.

Also serving as the film’s editor, Reichardt would allow shots to linger while deviating into stylish fast cuts in order to play into the drama that includes Lizzy’s family life as she is upset that her father would often surround himself with drifters. Reichardt’s careful framing and sense of looseness in her direction does give the film a tone that feels free where there are moments where nothing is staged. Notably in the film’s climax at Lizzy’s exhibition is where a lot of the characters come in to support her including this pigeon that she has grown fond of while is also trying to resolve issues with Jo. Overall, Reichardt creates a compelling and wondrous film about an artist trying to get her break while dealing with the chaos in both her professional and personal life.

Cinematographer Christopher Blauvelt does brilliant work with the film’s cinematography with its naturalistic yet low-key approach to the photography as well as giving it a grainy look of sorts for some of its interior scenes as it is a highlight of the film. Production designer Anthony Gasparo, with set decorator Amy Beth Silver and art director Lisa Ward, does amazing work with not just the homes of the characters but also some of the art exhibitions as a lot of it were created by local artists. Costume designer April Napier does nice work with the costumes as it is largely casual and low-key to play into the personality of these characters with some of whom are wearing hippie-inspired clothing.

Visual effects supervisor Chris Connolly does terrific with the film’s minimal visual effects as it is largely based on the pigeon in a few key scenes with a lot of emphasized on animatronics rather than computer effects. Sound editor Daniel Timmons does superb work with the sound to play into the natural elements of the locations as well as how sound is presented from afar or up close. The film’s music by Ethan Rose is wonderful as it is largely a low-key electronic/ambient score with some woodwinds that includes flute performances by Andre Benjamin aka Andre 3000 while music supervisor Dawn Sutter Madell creates a soundtrack that is largely low-key and played on radios with a lot of being indie music.

The casting by Simon Max Hill is marvelous as it feature some notable small roles and appearances from Amanda Plummer and Matt Malloy as a couple of drifters who are crashing at Bill’s home, Lauren Lakis as a colleague in Terri, Denzel Rodriguez as a young administrator in William, James LeGros as an older administrator in Ira, Heather Lawless as an artist in Marlene who just had her own successful exhibit, and Theo Taplitz as a young neighbor of Sean who watches over Sean. Judd Hirsch is fantastic as Lizzy’s father Bill as a former artist who still creates pots yet prefers to enjoy retirement and hang out with drifters which worries Lizzy. John Magaro is superb as Lizzy’s brother Sean as a former artist who has turned into a recluse as he becomes paranoid as it relates to his own mental illness and such as he hasn’t talked to his parents in months.

Andre Benjamin is excellent as Eric as an artist/teacher who watches over the kilns as he is a colleague of both Jo and Lizzy as he does what he can to help the latter while is more interested in the former. Maryann Plunkett is brilliant as Lizzy’s mother Jean as a top administrator at the college who is hoping to keep Lizzy busy while knowing that she has an exhibit to present that she wants to attend with the whole family. Hong Chau is amazing as Jo as this artist who is also Lizzy’s next door neighbor/landlord who is already on the verge of a breakthrough with her own exhibition yet is often distracted to help out Lizzy as it causes some tension and such. Finally, there’s Michelle Williams in a phenomenal performance as Lizzy as this artist who is set to have breakthrough moment as an artist yet is coping with dealing with things in her family life as well as work and other distractions where Williams captures a lot of the struggles and anguish an artist has while also coping with her own family issues as Williams brings a lot of restraint as well as realism to the character as it’s one of her finest performances to date.

Showing Up is an incredible film by Kelly Reichardt that features a great leading performance from Michelle Williams. Along with its supporting cast, realistic visuals, and its study of artists struggling to get a break. It is a film that follows a week in the life of an artist who is trying to get her moment but also deal with the many struggles that artists go through in trying to balance their lives with their art and the people around them. In the end, Showing Up is a sensational film from Kelly Reichardt.

Kelly Reichardt Films: River of Grass - Old Joy - Wendy & Lucy - Meek's Cutoff - Night Moves (2013 film) - Certain Women - First Cow - The Auteurs #72: Kelly Reichardt

© thevoid99 2023

Night Moves (2013 film)

 

Directed and edited by Kelly Reichardt and written by Reichardt and Jonathan Raymond, Night Moves is the story of two radical environmentalists and a former marine who plan to blow up a dam as they deal with their planning as well as what would happen afterwards. The film is an exploration of political and social actions involving three people who believe in something as they later question what they’re doing as well as its aftermath. Starring Jesse Eisenberg, Dakota Fanning, Alia Shawkat, Katherine Waterston, Logan Miller, Kai Lennox, James LeGros, and Peter Saarsgard. Night Moves is a haunting and evocative film from Kelly Reichardt.

The film plays into two young environmentalists who are both radicalized by the movement as they turn to a former marine in creating a bomb to blow up a dam near a river in Oregon. Yet, it is the aftermath of the event that would trouble them as it play into the fallacies of not just the radicalism but also revelations about what happened. The film’s screenplay by Kelly Reichardt and Jonathan Raymond essentially has a two-act structure where the first half is about the planning and the event that lead to blowing up this dam while its second half is about the troubling aftermath. Yet, the script does explore these two young people who feel like the world is in trouble and believe that this act in blowing up a dam will be good for the environmental cause as they turn this former marine who also has a record as he knows what to do. While the character of Harmon (Peter Sarsgaard) doesn’t entirely agree with their views, he does believe that both Josh (Jesse Eisenberg) and Dena (Dakota Fanning) have a point about the ways of the world which is why he helps them.

It’s the film’s second half that really play into this aftermath where something did go wrong as it relates to what happened and the fact that someone was at the dam when it blew up. Harmon tells both Josh and Dena that they should keep their mouths shut and not contact each other or say anything. Yet, things do go wrong with Dena becoming uneasy and Josh convinced Dena is going to say something. It adds to this struggle as well as the fact that Josh’s own livelihood is at risk since he works and live at a farm while Dena works at a spa. The narrative focuses more on Josh’s paranoia and Dena’s growing guilt as it relates to the second half of the film.

Reichardt’s direction is entrancing for much of the imagery that she creates as well as this air of realism that occurs into the world of radicalism. Shot on location at southern Oregon with the actual dam in the Galesville Reservoir at the Klamath Mountains, the film does play into a world that is bit disconnected from the world of the cities where Josh works in this farm that is bit of a community of its own with Dena working at a spa yet is someone that supposedly comes from a rich family. Much of Reichardt’s compositions are straightforward as it play into the planning of the first half of the film with its usage of medium shots and close-up to play into the characters interacting or dealing with some kind of crisis. There are some wide shots to establish some of the locations yet Reichardt prefers to focus on the characters as she play into the preparedness of their plan and how they try to isolate themselves and not look suspicious. The scene of planting the bomb is also tense in the three trying not to be seen as there’s a wide shot of a car stopping near the dam.

Also serving as the film’s editor, Reichardt doesn’t aim for style but does maintain a slow rhythm to play up the suspense without making it noticeable in order to get a reaction from a characters. Notably in its second half where it’s all about the drama and the aftermath of this bombing where something bad did happen as much of the film focuses on Josh who also believes that some of his fellow farmers might know what he has done. Reichardt’s compositions add to the sense of paranoia but also chooses to create scenes where audiences can get an idea of what is happening but not show anything. Notably in its climax that is followed by an aftermath that plays into uncertainty for a key character in the film but also a decision that forces that person to start a new life or continue to move without any direction. Overall, Reichardt crafts a mesmerizing and eerie film about two radical environmentalists and a former marine bombing a dam and then deal with its troubling aftermath.

Cinematographer Christopher Blauvelt does brilliant work with the film’s cinematography with its emphasis on low-key yet natural lighting, usage of available light for the scenes at night, and other lighting schemes to maintain air of realism into the look of the film. Production designer Elliott Hostetter, with set decorator Virginia Yount and art director Almitra Corey, does excellent work with the look of the boat that Dena and Josh bought as well as the house Josh lives in and the spa that Dena works at. Costume designer Vicki Farrell is terrific for the casual look of the characters that include winter hats, flannel, and jeans to play into the world they live in.

Sound editor Julia Shirar and sound designer Kent Sparling do amazing work with the sound as it help play into the atmosphere of the locations as well as how the characters sound from afar as well as some of the sparse aspects of the sound on a certain location. The film’s music by Jeff Grace is wonderful for its mixture of ambient, folk, and country that play into its suspense and its setting while music supervisors Lyle Hysen and Chris Swanson provide a soundtrack that features a mixture of folk, country, ambient, and indie rock from A Place to Bury Strangers, Coliseum, Sun Rai, and Bear in Heaven.

The casting by Mark Bennett and Laura Rosenthal is superb as it feature some notable small roles from James LeGros as a feed farm factory clerk, Kai Lennox as a hiking camper that annoys Harmon, Dena, and Josh, Katherine Waterston and Barry Del Sherman as the farm owners that Josh works for, Logan Miller as a young farmer who often says dumb things, and Alia Shawkat as a farmer named Surprise that Josh is friends with. The trio of Peter Sarsgaard, Dakota Fanning, and Jesse Eisenberg are incredible in their respective roles as Harmon, Dena, and Josh as they all maintain a low-key and reserved performances in their respective roles. Sarsgaard adds a weariness and gravitas to his role as a man that knows what to do but is also someone who is aware of the stakes. Fanning’s performance has this air of urgency as someone who is determined to do this mission but starts to unravel following the aftermath as she becomes consumed with guilt. Eisenberg’s performance is one of restraint as someone that is determined to do the deed but becomes paranoid following its aftermath as well as being unsure of what to do as he too is consumed with guilt.

Night Moves is a phenomenal film from Kelly Reichardt featuring great performances from Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard. Along with its ensemble supporting cast, gorgeous visuals, and its restrained yet eerie tone, the film is a compelling look into a couple of young people who team with a former military officer in creating an act of radical terrorism only to deal with the troubling aftermath and the realities of their ideals. In the end, Night Moves is a sensational film from Kelly Reichardt.

Kelly Reichardt Films: River of Grass - Old Joy - Wendy & Lucy - Meek's Cutoff - Certain Women - First Cow – Showing Up - The Auteurs #72: Kelly Reichardt

© thevoid99 2021

Certain Women

Based on the short stories by Maile Meloy, Certain Women is a collection of three different stories involving women dealing with trials and tribulations in their lives. Written for the screen, directed, and edited by Kelly Reichardt, the film follows the lives of different women set in Montana as they deal with their place in the world as well as what they want. Starring Laura Dern, Kristen Stewart, Michelle Williams, Lily Gladstone, James LeGros, Jared Harris, John Getz, Sara Rodier, and Rene Auberjonois. Certain Women is an engrossing yet evocative film from Kelly Reichardt.

Set in small parts of Montana, the film follows the lives of women in three different stories where they deal with something out of ordinary in their day-to-day lives. It all play into this location that is quaint yet it also has something that does feel extraordinary where it revolves around the lives of these three women. Rather than employ a cross-cutting narrative that can be confusing, Kelly Reichardt chose to go for something that is straightforward though its main characters are connected in some way despite rarely interacting with one another. The first story involves a lawyer named Laura Wells (Laura Dern) who is dealing with a client who has become disabled due to what happened at work. It would lead to a moment where he would hold a security guard hostage forcing her to deal with the situation and help him find some justice.

The second story revolves around a couple who want to build their dream home as they’ve set up camp at the site of the house as they want to buy stones from an old man. Yet, Gina Lewis (Michelle Williams) is also dealing with tension with her teenage daughter over the home she wants to build. The third story involves a lonely ranch hand named Jamie (Lily Gladstone) living outside of the small town where the characters live at as she unknowingly attends night school for a class on law where she falls for its young teacher in Beth Travis (Kristen Stewart). For Jamie, this sudden attraction has her wanting to break away from the monotonous life where she tries to find ways to woo Beth as they would go to a diner though Beth has to travel four hours from her town to go and teach in the smaller town and then drive four hours back. It all play into these events that the women had to endure as well as deal with something that can impact their lives.

Reichardt’s direction is actually very simple where doesn’t go into any kind of visual style nor does the film contain a lot of close-ups to emphasize more on the characters and their surroundings. Shot on location in the state of Montana with the town of Livingston being where much of the film is shot as well as other locations in the state. Reichardt would shoot the film during the winter period where it feels true for the location while she would use a lot of wide shots to play into this world that is sort of isolated from much of America in terms of its big cities and high-octane culture for something simpler. Reichardt’s approach to medium shots has more to do with the way characters interact with each other in situations or in how they deal with the typical aspects of their day-to-day life. Also serving as the film’s editor, Reichardt would emphasize a lot on long shots though knows when not to cut as she would infuse some jump-cuts for parts of the film as well as bits of suspense for the story involving Laura and her client. Reichardt would also maintain a sense of low-key melodrama for Gina’s story in her interaction with the old man while the story about Jamie and Beth is more light-hearted but also with a sense of restraint as the film would end with realistic conclusions for these characters who are all dealing with a sense of loneliness in their stark surrounding. Overall, Reichardt creates a riveting yet intoxicating about the extraordinary lives of women in Montana.

Cinematographer Christopher Blauvet does brilliant work with the film’s cinematography as it is largely natural and low-key to play into the realistic yet gorgeous look of the daytime exteriors set in the winter to some low-key lighting for some of the scenes at night. Production designer Anthony Gasparro, with set decorator Pamela Day and art director Kat Ulmansiek, does fantastic work with the look of the tent Gina lives in as well as the classroom where Beth teaches. Costume designer April Napier does nice work with the costumes as it is largely casual since it is set in the winter with its big coats, sweaters, and winter boots. Sound designer Kent Sparling does superb work with the sound as it is largely low-key to play into the locations that the characters are in as well as the scenes that play into the drama and suspense. The film’s music by Jeff Grace is wonderful as it’s largely low-key as it only appears sparingly in its mixture of folk and ambient music setting.

The casting by Mark Bennett and Gayle Keller is great as it feature some notable small roles from John Getz as the local sheriff in Livingston, Sara Rodier as Gina and Ryan’s teenage daughter Guthrie who doesn’t like her mother, James LeGros as Gina’s husband Ryan who is trying to keep the peace between mother and daughter, and Rene Auberjonois as the old man Albert whom Gina wants to buy some stones from in the hopes to build her dream house. Jared Harris is superb as Fuller as Laura’s client who is dealing with an injury that has kept him from working as he tries to get some money for the injury that happened to him where he becomes very desperate. Lily Gladstone is excellent as Jamie as a ranch hand who deals with her lonely and monotonous existence where she stumbles into a night school class where she befriends and falls for a lawyer teaching the class about the ideas of the law.

Kristen Stewart is fantastic as Beth as a lawyer who takes the teaching job four hours from where she lives as she copes with her own lonely existence and lack of stability where she finds a friend in Jamie whom she’s intrigued by. Michelle Williams is amazing as Gina as a woman that is eager to build her dream home as she also deals with the sense of disconnect with her daughter as well as some of the immorality she takes part in getting what she wants for her home unaware of Albert’s emotional attachment to the stones. Finally, there’s Laura Dern in a brilliant performance as Laura Wells as a lawyer who is trying to help her disabled client Fuller as well as deal with her own life that doesn’t have much excitement where a crisis would give her that bit of excitement.

Certain Women is a phenomenal film from Kelly Reichardt. Featuring a great cast, compelling stories on loneliness and the need to connect in a rural existence, gorgeous visuals, and a minimalist approach to its storytelling. It’s a film that explores a world that simple yet with characters that want more as they contend with their surroundings and need to either get out or make something of it. In the end, Certain Women is a sensational film from Kelly Reichardt.

Kelly Reichardt Films: River of Grass – Old Joy - Wendy and Lucy - Meek's Cutoff - Night Moves (2013 film) – First Cow - Showing Up - The Auteurs #72: Kelly Reichardt

© thevoid99 2018

Point Break

Directed by Kathryn Bigelow and screenplay by W. Peter Iliff from a story by Iliff and Rick King, Point Break is the story of a rookie FBI agent who goes undercover as a surfer where he suspects that the group of surfers he befriends are the notorious bank robbers he’s after. The film is an exploration into loyalty and one man’s fascination with the surfing culture as he is intrigued by this group’s ideals. Starring Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty, James LeGros, and John C. McGinley. Point Break is a wild yet thrilling film from Kathryn Bigelow.

The film is a simple story about a former college football star who has become a FBI agent as he investigates a series of bank robberies held by four men wearing masks of former U.S. presidents. Taking on a theory about his partner who claims that the robbers are surfers, Johnny Utah (Keanu Reeves) goes into the surfing scene where he learns to surf as he befriends some surfers while trying to find out who are the bank robbers. It’s a film where this young agent becomes a surfer to find some bank robbers where one of them in this free-spirited man named Bodhi (Patrick Swayze) could be one of those men. Eventually, there comes this conflict between the two men not just towards each other but also internal conflict as they have this respect for each other but are also men who could be something else.

W. Peter Iliff’s screenplay explores this complexity between these two different men where Utah is this straight-laced young man who was once a top quarterback for Ohio State whose knee injury has him doing something else by becoming a FBI agent. Teaming with the eccentric veteran Angelo Pappas (Gary Busey) who is convinced the robbers are surfers, Utah uses his youth to infiltrate the surfer scene despite his inexperience where he is aided by Tyler (Lori Petty) who teaches him the basics as they later become lovers. Though Utah’s inexperience in the field including a raid that seemed to go well until some truths emerge where Pappas has to defend him against their hard-ass superior Ben Harp (John C. McGinley). When Utah befriends Bodhi, he sees someone who lives on the fringes of the world as he is this outsider who lives by his own rules while he is extremely free on the wave with his fellow surfers.

Bodhi is a very complex individual where he is a man that lives a certain lifestyle while there’s also something about him that raises Utah’s suspicions. Even as Utah learns more about these bank robbers who only do their jobs in the summer and only take money out of the cash registers instead of the vaults while throwing the dye-pack money into the air. Among these theories that Pappas presented to Utah has him thinking that Bodhi could be one of the robbers where an encounter with one of the robbers wearing a Ronald Reagan mask creates this internal conflict in not just Utah but also the man in the mask. The third act does play into Utah finally meeting the robbers who are proven to be these thrill-seekers who aren’t robbing banks for money but to fight against the system that Utah stands for prompting him to prove that he isn’t some typical FBI agent.

Kathryn Bigelow’s direction is very high-octane in not just the scenes involving surfing and sky diving but also in some of the moments involving the robberies and raids. Much of it is presented with a sense of style as the robberies are shown with some hand-held cameras and a frenetic energy that makes the audience aware of what is going on and how they’re doing it in the span of just 90 seconds. Though it is an action film, Bigelow knows when to slow things down for the dramatic moments where it’s mostly low-key and to the point so that the characters can get to know one another as it includes this amazing tracking shot of Utah’s arrival into the FBI building where he is being briefed by Harp which last about a few minutes.

The surfing scenes are just truly exhilarating to look at in not just its use of slow-motion but also the atmosphere it is presented to showcase a sense of thrill and peacefulness that occurs when one is riding on a wave. The direction has Bigelow be on the water and at the waves to showcase the intensity of the surfing where Utah finds some freedom there but also that sense of danger. Even in the skydiving scene where Utah has to take part of it as the camera is right on the air where there is that sense of the unknown. Especially in the way Utah and Bodhi sort of bond through these adventures as Bigelow isn’t afraid to hint an air of homoeroticism that is lurking towards these two men which adds that complexity to the film. Overall, Bigelow creates a very exciting and fun film about a young FBI agent who befriends a free-spirited thrill-seeker.

Cinematographer Donald Peterman does excellent work with the film‘s cinematography with its sunny look of the exterior scenes in the beaches and locations in Los Angeles to some of the scenes set at night including the nighttime surfing sequence. Editor Howard L. Smith does brilliant work with the film‘s stylized editing with its jump-cuts for some of the film‘s action scenes to its usage of slow-motion for much of the film‘s surfing scenes. Production designer Peter Jamison, along with art directors Pamela Marcotte and John Huke and set decorator Linda Spheeris, does fantastic work with the look of the homes that Bodhi lives in as well as the FBI building that Utah and Pappas work at.

The sound work of Michael “Gonzo” Gandsey is superb for its mixing and layering of sounds from the way waves sound to the moments in the robberies and shootouts. The film’s music by Mark Isham is wonderful for its mixture of rock and ambient music to play into some of the excitement of the surf as well as some of the film‘s action scenes while music supervisors Sharon Boyle, Gary Goetzman, and Kathy Nelson create a wild mix of music ranging from rock and hip-hop with music from acts like Ice-T, the Jimi Hendrix Experience, Concrete Blonde, Ratt, Sheryl Crow, Love, Public Image Ltd., L.A. Guns, and several others.

The casting by Sharon Bialy and Richard Pagano is amazing for the ensemble that is created as it features some notable small appearances from Red Hot Chili Peppers vocalist Anthony Keidis, Chris Pedersen, Dave Olson, and Vincent Klyn as a surfer group that Utah suspects whom Bohdi also dislikes, Julian Reyes and Daniel Beer as a couple of fellow FBI agents, Lee Tergesen as a non-surfing friend of Bodhi in the mysterious Rosie, and Tom Sizemore in a cameo appearance as an undercover DEA agent. The trio of Bojesse Christopher, John Philbin, and James LeGros as Bodhi’s fellow surfer friends are terrific with LeGros as the real standout as the more reserved member of the group in Roach. John C. McGinley is fantastic as Utah and Pappa’s head Ben Harp as this very by-the-books leader who is also a fucking asshole who doesn’t really like Utah and Pappa over their unconventional tactics.

Lori Petty is wonderful as Tyler as an experienced surfer who is a friend of Bodhi who falls for Utah as she starts to question into what he really does. Gary Busey is marvelous as Angelo Pappas as this old-school yet eccentric FBI agent who is very unconventional in his tactics while not wanting to take shit from anyone. Keanu Reeves is brilliant as Johnny Utah as this very smart and determined FBI agent who finds himself intrigued by the world of surfing as he is unsure whether to stop a free-spirit like Bodhi or do his job where Reeves has a sense of charisma and humor to his role that makes it very engaging to watch. Finally, there’s Patrick Swayze in a remarkable performance as Bodhi as this very cool and wild man who likes to live on the edge whether it’s in surfing or doing some skydiving. It’s really one of his most iconic performances that has Swayze be the guy you can’t help but like no matter how dark he can be.

Point Break is a phenomenal film from Kathryn Bigelow that features incredible performances from Patrick Swayze and Keanu Reeves. The film is definitely one of the most fun and thrilling films about surfing and action while not being afraid to infuse a bit of cheese in terms of the bromance between Swayze and Reeves. In the end, Point Break is a sensational film from Kathryn Bigelow.

Kathryn Bigelow Films: The Loveless - Near Dark - Blue Steel - Strange Days - The Weight of Water - K-19: The Widowmaker - The Hurt Locker - Zero Dark Thirty - The Auteurs #29: Kathryn Bigelow

© thevoid99 2013

Near Dark

Directed by Kathryn Bigelow and written by Bigelow and Eric Red, Near Dark is the story of a young farmhand who falls for a young woman only to learn she’s a vampire as he reluctantly becomes part of a vampire cult. The film explores the world of vampires from a newborn vampire’s perspective as he struggles with this new role. Starring Adrian Pasdar, Jenny Wright, Lance Henriksen, Jenette Goldstein, Bill Paxton, Joshua John Miller, and Tim Thomerson. Near Dark is a visually-entrancing yet chilling film from Kathryn Bigelow.

At a small town in Oklahoma, a farmhand named Caleb (Adrian Pasdar) meets a beautiful young woman named Mae (Jenny Wright) one night as he takes her on a night around the town but she insists on going home. Caleb takes her home but wants to kiss her as they do only for Caleb to be bitten in the neck as he struggles to walk home to his family where he was suddenly abducted by a group of people in a motor home. Caleb learns that Mae is a vampire as she’s part of a group of vampires led by Jesse (Lance Henriksen) as it also consists of Diamondback (Jenette Goldstein), an old man in a boy’s body named Homer (Joshua John Miller), and wild man named Severen (Bill Paxton) as they wonder whether to take Caleb in as he’s about to turn into a vampire.

Caleb tries to leave in order to return home only to realize that he needs blood as Mae gives him some of her own blood to feed on while everyone else kills people for feeding. Caleb reluctantly joins the band of drifting vampires as they keep moving from city to city to quench their appetite as they all attack a bar and burn it while Caleb almost kills a young man (James LeGros) he was trying to feed on but lets him go. This would eventually lead to trouble when the vampires stay at a motel as they’re ambushed by the police only for Caleb to save them. Just as Caleb is about to accepted, Homer comes across a young girl named Sarah (Marcie Leeds) as he tries to capture her as Caleb realizes its her sister as their father Loy (Tim Thomerson) had been trying to find Caleb. After the vampires decide to target Caleb’s family, Caleb decides to do something that would save his family from Jesse and the vampires.

The film is essentially the story of a bored farmhand from a small Oklahoma town who comes across a band of drifting vampires as he reluctantly becomes part of their group only to realize what they need to do to survive as he eventually becomes more unsure once his family is targeted. It’s a story that explores a man trying to deal with being a newborn vampire and all of its consequences as well as his feelings for this beautiful woman who is also a vampire. Yet, this woman is also reluctant about her role as she’s more willing to accept but she becomes more unsure once it involves that man’s family while the rest of the vampires are just looking for people to feed on no matter who they are.

The screenplay is a different take on the myth of the vampires by setting them in a modern time where they’re moving from place to place in order to evade the law. A lot of the film is told from the perspective of Caleb who is just this very simple farmhand who knows nothing about the world of vampires as he is forced to give into survival mode as well as realizing that he’s no longer human. Still, he wants to return home to his family as they would see him be abducted as they would play a key part in the film’s plot in their search for Caleb. This would lead to a climatic third act in which Caleb has to fight off Jesse and this band of vampires who are really unmerciful with anything they come across to.

Kathryn Bigelow’s direction is very stylish in terms of the presentation that she creates as she often sets her scenes at night where the look has this very entrancing visual style that is somewhat reminiscent of film noir. Particularly in setting moods that marks the arrival of the vampires and Caleb’s struggle in this new world where the vampires rule and can do whatever they want. For the daytime scenes, a lot of it is set inside whether it’s in a car or wherever they stay in order to hide from the sun. Bigelow maintains a sense of intimacy in those scenes while also creating some broad yet intense shots for scenes outside whether it’s day or night as includes some very explosive action sequences that is mixed with some dark humor. Notably as the climax is this great mix of action and suspense with a bit of the western mixed around. Overall, Bigelow creates a very exciting and engaging thriller that plays around the myth of the vampires.

Cinematographer Adam Greenberg does amazing work with the film‘s stylish photography to play out the dark mood of the film with amazing lighting schemes for many of the film‘s nighttime exterior scenes as well as police raid sequence in the day with all of those wholes as it‘s a real highlight of the film. Editor Howard E. Smith does superb work with the film‘s editing by employing lots of stylish cuts for the film‘s action and suspense scenes as well as transition wipes to help the film move at a brisk pace. Production designer Stephen Altman and art director Dian Perryman do fantastic work with the set pieces from the motor home the vampires drive in early in the film to the motel room during the police raid with all of its holes and such.

Costume designer Joseph A. Porro does some nice work with costumes as it plays to the different personalities the characters wear from the more leather-cowboy look of Severin to the more ragged look of the other vampires. Sound designer David Lewis Yewdall and sound editor R.J. Palmer do terrific work with the sound to convey the sense of horror that occurs as well as some of the film‘s intense action scenes. The film’s music score by Tangerine Dream is phenomenal for its electronic score to play out the dark mood of the film as it also features some guitars for some of the more intense scenes. The soundtrack features a wide of music from acts like John Parr, Jools Holland, the Cramps, and George Strait as most of it features in the film’s bar scene.

The casting by Karen Rea is incredible for the ensemble that is created as it features some small appearances by Theresa Randle as a woman in a truck, Roger Aaron Brown as a Cajun truck driver, and James LeGros as a teenage cowboy who is almost killed at the bar scene. Marcie Leeds is pretty good as Caleb’s adolescent sister Sarah who is pursued by Homer while Tim Thomerson is great as Caleb’s father Loy who goes on a search to track down his son’s abductors. Jenette Goldstein is excellent as low-key vicious Diamondhead who will always attack when unexpected while Joshua John Miller is superb as the devious childlike vampire Homer. Lance Henrikson is wonderful as the very chilling leader Jesse who ensures everything that vampires are supposed to do as he also deals with the very naïve Caleb.

Bill Paxton is amazing as the very wild Severen as Paxton brings everything to this crazed character who has no qualms about killing anybody while displaying a dark charm and sense of humor as it’s character that is truly unforgettable to watch as it’s also one of Paxton’s great performances. Jenny Wright is terrific as Mae where she brings an innocence to a character who is very dark as she goes into conflict about whether to help Caleb or the rest of the vampires. Finally, there’s Adrian Pasdar in a brilliant performance as Caleb where he displays a sense of naivete` as a man dealing with his new powers while pondering about what to do as a vampire as it’s really an engaging performance from Pasdar.

Near Dark is an outstanding vampire thriller from Kathryn Bigelow that features top-notch performances from Adrian Pasdar, Lance Henriksen, Jenny Wright, and Bill Paxton. The film is quite different from Bigelow’s more action-driven work yet it does have a lot of intensity that will entertain audiences. It’s also a film that plays true to what vampires are as it doesn’t feature mopey pussies who won’t kill or any kind of gooey love story that involves constipated werewolves. The bottom line is that Near Dark is a vampire film that is fun and action-packed that is geared to give audiences a good time as it comes from the wondrous mind of Kathryn Bigelow.

Kathryn Bigelow Films: The Loveless - Blue Steel - Point Break - Strange Days - The Weight of Water - K-19: The Widowmaker - The Hurt Locker - Zero Dark Thirty - The Auteurs #29: Kathryn Bigelow

© thevoid99 2012

Lovely & Amazing

Written and directed by Nicole Holofcener, Lovely & Amazing is the story of a family of women and a child as they each deal with all sorts of insecurities as they deal age, body image, and other issues. The film is an exploration of the lives of three different women and a pre-teen African-American child as they all try to figure out their place in the world. Starring Brenda Blethyn, Catherine Keener, Emily Mortimer, Raven Goodwin, James LeGros, Clark Gregg, Jake Gyllenhaal, Dermont Mulroney, Aunjanue Ellis, and Michael Nouri. Lovely & Amazing is a poignant yet heartbreaking comedy-drama from Nicole Holofcener.

Jane Marks (Brenda Blethyn) is a middle-aged woman is set to have plastic surgery in hopes to look younger. While her adult daughters Michelle (Catherine Keener) and Elizabeth (Emily Mortimer) aren’t fond of the idea as is their adopted pre-teen African-American sister Annie (Raven Goodwin). They all are hoping for the best as Jane falls for her surgeon Dr. Crane (Michael Nouri) during the procedure. Michelle meanwhile, is dealing with issues with her artistic pursuits as it’s not bringing income to her family as she is at odds with her husband Bill (Clark Gregg). For the aspiring actress Elizabeth, she is still dealing with her physical insecurities as a photo shoot for her was a disaster for her while her relationship with boyfriend Paul (James LeGros).

With Jane wants the overweight and troublesome Annie to find a positive African-American role model in a swimming coach in Lorraine (Aunjanue Ellis). Annie has a hard time dealing with the fact that she’s an African-American while her older sisters try to help her out as she would often play with Michelle’s daughter Maddy (Ashlyn Rose). Unable to get money for her art, Michelle takes a job working at a one-hour photo shop as she befriends its 17-year old manager Jordan (Jake Gyllenhaal). Elizabeth’s acting career is starting to take off as she gains an audition with film star Kevin McCabe (Dermont Mulroney) which didn’t go well though McCabe thought she was good as they later went out for dinner.

When Jane’s surgery leaves her in a coma, the sisters all try to deal with what’s happening as Michelle embarks on a fling with Jordan while Annie starts to act out. With the premiere of Elizabeth’s new movie is happening, the sisters attend as they would all face their own problems about themselves and their mother.

The film is about four different women in different age groups and situations as they all try to come to terms with who they all are. With each hoping to make something of themselves, they would also face the certain realities of their own situations as it becomes harder for them to deal with. In reality, the film is a character study of sorts as well as displaying the kind of insecurities that women go through. For some, it’s a physical insecurity. For others, it something much more as Nicole Holofcener delve into these issues without going into a heavy-handed route by letting the audience figure out these characters.

For Jane, she’s a woman who is already a mother to two adult women as she is hoping to look and feel young in the surgery. What happens would force her to endure something unexpected as she also tries to flirt with her surgeon. For the eldest daughter Michelle, she is a woman who feels like her marriage is on the outs due to her unkind husband as she is also a kid of sorts who likes to watch cartoons and eat cereals with her daughter. Elizabeth is a woman with a nice figure but feels very insecure about herself as she would often take in stray dogs while her boyfriend becomes very uninterested. In the young Annie, she is a young African-American child living with a White family as she has a hard time dealing with her own racial identity while she just acts out and is becoming overweight.

The script allows Holofcener to figure these people out as they all want something to identify with while Michelle and Elizabeth each engage into different affairs due to their unhappy love life. Yet, the men they would be with for these affairs are very different individuals who appreciate who they are although they’re clearly not the right kind of guys to be with. Still, Holofcener does make them complex enough to be interesting men while maintaining her focus on the women as they try to figure themselves out.

Holofcener’s direction is truly engaging in the way she presents the film although many of the shots and compositions are pretty straightforward. Despite that lack of style, Holofcener does make up for it by being very up-front on the film’s dramatic moments while knowing when to put humor in a few scenes. One notable scene that is very confrontational involves a fully-nude Elizabeth asking Kevin McCabe what is wrong with her body. McCabe would be reluctantly honest as it is one of the most uncomfortable moments ever presented on film. It’s a moment in the film where nudity is allowed to help tell a story rather than just be a sex scene or an excuse just to have nudity.

Other moments of Holofcener’s direction involves the Annie character as this young girl is definitely lost in her identity as Holofcener presents these subtle moments where she pretends to play dead while swimming in a pool. Holofcener presents Annie as a lost child who is unsure about who she is as she would be quite up-front about everything as she curses and likes to eat a lot of food. There’s a scene where she and Michelle have a moment as Annie asks if she likes her straightened hair. Michelle reveals her answer in a direct yet calm manner as she understands what Annie is going through without really saying more. It’s these little moments of drama and humor that makes the film so much more than just a typical comedy-drama as Holofcener creates a very broad yet heartwarming film.

Cinematographer Harold Bosmajian does an excellent job with the film’s low-key digital photography that is a bit grainy but very entrancing for its simple look. Notably in the nighttime interiors where it doesn’t need lots of light while maintaining a sense of mood for the dramatic moments of the film. Editor Robert Frazer does a nice job with the editing by playing it a bit straight while utilizing a few jump-cuts and rhythmic cuts for some of the intensity of the film’s dramatic moments. Production designer Devorah Herbert and art director Missy Parker do some terrific work in creating the set piece such as the homemade artwork that Michelle makes as well as the look of Jane’s clean, spacious home.

Costume designer Vanessa Vogel does a very good job with the costumes as a lot of it is quite casual for the men and women while it also includes some designer stuff that Elizabeth wears including the sheer dress she wears in the opening scene. Sound editor Kelly Oxford does some fine work in the sound editing from the intimacy of some of the locations that occur to the raucous atmosphere of the pool hall where Lorraine runs the swimming school. The music by Craig Richey is quite remarkable for its keyboard-driven score with folk-driven pieces to play up the drama that occurs in the film. Music supervisor Amy Rosen creates a soundtrack that is very low-key as it includes a lot of indie acts like Pillbox, Josh Rouse, Elwood, and Bleu.

The casting by Jeanne McCarthy is remarkable for the ensemble that is created as it includes small but notable performances from Christine Mourad as Elizabeth’s agent Cindy, Ashlynn Rose as Bill and Michelle’s daughter Maddy, Dreya Webber as Michelle’s friend Donna, James LeGros as Elizabeth’s cynical and disinterested boyfriend Paul, and Clark Gregg as Michelle’s smarmy and unsupportive husband Bill. Other noteworthy supporting roles include Michael Nouri as Jane’s attractive surgeon Dr. Crane, Dermont Mulroney as big-time film star Kevin McCabe, Aunjunae Ellis as Annie’s kind but concerned swimming coach Lorraine, and Jake Gyllenhaal as Michelle’s teenage photo-shop manager Jordan whom she would have a brief affair with.

Raven Goodwin is superb as the young African-American child Annie who is confused by her identity while acting out as she deals with her mother’s surgery as it’s a very raw yet charming performance for the young actress. Brenda Blethyn is excellent as the humorous and excited Jane who is hoping to look and feel young while trying to help her daughters with their own situations. Emily Mortimer is great as the insecure Elizabeth who is trying to get an acting career going while dealing with her own physical flaws as Mortimer delivers one of her most vulnerable moments by going full-on nude in front of a guy as it’s a truly confrontational yet unsettling performance from the British actress. Finally, there’s Catherine Keener in a brilliant performance as Michelle who tries to find success as an artist while dealing with a failing marriage as she also has to help out her other sisters as it’s a witty yet touching performance from Keener.

Lovely & Amazing is a spectacular yet smart film from Nicole Holofcener. Featuring an amazing ensemble cast led by Catherine Keener, Emily Mortimer, Brenda Blethyn, and Raven Goodwin. It’s a film that doesn’t stray into conventions about women and their own issues about their physicality, age, and identity while it’s also one that is quite strong. Even if the characters are flawed but real enough for people to be engaged by. Lovely & Amazing is a rich and poignant drama that is told with a sense of wit and realism better than its creator Nicole Holofcener.

Nicole Holofcener Films: Walking & Talking - Friends with Money - Please Give - Enough Said - The Auteurs #22: Nicole Holofcener

© thevoid99 2012

Drugstore Cowboy

Originally Written and Posted at Epinions.com on 11/15/05 w/ Extensive Revisions.

1980s independent American cinema helped open doors for films of all subject matters. One of them was drug abuse were many independent filmmakers took a more realistic, documentary-like perspective into the drug culture. One director in the late 80s went full-on for a dramatic approach in his exploration on drugs and his name was Gus Van Sant. After helming his 1985 debut feature Mala Noche, Van Sant had been hailed as a new visionary yet wasn't ready to move into the Hollywood circuits as he wanted to remain independent in his vision. No matter what subject he wanted tackle, even after a brief stint with Universal that failed. Van Sant moved to Portland, Oregon to create his tale of the drug world with 1989's Drugstore Cowboy.

Based on an unpublished novel by James Fogle, Drugstore Cowboy is a chronicle about four young drug addicts in 1971 Portland who scam their way into stealing pharmaceuticals at drugstores to feed their addiction. While evading a cop and staying at an apartment to plan their next heist, tragedy emerges as their leader tries to stay clean despite his wife's continuing addiction and the world he tries to leave behind. Adapted into a script by Van Sant and Dan Yost, the approach is more cathartic tale of four young, dysfunctional people living as a family while dealing with their addictions. Starring Matt Dillon, Kelly Lynch, James LeGros, Heather Graham, James Remar, Grace Zabriskie, Max Perlich, and Naked Lunch novelist William S. Burroughs. Drugstore Cowboy is a gritty, off-the-wall masterpiece from Gus Van Sant.

Longtime drug addict Bob (Matt Dillon) has made a career stealing and using pharmaceutical and prescription drugs with help from his wife Diane (Kelly Lynch). With help from a couple of young addicts in Rick (James LeGros) and Nadine (Heather Graham), they have been successful as Nadine fake seizures while the rest steal. Using these drugs for themselves, Bob also tries to deal with a fellow dealer named David (Max Perlich) who is trying to rise up in the game. Bob is also trying to avoid a cop named Gentry (James Remar) who often checks for any of the drugs Bob and his gang has stolen. During a visit to see his mother (Grace Zabriskie), Bob and Diane ponder their own future as they also try to find a new home.

When Nadine asks Bob about getting a dog, Diane reminds her about the superstitions that Bob has where he believes that a dog or a hat on a bed would curse them for some time. After a prank on Gentry during a police assignment, Bob and the gang leave Portland where another heist is foiled by Nadine's clumsiness. Forced to hide out again, Bob finds a drug he had stolen as he makes another attempt at a hospital that was almost successful. The jinx that Bob claims is happening finally hits someone forcing Bob and Diane to leave only to be trapped by a nearby sheriff's convention prompting Bob to go straight.

Returning to Portland, Bob goes into treatment as a counselor (Beah Richards) takes him in where he befriends a former priest named Tom (William S. Burroughs) whom bob knew as a kid. Tom's wisdom prompts Bob to lead a straight life as he gets some unexpected help from Gentry. Yet, Bob's past would come to haunt him as Diane makes a chilling return along with some old adversaries.

Most films about drugs would either glorify or just attack the culture yet in Van Sant's approach, the film is not really about drugs. From his view, it's really about a family and their dysfunctions while feeding their habits in stealing from drug stores. It's also a story about a man who lives a certain lifestyle only that he realizes that it's not cracked up to be only to try and straighten up. The script Van Sant and Dan Yost come up with is excellent for its realism as well as surrealism in Van Sant's direction that includes fantasy backgrounds in whenever Bob is getting high or is feeling elated about something. While the film has a sense of doom in the second act, the third act is where the story shifts into a story where Bob finds himself in a room full of addicts. The conversation is about drugs yet there's no judgement towards them since Van Sant is really viewing them as human beings.

Everything that Van Sant comes up with is very well, even with the ending where in Bob's narration, it has a sense of irony. The narration really brings a perspective in what Van Sant wants to say, especially since it's from the words of James Fogle, the story's original novelist. The narration is unique while the film starts and ends in the same place and same time. The structure is pretty original in how it builds up a story, especially in the death scene where the emotions are mixed on how Bob and his team react. A lot of the credit goes for Van Sant for not glossing anything or being exploitive at the same time.

Helping Van Sant with his outlook and arty visual style is cinematographer Robert Yeomen who brings a dreamy yet gritty look of the film in the exterior scenes in Portland while in the interiors, brings a wonderful intimacy with his lighting and camera work. Production designer David Brisbin and art director Eve Cauley also bring an authenticity to the look of the hotels and homes since the film is set in 1971 along with Beatrix Aruna Pasztor on the costume design, particularly for the clothing of Kelly Lynch and Heather Graham. With wonderful layers of cinematic visuals done by editor Curtiss Clayton, the film has a nice, multi-dimensional look in the dream backgrounds of Bob while it's nicely paced throughout the film. Composer Elliot Goldenthal brings a wonderful score to the film for its dramatic moments and dreamy sequences while the film features a nice soundtrack of late 60s/early 70s music.

Then there's the film's wonderful cast that is filled with realistic and powerful performances including memorable ones from Max Perlich as the naive drug dealer David who gets caught up in his power, Grace Zabriskie as Bob's strict but loving mother, and Beah Richards as a wise drug counselor. The most eerie performance of the entire film is late Beat novelist William S. Burroughs who gained notoriety for his drug novel Naked Lunch. Burroughs gives a mesmerizing and disturbing performance as a former priest who continues to use drugs while providing some strange insight into its culture and roots. James LeGros is excellent in his performance as the doltish but resourceful Rick who manages to find his way and help out Bob while being the only real supporter for his young, naive girlfriend Nadine. James Remar is also brilliant in his role as Gentry, a cop who is willing to do anything to bust Bob. Remar might seem like a villain but he brings a lot more sympathy for Bob in trying to help him straighten out and when Bob does go straight, Remar becomes an unlikely supporter.

The film's most surprising performance goes to a young Heather Graham as the naive, innocent Nadine. With her winning smile and naive behavior, Graham makes herself into a believable character who is new to the game while learning and after a series of screw-ups, Graham takes her character to new dramatic heights as her performance is the film's real breakthrough. Kelly Lynch is also great in her role as Diane, a veteran junkie who is aware of the traps of the game but remains very upbeat on all levels, even as Bob leaves to go straight. There's never a moment in which Lynch gives a dull performance as she graces the screen with her amazing beauty and intelligence.

Then there's Matt Dillon who gives probably the best performance of his career, especially at the time when he had fallen off the radar for a while after his great moment in the early 80s. Dillon brings a lot of complexity and charm to his role as an addict who seems to know everything. Even when it comes to superstitions and how to create a perfect scam and heist. When Dillon goes straight, we see him trying to struggle with his upcoming role only to become content right till the end. This is truly one of the best performances of the decade and a real reason in why Matt Dillon is one great actor.

Drugstore Cowboy is a wonderful yet provocative film from Gus Van Sant that features a great cast and superb imagery. While Van Sant's best work is yet to come with the gay road drama My Own Private Idaho, it's this film that put him into the map of the independent film movement. While more mainstream fans will find this interesting, it's more likely they'll enjoy To Die For and Good Will Hunting more though fans of his recent work will definitely love Drugstore Cowboy. For a film with a lot of grit, surrealism, great performances, and a wonderful style, Drugstore Cowboy is the film to see.

Gus Van Sant Films: Mala Noche - My Own Private Idaho - Even Cowgirls Get the Blues - To Die For - Good Will Hunting - Psycho (1998 film) - Finding Forrester - Gerry - Elephant - Last Days - Paranoid Park - Milk - Restless - Promised Land

The Shorts & Videos of Gus Van Sant - Auteurs #4: Gus Van Sant

(C) thevoid99 2011

Mildred Pierce (2011 TV Miniseries)

Based on James M. Cain’s 1941 novel, Mildred Pierce tells the story of a middle-class housewife’s struggle to give her children a better life during the Great Depression. Though she finds works as a waitress and begins to work her way up, she also begins to deal with the ambitions of her eldest Veda as their lives turn tragic. The story would eventually become a feature film in 1945 by Michael Curtiz that starred Joan Crawford in the title role, which would win her an Oscar for Best Actress. In 2011, the melodramatic story is told once again into a new medium for a five-part TV miniseries. This time, under the helm of one of American cinema’s great talents in Todd Haynes.

Directed by Todd Haynes with a teleplay by Haynes and Jon Raymond. Haynes’ adaptation of Mildred Pierce is a re-telling of the novel by expanding on the melodrama with the realism of the 1930s. While some might consider the project to be a companion piece of sorts to his 2002 film Far from Heaven. The miniseries is a different take on the world of housewives that Haynes had previously explored in Far from Heaven and Safe. Even as he goes for a grittier yet stylistic approach to the story with Kate Winslet in the title role. Also starring Evan Rachel Wood, Guy Pearce, Mare Winningham, Melissa Leo, Brian F. O’Byrne, James LeGros, and Hope Davis. Mildred Pierce is a sprawling yet evocative drama from Todd Haynes and company.

Part 1

It’s 1931 during the Great Depression in Glendale, California when Bert Pierce (Brian F. O’Byrne) leaves his home and his wife Mildred after accusations of infidelity. With her two young daughters in the glamorous Veda (Morgan Turner) and the playful Ray (Quinn McColgan), Mildred realizes that she needs work. While her neighbor Lucy Gessler (Melissa Leo) helps out along with Bert’s business partner Wally Burgan (James LeGros). Still in 1931, as Mildred struggles to find work in any kind of field. While an employment agent helps her find work, she gets a job offer to work for a maid by a rich woman named Mrs. Forrester (Hope Davis).

Mildred turns her down as she continues to try and find work where during a lunch break, she sees an argument between waitresses as the manager (Mark Margolis) fires one of them. Realizing they’re short, Mildred volunteers for the day as she accepts the job of being a waitress. While she only tells Lucy about the job, she hopes that no including Veda would know about this.

Part 2

With help from Ida Corwin (Mare Winningham), Mildred succeeds as a waitress as she brings in some money. While things are fine at the restaurant, the only thing the customers complain about is the pie as Mildred brings in pies of her own to help boost things. Realizing that she can make money on her own with her cooking skills, she also learns the ropes of the restaurant business with Wally’s help to start a restaurant. Though Wally reveals that in order for Mildred to have her own business, she needs to divorce Bert. Bert reluctantly does so though he still gets the chance to see his daughters.

Mildred’s secret comes out when her new assistant Letty wear Mildred’s waitress dress. Mildred has a confrontation with the snobbish Veda while revealing the plans she’s having for the restaurant. On the last day of her job as a waitress, a man named Monty Beragon (Guy Pearce) arrives as he asks Mildred for a day at the beach in Santa Barbara. Mildred accepts where romance happens between Mildred and the fruit company heir. On the way home, Mildred would encounter tragedy that would change her life as well as her relationship with Veda.

Part 3

After the family tragedy Mildred faced, she decides to move forward to open her restaurant called Mildred’s. With her maid Letty (Marin Ireland) helping out for the first day, it starts off slow until it grew in that first night. With Ida and Lucy helping out, the first night becomes successful as Monty makes an appearance much to the delight of Veda. With Monty in Mildred’s life and making an indelible impression on Veda, everything seems to be going well. Even as Monty gets a chance for Veda to audition for a prestigious music teacher. Though the audition is a success, Mildred knows that she has to get a top piano for Veda so she can continue to practice.

With Prohibition on its way out and Monty having money troubles, Mildred takes Lucy’s advice to have a little bar in her restaurant. Yet, it’s not enough to deal with Monty’s financial issues while Veda’s time with Monty makes Mildred uneasy. Even as Veda is unimpressed by Mildred’s present while saying things that upset Mildred about Veda’s conversations with Monty. At a rainy night on New Year’s Eve, Mildred confronts Monty about his conversations with Veda along with the fact that she works and he doesn’t.

Part 4

With Mildred’s becoming a success as Mildred hopes to expand her business, Lucy finds a location at Laguna that would become a place where Mildred would exceed her finances. With help from Wally and Ida, Mildred’s third restaurant at the Laguna becomes another success as she also expands her entrees. After the news of her teacher‘s death, Veda (Evan Rachel Wood) tries to get an audition with a famed music impresario named Treviso. Instead, the audition becomes a disaster leading Veda to party with a group of young people.

Mildred is worried about Veda’s partying ways as she gets an unexpected visit from Mrs. Forrester. What Mildred learns from Mrs. Forrester has her worried while she asks Veda what happened. Veda revealed she turned to Wally for help as Mildred learns the realization of what Veda is trying to do. Yet, what is more shocking is Veda’s motivation to do so as Mildred kicks her out. With Veda gone, Mildred focuses on her business yet she longs for information about Veda. Then, she hears the news from Bert that Veda has succeeded as an opera singer.

Part 5

After learning about Veda’s success and hearing her sing through the radio, Mildred is desperate to contact her. She realizes that Veda’s music instructor is Treviso who is happy about working with Veda though suggests to Mildred to not make any contact with her for her own sake. With ideas of finding a new home in Pasadena, Mildred runs into Monty as they reconnect. Selling her his estate, the two get married as Veda makes a surprise appearance. Though everything seems fine as Veda becomes a big success. Mildred learns about some holes in her finances as it becomes clear what’s been happening. Even Bert reveals what’s been happening as people from her business have tried to warn her about something. It is there that Mildred faces not only betrayal but also heartbreak.

While the original 1945 film was a noir-like melodrama set in the 1940s, it was a very stylized approach to what James M. Cain had originally intended with the book. Under the direction of Todd Haynes, Cain’s story about a woman trying to win the heart of her ungrateful daughter expands into something much bigger and more realistic. Even as Haynes uses Mildred’s struggle early in the miniseries as an allegory to what was going in the late 2000s during the troubled economy. Yet, Haynes and co-writer Jon Raymond delve into the story about this woman’s desperate to succeed in her own times and win her daughter’s heart. Even by going to Cain’s novel and bring in characters that weren’t present or under-utilized in Michael Curtiz’s 1945 film.

The relationship between Mildred and Veda is the heart of the miniseries while characters such as Bert Pierce, Ida Corwin, Wally Burgan, and Monty Beragon are more prominent in the book. Even the character Lucy Gessler, who wasn’t in the 1945 film, is presented in the miniseries. With these supporting characters, they bring in their own perspective about the Mildred and Veda relationship though it’s told through Mildred’s perspective.

Since it’s told in nearly six-hours and in five parts, it’s all about Mildred’s progression from a wife whose husband has left her for another woman to struggle on her own. When she eventually takes a job as a waitress so she can raise her daughters. During this time as a waitress, she learns about the restaurant business and with the help of a few people. She starts her own restaurant and eventually succeeds by turning it into an empire. Yet, part of the motivation isn’t to give her daughters the chance to feel secure but also for them to have a very good life. Unfortunately, one of them wants more than that.

The character of Veda is someone that wants ambition and wants to succeed at any cost. When family tragedy occurs in the Pierce family, it does bring Veda and Mildred closer which also serves as Mildred’s reason to want to have Veda around her. Instead, Veda becomes more ambitious and falls for Monty’s lifestyle. The chance to play music and later, become a singer is Veda’s chance to not only leave Glendale but also leave the mother who she feels is holding her back.

With the relationship of the two progressing throughout the duration of the story, there comes various people involved that would look at this relationship. The one person that would help create the divide in the two is Monty. Monty is a rich playboy who likes to live a lifestyle that he can afford, at first. By the time his own finances dry up, he goes to Mildred for money as she takes care of him. Instead, his own time with Veda would be the breaking point as they won’t see each other for a few years. When he does reappear, he would be responsible for the reunion between Mildred and Veda. Yet, that wouldn’t last as he would create the problems Mildred would face the near-ruin of everything she’s worked for. What’s even worse isn’t just betrayal but also an indication of how foolish she can be.

Part of Mildred’s fault is her ability to try and please others such as Monty and Veda. Yet, they take advantage of her hospitality making Mildred into a tragic figure of sorts. Even by the miniseries’ climatic moment is where she finally reaches her breaking point following everything that has just happened to her. The ending of the miniseries isn’t as stylish as Curtiz’s film but it’s an indication of what Mildred has learned and realizes in the end.

The teleplay by Haynes and Jon Raymond succeeds in not only the character study of Mildred Pierce as well as other characters. They succeed in also creating the environment of what was it like during the Great Depression. Through Haynes’ sprawling yet stylish direction, he creates something that is not just reminiscent of 1970s cinema. He also brings a contemporary approach to the story while retaining the language of the 1930s. Yet, Haynes is always having his camera interested in what is going on with Mildred’s world and through the people around her.

There are scenes throughout the miniseries where Mildred is looking around whether she’s inside a car or at a restaurant looking around. It’s as if she’s is feeling detached by the world around her. Even as Haynes understands what Mildred is going through with her life. Even as the story progresses, she becomes more refined while is awaiting to be reunited with Veda. The scenes where Veda performs an opera is truly captivating as it’s shown not just from Mildred’s perspective but also in how Veda is displaying those emotions through her singing. It’s not just Veda singing to her mother where it seems like she’s being grateful underneath all of that performance is a young woman becoming more detached from the woman who tried to give her everything.

Haynes’ direction truly succeeds in creating a feeling of detachment while bringing new life to the world of the Depression in California though it’s mostly shot in the state of New York. The look of the 1930s during the Depression might not seem as decayed or in ruins but rather a period where people are struggling while trying to get things moving. Even as he creates wonderful shots and camera movements to get into the emotion of the story. Even as he ends each part with some sort of cliffhanger as the end of the first part really shows a great example of what is happening. The result is truly a magnificent miniseries helmed by one of American cinema’s great filmmakers working today.

Cinematographer Edward Lachman does a superb job with the miniseries’ gorgeous photography. Lachman plays up the sunny yet dreamy quality of many of the miniseries’ exteriors that gives it a Californian feel. For many of the interiors, Lachman brings in an amazing array of lighting schemes whether its to reflect sunlight against the glass in some scenes or creating a mood for what is happening. Lachman’s photography is truly exquisite as it is definitely the highlight of the miniseries’ technical work.

Editors Alfonso Goncalves and Camilla Toniolo do a phenomenal job with the editing of the entire series. With Goncalves on the first two parts, Toniolo on the third, and both doing the last two parts. The editing works in playing up to the drama and uncertainty about Mildred early in the story. Even as presents the story in a leisured yet methodical pacing while not making it too slow. While it’s length works as a miniseries which allows each part to be separated at over an hour each. The editing also works to convey the intense melodrama that occurs throughout the miniseries as it is definitely some fine work.

Production designer Mark Friedberg, along with set decorator Ellen Christiansen and art director Peter Rogness, does a great job with the recreation of 1930s California from the look of the restaurants and homes that characters lived in. Even with the cars as Freidberg and his team do something that is truly spectacular with the period setting including the grand scenes for the opera. Costume designer Ann Roth does a spectacular job with the costumes for the miniseries. Roth’s costumes plays up to the evolution of Mildred’s character from a middle-class woman struggling to find work to a woman with lavish clothes running a business. Even with Veda’s clothes early as child with someone wanting top-class to a much more grander style of clothing to represent her narcissistic personality.

Visual effects supervisor Lesley Robson-Foster does a very good job with the minimal sound effects to enhance the look of 1930s America along a few shots for some of the driving scenes. Sound designer Leslie Shatz does an amazing job with the sound work for the miniseries. From the way cars sounded back then to the surroundings Mildred would encounter throughout duration of the miniseries along with the homes she lives in. Shatz’s work is truly stellar in the way she allows the sound to intensify the dramatic elements of the miniseries.

The score by Carter Burwell is truly wonderful for the way Burwell plays up to the melodrama as well as the period of the music. Creating a score filled with lush arrangements and orchestral flourishes that is bombastic and also understated to play up the drama. Even with something as plaintive as a piano to help play to Mildred’s complex emotions. Music supervisor Randall Poster helps with the soundtrack by creating a mix of 1930s pop music at the time, notably I‘m Always Chasing Rainbows that serves as Mildred‘s sort of theme. Poster also selects varied classical opera pieces for Veda to play with vocals by Sumi Jo to serve as Veda’s voice. The music overall is fantastic as it’s another highlight of the miniseries.

The casting by Laura Rosenthal is definitely top-notch with the array of people that appears throughout the entire miniseries. In small but notable appearances include Paul Sparks as an agent trying to get Veda to New York City in the fifth part of the series, Mark Margolis as the diner boss, Miriam Shor as a diner waitress, Elvy Yost as Mildred’s secretary in the latter part of the miniseries, Halley Feiffer as one of Mildred’s waitresses, and Marin Ireland as Mildred’s maid/assistant Letty. Quinn McColgan is very good as Mildred’s youngest daughter Ray who provides all of the warmth and playfulness that anyone could ask for in a kid. Hope Davis is excellent in a small but pivotal role as Mrs. Forrester, a rich woman who snidely offers Mildred a job in the first part only to return in the fourth when she confronts Mildred about Veda.

Mare Winningham is great as Ida Corwin, a diner waitress who helps Mildred run the restaurant while being the person who tries to warn Mildred about the finances. James LeGros is wonderful as Wally Burgan, a businessman who occasionally sleeps with Mildred early in the series to help her start a business while being the man who would make decisions that baffles Mildred. Melissa Leo is phenomenal as Lucy Gessler, Mildred’s best friend and confidant who helps her run the restaurant business while trying to warn Mildred about Veda’s behavior. Brian F. O’Byrne is extremely impressive as Bert Pierce, Mildred’s first husband who leaves for another woman only to become a supporter of her and one of the few people she trusts. O’Byrne truly brings an everyman quality to Bert who is kind of a sap but a guy that is sympathetic as his own relationship with Mildred in the progression of the story becomes one of the most interesting as O’Byrne really shines.

Guy Pearce is amazing as Monty Beragon, the charming playboy who wows Mildred with his tastes as he helps her succeed. Yet, Pearce also brings a devilish quality to Beragon as he is someone who is more brutish and also lazy as a guy who just likes to live a lifestyle that he can’t really afford. It’s Pearce at his finest as he and Kate Winslet have some wonderful chemistry whether they’re in love or hating each other. For role of Veda Pierce, two actresses play the character in two different age groups. For the younger Veda, Morgan Turner is superb as this young, ambitious little girl who scoffs at the idea of the working class while being very spoiled. Turner adds a smugness to that character that makes her someone that anyone would love to hate. Yet, it’s a remarkable performance from the young Turner as it’s really a set-up for what will Veda become as a teenage girl/young woman played by Evan Rachel Wood.

Evan Rachel Wood gives, what is probably the best performance of her young career so far. Not only does she make Veda more unlikable, she makes Veda into a monster that anyone wishes would be dead. Wood truly brings a very dramatic flair to her character by being a bit over the top and also bringing the idea that she is a talented singer/musician in the way she mimics things. By the time the story progresses and she becomes larger than life, Wood definitely has moments she nearly steals the scenes from Kate Winslet including a nude scene that is one of the most infuriating moments of the miniseries. It is definitely a break-out performance for the young Evan Rachel Wood.

Finally, there’s Kate Winslet in what is definitely one of her greatest performances of her career. In playing the titular character, it is a very different performance than the one Joan Crawford gave in the 1945 performance. It’s stripped down and also very direct about a woman struggling to bring security to her young daughters and to succeed on her own terms. Winslet brings a real weariness to her character while her physicality in the way she reacts to things is just startling. Even as she has a great rapport with her fellow actors including Evan Rachel Wood where the two have great scenes together about their troubled relationship. While it may not be her best performance of her career, it is certainly among one of her best in an amazing career.

Mildred Pierce is a spectacular yet mesmerizing miniseries/melodrama from Todd Haynes featuring a towering performance from Kate Winslet in the title role. Along with some fantastic supporting work by Evan Rachel Wood, Morgan Turner, Guy Pearce, Melissa Leo, Mare Winningham, and Brian F. O’Byrne. It’s definitely a story that really plays to its sense of ambition and heartbreak. While it may not be as overly stylized as Michael Curtiz’s 1945 film, it is definitely a more realistic take on James M. Cain’s novel though both have the same idea. While it is a long story to watch, it is told in the right medium as a miniseries as Todd Haynes truly went all out for this story. In the end, the 2011 miniseries of Mildred Pierce is a dazzling yet intense project from Todd Haynes.

Todd Haynes Films: Superstar: The Karen Carpenter Story - Poison - Dottie Gets Spanked - Safe - Velvet Goldmine - Far from Heaven - I'm Not There - Carol - Wonderstruck - Dark Waters (2019 film) - The Velvet Underground

Related: Mildred Pierce (1945 film) - The Auteurs #3: Todd Haynes

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