Based on the character from DC Comics, Joker is the story of a wannabe stand-up comedian whose descent into madness would force him to become an agent of chaos and wreak havoc on Gotham City. Directed by Todd Phillips and screenplay by Phillips and Scott Silver, the film is an origin story of sorts set in the late 1970s/early 1980s as it play into a man who is struggling to fit in to society only to deal with his own mental illness and rejection from the world as the titular character/Arthur Fleck is portrayed by Joaquin Phoenix. Also starring Zazie Beetz, Frances Conroy, Brett Cullen, Bill Camp, Shea Whigham, Marc Maron, and Robert de Niro. Joker is a haunting yet intense film from Tod Phillips.
Set in 1981 during a time of civil and social unrest in Gotham City, the film follows a man who works as a rent-a-clown who aspires to be a stand-up comedian as he copes with his own mental issues as an act of violence he committed would give him a spark in his life. It’s a film that explore a man who would become Batman’s top nemesis and what he was before he had become this agent of chaos. The film’s screenplay by Todd Phillips and Scott Silver establishes a world that is similar to what was happening to New York City in the mid-late 1970s during a time of economic turmoil, social and civil unrest, and crime being the norm where Arthur Fleck is just a guy trying to work as a clown to make money to help his ailing mother Penny (Frances Conroy) yet he is beaten up by a gang of kids one day and is already in trouble while he often has to write a journal for a social worker (Sharon Washington) handling his case and giving him medication. Things however are getting bad as social services is dealing with budget cuts while Arthur would lose his job due to a small incident though no one was hurt.
Arthur also has a condition where he laughs uncontrollably whenever he gets emotional or anxious as it play into the repressed emotions he is carrying as his time caring for his mother starts to overwhelm him. While he would find a source of comfort in befriending his neighbor in Sophie Dumond (Zazie Beetz), he has trouble trying to connect with the world including in his attempts to be stand-up comedy. His biggest dream is to succeed and appear on a late-night talk show hosted by Murray Franklin (Robert de Niro) yet reality would collide with Arthur following an incident where he is beaten by three Wall Street workers whom he would kill in defense on a subway. It would be a key moment in the film as the death of these three men would spark a social uprising during an election year in which one of Gotham’s richest men in Thomas Wayne (Brett Cullen) is running for mayor hoping to fix the city. Adding to the drama is Penny’s claims that she is to receive a letter from Wayne since she used to work for him prompting Arthur to find out more about her relationship with Wayne leading to some major revelations.
Phillips’ direction definitely evokes two films by Martin Scorsese in Taxi Driver and The King of Comedy with more emphasis on the latter which was about a wannabe stand-up comedian trying to be friends with a talk show host only to later kidnap him. Shot on location in New York City as well as parts of Newark, New Jersey, the film does play into that world of a city on the brink of collapse as it’s surrounded by garbage due to a garbage strike with rats eating the garbage. Employment is becoming scarce with the poor being poorer and the rich being richer with Arthur being part of the former as he is struggling to work as a clown to help failing businesses or to entertain children at a children’s hospital. Much of Phillips’ direction is straightforward in its compositions with some wide shots of a few locations as well as to play into Arthur’s disconnect with society and reality. The close-ups and medium shots that play into Arthur’s interaction with others including a tense meeting with Thomas Wayne at a benefit play into his attempts to connect with people.
Phillips’ direction does have a few drawbacks as it relates to a few twists that play into Arthur’s revelation about himself and his mother with the latter given a storyline about a possible relationship with Wayne that never really gels out despite what is revealed. The exploration of social chaos definitely takes a cynical view of things where it play into this air of social discord between the rich and the poor with Arthur being this unlikely hero for the latter and the enemy of the former yet no one knows about his identity as the man who killed those three yuppie men. Though Arthur doesn’t take sides in this conflict nor does he condone the actions of others, the film does play into the impact he creates where Phillips is aware that Arthur is a ticking time bomb waiting to explode. The film’s third act that has him face up to the realities of the world and strip away whatever delusions he and his mother had would showcase a man that has inspired a dangerous movement of anarchy that would have some serious consequences including how it would affect a young boy named Bruce Wayne (Dante Pereira-Olson). Overall, Phillips crafts a chilling yet gripping film about a mentally-ill man whose disconnect with the world would make him a master of chaos.
Cinematographer Lawrence Sher does excellent work with the film’s cinematography with its emphasis on low-key colors with certain lighting moods and schemes to help play into Arthur’s behavior as well as the state of Gotham City in its growing sense of decay. Editor Jeff Groth does terrific work with the editing as it does bear some style in some of the rhythmic cuts it creates to play into the drama, suspense, and some of the film’s dark humor. Production designer Mark Friedberg, with set decorator Kris Moran and art director Laura Ballinger, does amazing work with the look of the apartment home that Arthur and Penny lived in as its cramped and in drab conditions to reflect the world they live in as well as the studio that Murray Franklin hosts his show. Costume designer Mark Bridges does fantastic work with the costumes from the clothes that Arthur wears as it would involve into the suit he would wear upon his evolution as the Joker to the clothes of other people that they wore during the early 80s.
Makeup designer Nicki Ledermann and prosthetics makeup effects designer Michael Marino do superb work with the look of the makeup that Arthur wears as a clown and its evolution that would play into his growing manic state. The visual effects work of Brian Adler, Joseph Oberle, and Kondareddy Suresh is nice for the way it presents early 1980s Gotham City in its grungy and decayed look as well as some of the chaos that occurs during the film’s third act. Sound editor Alan Robert Murray does nice work with the sound in the way music sounds on a location or in a room as well as the usage of natural sounds and voices that Arthur would hear as it play into his growing descent.
The film’s music by Hildur Guonadottir is wonderful for its ominous yet eerie music score with its emphasis on strings and brass to play into Arthur’s descent while music supervisors George Drakoulias and Randall Poster provide a music soundtrack that mixes an array of music from the likes of Claude Bolling, Frank Sinatra, Cream, the Main Ingredient, Fred Astaire, Lawrence Welk, Stephen Sondheim, and Charles Chaplin that play into the world that Arthur is in though the one major blemish in the music soundtrack is a 70s glam rock piece by a certain convicted pedophile whose name doesn’t deserve any mention.
The casting by Shayna Markowitz is marvelous as it feature some notable small roles from Rocco Luna as Sophie’s daughter Gigi, Josh Pais as Arthur’s boss, Leigh Gill as the midget clown Gary, Carrie Louise Purtello as Martha Wayne, April Grace as Arkham asylum psychiatrist, Sharon Washington as Arthur’s social worker, Glenn Fleshler as a clown named Randall who would give Arthur a handgun, Hannah Gross as a young Penny in a flashback scene, Brian Tyree Henry as an Arkham hospital clerk who makes a discovery about Arthur, Marc Maron as Franklin’s producer Gene Ufland, and Dante Pereira-Olson as a young Bruce Wayne. Other notable small roles include Shea Whigham and Bill Camp as a couple of detectives asking Arthur some questions about what happened the yuppie murders.
Douglas Hodge is terrific in his lone scene as Bruce Wayne’s caretaker Alfred Pennyworth who confronts Arthur while revealing things about Arthur’s mother. Brett Cullen is superb as Thomas Wayne as the billionaire who is running for mayor to help Gotham as he isn’t fond of the poor believing that some of them are trouble while he would have an encounter with Arthur that doesn’t go well. Frances Conroy is fantastic as Arthur’s mother Penny as a woman feeling ill as well as having delusions with claims about a relationship with Thomas Wayne though she did work for him as she is waiting for a letter from him. Zazie Beetz is excellent as Sophie Dumond as a neighbor of Fleck who would befriend him while sharing her own disdain of the rich but is not as cynical like everyone else knowing right from wrong.
Robert de Niro is brilliant as the late-night talk show host Murray Franklin who would play a role in Arthur’s own descent into madness after making fun of his stand-up performance as he is someone Arthur wanted to meet as this comedic idol. Finally, there’s Joaquin Phoenix in a tour-de-force performance as Arthur Fleck as this wannabe stand-up comedian and rent-a-clown that feels rejected by society and is constantly abused while overwhelmed with his duties to take care of his mother. It’s a performance that has Phoenix display an amazing air of physicality as well as play into someone that is troubled who later does horrible things as he is a man to be pitied and not revered as Phoenix creates this balance of a man that becomes lost in his own madness.
Joker is a marvelous film from Todd Phillips that features a great performance from Joaquin Phoenix in the titular role. Along with its ensemble cast, grimy visuals, study of mental descent and isolation, and an offbeat music soundtrack, it’s a unique character study into a man who starts off as someone trying to be good only to become a villain though there’s parts of the narrative and direction that doesn’t work as it play into the journey that this man would endure. In the end, Joker is a remarkable film from Todd Phillips.
Related: Taxi Driver - The King of Comedy - Batman (1989 film) - The Dark Knight - The Lego Batman Movie
© thevoid99 2019
Inspired by Fyodor Dostoyevsky’s short story White Nights, Two Lovers is the story of a man who returns home to New York City as he finds himself engaged to a woman when he falls for a neighbor. Directed by James Gray and screenplay by Gray and Richard Menello, the film is an unusual romantic triangle where a man finds himself falling for a beautiful woman but also wants to be a good man to his fiancé. Starring Joaquin Phoenix, Gwyneth Paltrow, Vinessa Shaw, Elias Koteas, Moni Moshonov, and Isabella Rossellini. Two Lovers is a rapturous and intoxicating film from James Gray.
The film revolves around a troubled man who finds himself in a love triangle with a beautiful neighbor he’s fallen for and a woman whose father wants to buy his parents’ laundromat business. It’s a film that plays into a man dealing with not just in love with two different women but also the fact that he’s still reeling from heartbreak as he is unsure of what to do. The film’s screenplay by James Gray and Richard Menello opens with Leonard Kraditor (Joaquin Phoenix) walking near a creek on his way home as he thinks about his former fiancée who broke up with him as he jumps off a bridge in a suicide attempt. He is saved but still has to return home unaware that his parents are having a meeting with the people who are going to buy their laundromat as they’re bringing in their daughter Sandra Cohen (Vinessa Shaw) who is fascinated by Leonard. During this time he’s dealing with his family’s business being bought, he meets a neighbor in Michelle Rausch (Gwyneth Paltrow) as they hang out and such as he’s unaware of how troubled she is.
Throughout the course of the script, Leonard is being pulled into two spectrums as he is often leaning towards Michelle because they both share emotional and mental troubles as Leonard is still coping with a break-up as it forced him to move back to his parents. Yet, his time with Michelle would often lead to a lot of questions than answers as she is having an affair with a married law partner in Ronald Blatt (Elias Koteas) that is becoming tumultuous. It’s a relationship that is problematic yet Leonard does find himself courting Sandra who is a more grounded person and very kind but also doesn’t want to make him uncomfortable as it relates to his previous break-up. Plus, her parents like him and his parents like her a lot where they attend family events and such as he feels more relaxed around her. Still, he is enamored with Michelle who wants his help as it relates to her relationship with Ronald with Leonard’s mother Ruth (Isabella Rossellini) watching from afar.
Gray’s direction is low-key as it doesn’t emphasize too much on style in favor of aiming for an intimate story of a man torn between two women. Shot mainly on the Brighton Beach area in Brooklyn in New York City with some of the films shot on New York City, the film does play into this environment that is largely working-class but also a world that is also vibrant. Gray would use some wide shots for some of the locations including some scenes on the apartment rooftop in a few conversation scenes between Leonard and Michelle that is presented on an entire take in one shot with a few more to follow in medium shots and close-ups. Yet, much of Grey’s approach of the film is to shoot it in many rooms and apartments as well as real locations around Brooklyn to play into this world these characters live in but also one that is prospering as far as Leonard’s father Reuben (Moni Moshonov) is concerned knowing that his family laundromat is going to be a part of something big with Leonard having something to fall back on since his aspirations as a photographer hasn’t gone anywhere.
Gray’s direction also play into the idea of longing since Leonard and Michelle live in the same build but across from each other’s window as it adds intrigue to their relationship whenever they talk on the phone as Ruth is supposedly hearing the conversation though she isn’t seen. Gray’s direction also play into this temptation where Leonard is attending a Bar Mitzvah for Sandra’s brother as he spends all of his time there but gets a call from Michelle whom he sees later as Gray would make the choice of having Michelle and Sandra never meet each other though the latter does know about the former due to conversations with Leonard. The film’s climax relates to Leonard’s decision about his future and his love life as it would play into the idea of safety in Sandra or to risk it all with Michelle. Overall, Gray crafts a tender yet intoxicating film about a man torn between two women he is in love with.
Cinematographer Joaquin Baca-Asay does brilliant work with the film’s cinematography as it emphasizes on mood for its usage of sepia-based lighting for many of its interiors and scenes set at night along with more blue-grey colors for a few daytime exteriors including a scene at a restaurant with Leonard and Sandra. Editor John Axelrad does excellent work with the editing as it is straightforward to play into the drama with a few rhythmic cuts to play into some of the film’s emotional moments. Production designer Happy Masse, with art directors Marc Benacerraf and Pete Zumba plus set decorator Carol Silverman, does fantastic work with the look of the apartment that Leonard’s family lives including his messy room as well as the apartment that Michelle lives in.
Costume designer Michael Clancy does nice work with the costumes as it is largely straightforward for its Christmas holiday setting with the exception of a few stylish clothes that Michelle wears as well as a New Year’s Eve dress that Ruth wears. Sound designer Douglas Murray does superb work with the sound as it play into the atmosphere of a few party scenes as well as the sparse and quiet sounds for some of the scenes at the apartment rooftop. Music supervisor Dana Sano does terrific work in assembling the film’s soundtrack as it include some classical pieces for the film’s score as well as a mixture of hip-hop, opera, and jazz music to play into the world that the characters are in.
The casting by Douglas Aibel is wonderful as it feature some notable small roles and appearances from Anne Joyce as Leonard’s former fiancée in a dream sequence and in picture, Iain J. Bopp as Sandra’s little brother David, Samantha Ivers and Jeannie Serrales as a couple of Michelle’s friends, Julie Budd as Sandra’s mother Carol, and Bob Ari as Sandra’s father Michael who would make an offer to Leonard about his future at his company. Elias Koteas is terrific as Ronald as Michelle’s married lover who is concerned about her well-being as he asks Leonard to keep an eye on her. Moni Moshonov is superb as Leonard’s father Reuben as a man that is trying to uphold his deal in this merger as well as ensure that his son would not have to worry about his future.
Isabella Rossellini is fantastic as Leonard’s mother Ruth who is concerned about her son’s well-being as she is also wondering what is going on as she seems to know about his affair with Michelle as it’s a very low-key yet mesmerizing performance. Vinessa Shaw is amazing as Sandra Cohen as a woman whose father is buying Leonard’s family business as they start off as friends and eventually lovers as she is a woman that is kind and understanding but also someone who is willing to help him. Gwyneth Paltrow is brilliant as Michelle Rausch as a woman who lives in the same apartment as Leonard as she is someone who is charming and fascinating but also troubled due to her love of drugs and alcohol to cope with her own emotional troubles. Finally, there’s Joaquin Phoenix in an incredible performance as Leonard Kraditor as a man still reeling from heartbreak as he finds himself falling for two women as he deals with the decision he’s in but also the prospect of his own future as it’s a restrained and charismatic performance Phoenix.
Two Lovers is a phenomenal film from James Gray that features great performances from Joaquin Phoenix, Gwyneth Paltrow, Vinessa Shaw, and Isabella Rossellini. Along with its supporting cast, gorgeous locations, riveting story, and beautiful visuals, it is a romantic film that doesn’t play by the rules as well explore the idea of security and heartbreak in a romance. In the end, Two Lovers is a sensational film from James Gray.
James Gray Films: Little Odessa - The Yards - We Own the Night - The Immigrant (2013 film) - The Lost City of Z – Ad Astra – The Auteurs #67: James Gray
© thevoid99 2018
Written and directed by James Gray, We Own the Night is the story of a club manager who finds himself in trouble following a raid where his boss decides to target both his father and brother who are cops. The film is an exploration of a man trying to live his own life as he contends with the drawbacks of his lifestyle and how it would affect his family. Starring Joaquin Phoenix, Mark Wahlberg, Eva Mendes, and Robert Duvall. We Own the Night is a gripping and evocative film from James Gray.
Set in the late 1980s in New York City, the film revolves a nightclub manager who works for the Russian mob as a raid led by his brother lead to trouble where he learns about a drug deal that has gotten dangerous forcing him to turn to his family. It’s a film that is not just about loyalty but also a study of a man caught between two different worlds where he is already in the world of running a club with drugs and seedy businesses while his father and older brother are cops. James Gray’s screenplay follows Bobby Green (Joaquin Phoenix) who spends much of his time running a nightclub in New York City while being with his Puerto Rican girlfriend Amada (Eva Mendes) and their friend Jumbo (Danny Hoch). Bobby works for the Russian mob leader Marat Buzhayev (Moni Moshonov) who owns the club as a legit way of making business though he allows his nephew Vadim Nezhinski (Alex Veadov) to make deals as he is about to make a huge drug deal that would change things. The news gets the attention of Bobby’s older brother Captain Joseph Grusinsky (Mark Wahlberg) who would lead a raid that doesn’t go anywhere but only furthers the tension between him and Bobby.
When Joseph is gunned down and in a critical state following a hit, Bobby finds himself torn between his loyalty to the mob as well as his love for his brother and father in Chief Albert Grusinsky (Robert Duvall) as the latter wants to protect him. When Bobby is asked to see what Vadim is up to by some of his father’s fellow officers, Bobby reluctantly agrees as a way to make amends with his brother but he eventually realizes that he isn’t safe once Vadim learns who he’s related to. Amada would be in danger as she copes with having to give up a lifestyle that she’s used to as well as be disconnected from her own family which would eventually cause tension with her and Bobby. Notably in the third act where Bobby makes a decision that is more about doing what is right for everyone and himself rather than return to a life that is filled with too much trouble.
Gray’s direction definitely bear elements of style in terms of some of the compositions while he would also create a period in time when New York City was still dangerous but had risen from the ashes of its dreary period of the late 70s thanks in part to its then-mayor in Ed Koch who appears in the film as himself. Shot on location in New York City, the film does play like a look back in time when the city was thriving but also had this air of unease where it’s the police that is trying to bring order back as the film’s title comes from a tag from one of chevrons on the police uniforms. Much of the film is set in the night with Gray focusing on that world though there are substantial scenes set in the daytime as it play into the world that Bobby lives in where he gambles or parties with Amada. It’s something different to what Joseph does where he splits his time doing his work with the police and being with his own family. Gray would shoot some wide shots of some of the locations though he would avoid certain landmarks of the city to maintain this element of the street and areas that involve people of Russian descent.
The direction would also have these intense moments such as a chase scene in the rain where Bobby and Amada are in a car where they’re being attacked with Bobby’s father trying to stop the attackers as it’s a key moment that would lead to the third act. It would play into what Bobby needed to do as Gray’s usage of close-up and medium shots play into the drama as well as how he deals with near-moments of tragedy and other things that add to Bobby’s development to help his family. Even as he has to deal with the other people who were like family to him as he is aware that everything he had done for them is meaningless. The film’s climax which is set in a bed of reeds is definitely one of the most chilling moments in the film as it play into the sense of the unknown and what a man will do to make things right. Overall, Gray creates a thrilling and compelling film about a nightclub manager turning straight when the mob he works for goes after his family.
Cinematographer Joaquin Baca-Asay does brilliant work with the film’s cinematography as it has some distinctive looks into the way the scenes at the club as well as some exterior scenes at night are light while it emphasizes on something low-key for some of the daytime scenes as well the mood for the car chase scene in the rain. Editor John Axelrad does excellent work with the editing as it has elements of style as it relates to the action and suspense while being more straightforward in its approach to the drama. Production designer Ford Wheeler, with set decorator Catherine Davis and art director James C. Feng, does amazing work with the look of the nightclub that Bobby manages as well as the look of some of the homes of the characters in the film. Costume designer Michael Clancy does fantastic work with the costumes as it has elements of style in what Bobby and Amada wear to the clubs as well as the look of the police uniforms.
Visual effects supervisors Iva Petkova, Kelly Port, and Mike Uguccioni do nice work with the visual effects as it is mainly set dressing for a few spots including a shot where the World Trade Center buildings are seen through a window. Sound designer Douglas Murray does superb work with the sound as it play into the atmosphere of the nightclub as well as some of the intense moments of violence including the film’s climax. The film’s music by Wojciech Kilar is wonderful for its usage of low-key string arrangements to play into the drama and suspense while music supervisor Dana Sano provides a cool soundtrack that features a lot of the music of the late 70s/early 80s from Blondie, the Clash, David Bowie, the Specials, Louis Prima, Tito Puente, and a mixture of traditional Russian music and jazz.
The casting by Douglas Aibel is marvelous as it feature notable small roles and appearances from former New York City mayor Ed Koch as himself, Maggie Kiley as Joseph’s wife, Latin artist Coati Mundi as himself at a club performance, Yelena Solovey as Buzhayev’s wife Kalina, Tony Musante as Captain Jack Shaprio who is an old friend of Albert, Antoni Corone as another friend of Albert in Lt. Solo, and Moni Moshonov in a terrific small role as the mob leader Marat Buzhayev as a man who treated Bobby like a son despite his dealings. Danny Hoch is superb as Bobby’s best friend Jumbo as a guy who helps run the nightclub as well as party with him while not knowing anything that is happening to Bobby or his family. Alex Veadov is fantastic as Vadim Nezhinski as Buzhayev’s nephew who is also a ruthless drug dealer that is willing to make sure things go right and kill anyone who gets in his way.
Eva Mendes is excellent as Amada as Bobby’s girlfriend who is happy in the lifestyle that she and Bobby live until Bobby gets into danger where she gets a closer look into the dark aspects of the lifestyle where Mendes really shows her frustration and sadness over Bobby’s eventual decision with his life. Robert Duvall is brilliant as Chief Albert Grusinsky as Bobby’s father who is aware of the lifestyle of his son as he hopes Bobby would get into the straight-and-narrow where he learns the kind of trouble he’s in as he does what any father would do which is to protect him.
Mark Wahlberg is amazing as Captain Joseph Grusinsky as Bobby’s older brother who is this hard-ass that is trying to do what is right for the law despite getting into fights with his brother where he learns how deep into trouble his brother is following his own recovery from a hit as he does whatever he can to help him. Finally, there’s Joaquin Phoenix in an incredible performance as Robert “Bobby” Grusinski/Bobby Green as a nightclub manager trying to live his own life until he learns of a drug deal that would get him into trouble after his brother was nearly killed as Phoenix’s performance is one of anguish and determination that includes the film’s climax.
We Own the Night is a phenomenal film from James Gray. Featuring a great ensemble cast, gorgeous cinematography, a riveting story, and a thrilling soundtrack, it’s a crime-drama that explore the idea of loyalty and a man being torn between his love for his family and the people who are part of the dark and seedy world of crime. In the end, We Own the Night is a sensational film from James Gray.
James Gray Films: Little Odessa - The Yards - Two Lovers – The Immigrant (2013 film) - The Lost City of Z – Ad Astra - The Auteurs #57: James Gray
© thevoid99 2017
Directed by James Gray and written by Gray and Matt Reeves, The Yards is the story of a convict who has been released from parole as he finds himself being part in a crime scheme with a friend for a subway rail yard leads to trouble. The film is a crime drama set in New York City where a man who went to jail for his friend deals with being drawn into a world that might put him back in prison as he also copes with loyalty and doing what is right. Starring Mark Wahlberg, Joaquin Phoenix, Charlize Theron, Faye Dunaway, Ellen Burstyn, and James Caan. The Yards is an evocative and mesmerizing film from James Gray.
The film follows a young man who has returned from prison for a crime he didn’t commit as he is eager to lead a straight-and-narrow life only to be coerced by his best friend to be involved in the world of corruption relating to the subway train yards only for things to go wrong. It’s a film that is a bit about redemption but also about the fallacy of loyalties in the streets as this young man is just trying to find work and not get in trouble but he is lured into a world he doesn’t want to go back to. The film’s screenplay by James Gray and Matt Reeves explore the motivations of its characters such as the protagonist Leo Handler (Mark Wahlberg) who returns home as he learns that his mother Val (Ellen Burstyn) is dealing with a heart condition and wants to set things right for her. At his homecoming party that is attended by his mother, his aunt Kitty (Faye Dunaway), his cousin Erica (Charlize Theron), and best friend Willie Gutierrez (Joaquin Phoenix), Leo learns that Kitty’s new husband Frank Olchin (James Caan) could get him a job working at the railway car repair company.
Yet, Frank is unable to give Leo a job immediately though he offers to fund his studies for a two-year machinist program as Leo chooses to work closely with Willie, who also works for Frank, where he does bribes and such to get contracts against competing companies. It may give Leo some money in his pocket but he becomes uneasy as he also learns what Willie and his friends do in ruining other companies in order to get contracts where one night in an attempt to sabotage another company’s trains would lead to chaos as Leo gets into a scuffle with a police officer (David Zayas) and knocks him unconscious. Yet, that is nothing compared to what was happening at the same time where a yard master is killed as Leo becomes a suspect where he goes into hiding with a few people to trust. Among them is Erica whom Leo is close to, despite the fact that she’s engaged to Willie, as she would look after her aunt for Leo as she becomes aware of what had happened as she turns to her stepfather for help.
Gray’s direction does have elements of style in terms of the compositions that he creates as it play into the suspense and drama. Shot on location in New York City with much of it set in the boroughs of Queens, the film does play into this world that is away from the usual aspects of the city which is often set in Manhattan. Instead, Gray plays into this world that is a mixture of upper-class suburbia as it relates to the home that Frank and his family live in as well as the apartment that Leo shares with his mother. Gray’s approach to the compositions does having him using some wide shots not just in establishing the location but also this world where there is so much at stake in the world of the subways where companies are trying to compete to get contracts where it eventually becomes deadly.
Gray’s approach to the drama is more straightforward in the compositions where he uses some medium shots and close-ups as it relate to what the characters are reacting as well as what they’re dealing with. One noted scene is where Leo is being asked to kill the cop he knocked unconscious as a way to solve all of his problems where Gray uses the space of the room and everything in it to play into the suspense. It says a lot of who Leo is as well as the conflict he has in his loyalty to his friends but he’s also thinking about the fact that he might return to prison. It’s an effective scene as would the third act where it is about family as it relate to Leo’s relationship with his mother and Erica where he really cares about them with the latter as someone he can really trust. Even as he would make a bargain to ensure that he and the family would be safe despite the fact that he could still be public enemy number one against those he would rat out. Overall, Gray crafts a gripping yet compelling film about a former convict being lured into a deadly scheme where his loyalty towards friends is being tested.
Cinematographer Harris Savides does incredible work with the film’s cinematography with its usage of low-key yet grimy lighting for the scenes set at night including scenes during black-outs and low-light situations while maintaining something natural for the daytime exterior scenes. Editor Jeffrey Ford does excellent work with the editing as it is very straightforward to play into the drama and suspense which includes a scene of Leo dealing with a hood wanting to kill him. Production designer Kevin Thompson, with set decorator Ford Wheeler and art director Judy Rhee, does fantastic work with the look of the home that Frank lives in with the family as well as the apartment that Leo lives with his mother.
Costume designer Michael Clancy does nice work with the costumes as it is mostly casual with some of the stylish clothes that Erica wears. Sound editor Phil Benson, along with sound designers Kyrsten Mate and Gary Rydstrom, does superb work with the sound in creating that atmosphere of how trains are repaired as well as the atmosphere of the streets including the hospital room scene which is very low-key yet also chilling. The film’s music by Howard Shore is brilliant for its orchestral-driven score that play into the suspense and drama while music supervisor Dana Sano provide a mixture of music from acts and artists like Macy Gray, Brand New Heavies, KRS-One, Peggy Lee, George Benson, and Petula Clark.
The casting by Douglas Aibel is wonderful as it feature some notable small roles from Chad Aaron as Erica’s little brother Bernard, David Zayas as Officer Jerry Rifkin whom Leo would knock unconscious, Joseph Ragno as Leo’s parole officer, Robert Montano as a railway yard contractor in Hector Gallardo whom Willie doesn’t like, Steve Lawrence as a boroughs president who wants to keep the murder quiet until after the election, and Tomas Milian as a rival contractor who feels cheated by Frank’s company and the politicians over contracts. Faye Dunaway is fantastic as Erica’s mother Kitty as a woman that doesn’t approve of the engagement between Erica and Willie as she is also concerned with what Frank is doing with his business. Ellen Burstyn is superb as Leo’s mother Val as a woman who is happy to see her son as she also copes with what is happening to him as it is affecting her health but knows that he hasn’t done anything wrong. James Caan is excellent as Frank Olchin as a railway repair contractor who wants to help Leo out in finding a good job as he later copes with the murder of yard securities officer where he tries to do some cover-up as well as make decisions that would later be troubling.
Charlize Theron is brilliant as Erica as Leo’s cousin/Willie’s girlfriend who is happy to see Leo back as she becomes concerned with what’s happening to him after being accused of murder while taking care of her aunt where she would learn about what happened which disturbs her. Joaquin Phoenix is remarkable as Willie Gutierrez as Leo’s best friend who is part of a crew that helps sabotage rival subway trains as well as bribe officials where he goes too far into his work to the point that he thinks about getting rid of his best friend. Finally, there’s Mark Wahlberg in a marvelous performance as Leo Handler as convict who is on parole that is trying not to get into trouble as it’s a very restrained performance from Wahlberg as someone that is quiet as well as knowing what he had to do to save himself and those he cares about.
The Yards is a phenomenal film from James Gray. Featuring a great cast, top-notch cinematography, a chilling score, and captivating themes on loyalty and corruption. It’s a film that explores a world that is very competitive with those being caught in the middle of a dark and violent game where a man is forced to live by the code of the streets or do what is right. In the end, The Yards is a sensational film from James Gray.
James Gray Films: Little Odessa - We Own the Night – Two Lovers – The Immigrant (2013 film) - The Lost City of Z – Ad Astra - The Auteurs #67: James Gray
© thevoid99 2017
Written and directed by Woody Allen, Irrational Man is the story of a philosophy professor who goes through an existential crisis where he goes into a relationship with one of his students. The film is mystery-drama that has Allen explore the world of existentialism where a man copes with the meaning of life as well as the ways of the world where he ponders what one do by a single act. Starring Joaquin Phoenix, Emma Stone, Jamie Blackley, and Parker Posey. Irrational Man is a compelling and witty film from Woody Allen.
Set in a small college campus and town in Rhode Island, the film is a simple story of a troubled philosophy professor who is going through depression and an existential crisis where he befriends a student as they discuss the complexities of life. Yet, when they overhear a conversation about a woman’s custody battle and how unlikely she would get her children back due to a corrupt judge. Professor Abe Lucas (Joaquin Phoenix) is suddenly urged to do something as the result would mark a change in his life and his relationship with student Jill Pollard (Emma Stone) where it becomes romantic. Yet, questions would emerge as it relates to his act but also many questions about morality and the way life works. Woody Allen’s screenplay doesn’t just explore Lucas’ own moral and existential dilemma but also the fact that he has become numb and sort of indifferent about what he’s doing.
With Pollard being one of his students in his summer tenure in philosophy, he is intrigued by her views where they would engage a lot in conversations. Pollard would fall for him, much to the chagrin of her boyfriend Roy (Jamie Blackley), though is aware of Lucas’ own reputation as well as the fact that teachers and students can’t go out with each other in the school. While Lucas would have an affair with another professor in Rita Richards (Parker Posey), he is drawn by Pollard as the film‘s narrative is told from their different perspective with the usage of voice-over narration to display their views and what are they thinking. Especially in the second act where Lucas do something as it relates to this woman he doesn’t even know as the result would give him meaning again. Even as Pollard is taken aback at first by his change in mood until news about what is going on in this small town emerges where Pollard learns some truth as she goes into a moral dilemma of her own. All of which plays into a third act that is about morality and what it means to live but also the fact that action can also have consequences.
Allen’s direction is quite simple in terms of not just the compositions but also in the fact that he creates a film that bears little ideas of style. Shot on location in Newport, Rhode Island, the film does have this ravishing tone in the way it presents this small New England college town where it is quite middle class but also very vibrant. While Allen uses some wide and medium shots to capture the beauty of the locations, he also in maintain some intimacy in the latter along with the close-ups in the way characters interact with one another. Allen also would create different shifts in tones where it starts off a little lighthearted despite Lucas’ dark mood and then have the second act be even more upbeat despite the act that Lucas would do that eventually gave him meaning. The tone would once again shift in the third act where it does become more of a drama but a drama that says a lot about morality and the ways of the world. Especially where Pollard who begins to question herself as she is confused on the ways of the world and where true happiness comes from. Allen reveals that there is a lot of flaws in that argument but also says a lot into the ways of the world and how people live no matter how complicated things can be. Overall, Allen creates an engaging yet whimsical film about existentialism and morality.
Cinematographer Darius Khondji does excellent work with the film‘s cinematography from the look of the exteriors to the way some of the interiors are lit in day and night to play into its low-key yet colorful look. Editor Alisa Lepselter does nice work with the editing as it is mostly straightforward with few bits of style as it plays into the drama and some of the mystery aspects in the film. Production designer Santo Loquasto, with set decorator Jennifer Engel and art director Carl Sprague, does fantastic work with the look of the homes that the characters live in as well as the campus and the hall of mirrors where Lucas and Pollard go to.
Costume designer Suzy Benzinger does terrific work with the costumes as it is mostly casual in the way the characters look as it includes some of the stylish clothes that Pollard and Richards wear. Sound editor Robert Hein does superb work with the sound as it is mostly natural to play into the places that all of the characters go to. The film’s music soundtrack largely consists of playful jazz pieces along with a few classical cuts and a couple of contemporary pop pieces at a party that Lucas goes to.
The casting by Patricia Kerrigan DiCerto and Juliet Taylor is great as it include some notably small roles from Susan Poufar as a woman fighting for custody of her children that Lucas and Pollard would eavesdrop on, Sophie Von Haselberg as one of Pollard’s classmate in April, Ethan Phillips and Betsey Aidem as Jill’s parents, Kate McGonigle as another of Pollard’s friends in Ellie, and Tom Kemp as a custody case judge that Lucas would target. Jamie Blackley is superb as Pollard’s boyfriend Roy who doesn’t like hearing about Lucas as he feels neglected as well unappreciated for what he is trying to do for Pollard.
Parker Posey is fantastic as Rita Richards as a professor who is dealing with her own issues in her marriage as she would have an affair with Lucas only to feel slighted when he begins his relationship with Pollard. Emma Stone is brilliant as Jill Pollard as a philosophy student who would challenge Lucas about his views on the world while they would find similar ground and passions until she realizes the action he has done where she is confused as well as questioning about her own morality. Finally, there’s Joaquin Phoenix in an incredible performance as Abe Lucas as a philosophy professor who is filled with despair and indifference as he tries to find meaning in his life where he tries to find fulfillment until a moment where he listens to a conversation about a woman where he feels the need to act as it would give him a new lease on life.
Irrational Man is a marvelous film from Woody Allen that features top-notch performances from Joaquin Phoenix, Emma Stone, and Parker Posey. While it is a film that bears a lot of familiar territory that Allen has explored in other films, it does manage to say a lot about the way people are in the world as well as how they respond to certain things and their actions. In the end, Irrational Man is a remarkable film from Woody Allen.
Woody Allen Films: What's Up Tiger Lily? - Take the Money and Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows and Fog - Husbands and Wives - Manhattan Murder Mystery - Bullets Over Broadway - Don't Drink the Water - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet and Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra's Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - (Café Society)
The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2016
Based on the novel by Thomas Pynchon, Inherent Vice is the story of a private investigator who is asked by a former flame to investigate the disappearance of her boyfriend as he goes into a wild and crazy adventure in 1970 Los Angeles. Written for the screen and directed by Paul Thomas Anderson, the film is a mystery-comedy that is set during the Charles Manson trials in a transition period from the 1960s to the 1970s as a man is taking on different cases in a world that is very chaotic. Starring Joaquin Phoenix, Josh Brolin, Reese Witherspoon, Benicio del Toro, Katherine Waterston, Owen Wilson, Jena Malone, Martin Short, Sasha Pieterse, Joanna Newsom, Jeannie Berlin, Maya Rudolph, Serena Scott Thomas, Martin Donovan, Michael K. Williams, and Eric Roberts. Inherent Vice is an off-the-wall yet exhilarating film from Paul Thomas Anderson.
Set in 1970 Los Angeles, the film revolves around a private investigator who takes part in the investigation of a millionaire as it leads to a series of strange cases involving real-estate, drugs, corruption, and all sorts of crazy things as Larry “Doc” Sportello (Joaquin Phoenix) copes with his work. It’s a film that has a lot to follow as Sportello is a known stoner/hippie who works as a private investigator as he is good at what he does despite not getting much respect from the authorities. Yet, his unconventional tactics do provide some results where he’s asked by his former flame Shasta (Katherine Waterson) to find a lover as it reveals to be part of something big as other cases involving another disappearance from a musician named Coy Harlingen (Owen Wilson) starts to come into play.
Paul Thomas Anderson’s screenplay definitely takes in the idea of a private investigator on a case that is set in a world that is very chaotic as Sportello is a person that is often associated with hippies. It’s an association that is dangerous as there’s tension between hippies and the police due to the recent murders by Charles Manson. That association hasn’t made things easy for Sportello as he would often give some information to a LAPD detective in Christian F. “Bigfoot” Bjornsen (Josh Brolin) who isn’t fond of Sportello but knows that Sportello. Bigfoot is among the series of many characters that Sportello would encounter as a lot of them are quite eccentric at times but also play into a world that is very chaotic as it represents a change that is looming in the air. Even as the world of hard drugs start to come into play as it would mark the beginning of the end of the 1960s and its ideals for a much more cynical world that is the 1970s.
Adding to the unique approach of the story is the narration as it’s told from the perspective of a friend of Sportello in Sortielge (Joanna Newsom) who is a small supporting character that definitely knows a lot about Sportello as she would often reveal his own flaws and his connection with Shasta whom he is in love with. It adds to the sense of melancholia in Sportello as he is motivated to find out why Shasta is in trouble as there’s a lot of very stylish dialogue that helps move the story. Especially as it plays to clues that Sportello has to figure out along with details which involves some very heavy revelations about what is happening and the sense of change that is coming. Some of which would prove to be uneasy for Sportello as he knows that he needs help in solving the case and to make things right for a few people.
Anderson’s direction definitely has an offbeat quality to the tone of the film where it has this strange mix of suspense, mystery, and humor as he shoots the film on location in Los Angeles and other nearby locations. Much of it involves these very simplistic yet entrancing compositions in its close-ups, medium shots, and wide shots along with some strange camera angles. There’s also some tracking shots that occur in the film while it’s kept to a minimum as Anderson is going for something that plays into a sense of time that is changing where things don’t make a lot of sense. Since it’s a story where a lot goes on, there are moments where the audience will find themselves lost which is probably what Anderson is intending to do as it plays into this world that Sportello is encountering where the parties become hazier and things are becoming darker. The direction also has these very comical moments that are very strange such as Sportello’s meeting with Harligen’s wife Hope (Jena Malone) where she shows him a baby picture as well as some of Sportello’s encounters with Bigfoot.
There’s also these little quirks that Anderson puts in as it relates to food such as the fact that Bigfoot always eats a chocolate banana while the feast for the hippies is pizza. These moments play into everything Sportello is encountering as it plays into a dangerous world of drugs and drug-trafficking that he doesn’t want to be a part of as there’s all of these things that emerge. Especially as Anderson’s direction has him diverting away from conventional ideas of storytelling where he would go into long and intimate takes to play into the conversations and the mysteries to unfold. The film’s climax plays into what Sportello is trying to discover as it is clear that it plays to a world that is changing as does the rules but he would do something that would show that he can accept these changes but not having to change his own principles. Overall, Anderson creates a very wild and sensational film about a private investigator going into a crazy adventure of intrigue and haze in 1970 Los Angeles.
Cinematographer Robert Elswit does amazing work with the film‘s colorful cinematography from the beauty of the Californian sun and beaches in its daytime exteriors to the use of lights and filters for some scenes set at night to help set a mood into the mysterious world that Sportello would encounter. Editor Leslie Jones does brilliant work with the editing in its approach to dissolves and jump-cuts to play into some of the sense of longing in Sportello as well as some of the film‘s offbeat humor. Production designer David Crank, with set decorator Amy Wells and art director Ruth De Jong, does excellent work with the set pieces from the look of the different houses that Sportello would go to as well as the LAPD building and his quaint home that shows who he is.
Costume designer Mark Bridges does fantastic work with the costumes from the ragged clothes he would wear as well as suits he would wear in disguise as well as the colorful and stylish clothing of the characters he would meet. Hair stylist Patricia DeHaney and makeup artist Susan Stepanian do terrific work with the hairstyles of the characters as well as some of the makeup the women wear plus the dental prosthetics by David Beneke for the teeth that Hope Harlegin has to sport due to her past drug addiction. Visual effects supervisor Paul Graff does nice work with some of the minimal visual effects that involve a few set-dressing scenes as well as some very strange moments where Sportello sees Bigfoot on TV.
Sound designer Christopher Scarabosio does superb work with the sound to capture some of the craziness of the house parties that Sportello would go to as well as the way some of the phone conversations play out. The film’s music by Jonny Greenwood is great as he brings in this mixture of eerie and melancholic orchestral music as well as strange and offbeat electric-folk pieces that includes an unreleased cut by his band Radiohead while music supervisor Linda Cohen brings in a fun soundtrack of music from Can, Neil Young, the Association, Minnie Ripperton, The Marketts, Kyu Sakamoto, Les Baxter, and Chuck Jackson as it plays to the tone of the times and the sense of change that is emerging.
The casting by Cassandra Kulukundis is phenomenal as it is a massive ensemble that features notable small performances from Jillian Bell as a hippie, Erica Sullivan as a doctor in a clinic Sportello visit, Jefferson Mays as the head of that clinic, Timothy Simons and Sam Jaeger as a couple of FBI agents who hover around Sportello’s investigation, Jordan Christian Hearn as Sportello’s assistant Denis, Hong Chau as a masseuse named Jade who helps Sportello out in the investigation, Keith Jardine as a biker with a swastika tattoo on his face, Elaine Tan as Dr. Blatnoyd’s secretary, Shannon Collis as a masseuse that Sportello meets early in the film, and Peter McRobbie as a dealer whom Sportello suspects that Bigfoot knows and doesn’t like. Other memorable small yet fun performances include Michael K. Williams as a Black Panther figure of sorts who tells Sportello about a turf he had lost, Jeannie Berlin as an informer of Sportello who knows about the wealthy Wolfmann family, Martin Donovan as a politician that Sportello previously met who might know something, and Sasha Pieterse as that politician’s daughter who hangs around with Dr. Blatnoyd.
Michelle Sinclair is superb as a sister of a dead suspect that meets with Sportello while Serena Scott Thomas is ravishing as the wife of a rich real estate man who is cheating on him. Maya Rudolph is wonderful as Sportello’s secretary Petunia as she is a pregnant nurse who is definitely smarter than Sportello while knowing he still has feelings for Shasta. Eric Roberts is terrific as the eccentric real estate mogul Mickey Wolfmann who disappears as he is connected to all sorts of things that intrigues Sportello. Martin Short is excellent as Dr. Blatnoyd as this offbeat dentist who has a penchant for cocaine as he is part of something secretive. Joanna Newsom is fantastic as Sortielge as a friend of Sportello who knows him very well as she is also this very intriguing observer. Jena Malone is amazing as Hope Harlingen as a former junkie and wife of Coy who gives Sportello information about her husband and why he might be alive. Owen Wilson is brilliant as Coy Harlingen as this musician who has disappeared as he is revealed to be something more as he is trying to hide from the people connected to these crimes.
Benicio del Toro is great as the attorney Sauncho Smilax Esq. as this oddball attorney who helps Sportello in the investigation while giving him information about some of the ins and outs of what is happening in Los Angeles. Reese Witherspoon is radiant as deputy D.A. Penny Kimball as a lover of sorts of Sportello who knows what is going on as she would help in uncovering parts of the mystery that is surrounding the case. Katherine Waterston is remarkable as Shay Fay Hepworth as a former lover of Sportello who returns in need of help as she has this evocative presence that is fascinating as she proves to be the one person that might understand him.
Josh Brolin is marvelous as Bigfoot as this straight-laced detective who despises hippies as he brings this very odd yet engaging performance as a man that is very intimidating but knows when Sportello is onto something and helps him. Finally, there’s Joaquin Phoenix in a tremendous performance as Larry “Doc” Sportello as this very weird stoner detective who is taking a case for his ex-girlfriend as he goes into a dangerous web of drugs and corruption as it’s a performance that has Phoenix be very funny. Even in scenes where he is treated as a foil while coping with times that are changing around him as it’s really one of Phoenix’s best performances.
Inherent Vice is a rapturous and truly off-the-wall film from Paul Thomas Anderson that features a great leading performance from Joaquin Phoenix. Armed with a brilliant supporting ensemble, a mind-bending premise, themes on a world that is changing, and a killer music soundtrack. It’s a film that refuses to define itself as it’s definitely not for everyone as it has so many twists and turns that will be hard to follow yet plays into a sense of haziness that goes into one man’s investigation to uncover the truth. In the end, Inherent Vice is a spectacularly odd yet dazzling film from Paul Thomas Anderson.
P.T. Anderson Films: Hard Eight/Sydney - Boogie Nights - Magnolia - Punch-Drunk Love - There Will Be Blood - The Master - Junun - Phantom Thread
Related: The Shorts & Videos of P.T. Anderson - The Auteurs #15: Paul Thomas Anderson
© thevoid99 2015
Directed by James Gray and written by Gray and Ric Menello, The Immigrant is the story of a Polish woman who travels to America with her sister as she works as a prostitute to free her quarantined sister while falling in love with a magician. Set in 1921, the film is an exploration into the world of Europeans coming to America as they try to capture that idea of the American dream. Starring Marion Cotillard, Joaquin Phoenix, Jeremy Renner, Angela Sarafyan, Dagmara Dominczyk, and Yelena Solovey. The Immigrant is an evocative yet powerful film from James Gray.
The idea of going to America from Europe definitely conjures up the idea of the American dream where one can go from a foreign country often troubled by war and poverty as going to America is a place to start over and succeed there. What this film does is play into that myth as a young woman from Poland arrives to Ellis Island with her sister who is ill with tuberculosis as Ewa (Marion Cotillard) endures some of the most harshest circumstances as well as the danger of being sent back to Poland until she gets help from a man named Bruno (Joaquin Phoenix) who gives her a place to live but with certain conditions as she reluctantly becomes a prostitute. Upon meeting Bruno’s magician cousin Emil (Jeremy Renner), she finds hope in Emil but endure Bruno’s jealousy as she tries to save enough money to help her quarantined sister.
The film’s screenplay by James Gray and Ric Menello doesn’t just explore the myth of the American dream but also what immigrants have to endure upon their arrival into America as it is set a few years after World War I. Ewa arrives with her sister Magda (Angela Sarafyan) as Ewa has been reported to be someone with low morals which prevents her from being part of the country immediately. Though she tries to get help from relatives, she is shunned over accusations of being a whore as she had no choice but to work under Bruno as a theater dancer and as a prostitute which has questioning about the decisions she’s making. At the same time, she knows she has to do something not just to survive but also to help out Magda who is unable to get into the country because of her illness as she’s stuck at Ellis Island.
While the character of Bruno isn’t a totally despicable person, he is someone who is willing to use Ewa for money as he is also the only person that can really help Ewa to get Magda out of Ellis Island. Ewa reluctantly trusts him yet she couldn’t believe the kind of things he makes her do as he would also threaten her. Upon meeting Emil during a show in Ellis Island and learning that he’s Bruno’s cousin, a complicated love triangle emerges as Ewa falls for the much kinder Emil who offers a chance to live a good life as well as getting her sister out as well. This would cause tension between Emil and Bruno while Ewa also has to endure prejudice and the other women working for Bruno who despises Ewa because of her morals. Through all the tribulations that Ewa goes through, she tries to appeal to God about what to do and wonder if she is doing anything right.
Gray’s direction definitely recalls a lot of the films made during the 1970s about the world of immigrants yet he brings in something that also feels timeless in the way he re-creates early 20th Century New York City. It’s a world that is starting to form its identity as well as be this strange mix of Europeans roaming around the country with actual New Yorkers. There’s a dreamlike quality to the look of the film with its sepia-drenched cinematography as well as Gray’s great attention to detail from the way the city looked and how he would shoot scenes such as some through a window or through a glass door. The use of the medium shots and close-ups add to Gray’s unique vision as well as use some wide shots to play into the look of the city.
Some of the moments in the film are very intimate such as the way Bruno instructs Ewa into becoming a reluctant prostitute where Gray keeps the camera close but not too close. The scenes involving Emil are quite lively as it has that element of mystique but also adds an ambiguity to what Emil is in comparison to Bruno as they sort of represent this duality of morality for Ewa. Especially in the third act where Ewa deals with own crisis in faith as some troubling actions would force Ewa to reach out towards those who would help her. This would play into Ewa not only reveal all of the trials and tribulations she had faced but also realize that being in America is just as complicated as anywhere else. Overall, Gray crafts a very engrossing yet intoxicating film about an immigrant arriving into America and discover that the American Dream is really a myth.
Cinematographer Darius Khondji does incredible work with the film‘s dream-like and enchanting cinematography that is awash with sepia-drenched images for much of the film‘s interiors including a few dashes of color in some scenes such as the church while the usage of blue for the exterior Ellis Island scenes are also beautiful as it‘s one of the film‘s major highlights. Editors John Axelrad and Kayla Emter do excellent work with the editing as it‘s mostly straightforward yet does have some elements of style as the cutting has this seamless feel to the way the transitions play out as well as some of the drama. Production designer Happy Massee, with set decorator David Schlesinger and art director Pete Zumba does brilliant work with the look of early 1920s New York City in its immigrant-based sections along with the look of the park bridges to play into a world that is starting to define itself.
Costume designer Patricia Norris does amazing work with the period costumes from the ordinary clothes that Ewa wears upon her arrival to the stylish clothes she and the other women wear for the stage performances and as prostitutes. Key makeup artist Rachel Geary does nice work with some of the makeup such as the makeup the women have to wear for the stage performances. Visual effects supervisors Eran Dinour and Dottie Starling do terrific work with some of the visual effects where it‘s mostly minimal such as the look of 1921 New York City from afar as well as some of the set dressing for some of the locations. Sound designer Robert Hein does superb work with the sound from the way some of the theater performances sound to the more intimate moments in the Ellis Island building and in some of the locations in the city. The film’s music by Chris Spelman is wonderful for its somber orchestral music to play with the drama while music supervisor Dana Sano creates a music soundtrack that mixes the jazz music of the times with some opera music by Giuseppe Verdi and a classical piece by John Tavener.
The casting by Douglas Aibel is fantastic as it features some notable small roles from Patrick Husted as a priest, Antoni Corone as the sympathetic customs officer Thomas McNally, Ilia Volok as Ewa and Magda’s uncle who feels shamed by Ewa, Maja Wampuszyc as Ewa and Magda’s more sympathetic aunt, and Yelena Solovey as the theater manager Rosie who invited Emil to come back to the stage. Dagmara Dominczyk is wonderful as one of Bruno’s hookers in Belva who dislikes Ewa as she would play a key role in the film’s third act. Angela Sarafyan is terrific as Ewa’s sister Magda as it’s a small yet crucial role as a young woman who becomes ill as she would be quarantined due to her illness.
Jeremy Renner is great as Emil as this magician who offers Ewa any help that she needs as he also falls for her as Renner brings a lot of charm and sensitivity to his performance while also proving to be tough. Joaquin Phoenix is remarkable as Bruno as this man who has all of the connections to get women to work for him and make money while he also has a dark obsession towards Ewa which would finally cloud his own judgment as he tries to deal with his own jealousy towards Emil. Finally, there’s Marion Cotillard in a phenomenal performance as Ewa as this woman struggling to survive in a new, cruel environment as she endures degradation and prejudice while trying to find good in the world as well as maintain her faith as it’s Cotillard at her best.
The Immigrant is an incredible film from James Gray. Thanks to the leading performances of Marion Cotillard, Joaquin Phoenix, and Jeremy Renner as well as Darius Khondji’s dazzling cinematography. The film is clearly a captivating story about the struggles that immigrants go through upon their arrival while dealing with the false myth of the American Dream. In the end, The Immigrant is a tremendous film from James Gray.
James Gray Films: Little Odessa - The Yards - We Own the Night - Two Lovers - The Lost City of Z - Ad Astra - The Auteurs #67: James Gray
© thevoid99 2014
Written and directed by Spike Jonze, Her is the story of a recently-divorced man who falls in love with a female voice produced by an intelligent computer operating system that gets him out of his funk. The film is an exploration into the world of loneliness and longing where a man deals with himself as he falls for this machine who has the personalities and feelings of a human being. Starring Joaquin Phoenix, Amy Adams, Rooney Mara, Olivia Wilde, Chris Pratt, and the voice of Scarlett Johansson as Samantha. Her is a ravishing and evocative film from Spike Jonze.
Set in a futuristic Los Angeles that isn’t totally removed from present time, the film is an exploration into an introverted man not just dealing with divorce but finding a connection with an operating system who calls herself Samantha. It’s a film that is a very unlikely romantic comedy where Theodore Twombly (Joaquin Phoenix) falls in love with this OS as she has all of the emotions of a human being even though she is only a machine who organizes his emails, proofreads the letters he writes for people in his job, and deal with other things that he couldn’t do. She’s also a great communicator which adds to the complexity of her character and her relationship with Theodore who starts to go out more and become even happier. Especially as Theodore is still struggling with his divorce from his wife Catherine (Rooney Mara) while the only friend he talks to is his neighbor/college friend Amy (Amy Adams).
Spike Jonze’s screenplay not only explores Theodore’s loneliness as he struggles to re-enter the world until Samantha comes into his life. It also showcases Samantha’s own desire to be human as she wants to touch Theodore as their love becomes immensely powerful. While Amy would discover this as she would embark on her own relationship with an OS after her marriage falls apart in the second act. Things do get complicated when the operating systems start to go beyond their capabilities as they begin to ask big questions about themselves which would play into the film’s third act. Even as it would affect Theodore who becomes so attached to Samantha as he tries to resolve what went wrong in his marriage as he would also big questions about himself.
Jonze’s direction is truly entrancing in the images he creates where he shoots the film in both Los Angeles and in Shanghai as if it’s set in a city of the future where many machines are voice-activated as people carry small devices with an earplug to listen to the voices of the operating systems. Still, it’s a world that isn’t too far removed from modern times as they’re still cars, planes, and such while people still talk to each other and do all sorts of things. The direction that Jonze presents is very unique in not just the world that Theodore lives in but also the sense of isolation that he’s in where he often looks at the city skyline from his apartment as if he is yearning to connect with someone or something.
The direction has Jonze not just use a lot of wide and medium shots but also close-ups such as the first shot of the film where Theodore is writing a letter on his computer. The use of tracking and some handheld camera shots play into not just some of Theodore’s world but also the enthusiasm he has with Samantha where she looks through a camera lens of what she is seeing in Theodore’s device. It would add to the weight of this relationship where it’s quite funny at times that includes a few scenes of Theodore interacting with a video game character along with some comments that Samantha says during the moments she has with some friends of Theodore. The overall result is truly a rapturous and extremely touching film about love between a man and a machine with human feelings.
Cinematographer Hoyte van Hoytema does some absolutely tremendous work with the film‘s lush and colorful cinematography from the look of the skylines in Los Angeles and Shanghai to the use of sunny colors for some of the exteriors as well as the use of lights as it‘s one of the film‘s highlights. Editors Jeff Buchanan and Eric Zumbrunnen do amazing work with the film‘s editing with its use of jump-cuts and other rhythmic cuts to play into the film‘s romantic evolution. Production designer K.K. Barrett, with set decorator Gene Serdena and art director Austin Gorg, does brilliant work with the set pieces from the background of trees in the elevator at the apartment building Theodore and Amy live in to the place that Theodore works at as it‘s filled with gorgeous colors and such.
Costume designer Casey Storm does excellent work with the costumes from the colored shirts that Theodore wears to reflect his personality as well as some of the clothes of the people that he meets. Visual effects supervisor Janelle Croshaw does superb work with the visual effects such as the video game Theodore plays to some of the minimal backdrops in the city that he lives in. Sound designer/music supervisor Ren Klyce does fantastic work with the film’s sound to play into the atmosphere of the locations and the sounds that come out in the computer while compiling the film’s wonderful music soundtrack which includes pieces by the Breeders, Will Collins, Nickodemus, Entrance, Little Willie John, Philip Guyler, and the Chantels. The rest of the music features some ambient and plaintive piano pieces by Owen Pallett as well as original music by Arcade Fire which plays to the film’s emotional tone as well as an original song by Yeah Yeah Yeahs vocalist Karen O that Theodore and Samantha sings.
The casting by Cassandra Kulukundis and Ellen Lewis is incredible as it features some voice work from Spike Jonze as the video game character Theodore deals with as well as the voices of Brian Cox, Bill Hader and Kristen Wiig as other small characters. Other notable small roles include May Lindstrom as a pregnant TV star Theodore fantasizes about, Portia Doubleday as a woman Samantha hires to pretend to be her, Laura Kai Chen as the girlfriend of Theodore’s receptionist Paul, and Matt Letscher as Amy’s husband Charles who only appears in the first act. Chris Pratt is terrific in a funny performance as Theodore’s receptionist Paul while Olivia Wilde is wonderful as a blind date that Theodore meets which adds to his fear of commitment.
Rooney Mara is excellent in the role of Theodore’s ex-wife Catherine as she mostly appears in flashbacks as this unique presence while she does have an amazing scene where she expresses her frustrations to Theodore over their marriage. Amy Adams is fantastic as Theodore’s friend Amy who is concerned about his loneliness as she later deals with a divorce where she embarks on a friendship with a OS that would help her in her work as a filmmaker and game designer.
The film’s best performances definitely go to Joaquin Phoenix and Scarlett Johansson in their respective roles as Theodore and Samantha. Phoenix showcases a sense of restraint as well as tenderness in his role as a man lost and in despair over his divorce as he falls for the voice of a machine which just adds to the complexity of his character as it’s Phoenix at his most charming and his most vulnerable. Though she doesn’t appear in the film, Johansson provides a lot of depth and weight to the voice of Samantha as it’s one that is pretty funny as well as very dramatic in her search for meaning and wanting to have a body. Phoenix and Johansson have this chemistry that is indescribable as they put a lot of heart and soul into these characters and this relationship as they really are a huge highlight of the film.
Her is a magnificent film from Spike Jonze that features outstanding performances from Joaquin Phoenix and the voice of Scarlett Johansson. The film is definitely a romantic-comedy that is unlike anything that is expected in the genre while infusing it with a sci-fi setting that makes it unique to express a man’s loneliness. Along with its amazing technical work and the supporting cast that includes Amy Adams, Olivia Wilde, Rooney Mara, and Chris Pratt. It’s a film that also manages to find a soul in the machine that is just as human as humanity itself. In the end, Her is a spectacular film from Spike Jonze.
Spike Jonze Films: Being John Malkovich - Adaptation - Where the Wild Things Are - Tell Them Anything You Want: A Portrait of Maurice Sendak - My Mutant Brain
Related: The Auteurs #54: Spike Jonze - The 25 Essential Videos of Spike Jonze
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